Warren, a Kentuckian whose grandfather fought for the Confederacy during that war, looks at the effects of the war on both North and South. Warren is harsh on the hypocrisy of the North and its "Treasury of Virtue" as he calls it. But he is no Lost Causer; he is equally harsh with the South, with its "Great Alibi." And Warren is scathing with those racists who believed(and still believe)themselves to be the legatees of Jefferson Davis or Robert E. Lee. An essential book.

Howard Ensign Evans combines all the elements of a great writer (by any standard) in his 1966 book, Life on a Little-Known Planet. He has an easy and conversational style as he takes you across time and the globe investigating the secret life of insects.

My day to day contact with cockroaches, crickets, house flies, and dragonflies has become less of an irritation and more an opportunity to explore these ancient creatures. I have read and reread this book whole and in sections always finding Mr. Evans amusing, thought provoking, and readable. As a former elementary teacher, this book worked its way on to the playground and into my classroom replacing fear and disgust with knowledge and respect.

All of the authors profiled come from a variety a variety of backgrounds and experiences. Their way into writing did not follow a clear cut linear path. One poor soul could barely read, another failed english in school while still another had to wait through hippiedom, motherhood and being flat broke before she began to write. Their paths to the vocation were different but the passion and commitment to writing is the thread that ties them together. Being a writer moves beyond knowing the mechanics of technique or being talented or working hard on endless manuscripts. A writer is in the process of creating his or her own identity as they struggle through the craft.

Justin Chin, Jewelle Gomez, and Bill Berkson are just some of the few writers profiled in this inspirational and philosophical work. You will be touched by each unique voice as they share their craft and reasons for taking it up as their life's vocation. Howard Junker has provided you with an engaging and eye opening book on the transformation of ordinary people into writers.

What was required of a conductor was to lead, to fire up an orchestra. Toscanini wept when he heard LOHENGRIN. He left the conservatory with highest honors in piano, compostion, and cello. At school he stood out for zeal, intensity, and knowledge.

A professional engagement at age nineteen involved playing the cello in an opera company touring Brazil. The audience drove two conductors from the podium because a popular Brazilian had received bad reviews. At the request of the musicians Toscanini stepped into the breach to perform AIDA. It was a triumph. He was installed as conductor of the Rossi troupe and conducted eighteen more operas.

Alfredo Catalani, composer of LA WALLY, arranged for Toscanini's employment as a conductor in Italy. In gratitude Toscanini named his children Walter and Wally for the opera. In the early years Toscanini went from house to house and from cello player to conductor all over the country. In LA GIOCONDA the audience clamored for a repeat. Toscanini refused.

He conducted the world premiere of PAGLIACCI. In 1893 he withdrew from conducting for a year. He feared he was being used as a ploy against another conductor. In 1894 he accepted an engagement in Pisa and plunged back into the activity. In the afternoons he played the late Beethoven quartets with friends. The big Wagner works were particularly exacting. The first production of DIE GOTTERDAMMERUNG in Italy was an event. In 1896 at Turin Toscanini conducted the premiere of LA BOHEME.

In 1897 Toscanini married. His son was born nine months later. He said to someone that he was always on the beat. I should have mentioned earlier that Toscanini was noted for his strict fidelity to the printed score. He went over the scores with unrelenting thoroughness.

He arrived at La Scala in 1898. This theater was closest to his heart. People in Milan said that Toscanini would stir things up. Toscanini wanted to create a unified artistic point of view. After the production of FALSTAFF Verdi sent Toscanini a telegram saying thanks, thanks, thanks. Toscanini thought that the voice of Enrico Caruso was at its purest and most electrifying when he appeared at La Scala in 1901.

Toscanini went to the Metropolitan Opera in 1908. He spent seven seasons there. In 1920 he conducted at Padua and Rome. He sought to rebuild the orchestra at La Scala. The orchestra toured America and the theater reopened in 1921. For three years he worked with consuming intensity. Then the matter of Mussolini intruded. From 1926 to 1929 Toscanini took on a dual role. He conducted the New York Philharmonic each season and retained control of La Scala.

Toscanini was coming to occupy a niche all his own. It was consistent with the age--the virtuoso conductor. There was no lack of public fascination with his life, his person. He was invited to conduct at Bayreuth. Fascists bothered Toscanini and his family at Bolgna. From 1933 Toscanini decided to avoid Germany. He took an engagement with the Vienna Philharmonic. He left the New York Philharmonic in 1936. In 1938 he abandoned plans to return to Salzburg for political reasons.

The N.B.C. Symphony was organized for Toscanini. In 1950 at age eighty three he set out for a tour with the N.B.C. Symphony from coast to coast. The drive for perfection was relentless. He dealt with tempo first and insisted that it must be sustained. He sought the proper balance of instruments. The author used both a chronological plan and a thematic plan to illuminate the Toscanini genius.

I wouldn't wish church conflicts on a dog, but they seem to come (to most of us in the ministry, not dogs!) no matter what precautions we take. But they can often be contained early, and this book can help. It will also help you accept that conflict is common and to be expected, therefore leading us to the conclusion that one should be as prepared as possible. The chapters are all pretty good, but those written by Speed Leas excel.

The time to read this book is before (or early on)conflict begins. Every pastor needs to be prepared for what is inevitable. Lay leaders (board members, etc.) can also benefit from this book. Also helpful would be Terry Muck's book, "When to Take A Risk."

This is a fine book with some great specific suggestions.