Black Cat White Moon is a treasure along the likes of Goodnight Moon, Curious George, and Where The Wild Things Are. A perfect gift for your tot. My son has been reading this book since he was a month old and a year later he still can't put it down. Larry Daste's beautiful illustrations will enchant your child.

My 2 year old loves this book. The pictures are clear and colorful and the words are simple. The book is larger in size than the other board books my daughter has, she loves to carry it around.

I did not have this book as a graduate class text, but I used it extensively while studying for my candidacy exam. This book was invaluable for that purpose. It contains great insight and intuition for many of the physical phenomena described. Its theoretical description of neutron stars was better than any other I had seen. I highly recommend this book.

To the publisher I would appreciate it if the publisher could produce an audio adaptation of this book. I would love to listen to this while I drive to work and to let my 16 month old son listen to it as a bedtime story. Arnold D Veness

These essays shared by Ms. Cornwell are extraordinary. The readings help affirm my place in time and propel me to the next level as a proud black homosexual lesbian, feminist and activist. Anita's writings give you a sense of the work still left to be done.

This book is a compendium of essays by a woman who lived during the closeted 50's but was out to herself and brought that sensitivity/sensibility to other Black women, when there were few voices of women of color to say that one was not alone. This was one of the first two books I read when I came out. The other was by Audre Lorde. The interview with both Anita & Audre that is included here both enlightens and makes a call to be an activist whether on a personal or on whatever level one has to be on. This book would be a most welcomed addition to any collection of Black Lesbian Herstory and Black Lesbian writing.

This book is a useful expose of how the music business scams and exploits all artists, not just Black artists. It is vitally important at a time when the Wynton Marsalis/Albert Murray school of Jazz history is trying to claim that Jazz is a "celebration" of American capitalism. Kofsky shows Jazz musicians have been and continue to be victims of capitalism! And as someone with a background in studying the history of country music and western swing, I can agree with another reviewer here that the same tales of exploitation can be told about white musicans as well.

Kofsky is most effective in the individual stories he tells in the separate articles in this book where as has already been pointed out he "names names." Kofsky unmasks a lot of people who have manufactured images that they were friends of the jazz musician like Blue Note Records.

One of his most interesting vignettes is his exposure of Vanderbuilt heir, self-praising liberal, and paternalist interferer with Jazz John Hammond. He exposes how Hammond's phoney story about Bessie Smith's death was part of the legend that helped net the already-wealthy Hammond scores of thousands of dollars, back when a dollar was a dollar, while Smith and her estate got zilch. Just the Bessie Smith story is worth the price of the book!

As the pithy title suggests, African-American culture has been the primary source of jazz music -- and folks who hail from that culture have had prescious little influence over where the profits from the music have gone... and, even, over who has gotten work and who has been heard.

This book illuminates that ugly side to the jazz world. The first three chapters get things rolling in fits and starts without adequate evidence to demonstrate that the explotation of black musicians has been markedly different from that of other musicians. If this were the bulk of the work it would be interesting reading but would not do much more than preach to the choir.

The rest of the book builds on those chapters, deepens them, broadens them, and creates an inarguable portrait of exploitation that goes so far as to names names *and* provide well-researched explanations that refute, for example, the notion that race is what one should focus on when exploring the history of jazz.

The "black" and "white" of the title may appear to refer to genetics or race -- but the text makes it clear that these are cultural categories and are inextricably bound up within the history of jazz, what it has sounded like, what it sounds like now, and how it has been made.

Compelling enough to keep me from ever thinking that I have it rough. As black women, we've endured sorrow and acheived greatness...all of which is found in this text. Black Women... gives an excellent account of the early history of African women in America.

This book does an excellent job of documenting the lives of African American women from slavery to the 20th century. It gives a portrayal of their strong abilities to move forward, their religious faith, and their degree of hope and self-pride in the meantime. I sincerely recommend this book to everyone in hopes that it will serve as a guide in their present lives.

Unlike the previous Blood Magic book, this book explores non-western and non-Tremere blood magics. After all, Assamite sorcerers, undead Brahmins and Setite mystics have their own dark secrets far older than the upstart Tremere. If you intend on using non-western Thaumaturgy a lot, this book is almost required. The mechanics are explored for each form of Blood Magic, but the most important aspect is that the philosophy behind each form is explored in detail. Common beliefs, spiritual connections and mystic tools are given for every style.
The first section focuses on Akhu, the dead magics of Egypt which the Setites have become so well known for. While not exclusive to the Followers of Set, the small handful of other Egyptian vampires who practice Akhu still honor Set in their practices. This chapter goes into great detail on Egyptian mysticism and beliefs, explaining important Egyptian Gods and Goddesses (yes, including Set) and beliefs in the underworld. Most of the Paths used in Akhu are already existing Thaumaturgy Paths called by Egyptian names (Sutekh's Valor and Path of Anubis for example), but there are lots of specific rituals for Setite mystics as well. There are also a couple new paths, such as Ushabti (creating working servants) and Path of Duat (underworld magic).
Assamite fans will be pleased by the next chapter, covering Dur-An-Ki, the magics of the ancient Middle East. Drawing on everything from ancient Mesopotamian, Hittite, Persian and Assyrian rites to Jewish qabbala to Christian and Islamic mysticism to Neo-Platonic philosophy, this is a pretty potent collection of traditions (both living and dead). Although dominated by Assamite sorcerers, it also is known by some Middle Eastern Brujah, Hajj Nosferatu, Mithraic Ventrue and many other Mid-Eastern ashipu. Special notice is made that there is a schism between older practicioners, who lierally worship Mithras, Marduk, Dagon and so forth, and younger practicioners, many of whom are Jews, Christians or Muslims. Again, most of the paths and rituals are regular Thauamturgy with names made more "Arabic" or "Mid-Eastern". Alot of the names come from the revised Assamite clanbook. However, there are some new rituals, many based off Arab folklore and Mesopotamian mythology. There are also some new paths, like the Evil Eye (self-explanatory) and Covenant of Nergal (disease magics).
Sadhana, tantric blood magic of India, is explored next. This magic is steeped very heavily in Hindu belief, which isn't too unusual. However, the way that vampires interpert Hinduism is somewhat different from the way that living Hindus do. Nonetheless, this is still an excellent chapter. This magic, is should be noted, is the exclusive property of the Brahmin class and, as such, is unique almost entirely to the Setites, Ventrue and Ravnos, the ruling castes in India. Notes on Hindu beliefs (and vampiric perversions thereoff) along with Hindu Gods and various Indian symbols and beliefs are given. Again, most paths are already existing Thauamturgical paths, though there are plenty of new rituals (some of which are quite potent). New Paths, including the long awaited Path of Karma, and the Blood-Nectar Path (which, incidentally, the Assamites know a variation of) are given.
Finally, we also get a look at Wanga, blood magics that were spawned from Afro-Carribean traditions. As might be expected, Wanga is used primarily by the Serpents of Light, Samedi and other Kindred from that region. The section explores the beliefs of various Afro-Carribean faiths, with the majority being devoted to Voudon, Santeria and Palo Mayombe. As could be expected, Wanateurs need to believe in one (or more) of these religions to use Wanga. Important Loas, Orishas and Nikisi are explored, along with commmon tools in Voudon. Again, most common Thaumaturgy paths and rituals are used in Wanga, along with some unique rituals. New Paths, including Voice of the Wild (an animal based path), are given. This chapter does briefly mention that similar magics are used in Africa, but it doesn't go into details. Presumably, more on African blood magic will be explored in Kindred of the Ebony Kingdom.
The book closes out with a Storyteller section, which gives some more Rituals for both Koldunic Sorcery and Voudon Necromany, and some odds and ends. There is alot of information on "spontaneous talismans" and how to use them in your Chronicles. There is also a write-up for the Tlacique, an Aztec/Mayan/Incan bloodline of Setites, and their own blood magics. Drawing from Olmec, Toltec, Aztec, Mayan, Incan and other traditions, this is pretty dark and gruesome stuff. The Path of Xipe Totec is pretty nasty!
All in all, this is an excellent book. Players of Assamites will definately appreciate how fleshed out Dur-An-Ki has become, while anyone who wanted to use Setite blood magics will appreciate the fleshing out of Egyptian, Indian, Voudon/Santerian and Aztec/Mayan/Incan blood magics. Given the heavy focus on Egypt, the Middle East and Africa, this could also be appropriate for running "Year of the Scarab" games or Mummy-crossovers (or you could use the Tlacique and their magics if you want to crossover with the South American Capacocha). Regardless of how you use it though, this book can be very useful for both players and STs.

For thaumaturgy fans, this book is a great resource. Not needed or reccommended for new players/ST's, or those using blood magic purely as an offhanded filler. But, for those who want to immerse their players or characters in the world of thaumaturgy, this resource has fantastic info on non-Tremere paths and rituals, including a "lost" bloodline.

This is a wonderful book for teachers to read aloud in the primary grades and probably higher. I happened to pick it up to read orally to my first graders, just to fill a few minutes, and my heart was captivated. Definitely, a special book about aging.

This book is magic for anyone who has an elderly neighbor. The simple, yet poignant illustrations take you from the happy times with Miss Lilly to her death. Though it deals with death, the book has a hopeful message at the end.

Very much like my childhood, sans the farm. A wonderfully written memoir that would make an excellent gift to anyone who grew up in the South before integration. The phrase "common" was something I learned as a child - to be "common" was to bring shame or disgrace to one's self and family. "Don't do that, Rachel," my friend's mother said "it's common." No other explanation was needed.

The carefree childhood days of Bolsterli's (and my own) South are gone now, having long been replaced by asphalt, industry, and the complexities that seem to be a necessary part of modernization. Bolsterli tells of daring feats with neighbor children, of playing without the constant adult supervision that is a must for today's child. I well remember long afternoons spent in our neighborhood, without anyone worried about my whereabouts, let alone my safety. Then there is the dark time, a murder in the family, with the polite perceptions and differing accounts - it's all there and Bolsterli tells it so well.

A good book to read at least once more.

As I child, I passed by the author's childhood home many times when visiting my friends the Rices in nearby Watson, Arkansas. There were always brief comments about the stately Southern home at the end of the long drive and the important, cultured family that had lived there for generations. So, when I first read BORN IN THE DELTA, immediately after it was published, my reaction was partly personal.

It is a beautifully crafted portrait of unique aspects of the Southern culture that still persists in the Mississippi Delta region. Each chapter tells a readable, retell-able story about everyday topics that range from the manners we taught our children, to Southern cooking at home. From the meaningfulness to children of a lively backyard pond, to the way proud Southern families artfully coped with the financial stresses of a volatile agricultural economy. And each chapter is more colorful, more rich with imagery, more authentic than the one before.

Berstoli's book is also informed by her deep knowledge of language and sociology. Her years in the University of Arkansas' English department provided a platform for continued research into Southern communication styles and social conventions. She has localized this book to a very small sub-region (focused in and around Desha County in Southeast Arkansas), which allows for observations that are much more precise than the popular, overgeneralized Southern stereotypes.

If I taught a class in American History, I would certainly include BORN IN THE DELTA as a text.

This is not the typical deer hunting how-to manual. Bertalan goes far beyond the world of 300 yard rifle shots and endorsement-ridden outdoor magazine articles as he explores how twelve master bowhunters operate inside that zone of extreme intensity the surrounds the trophy whitetail buck, where a hunter's single stray movement or the most subtle shift in breeze can end a season. Those of us who have bowhunted across North America and beyond know that the hunter who consistently, year in and year out, bags a trophy whitetail buck with bow and arrow, can stand up against any hunter, anywhere, from any species, past or present. Bertalan does a great job in this book as he tells the story of each master hunter. Through these stories, the reader comes to know the approaches, philosophies, and techniques that these hunters have used to take craft to the level of fine art. Bowhunting's Whitetail Masters is for hard-core, dedicated, veteran bowhunters. If you consider yourself to be one, you owe it to yourself to read it. Let Bertalan show you what it takes to be great.

This is not your typical how-to deer hunting manual. You won't find step-by-step instructions, equipment lists, endless endorsements, etc. What you will find is a book of incredibly detailed non-fiction hunting stories. The stories chronicle how twelve master bowmen have transformed whitetail hunting from craft to art. Only by reading the stories do you come to understand each hunter's individual approach, technique, and philosophy. Only by reading the stories do you learn. This book is for hard-core, devoted, veteran bowhunters, because it endeavors to move far beyond the tired "Here's where you should put your treestand" formula so frequently rehashed in outdoor magazines and manuals. Those of us who have bowhunted across North America and beyond know that bowhunters who year in and year out kill trophy class whitetail bucks can hold their own with any hunter, anywhere, from any species, past or present. Such hunters are predators who have developed rare skill.

Bowhunting's Whitetail Masters takes you far away from the 300 yard rifle shots and places you inside that zone where a hunter's smallest stray movement or the slightest shift in breeze can make all the difference. I myself find it intoxicating to read about how exceptionally skilled hunters navigate and operate within this zone to become what they are: whitetail masters. Bertalan has done a great job.