"The Seven Deadly Sins of Love" is the second of Eric Orner's Eric Green comic books. This series shows the Eric Green, his friends, family, lovers, co-workers, and the gay and straight communities interacting in collections of short comic strips. Orner does an excellent job of depicting gay relationships, how gays feel about dealing with straights, and bringing out the inner conflicts that make gay life difficult. "Sins" shows development of the artwork and story from its predecessor, "The Mostly Unfabulous Social Life of Ethan Green", though continuing a strong presence of the Hat Sisters and Ethan's cat. The Ethan Green series is always good, though tending to improve both art, characters, and story as it goes on. This series is the funniest and most truthful comic depiction of gay male life anywhere. Highly recommended.

The only thing I don't really like about this book is the categorization. It discusses Napoleon, then skips to the industrial revolution, but then comes back to Napoleon again and the Bourbon restoration. In my opinion, history books should follow the chronology of history, and include everything from one time period in one section.

I am a teacher in Mexico and i use this book like a textbook. I think is a great history book, because all the mayor events are compress, so in one semester we see vol. 1 and 10 chapters from vol. 2, we start second semester in chapter 42 to the end. And now we are searchin for the books in english. Our intention is gave the class in english.

I found this book very enjoyable. Each page gave the reader another look into the deaf culture and sign language. It is not a long book but an easy one to understand. This book is a great starting point for people who are interesting in learning sign. The book is made more for a child then an adult, but I believe anyone will enjoy it as a look into the use of sign Language.

it is pretty good book for youngsters I think it's really good it has some things that you might have not ever heard before.But now it's outdated somewhat because it doesn't tell when the stars are in in 2002 or 2003. But really anything else on it's great. the other problem is that it doesn't show ou not much things on earth as jupiter or any other planet on in the glossary. It has customary measurement and metric if you want to know.

Hijakced!

To Marianne Sullivan's stunned disbelief, her Paris-bound jet was taken over by terrorists. But nothing was more horrifying than seeing her ex-husband, diplomat Robert Sullivan, being taken hostage. Once she'd worshipped him as only a young wife could. Now all she had were painful memories of her all-too-short marriage.

Sullivan was shocked to see the woman he'd wed four years ago. Then she had been too youthful to deal with his long absences- and he'd been too aloof to give her the tenderness she'd deserved. Yet nothing had dimmed his passion for her. And if they got out of this alive, making her fall in love with him again would be his greatest challenge.

Theory/postmodernism/post-structuralism often gets written off because of its supposed lack of ethical substance. This assumption has been wearing thin for many years now, and this book contributes considerably to a positive discussion of ethics beyond utilitarian, liberal, and even some communitarian models.

Having said that, this book is not a book of normative ethics, of ways of determining right and wrong, but is rather a book about the ethical realm that is constituted by the encounter of one and the other. Drawing upon Levinas' metaphysics of alterity to overcome limitations in Foucault's (later) model of transformative subjectivity, but going beyond this with Barthes, Lyotard and (Alphonso) Lingis, this work covers a lot of theoretical ground. What makes Sullivan's text successful ultimately however is not the amount of material that she draws on, but the clear way in which her own path through the issues raised is clearly articulated. This at times makes the text seem overly academic, but this is to say that the text is solidly referenced and delineated with introductions, synopses, and reviews that enable reading rather than hindering it.

To speak of the content of the book in a short review would no doubt do it an injustice, but the subtitle of the book gives such general categories that one can't easily see where this book might be relevant. Already I have spoken of ethics, rather of the ethical that the book discusses. As in Levinas' work, any discussion of the ethical necessarily raises questions of subjectivity (the self's construction and maintenance in the world) and of course, vice versa. Textuality is another focus of Sullivan's work: here what is meant is the discursive nature of subjectivity. Levinas provides the basic structure of Sullivan's approach, but his work lacks a means of articulating the metaphysical in the ontological; what is needed is a way of conceiving the affect of alterity on subjectivity in terms of language and discourse. Roland Barthes' work from 1968 onwards provides for this, and for the essential element of pleasure which for Sullivan is an inalienable part of bodily-being-in-the-world, subjectivity. This is not to say that subjectivity is necessarily all erotics, but Barthes' discussion (rather performance) of plaisir and jouissance brings into play the notion of affective experience; this is the condition for the (im)possibilitity of cognitive, knowing experience.

Lyotard and Lingis are present in the text since their work pushes further Barthes' notions of textuality into the corporeal; texts now become bodily, and bodies are texts. Lyotard's work Libidinal Economies, and Lingis' various commentaries and performative works on Levinas are the material here that affect and inform Sullivan's discussion. The tattooed body, the 'subject in/of tattooing' is the locus of Sullivan's discussion; he/she/it provides a place where the at times abstract discussions of the above themes reverberate and are made (however provisionally) concrete. Not only does Sullivan engage with 'serious' texts such as psychological studies of tattooed persons, she also utilises 'fictional' works and dramatizations of tattooed and marked bodies that make this book more relevant and affecting than it might otherwise have been.

This is all rather brief and jargonistic (and quite possibly wrong, but it's a start). More simply, Sullivan's book is relevant to all interested in postmodernism (where this is seen as separate from other disciplines), psychology, sociology, anthropology, philosophy, and perhaps literary theory. Sullivan herself is a lecturer in Critical and Cultural Studies, but this means nothing to many people, or perhaps means too much. Suffice it to say that Sullivan's work is interdisciplinary in the best sense of the word, and should be read as such.

This story of three friends gone their seperate ways after an accident made me relate to my own experiences as a youth out of college. Each of the main characters (all named David) begin to lead different lives and lose touch with one another (as well as their original ideals) as they adapt to their new surroundings. Each David experiences new encounters with interesting and somewhat ironic characters that help shape their personalities and attitudes. One of the most intriguing things about this book is the style in which the author tells the story through the Davids. Not your typical coming of age fiction, a suggested reading by this reviewer.

Even though the cover photograph of Roger Clements gave away one of the "Top 10 Baseball Pitchers" named by Michael J. Sullivan, I tried to come up with who I would put on that list. Immediately I ticked off Walter Johnson, Christey Mathewson, Satchel Paige and Sandy Koufax (all of them are in this book). Then I had trouble coming up with a clear fifth, given that particular quartet of hurlers. Of course, the fun with coming up with a "Top 10" list in sports is to get into an argument over who has been left off and who should never have been put on the list in the first place. In his introduction Sullivan does try to establish some criteria for selection, ... Each of the ten gets four pages devoted to photographs and career highlights. Yes, I would like to put more lefties on the roster, especially when we are talking Lefty Grove, Warren Spahn and Steve Carlton. But the things about baseball is that if you cannot play the game in the Major Leagues, you can at least argue about it for the rest of your life. This short little book makes its case and then awaits your dissection and rebuttal.

I have not read Dr. Benner's Sul Ross, Soldier, Statesman, Educator. When I went off to Texas A&M I found Sul Ross' statue, but was eye-ball deep in studying other things. So I missed any good history on Sul Ross. I picked up this book in hopes of broadening my limited knowledge of the man. This is a good book about a kid for kids. It has some good dialogue, some good moral lessons, a few of the things that warriors need to know, no matter when they grow up, a few notes on the imperfections of the institution of parenthood and some pretty solid history. Even though I spent over four years beside Barnard's Mill in Glen Rose and have driven the roads between there and Waco many times, I had a hard time following young Sul's progress from Waco to Comanche Peak. The Brazos, Bosque, and Paluxy River crossings were not emphasized as much as I had expected them to be. Nor was the possibility that his route followed fairly close to the one used by the Santa Fe Expedition a decade before. Poor old George Barnard not only had trading posts in that area, he was also on the Expedition and suffered mightily from it. I also missed the language of the Comanche. Any kid could pick up a few words in a strange and exotic culture in that amount of time: water, food, friend, sleep, fun, magic, strength, good, bad and watch out! We are truly lucky Sul survived his eventful childhood, and that Dr. Brenner wrote about it so well.