wendy pini is the master of fantasy fiction

I've been returning to this graphic novel over and over for over fifteen years, and there's always something new to discover in it. A mix of myth, archetype, and completely new, fresh creativity, it's well-planned and well-drawn. Something to read to your kids, and keep for yourself-- well worth finding.

"A catalogue of the Museum's collection of European portrait miniatures, dating from the early 16th century to about 1850.
224 pages, 380 illustrations (60 in color). 9 1/2 in. x 11 1/4 in."

Reynolds demonstrates that the European Revolutions of 1848-49 evoked strong reactions in Hawthorne, Emerson, Thoreau, Whitman, Melville, and Fuller, inspiring and informing their remarkable works in its aftermath. The book is essential reading for students of the American Literary Renaissance.

The haunting York trilogy continues in "Faces in the Water," picking up the threads that the first book left dangling, and weaves them expertly into further complexity.

Dan has returned from York with some haunting memories of the odd gypsy family of Ambrose Faw, visions of Romans and Picts, and the discovery of a hereditary family disease. Now he's determined to leave the unusual vacation behind him, and spend some time with his kindly grandmother Blossom. But his time in York keeps intruding on the present.

His grandmother has hired a migrant worker named Lonnie, who reminds Dan of one of the gypsies from York. A letter comes from Joe, saying that the Faw family wants the silver denarius that was given to Dan at the end of the first book. Blossom makes some cryptic comments about Huntington's disease being an "evil" handed down through the family. And when Dan goes into the basement, where a stream runs through, he sees the face of Ambrose Faw watching him from the water.

When a magpie begins following him, Dan captures the bird and later sets it free. He is swept back in time over a thousand years, to York in the declining years of the Roman Empire, where he encounters an ancient parallel to the Faw family. How does this connect to the present, and how can he help the beautiful gypsy Orlenda?

The plot picks up the pace in "Faces," as some of the puzzles of "Shadows" are solved, but produce more questions as they are solved. For example, we see why Dan saw Jaspar as a wild man; but why does he see the Faw family sixteen hundred years in the past? What is the connection between these events and Huntington's disease? Or the connection between Blossom and the Faws? And what is up with those magpies?

Naylor's atmospheric writing is still present, with the nuanced dialogue and intricate characterizations of the first book. Not everyone is revealed on the outside, and that adds an aura of mystery to all the characters except Dan, who is our window to the events of the book. And though time travel is a well-worn cliche, Naylor manages to make it feel fresh and intriguing. It's virtually impossible to predict what is ahead for the characters or the plotline, and that's a delightful change from the usual ghost stories.

Undoubtedly "Footsteps at the Window" will be as good as "Shadows" and "Faces," as the second book leaves the readers waiting for the answers to its many questions. Excellent fantasy story for kids and adults alike.

I couldn't put this book down. It is well-written and well-documented, including a thorough index. I highly recommend this to anyone interested in St. Thomas More, Tudor history or philosophy.

Phyllis Ann Naylor's haunting York trilogy dips back into time travel and the haunting presence of the gypsy family. Though it doesn't answer all the questions, "Footprints at the Window" gives a note of finality to this trilogy.

It's been a stressful summer for Dan: He's found that Huntington's Disease runs in his family and may strike him down when he's in his forties, his father is being tested, and he is haunted by magpies and visions of the Faws, gypsies, whom he encountered in York -- even to the point of being drawn back into the waning days of the Roman Empire. Now a family of gypsies has come to the land near where his grandmother lives, and it's making Dan nervous.

What he finds is seemingly another Faw family, a few years down the line and with radically different names. And while trying to help the girl Oriole -- who bears a striking resemblance to Orlenda -- Dan is drawn back in time. Now it's the Middle-Ages, during the time of the Black Death, and he is the only person to recover from the disease. He encounters another incarnation of the Faw family, and for the second time tries to help the beautiful Orlenda escape to safety. What will happen will change Dan's life forever...

Perhaps the only flaw of this trilogy is that in the third book, some of the threads are left dangling. For example, I was never entirely sure why it is that Joe, Dan, and the Faws are repeatedly featured in the past; the implication seems to be that they were reincarnated, especially since Blossom refers to her grandfather being the exact image of Ambrose Faw.

Naylor hasn't lost her talent for atmosphere, either between the characters or in a given place. Dan shows a plausible growth in character, and a new philosophical bent that he did not have in the first book. This new maturity is reflected in his actions in the Middle-Ages and his increased acceptance of "what will come will come."

As the story progresses, we also see that it is less a story about gypsies, past lives or incarnations, or time travel, but rather a story about Dan and the inner struggles that are brought into focus and greater clarity by the events of the trilogy. Gratifyingly, there is also a note both of finality and of "starting again" in this book, a wistful acceptance, and a very real sense that sometimes a thing like Huntington's Disease can't be predicted.

A good conclusion to an extremely good trilogy, "Footprints" is definitely worth checking out.

While most authors of Tibetan art books confine themselves to the religious art of Tibet, there is another, fantastic, aspect of Tibetan material culture--the luxury goods for the clergy and nobility. Through the good fortune of having been selected as the recipient of a massive collection formed in the early part of the 20th century and augmented by various gifts and purchases over the intervening years, the Newark Museum of Art has accumulate a stunning collection of these kinds of materials. In her catalogue, the curator, Valrae Reynolds and her collaborators, have made a very impressive contribution to knowledge about these objects. Indeed, these objects that she illustrates make the whole Tibetan culture much more alive and vital. Tibetans did not sit around all day and discuss the best way to meditate on some deity or another. Rather, like people all over the world, they tended their herds or crops, traded (all over Central Asia) they even went on picnics using the tents of the type in the catalog. If the potential reader is interested in the whole of Tibetan culture and not just the religion, this book will make the traditional culture clearer and more understandable than any other previous contribution that I am aware of.

I have always felt that the official history of Australia was very strange and very boring. It contained scarce mention of large scale conflicts and almost no mention of the people who had been occupying our land for the 30,000 years prior to european colonisation. Many people who have learned about the history of white Australia have felt the same but Henry Reynolds was one of the few people to become active in the field and say definitively that black history deserves a voice and that black history is so very different to the stereotypes and urban mythologies that have come to characterise it for many Australians. This book and others that have been influenced by Reynolds' stance have thoroughly changed the way many people see Australian history and I predict it will influence many people to take a more compassionate and integrated view of other races.

This book is interesting less for its literary quality than for the Indian captivity tale it tells and the example it provides of a little-known woman heroine of the American frontier era, based on a true story. Since you have to dig hard these days to find the unvarnished, less savory accounts of Indian and white settler behavior in early American history and since tales of only a few women heroines of the era are recycled over and over again, this book both reminds us of historical truth and adds a woman heroine to the standard lexicon. Suitable for upper- grade school (with parental approval) through adult readers.