Thirty years ago I left the plains of Western North Dakota for the woods of Central Minnesota. I lasted six mohths. Clay S. Jenkinson expresses the reasons why I came back and why I have stayed. It is almost impossible to express to someone not from here what the badlands and the prairie can mean, but the author uses imagery that evokes a strong sense of place and spiritual belonging, much as N. Scott Momaday does. The people are real and the places are too. It is good to have someone who can say what I can't. This book is delightfully humorous and at the same time profound.

Having grown up and lived my fifty-plus years in North Dakota, Jenkinson has captured my response to this place of the Plains at a very deep, thoughtful level. It is hard to explain to a "mountain", or "ocean" or "forest" person just what the prairie and badlands evoke, but this book is among the best I've read to describe it. The people portrayed in this book are people I know or very like people I know. But most especially, his challenge to those of us who live in this place to treasure it and to branch out of our great tendency toward provincialism confirmed and gave words to many of my own long-held feelings.

To journey though this book is like being on a train. You will come to the end finding you have traveled parallel tracks. . . One is the scholarly exploration of ideas and questions. The other, a man's life filled with colorful friends and experiences. Both a book of essays and a memoir. This duality is the magic that makes the book. Even the writing balances between direct and lyrical, functional and sublime.

But, what I liked most about Message on the Wind was the personality of the man telling the story. That he could make bold pronouncements and just as quickly point out his own foibles. As when he says, "Just how a man driving a tractor whose tire he could not change if his life depended upon it can feel marvelously independent is not clear, but that is the unmistakable mythology of the place. And I swallowed the whole hog."

Back to the train: Wallow in the sheer joy of being carried away on an adventure. Or, examine the tracks and ponder the method. Either course will result in many delightful hours of reading. Reading, perchance to think. :-)

For the last in the series (sadly so -- and published the year i was born, by a coincidence), Ransome has given us a somewhat different book.

As with "We Didn't Mean to Go to Sea" and unlike most of the rest, virtually all of the action in this book involves real-world situations and problem-solving rather than the often-imaginary (though no-less-fun) adventures that the other books recount.

The plot turns at least partly on the contrast and conflict between the methods used by older-style "naturalists" -- Audobon often shot the birds he painted -- represented by the bird expert on the yacht "Pterodactyl", whose reaction to hearing of a very rare nesting is to find it, take the eggs, shoot the birds and stuff them as a display in a museumand those of the newer generation, represented by Dick Callum (in his strongest, most assertive appearance in the series).

Dick is of the opinion that simple but clear photographs will do Just Fine to document this amazing sighting.

And so begins an adventure that will have three separate problems to solve -- keeping the Egg Collector from finding the birds, getting the photos and -- most importantly -- not running afoul of the local Laird on whose land all of this is going on.

All of the Swallows, Amazons and D's -- and Captain Flint, a full participant for once, rather than just a prop/supporting character -- are here, and all are in full character -- when someone sees Dick fleeing the Egg Collector's yacht after he realises what sort of "naturalist" the man is, they remark "If it were Roger, I'd think he'd said something cheeky," to which Roger replies "Dick would never think of anything in time..."

If it had to be the last, this is a pretty good book for the position.

Read it; read them all. Even adults can enjoy these books.

i wish life were like this now, its a neverending adventure for the swallows amazons and ds i must say, however, that the best books in this series are (its a draw) We Didn't Mean To Go To Sea and Peter Duck (sorry ds) this book is still extraordinarily well written and adventureous

Another wonderful story of the Swallows, Amazons and Ds. This time they are far out in the Scottish Highlands and, unusually, it is the mild-mannered Dick, rather than the fiery Nancy who is calling the shots. Rather than ape the myriad reviews that give you a banal synopsis of the plot, I will simply say that this, like all the other books in the series, is a jewel that you and your children will want to gaze upon again and again.

There are beautiful pictures of Belleek in this book, but to use it as a price guide is very difficult. For a piece, he only has one price for one mark, no other prices for other marks. For being an authority on Belleek, he could have made the price guide much easier to read.

This book is the standard for Belleek. It is crammed full of fabulous photographs of this lovely parian china. It contains an extensive history of the pottery and those who developed this unique ware. It provides a thorough explanation of the process of manufacturing. It shows us the various marks, or backstamps and discusses their meanings. My only quibble with the book is the price guide, which is somewhat incomplete and which does not reflect the effect that online auctions have had on collecting. All in all, a wonderful book for the Belleek collector.

A must acquisition for collectors of this lovely Irish parian china. Covers history of the pottery, process of crafting and the names, marks and ware. Over 2,000 items pictured. A value guide of more than a 1,000 pieces, from various crafting periods, included as a bonus.

If you're more interested in local flavor or in the history of the recipes involved then this is a good book for you. I prefer a cookbook with more recipes and less chit-chat. However, she does include "helpful tips" which I found useful.

Last summer I took my two adult daughters to Biba's for a special mother/daughter dinner. We were treated graciously and had an unbelievable dining experience! We were even able to purchase this book, all three of us, to add to our cookbook collections, and have them autographed by Biba herself. She is a most amazing, and warm host. Her book is beyond most in her style of cooking and authenticity. We love you Biba!

I was given this book as a Christmas gift from my father, who even took the time to bring it to Biba at her restaurant in Sacramento (Biba's) so she could autograph it to me. Anyway, the very first recipe I tried, the sauteed halibut with olives, capers and tomatoes, turned out PERFECTLY. I've never had halibut so wonderfully and perfectly sauced. The treatment of the halibut meant it turned out exceptionally well textured, tender and flavorful, but not over or under cooked. My dinner date was extremely impressed. He actually thinks I can cook - well even! I'd like to take credit for it, but I can't. Since then, every other recipe from this book I've tried has also turned out successfully.

My main regret is that I didn't make more sauce, as I could have eaten twice as much of it. When not devouring the halibut, we were both frantically scooping any extra sauce onto the slices of rustic loaf Italian bread I baked earlier in the day - but that's another recipe.

The only additional item I would like to have seen is a wine pairing suggestion. But, I'm perfectly capable of figuring that out for myself, and rather enjoy the challenge. I chose a high quality light Red Zinfandel (1999 Fiddletown Lot 1 Red Zinfandel from Sobon Estate). Ordinarily it might be considered a little heavy for fish, but it balanced well with the glorious sauce in this recipe.

Biba Rocks!

A lovely and at times disturbing study of the relationships between women in an Asian-American family. It wasn't particularly visual, but it did create a nice sense of place and presence. Well-drawn characters. Nicely and smoothly written.

I loved this book! The writing is rich and full of feeling and the characters drew me in completely. Occasionally I got confused with the plot, but the urgency and imagery in the writing made me unable to put it down. I can't wait until the author writes another!

This was one of the books that have sat upon my bookshelves unread. No real reason why it sat there so long, but it did, silently collecting dust. I finally did read it, and I found it to be quite enjoyable. After reading the first few pages, thoughts of Amy Tan's _Joyluck Club_ Popped into my head for obvious reasons. The main characters in the book are all Asian-American women, and the main theme in the book are the relationships of the female side of the family: Grandmothers, Mothers, and Daughters. Shigekuni writes in a very lovely style that is full of sadness. Her words evoke what life must have been like back in 30s San Francisco, or the lonliness of living in a foreign country without being able to speak the language. She paints a beautiful picture of relationships between family members. This picture shows the many flaws of the family. Flaws that are not corrected, but left to get worse. This is a very good book, and should be read by anyone who is interested in Asian-American writing, or just a good book writtn with a heart that is not afraid to show warts and all.

I have read and reread this book many times, and have shared it with family members, friends and colleagues; I would say it's required reading for anyone interested in rural American folklore, and a good read for anyone interested in a good story. Of course, I admit to being biased, since I grew up in the heart of Tioga County, PA where the majority of stories come from! I enjoyed reading in print the stories that my father-in-law tells about growing up in Roseville. To this day, he swears the outhouse story is legit. You'll find many fascinating tales between the covers!

My high opinion of this book is biassed for several reasons. I grew up in Northeastern Pennsylvania and find similarities in the regional folklore. I attended Mansfield University of Pennsylvania (around where much of the folklore was gathered) and had the great fortune to study folklore, taught by author, Jim Glimm. I have come to re-read this book with the utmost reverance and respect for a talented author/story-teller and an inspiring instructor who has recently passed away.

I love this book. I read it over and over. I read the stories just for a good laugh. Want to go and find these people. I bought the book looking for supernatural legends, I got that and much more.

If colleges offered "Orchids 101", this would be the text book! Clear, concise, easy to read and understand, this book spells out all we need to know about growing orchids. Interesting sections on sowing seeds, the culture of seedling orchids, and even the dynamics behind orchid names, make this book much more than a simple 'how-to' book. It's a complete source of all you need to know. The one book to buy first, it'll probably be the only book you need.

If I were interested in looking at pictures of orchids I'd buy a book of orchid photographs but in the 20 years I have been growing orchids, my opinion is unwavering in holding this book in the highest esteem. It was my first book on orchid growing and was always invaluable. When I lost it I didn't hesitate to buy it again as it has all the information one needs to grow any orchid and how to provide it with what it needs to bloom.

If you're going to have one book on orchids this should be it. Vast numbers of species descriptions, beautiful color photos, and complete information on general culture as well as exhaustive details of specific cultural requirements for many varieties; AND all you'll need to know about orchid genetics, hybridization, and natural history! This has been a standard reference for me for the 28 years I've been growing orchids.

This is a brief but entertaining and convincing argument for the artistic value of one of the most unfairly condemended media outlets -- television. Working from the hypothesis that the quirky dramas that dominated television from the '70s to the '90s (Hill Street Blues, St. Elsewhere, thirtysomething, ect.) actually made up television's second golden age, author Robert J. Thompson actually makes a pretty good argument for taking TV seriously. Each chapter provides detailed (and refreshingly witty) analysis of all the TV shows that we previously took for granted and shows how the writers and producers of those shows were able to create great art in the guise of great entertainment. Of particular worth was Thompson's long and informative chapter on St. Elsewhere, over the course of which he manages to break down a few of that show's intricate inside jokes and show how the show's controversial final episode actually served as a powerful and still-relavent statement on the state of television and American culture today. This book is a must read for anyone who sees television as more than just a distraction.

The title of this book is provocative but something of a serious misnomer. Robert J. Thompson points out early on that the original "Golden Age of Television" took place in the Fifties and was built on the variety shows like "Texaco Star Theater" and "Your Show of Shows," the anthology dramas like "Playhouse 90" and "Studio One," and, of course, "I Love Lucy." Thompson also acknowledges that in the Seventies the situation comedy reached its "literate peak" with "The Mary Tyler Moore Show," "All in the Family," and "M*A*S*H." However, the argument for "Television's Second Golden Age: From 'Hill Street Blues' to 'ER'" covers a period from HSB's debute in 1981 to the present, where "ER" continues to be one of the top dramas on television. That is a period of more than two decades and while Thompson devotes a chapter to "The Second Golden Age of Television: "Cagney & Lacy," "Moonlighting," "L.A. Law," "thirtysomething," and "China Beach," essentially focusing on the Eighties, it is hard to say that the following decade, with "Twin Peaks," "Northern Exposure," "Picket Fences," "NYPD Blue," "Law & Order," "Homicide," "The X-Files," "Chicago Hope," and "ER" was not at least as strong (feel free to add to the list). Even if we are talking about the first decade of the 21st century we have "Buffy the Vampire Slayer," "24," "The Practice," "Ally McBeal" and short-lived series like "My So Called Life" and "Once and Again" (and that is without dipping over to HBO and talking about "The Sopranos," "Six Feet Under," and the rest of their kind), all of which speak to quality dramatic programming.

That is why in the final analysis I see Thompson's argument as being not so much for a specific time period of great television, but rather advancing the proposition that the hour-long dramatic television series is the chief art form of the medium (yes, even more so than the situation comedy). I would even extend this argument to the mini-series, from "Roots" and "Shogun" to "War and Remembrance" and "Lonesome Dove," because the guiding principle of the extended narrative form remains the common denominator. "24" takes the idea of season-long story arc a unique extreme, but "Buffy the Vampire Slayer" did all of its complete seasons have a first-half story arc (e.g., Spike & Dru in Season 2) that then merged with a second-half story arc (e.g., the return of Angelus) that provided a framework for all of the individual episodes. Then there was "Murder One," which rather successfully devoted an entire season to one sensational murder trial. When a series loses its driving story arc, as when Dave and Maddie consummated their love on "Moonlighting," or when what was supposed to be the hook becomes the line and sinker as well, as when the question of who killed Laura Palmer ultimately derailed "Twin Peaks," the demise of the show simply affirms the principle in the negative.

Thompson's starting point is January 1981 when prime-time television was about to make a sudden and dramatic turn towards quality because of "Hill Street Blues," the show that Steven Bocho did not want to make and that nobody wanted to watch, but which became "television's first true masterpiece." However, Thompson argues that it was "St. Elsewhere" that was "TV's greatest show, ever" (having to do with key notions of "intertextuality" and "self-reflexivity"). Ultimately he is not defining a particular time period (especially since the "golden age" in question is clearly not over), but explaining why in the "vast wasteland" that Newton Minnow bemoaned so many years ago "quality" television is flourishing in terms of hour-long dramatic programming. Within that context Thompson clearly makes his case for much of the best television ever made having appeared on the networks since 1980. The book is half critical evaluation of these programs and half insider's tour looking at the decision-making process as well as the social, economic, and artistic forces that ended up revolutionizing the medium. Thompson also more than adequately proves he knows his television history, which is necessary to help convince those of us who are true students of the medium. Consequently, the fact that the title of this book is not a fair representation of its most significant claim, is not to be held against the author, because he has made in public an argument I have been making in private (okay, in class as well), for several years.

It's all too easy to assume that simply because we vegetate in front of the TV all day, that we have some kind of understanding of its history and how it works. This book summarises the importance of several landmark shows of the 1980s and 1990s, helping to show how a few select producers (chiefly refugees from The Mary Tyler Moore Show) were able to transform the quality of television, at least for a while. Note that the shows are discussed in their American context -- British viewers may be surprised to hear that anything was innovative about the "MASH without the laughter track", because MASH was always broadcast in the UK without a laughter track. But for placing the history of American TV in its natural home habitat, this remains an important and interesting introduction to quality television.

Mr. McMurry's purpose in writing this book was to try and explain why the Army of Northern Virginia was so successful, and why the Army of Tennessee so awful. Although I did not agree with some of his conclusions, he does provide some compelling evidence to support his arguments.

I found this book to be very informative, and an easy read. I recommend it for anyone looking to better understand how the South fought the war, why the two great rebel armies had such different levels of success on the battlefield, and possibly why they did not have the ability to win the war.

I'm not a student of the Civil War, so I cannot comment on the merit of McMurry's main points, but as a student of the Old South I thoroughly enjoyed this book. McMurry's analysis of the two armies is very well organized and easy to read. Simply, it's a page turner. This book is at once both highly focused on a single topic and illuminate of larger Civil War issues. I really enjoyed this book and will read it every so often in the years to come. I recommend McMurry's book without reserve.

The title definately underscores how masterful Mr. McMurray has been in detailing the main differences between the Army of Northern Virginia and The Army of Tennessee. From the basics of command on through key strategy and deployment, both armies are beautifully dissected by McMurray's research, mirrored with an easy to understand style of writing.

This book not only discusses how important the upper command structures were to both armies but how the various infrastructures such as railroads, food supply, communication and weapons production differed from east to west.

This book can be summed up as an impressive literary study of the two great armies. It sheds light on the many differences as well as similarities and gives the reader new insight into the complex study of military history.

I highly recommend this book to anyone interested in an intense study of both armies.

Well done Mr. McMurray!

So timeless is James Hynes's story of IRA terrorism and the people it ensnares that I never suspected the book was originally written ten years ago and just recently reprinted--or that it was a first novel. Beautifully plotted and extremely sensitive to the differing viewpoints of those who seek to reunify the Six Counties with the rest of the Ireland, the novel offers a fresh look at the continued violence, those who plan it, those who support it indirectly through their inaction, those whose financial contributions allow it to affect successive generations, and those who oppose it. Hynes is particularly adept at reducing the complexities of IRA internal politics to manageable levels so that the plot speeds along, sweeping up the reader in the excitement of the moment, just as the main characters are swept up in the emotional rollercoaster of their struggles.

Brian Donovan is a twenty-year-old American delegated by his grandfather, an Irishman who fled the country after he assassinated a British policemen many years ago, to take $10,000 to Irish relatives engaged in IRA activities. A callow young man with no sense of purpose or commitment, he is easy prey for those who would use his ability to cross borders at will to further their own goals. His cousin Maire supports the IRA's new, more moderate position by being elected Sinn Fein city councillor from West Belfast, speaking out and collecting funds, such as those from her relatives in the U.S. Her extremist husband, Jimmy Coogan, however, feels that the moderate position is a sellout. He's stolen 10 pounds of plastique explosives and intends to "make a statement" when the moderate Provos have their national conference. He intends to use Brian to help him.

Hynes's depiction of Brian and Clare, the equally young American girlfriend Brian acquires in his travels, is spot-on. Having never had to deal with the hard truths, Brian and Clare are naïve, looking at the deadly predicament in which they find themselves as if it were part of a virtual reality game. As the conflicts within the IRA become more and more violent, the reader waits for Brian, a Guinness-drinking fun seeker, to grow up and take a stand. A thrilling and exciting can't-put-it-downer, this novel goes beyond the all-or-nothing conflicts we've come to associate with The Troubles in Northern Ireland and IRA violence in England. Here we also come to know some of the real, flawed humans from all sides who've become involved, however unwittingly--often by making emotional, rather than rational, choices about life-and-death issues. As the struggle reaches its violent culmination here, freedom and responsibility take on new meaning.

Brian Donovan, The Wild Colonial Boy of James Hynes novel is a footloose idealistic soul who has long worshiped his grandfathers revolutionary roots. Donovan's grandfather was long ago forced to flee to America because of his activity in the IRA. He has continued to support it. When he finds he needs a courier to deliver $10,000 to the IRA, Brian willingly obliges. Brian sees this as an adventure of a life and soon finds out that it is more of an adventure than he anticipated. Jimmy Coogan, Brian's cousins husband and a violent extremist who is on the outs with the moderates of the IRA, forces Brian to assist him in the delivery of explosive plastique.

Along the way Brian meets Clare another young American, who he is romantically interested in. The two become caught up in a dangerous game with varying factions of the IRA. Clearly Brian's idealism and mythism about the IRA have not prepared him for the harsh realities which coexist in Ireland today. Brian is a boy playing a man's game and ill-prepared for the test of courage that he faces in making crucial moral decisions.

Clare and Brian serve as symbols of contrasting visions of morality and courage. Both are young and idealistic, but they have different ideals of loyalty, courage and ethics. It is interesting to follow them on their journey to see their evolving definitions of these issues. The tale is a very exciting one, but a very real one in which young people in Ireland today have to face these decisions on a daily basis. It is clear from the novel that the average American has little understanding of the scope of the movement.

I suggest this book for reading for anyone who enjoys a tale of adventure or who is interested in Ireland today.

James Hynes's debut novel is a political thriller set in the British Isles. Like all his books, it's a swift read with a perfect balance between dialogues, description and commentary. Snip: (...)