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Problems!

N/A

Quasi-good, but get the Factory Service Manual

Good for the first few days, light on activities coverage

Out of date

Solid, thorough review of all major coursesWith course access and contact information and informative playing tips, all levels of golfer can plan the most important aspects of their trip...the finances and the location of their selected courses to plan their own customized Myrtle Beach experience.
All major courses, from the old venerable standbys like the Dunes Club, Marsh Harbour and Pine Lakes International, to the hot newcomers True Blue and TPC Myrtle Beach, are painstakingly described, often times with a strategic shot-by-shot and amenity-by-amenity description. There is even a detailed map and scorecard from each of the approximately 100 courses analyzed.
While it has all the detail one need's to select the right courses for any customized trip, some treatment should be given to lodging, dining and alternative means of spending a golf widow's time. Also, the British jargon sometimes espoused by the author in his descriptions grows mildly tedious.
Nevertheless, this in depth course atlas goes a long way toward further dispelling the myth that Myrtle Beach is a raffish escape for those bargain hunters looking for a "Golfers answer to Las Vegas."


Short StoriesThe audiobook instead turned out to be two short stories: the first is, of course, 'The Grand Canyon', and the other is 'At Grandmother's House' (or something like that). 'The Grand Canyon' was a lot more enjoyable and funnier. It was a narrative about the writer's trip to the eponymous canyon and his self-deprecating humour got quite a few chuckles out of me.
'At Grandmother's House' recounts the author's trips to his grandmother's house in the woods when he was young, and concentrates on two incidents in particular, one involving imaginery bogeymen he was afraid of as a boy, and another involving a real bogeyman (well, actually an escaped criminal) hiding out near the house. Not terribly interesting a listen.
As an audiobook, it was pretty good. The reader has a wonderful gravelly voice, and a good sense of deadpan nuance which worked well, especially with the first story's self-deprecating humour.
So, a pretty average couple of stories, one somewhat better than the other, that were fairly entertaining and reasonably competent, but nothing to write home about. Three stars.
My Personal Rating Scale:
5 stars: Engaging, well-written, highly entertaining or informative, thought provoking, pushes the envelope in one or more ways, a classic.
4 stars: Engaging, well-written, highly entertaining or informative. Book that delivers well in terms of its specific genre or type, but does not do more than that.
3 stars: Competent. Does what it sets out to do competently, either on its own terms on within the genre, but is nothing special. May be clichéd but is still entertaining.
2 stars: Fails to deliver in various respects. Significantly clichéd. Writing is poor or pedestrian. Failed to hold my attention.
1 star: Abysmal. Fails in all respects.


Real Grand Canyon stories

Could have been much better!In short, I do not feel confident about my understanding of the Havasu Canyon Trail after reading Scott Thybony's guide.


Surprisingly DullThe big problem for me was that Balio seemed more interested in the movie companies as organizations and less interested in the films themselves. Compounding this was the fact that he sees the Thirties as a unit, and believes that the division of the decade's films into pre-Code and post-Code, with 1934 as the turning point, is a myth. Thus, to him, the "fallen women" films, Mae West comedies, classic gangster films, and horror films all died out because the public was tired, not because of censorship problems.
Balio sees filmmaking in the Thirties as dominated by the studios and with directors being hired guns. Hence there is no real discussion of any directors. Ernst Lubitsch, Frank Capra and Josef von Sternberg are barely mentioned, except when Balio complains that their films didn't make enough money.
Indeed, he seems to have no view of his own about the films. Instead, he views FILM DAILY and VARIETY as the voice of God. If they put the film on their 10 best list, it is good, and if they didn't, it isn't worth talking about. The idea that some films popular in the Thirties are no longer highly regarded or that some films despised at the time have become viewed as classics seems not to interest him at all.
If someone who had no idea about the history of American film read this book, he would come away thinking that the "Golden Age of Hollywood" was a myth and these films were artifacts not worth seeing.