This book was published by The Medals of America Press, so it's not surprising that its main emphasis is on decorations, medals and awards. But it also intends, as the author writes, to be a "definitive" reference covering badges and rank insignia, and in this area it falls short. It's more of an overview than a definitive reference. The illustrations look piecemeal, as if borrowed from many different sources. Some look a little amateurish, for instance a hand line drawing combined with a computer graphic of a totally different style. There are many omissions and errors, and very few dates for when various insignia were authorized or changed.

The color plates are very nice, and the information for current insignia and medals is nice to have. But if an historian is looking for information for World War II, which is supposed to be within the book's scope, I'm afraid they might be disappointed.

Still, the book is worth the price for the medal information alone.

this book is an extremely long overdue reference guide. It is one of the most complete and helpful books i have ever seen on awards and decorations. For someone who is looking for information concerning dates, places and reasons for an award or medal, this is the place to come.

The author has done great job bringing together a wealth of information previously not available in print. The sections on decorations and medals are outstanding and include full color pages on all medals and ribbons. The section on specialty marks is the most complete I have seen, with descriptions, drawings and historical background. The specialty marks not only include those in use today, but detail marks back as far as 1939. The sections on insignia are also good. The author has obviously drawn from many sources and has even gone to the trouble of utilizing line drawings on obsolete badges no longer in existence. There are also color pages clearly showing most of the badges and insignia used since World War II. This is an excellent book for current naval personnel and veterans.

In the late '90s, Marvel was going down the tubes, both financially and creatively. There was an enormous amount of dreck flooding the shelves, and no matter what schemes they tried, either with product or licensing, they were losing money like crazy. Before declaring bankruptcy, they released two trade paperback collections of their Golden Age material, presenting a selection of the best of that era. While they may not have been well-received by the younger crowd, it was one of the best ideas Marvel had in a while (definitely going against the grain), and it was a treat for fans of comic history. Once again, readers could enjoy the simplistic stories of classic WW-II Marvel characters such as Captain America, Sub-Mariner, the Angel, the Destroyer, Marvel Boy, the Fin, Citizen V, and the Human Torch.

The Golden Age of Marvel Comics, Volumes 1 and 2 can be considered Marvel's equivalent of a public service. It's historical preservation in a market that has a notoriously short attention span. When the majority of fans and retailers were demanding more high-octane heroes showering their foes with bullets, we got two beautiful yet affordable collections of Golden Age greats, showing readers that, while the stories and art of the Golden Age might not have been all that "golden", the characters and their appeal more than made up for it. You can clearly see the elements of these stories that fascinated aspiring writers and artists, leading to their expanding these characters in ways never dreamed of during Marvel's Silver Age and beyond. The covers for both volumes are beautiful: for 1, a battle scene by Ray Lago; for 2, a Kirby/Theakston image. The intros provide some very good historical perspective on the contents.

Marvel is now back on its feet, sort of, but don't expect these books to be reprinted anytime in the near future. The current crowd at Marvel seems to be even more out of touch than the previous one and apparently has no understanding of the treasure it is sitting on.

Released in 1997, The Golden Age of Marvel Comics volume 1 is a collection of early comic book stories from the Golden Age of comic books. Featuring Marvel Comics' Big Three: Captain America, The Sub-Mariner and the original Human Torch, along with stories of other characters like The Vision, The Destroyer, The Angel, and the Black Knight, this is a book that every fan of old comic books will enjoy again and again.

Representing the works of writers and artists of the Golden Age like creators Joe Simon & Jack Kirby, Bill Everett, Carl Burgos, Russ Heath, Stan Lee, John Romita Sr., and others, this book is a great example of the early days of Marvel Comics' history, back then called Timely Comics. It shows how the art form of comic books was done in a time of war and depression. This is a worthwhile read.

This book was followed up with The Golden Age of Marvel Comics volume 2 released in 1999.

The Golden Age of Marvel Comics volume 2, released in 1999, is a collection of various stories from Marvel Comics' Golden Age era (the first volume of The Golden Age of Marvel Comics was released in 1997). Back then, Marvel Comics was known as Timely Comics, and would later go on to become one of the most successful comic book publishers (alongside longtime competitor, DC Comics).

This book features stories with Marvel's "big three": the original Human Torch, Captain America, and The Sub-Mariner, as well as lesser known, now obscure characters like The Fin, Red Raven, and The Vision (I don't think this is the same one as the android Vision now appearing in Marvel's The Avengers series), as well as a few others. These classics are by the writers and artists of comics' Golden Age: Joe Simon and Jack Kirby, Bill Everett, Carl Burgos, and many others, including one story written by Stan Lee. The book also features an introduction by the legendary Mickey Spillane.

Overall, this book makes for an excellent read, especially for people interested in the early years of comic books. Most of the stories are set during World War II, so some people may be offended with the Germans and Japanese as the Nazis villains.

I chose this book because of its illustrations -- Colin Thompson has come up with some very vivid and tantalizing illustrations that gave the work life. While the idea on living forever is clear through the pictures, I feel that the text could have supported the story's development and message better, especially towards the end. Overall, a fulfilling look-see. A must-buy for book-lovers.

My son (8 years old) and I found this amazing book at our Public Library. He was so delighted with the illustrations that he sat himself right down with the book and was completely enthralled...until he came to the page where the illustration of the "Ancient Child" appears. He was so completely shocked by it
that he didn't want to check to book out to take home! (and he isn't a child that scares easily). So use a little bit of caution when reading this to your young ones. As for older children and, of course, the children who happen to be parents as well, this book is just incredible.

Thanks, Gary, for the chance to look and feel better and younger. Your advice is easy to follow and makes sense to me. I may not live forever but as long as I live I plan to feel and look as good as I can

I'm especially affectionate about this book because some sweet person gave it to me when I was recovering from having my tonsils out (a common operation, long ago). My sister and I read it to shreds and can still quote bits from the poems. I am delighted it is available; it's going to be my Christmas gift to my sister. The Elegant Elephant is a splendid animal. The ending is perhaps predictable in a satisfactorily classic way. Oh, my purple wool socks! give it to the kids and maybe some big kids.

This is Ruth Plumly Thompson's second Oz book, and it is a definite improvement over her first effort, THE ROYAL BOOK OF OZ. This is the book that introduces Thompson's best character, Kabumpo, the Elegant Elephant of Oz. Here, he helps Prince Pompadore of Pumperdink to find the Proper Princess and save the kingdom. The story is a lot of fun, and contains such interesting creations as the Curious Cottabus, who lives on questions, and a runaway country so intent on being settled that it kidnaps the heroes. It also features the return of Ruggedo, the former Nome King. Although Thompson makes a mistake involving Ruggedo's size (which she doesn't make in future books), she does a good job with the character. Wag, a giant rabbit who talks in spoonerisms, is a good addition to the ranks of Oz characters. While Thompson still makes some mistakes, including some involving the timing of the story, this book shows that she can write just as well as Baum, and was an excellent choice to continue the Oz series.

The story begins when Prince Pompadore of the Kingdom of Pumperdink stes off with his elegant elepaht Kabumpo to seek the 'proper' princess for him to marry, or his kingdom will dissapear forever. Meanwhile, Ruggedo finds a box of mixed magic, grows to the size of a giant and carries Ozma's palace away from the Emerald City on his head. Its upto Prince Pompadore to rescue Princess Ozma, whom he thinks to be his 'proper' princess, but only Wag the Giant Rabbit and Peg Amy the live wooden doll have teh secret to rescue Ozma and save Prince Pompadore's kingdom from dissapapearing. This is one of Ruth Thompson's best books, for that matter, one of the best Oz stories ever, The characters are very 'ozzy', especially Kabumpo and so are the plot-lines and teh adventures.....A must for all Oz fans!

Texas just wasn't big enough for the two of them! And Camile Cordell was determined that control of the Circle C would never fall into Wade Langtry's hands. She could ride and rope as well as any man. And she would prove to her father and to the rest of the men on the Circle C that the foreman's position on the ranch should be hers. If only she could find a way to best Wade Langtry once and for all.

But Wade wasn't one to be bested, especially not by a woman in men's clothing. He would gain control of the ranch and sell it off to the men back East who had sent him to the Circle C in the first place. But he hadn't bargained on Camile "Cam" Cordell, and he certainly never bargained for the surge of desire he found himself feeling for her.

Through harrowing, life threatening escapades, Cam and Wade fought one another and the feelings they felt for one another. But deceit and a foolhardy move could cost them both that which they hold most dear. And only the truth can save them.

Ms. Thompson has written a marvelous story of Texas history with "Prickly Pear". A fast paced read full of wit and sensitivity, this one is sure to please.

A GREAT READ This is a funny and very steamy book. Once again Ms. Thompson has given us a book worth the money. Looking forward to her next book. Boy does she have a way with words. Get ready for laughs, tears and maybe even a cold shower! And you'll love every minute of it.

The main characters in this book are written as warm, witty, sexy, adventureous, and very believable. The love that builds between the two is unique and romantic. The story flows evenly so that you won't want to put it down. The steamy love scenes were also loving and sensual. No purple prose to ruin it. I cannot wait for another book of Ms. Thompson's. She seems to have quite a talent for LOVE stories. If you like a book that makes you laugh, cry, and sigh, then this is a book for you.

I was disappointed in this book because the descriptions seemed to more like a advertsing copy for the accommodations. I could have found this information on the internet. I expect more from a guidebook.

What a great travel guide! If you are interested in non-traditional lodging this book is for you. We have stayed in several of the listings and have enjoyed each one. We highly recommend this little gem of a book.

My husband and I love to take weekend getaways but detest the big hotel feel- this book is perfect for us. Rustic, private- better than a bed and breakfast, is a private cottage or cabin. We've been to several places so far and aren't disappointed. Two caveats: we wish there was a newer edition so the prices weren't outdated, and there aren't as many places in certain areas of the state (Santa Cruz Mountains, greater Los Angeles) as we'd like. (But then how many of this type of lodging are there in L.A.?) I'd highly recommend this book!

While the M1 Garand is certainly a classic american rifle this book hardly rates in the same catagory.

As a new M1 owner I was looking for a book full of technical information on operation and maintenance along with some history. This book is short on all of the above but very long on attitude. Mr. Thompson makes his opinions clear on everything from his local police department to the general state of world affairs. I do not dispute the validity, or factuality, of Mr. Thompsons statements. I would be more than willing to sit down and discuss them. I do not, however, enjoy spending my hard earned money on a book entitled "The Classic M1 Garand" which is overly rife with page upon page of geo-political posturing.

The book is actually pretty scant on technical data and most of the photos are too dark and unfocused to be of any real value. This book is simply too full of useless information. I had intended to purchase Mr. Thompsons previous book, The Complete M1 Garand. Since I don't believe in throwing good money after bad I think I'll pass.

I suggest that you do the same.

These are the best of the M1 books, the easiest to read and
understand, with the detail laid out in a way that anybody can
understand. And the guns he shows look like the real thing.

The notes on the gun confiscation movement and local politics bring this World War II veteran rifle into modern context, and make it very obvious what the motiviations of the antigunners really are.

Scholarly without being pretentious, I found myself absorbing techniques and information without even noticing it.
And I did most of his maintenance stuff, and it all worked. With the trouble shooting information in Thompson's other book, THE COMPLETE M1 GARAND, the books have saved me thousands of dollars and lots of hours.

He goes beyond other researchers, who seem to dig up all their stuff at the armories, the factories, and from dry delivery records, and who pay no attention to the reports of veterans and actual units in the field. This makes his work very practical. He also puts holes in some of the "stand operating b.s." and lies of the past, which someone out there is surely going to find troubling, but what he says, I found out, works, makes sense, and is the truth. He has spent a lot of time getting this stuff from gunsmiths and armorers, and a lot of it I had heard previously but discarded because it wasn't in the dry books of other authors. It seems he is right on virtually every score, and much of the "official" stuff is smokescreen. My gunsmith (who built M1's during World War II, and wound up carrying one in Korea) loves the M1, and says Thompson obviously listened to "the right guys"... He also affirms Thompson's data and analysis of the gas traps and their performance, and that everything else in the book is obviously the way it really was.

The COMPLETE M1 GARAND and THE CLASSIC M1 GARAND are a pair of the most practical and straightforward firearms books I have ever read or seen. Most important, they saved me money, trouble, and thumbs. This writer does not fool around! Rather than elaborate charts of which 99% are useless to the typical gunnie, this guy gets to the meat, and in a hurry. And yet, the material is easy to handle.

He even covers and shows fake and real and rare and common parts, the way they ACTUALLY look, instead of all fancified and restored. I had lots of trouble with other books, where the parts arrays were new or better-than-new, and didn't seem even similar to mine.

I invested, I think, %45.00 in these books. Dollarwise, I have saved maybe $2000 or more, and a lot of problems. This guy knows the gun, knows the market, knows the parts, and tells you what you need to know, in practical, plain English, not mumbo-jumbo garbage.

I got all the M1 books. This one is the easiest to use, and makes more sense than all the others together.

At a time when the question, "Who are America's intellectuals?" was circulating, and the mention of Susan Sontag in this regard left me queasy, I remembered my exhilaration reading Thompson's books in the 70's and 80's and wondered what he was doing lately. I didn't finish this book--some of the "texts" weren't of that much personal interest--but the first three-fourths were wonderful. The introductory essay, which was prophetic in its emphasis on the terrorist-fundamentalist forces at work in the world--is alone worth the price of admission. A brilliant, incisive mind with an insatiable curiosity to expand its range, and we are the beneficiaries.

With Thompson in the lists, I think we Americans can hold our own with intellectuals the world over.

Reading this book is a bit like watching a Baz Lurhrmann film like "Moulin Rouge" or "William Shakespeare's Romeo & Juliet." Although the text, superficially, is the printed record of a 1992-1994 lecture series, the lectures themselves were not designed as a linear narrative exposition, but in Thompson's words, operated as a form of mind-jazz -- an improvisational riff on ancient texts.

The texts function in the book very much the way an archetypal storyline does in Luhrmann's films -- as a structural anchor for a great whirl of pop references and images that have no temporal relationship to one another but are perceived to occupy the same ideational space. When this strategy works, the results are exhilarating.

Thompson's focus is the living interaction of consciousness and communicative form -- the way in which a consensual instrument of communication serves as the performance of tacit assumptions about what it means to be human. Influenced in this enterprise by the theories of Marshall McLuhan, Thompson demonstrates in diverse communicative fields -- art, literature, religion, myth, history, archaeology, poetry, pop imagery -- how new possibilities for meaning take hold in a culture, relegating displaced forms to folk art, and setting in motion fundamentalist movements in which the frankly archaic returns nativistically, a vocabulary wielded by those disenfranchised by the process of ideational change.

Thompson has been taken to task, in this respect, for the so-called Whig fallacy of history -- that is, for treating past social orders as though they'd been groping along, step by step, to reach our own point of conscious development. But these reviewers are equally irritated by Thompson's multidimensional approach to his subject, regarding it as a rejection of western narrative convention.

It seems to me that the book's structure is more profitably understood as a deliberate reflection of the thesis that Thompson is advancing: that all variants of a conscious perspective exist at once as performances of that perspective, whether or not they served to reflect or influence the society in which they found expression. This thematic consistency both unifies the material and allows for expansive variation, much as an ostinato binds a musical composition while allowing for constantly changing contrapuntal parts.

Although some of his ideas are certainly familiar from post-modern theory, Thompson rejects the nihilism and political utilitarianism that so often attend a deconstructionist perspective on great literature. He appeals, rather, to the reader's imagination, that intermediate psychological ground between matter and spirit, where language serves as a form of currency: a means of exchange between the sensorium and dimensions that lie beyond its direct perceptual acquisition.

This felicitous analogy allows Thompson to introduce the evidence of texts that are not usually understood to have relevance in a technologically oriented society. Like a marriage contract, whose value is not in its material existence as a piece of paper, some texts operate as a "consensual instrument," allowing, as Thompson puts it, a domain of meaning to come into play.

Like Thompson's other books, this one is not an easy read. It's in the business of limning texts as performances of the worldview in which they were generated, determined not only by culture but by gender and adaptive context. And it attempts, by its very form, to invoke as well as to describe what Thompson calls a hermeneutic of the imagination.

Understanding our current state of cultural organization as a bifurcation point, a time in which the traditional forms of literate civilization are undergoing an electronic meltdown, Thompson regards the present communicative medium as the concrete performance of a state of consciousness that is collective rather than individual. Our consensual vocabulary for understanding this evolution, however, is unremittingly technological, which has paved the way for immense corporate interests to define the emerging global landscape. Spirituality, accordingly, is devolving into archaic personal cosmologies.

"Coming into Being" is an attempt to jump, feet first, into that perceived breach between science and mysticism, between abstract scholarship and embodied folk wisdom, between self and Other, between being and Being, in order to celebrate the many textual images, both ancient and contemporary, of their potential integration. I loved this book -- even its recapitulation of "The Time Falling Bodies Take To Light" as though it were a text like any other, important for its ideas and images and not because Thompson happened to write it.

See my review of the hardback with 284 pages and twelve essays compared with 336 pages and fifteen essays. Hint: the last three essays bring Thompson's thoughts to a higher and more mature plane. Hence the hardback should merit four stars and the paperback rates five stars with me. Buy it! Gordon E. Beck, Ph. D., Emeritus Professor, The Evergreen State College, Olympia.

I thoroughly disagree with ... who compared this book to Rickey Vincent's book, which is also pretty good. Vincent's book is intended as a philosophical and historical book, pointing toward an Afrocentric view of funk as a philosophy/borderline religion. Very ambititous and worth reading. Thompson's book more than fulfills its intentions, which is to be a thorough reference for funk. It's got great biographical summaries on many groups, and it also gives balanced reviews of the key albums and shows evidence of being thoroughly researched. Also, you get a sense of the author's biases, which are inevitable in any CD review guide written by one or two authors [think Penguin Guide to Jazz for example]. After the classic funk bands [George Clinton, Kool & the Gang, James Brown, Earth Wind & Fire] Thompson's more likely to get heavy into electrofunk. This is cool, but was not as helpful for me as I'm more into acoustic funk after the biggies. Meaning that a lot of New Orleans funk compilations and soul funk compilations slip under the radar.

One of the biggest helpful things about this book, however, if you're into hip-hop is that it lists many of the key tracks with sampled singles by a particular artist. As someone growing from a love of The Funk to building a hip-hop collection, that aspect pointed me toward a lot of the great CDs from the glory age of hip-hop before the industry made sampling the classics prohibitively expensive.

All in all this is a great reference for funk, certainly the best out there on the market [better than All Music Guide] and worth picking up if you're looking for a thorough reference for funk.

Thoroughly enjoyed this book, from beginning to the end. The writer goes into explicit chronological detail of the music, groups, solo artist, showcasing the creative icons that played a substanial role in the 70's 80's and 90's. I discovered I didn't know as much as I thought, viewing photo's that I had never seen. This is a must purchase, truly "Funk is it's own reward."

I am a 12 year old student who has listened to funk music as long as I can remember, Mr. Thompson's book is very informative. I especially liked the chapters on Chaka, Mother's Finest, and The Brides of Funkenstein. To my amazement I learned that Dawn Silva from the Brides has a new Cd??!

My Dad is a old school DJ and he has thousands of old vinyl, mostly of all females from back in the day. The best song I ever heard was a song called Never buy Texas from a cowboy, by the funk group The BRIDES. I was hoping to find in the book what the title of this song means? anyway it is still my all time favorite song. I was very thank-ful that Mr Thompson did this discography. Must have been very wonderful back in the 70's 80's cause I think this was when music was at its all time best.

I agree with the other reviewer - excellent airplane read. It made my flight time "fly by" as well. I enjoy this series, interesting characters.

This book made the flight from Chicago to Seattle a delight. The fifth in the Gaslight Mystery series, has midwife Sarah Brandt and police sargeant Frank Molloy teaming to solve another mystery. Molloy also begins unraveling the murder of Sarah's husband. This book takes you to turn-of-the-century New York City and the mysterious deaths of reformed prostitutes. Sarah is the next target of the maniacal murderer.

Another stunner from Victoria Thompson! Ever since I first picked up "Murder on Astor Place", I haven't been able to get quite my fair share of this series! If you love gothic mysteries with character depth and a heady atmosphere, I think you soon will share my fate as well...

The fifth in the Gaslight Series, this one involves the unusual murder of a former prostitute who at the time of her death was residing in the Prodigal Son Mission (I do agree with Frank, the name is rather hypocritical), a combination of Protestant finishing school and settlement house on Mulberry Bend, located in the slums of Little Italy and nearby the police headquarters. An acquaintance of our heroine, midwife and sometime-detective Sarah Brandt, her murder doesn't sit well with our Sarah, and thus she feels compelled to bring the killer to justice, even if it means dragging her grumbling Detective Sergeant friend, Frank Malloy, along for the ride. And so, our two investigators trek through the tragic and unsavory districts of Old New York, only to discover their murderer to be closer than they had ever thought. Little side-note: if you've read Anne Perry's "The Cater Street Hangman", it may not come as quite a shocker...

Even as intriguing as the mystery itself, okay, perhaps a tiny bit more, is the ever-developing personal trauma of our characters. Be delighted with the progress of Malloy's son, Brian, and watch the internal battles for Sarah between said Malloy and her new friend, Richard Dennis. And for all those wondering about Sarah's late husband's death, there too you'll find heartbreak! Also, I must warn you, the end is extremely maddening, and I'll be on the most painful assortment of pins and needles until the next in the series. Not saying that that takes away any bit from thoroughly enjoying this lovely little tryst!

P.S. - The next in the series, "Murder on Marble Row", is dated for release next June, and will also be coming out in Hardcover. And to the extreme delight of this particular audience, the author has been promised to many more books to come in the series! So need not worry about that wretched event when the Gaslights might be cut short in their youth, and much congrats to Ms. Thompson!