I didn't like Fool's Errant. Although the plot exhibited some really creative twists on the old "traveling story" and the characters were well-drawn and multi-dimensional, the prose was annoying and invasive.

Hughes appears to be very much in love with his linguistic cleverness and overuses it as a stylistic device. calling residents of a monastery "monasts" and a bathing room an "ablutory" were cute and would have been much more effective if they were the only examples. But with at least one such ploy every few pages, it got old. I don't want my Latin dictionary by my side when I read modern fiction, I just want to escape into the story. I doubt I'll buy another book by Matthew Hughes.

If you like Jack Vance, you'll be pleased with Hughe's writing style. His command of the language, especially where dialogue is concerned, is refreshingly sharp with subtle nuances of irony and sarcasm. A must for someone who feels like smiling after finishing the final lines.

Being a Jack Vance fan it was inevitable to run into Matthew Hughes at a certain point... And where I feared that the comparison with Jack Vance might put the expectations very high, Matt succeeded in creating a wonderful fantasy/SF world with all it's funny inhabitants and colorful places.

It's the first time that a new writer manages to catch the Vance feeling in his writing ! Especially the magnificent blend of fantasy with science fiction is unique in Matt's decor's !

Well done Matthew !!! We want more !!!

PS. The second book "Fool me twice" is even better !!!

This book is very wordy, the author tends to use French and Italian phrases without translation. The book's cryptic explanations and definitions must be tediously read and re-read, since they do not appear to follow any pattern. Hughes is a pretentious attention seeker. This book is not for anyone outside art students.

I have read some past reviews on this book, and i am shocked to find that college students have been using this book for learning. I am currently in high school and my teacher is making us read this book. I find this book very hard to understand. If anyone has any information or quick summaries of this book i would appreciate it. Thanks.

This is based on the script for a BBC program. To be a good TV program, it should have a clear and plain storyline which could fit into limited timetable. You can identify such a feature in the form of book, though substantially enlarged. The author did his best to make a clear impression of what was modernism in the visual art on reader (and audience). The author begin the book with what modernist artists perceived as ¡®the new¡¯ in their time. They thought they lived in thoroughly distinct time from the tradition. The new age demanded the new art. Modernism is the logical upshot of their zeitgeist. To understand it, we should pay attention to the interaction between artists and the time.
In this regard, Hughes organized the book not in time order or changing styles but with keywords which summarize the zeitgeist of modernists like machine, power, pleasure, utopia, freedom, popular culture, or future, to endow the reader with the tangible vision to see into the deep question of modernism.

This book is so ineptly written that I'm embarrassed for anyone to know I even read it, so I will ask that this review be anonymous. The plot (?), which incorporates an astonishing number of current conspiracy theories and myths, enlightens us about the infamous "Men in Black," the so-called "Roswell Incident," the lost-continent-of-Atlantis, and many other such elements... all wrapped up in a package which reveals UFO aliens as DEMONS! The protagonist, Frank, is abducted by these meanies (who have a number of supernatural abilities, but still require the help of humans to construct their UFOs and help them try to carry out their diabolical plans). Frank is then taken on a whirlwind tour of time and space. Part of what he "sees" turns out to be mere illusions whipped up by the aliens/demons (their tour-guide is Baal, it turns out, but Frank's nickname for him is "Gork") But just what, out of all Frank is shown, is and is not real is unclear to the reader, even at the end of the book because the wrting is *so* *incredibly* *horrible*. This book is just a mind-blowing mish-mash that absolutely defies description. Once I began reading it, I became fixated on its sheer AWFULNESS and plodded on to the last page, foolishly thinking that just maybe all the wildly flapping loose ends and non sequiturs would be wrapped up in the final chapter. But, noooooooooooo! Be kind to yourself: do not read this book.

I read this book because it was recommended to me by a friend who promised the writing was better than that in the popular "Left Behind" series by Jerry Jenkins and Tim LaHaye (which I consider very poorly written). I really *wanted* to like "The Fallen," but it was hard to concentrate on the story line (which was a rather interesting concept) because of its author's lack of writing skills. Someone needs to buy Hughes a thesaurus! *Surely* he could some synonyms for "snarl" as a verb. I got so annoyed with the character Ben's words inevitably being followed by "the teenager snarled," or "snarled Ben", etc., etc. He never "replied" or "said" or "answered"....just "snarled." And the ho-hum way that the protaganist's wife dealt with his unexplained disappearance was just ludicrous! I find it very disheartening to see so many other Christians praising these shoddily written books simply because their premise is one the readers happen to agree with. For a look at well written fiction with a Christian perspective, I'd suggest they try some C.S. Lewis. His "The Screwtape Letters" certainly acknowledges that Good and Evil exist and that we are confronted daily with significant choices between the two. Not, perhaps, in as sensational a way as authors like Hughes, LaHaye, Jenkins et al would have us believe. But how can anyone who considers the Bible compelling and interesting enjoy embarrassingly poorly executed novels which claim to be based on scripture? It's amazing...and more than a little frightening.

This book is not just deep, but it's a ball to read! I kept wondering, where is he going with this - afraid that he was going to blow it, but it was a pure joy all the way to the last page. Memorable characters, and a spin on the Roswell incident that nobody has ever even come close to suggesting. I said to myself - "No he's NOT going there!" - but he did and it was masterfully executed. The book was suspenseful and maybe even a little scary, but also filled with some laughs and good food for thought. I read it in one l-o-n-n-g sitting - extremely well-done!

First, let me say I thoroughly enjoyed Hughes' "The Fatal Shore" and the now classic "Shock of the New" and it was because of his track record for both regional and art history that I opened "Barcelona" with anticipation. I should have stopped at the introduction, wherein Hughes explains that he'd originally intended to write a much smaller work focusing on Barcelona's modernistas at the turn-of-the-century. Instead, at his publisher's urging (undoubtedly timed to capitalize on the 1992 Olympics) he broadened the scope to include Barcelona's story from prehistory to about 1925. The result is a wordy book which reminds me of the times I had to puff up a term paper with accurate, but nonessential facts in order to get to the required twenty pages. I would agree with another reviewer that this work is missing Hughes' usual spark and I can't help but think his heart wasn't in this one. Hughes states early on his love for Barcelona but unfortunately this compassion doesn't come across in the book. I would have been much happier if he would have extended Barcelona's history in the other direction. That is, beginning with the modernistas and proceeding to the Surrealists, the Civil War and through to Barcelona's post-Franco revival as a cultural center of Europe.

Pundits might argue that Mr. Hughes published this book with a commercial-minded orientation in light of the 1992 Summer Olympics. However, if you read it and absorb its calculated research, astounding lexicon and well-balanced content, you will be rewarded with a generous dissertation about the sociological, political, religious, historical, mythological, and, above all, architectural aspects of Barcelona. For the average reader this work is downright overkill and increasingly sluggish; its style lacking a dynamic and artful flow. Mr. Hughes' trade is not particularly conciseness, so his book spits out a plethora of events, politicians, noblemen, artists, anarchists, "casas", churches, and annecdotes that will overwhelm the reader. "Barcelona" was written for both the scholar and world-trotter (not that one who will pop in for a brief layover, though.) The art history chapters, specially those depicting the excessively ornamented Modernistic architecture, teem with ornate descriptions, yet Mr. Hughes provides us with poor, small, and black and white photographs incapable of accompanying the writer's flow. I deem inexcusable the author's lack of grit and abuse of honesty in acknowledging his inability to write about the Civil War, Francoism and contemporary Barcelona; highly appetizing topics.

I read Hughes' Barcelona before I went to Barcelona for the first time, and it made all the difference in the world. I arrived not as a stranger, but as a student of Catalan culture and history. The book gave me the background to have an informed perspective on what I was seeing. It may be long, but it has tons of information. My only complaint is that Hughes assumes the reader has a knowledge of history that I, for one, don't have. So there were things I didn't understand.

I liked that Hughes sometimes talked about the big things -- big events, important people, and he sometimes talked about the little things that make a place distinctive. His love of the place came through to me, and I fell in love with it too.

I've studied finite elements in various formulations, and my
opinion would be that this is not an appropriate text for someone
working in the real world of civil engineering, say, or heat
distribution problems. I think it is too abstract for general readers. It reminds me of one of my profs who advised us to stay away from mathematicians because the mathematician will teach you rigor and rigor mortis. Still, it is a good book to have in your library just in case you need it, and it is available at a very reasonable price.

The author hase chosen the best, in my oppinion, way to present the background maths using functionals, this not being the fact with other, indeed classic and valuabe, though much more expensive, texts on the subject. Actually most use the original forms of variatonal formulations, which are tricky and result in very lengthy equations. Regarding the method itself, this text includes almost everything you should know to solve linear problems, both static and dynamic (i especially appreciated the dynamic part). Price over value ratio tends to zero, so it is a real bargain!

An excellent reference book from one of the gurus of FEM. It's more mathematically oriented than most, but it gives you a good insight into the math , which is the foundation of all FEM.
Great bargain for the price.

This book is a fascinating personal account of the strange, at times obsessive behaviour of Howard Hughes and the power he wielded from inside his secret world. However I did not find any of the incidents recalled amusing and certainly not hilarious.

I really enjoyed this book. Though not as informative as I would have liked, it gave an insight into Howard Hughes ranging from mildy compassionate to sadistic. The books expands from focussing exclusively on Hughes to highlighting the adverse affect of Hughes actions on Ron and his family. The surprising thing was Ron gets sentimental even after he was treated so poorly by his employer, but, it gave you an essence of how captivating Hughes was to anyone who came into contact with him.

Not only am I glad to have the book, I am a personal friend of Ron Kistler's wife Virgie. Virgie and I worked at the same company a few years back. It was interesting listening to all the stories she told as I was reading the book. The book makes for very enjoyable reading. I intend to share it with my family and friends now that I have my own copy of Ron's book. I treasure Virgie like one of my family members. I wish I would have had the opportunity to meet Ron Kistler.

The story plot on this book was so shallow and predictable. Totally unbelievable. Does the author really expect us to believe that a high cost private high school would allow an accused murderer chaprone a school dance? A real disappointment when one expected a thriller to read on a rainy winter night!

I enjoyed the plot line and the mystery kept my attention. But I was very disappointed at the end when I felt like I was left holding the bag. Two people were implicated in the death of the sister and (give me a break) their involment was never explained but left for us to figure out. Instead we were handed a sugar coated fairy tale ending.

Who cares who did it as long as the love interest survives?

This is my first book by Ms. Hughes. I might give her a second look. But I didn't like the way this one ended.

Okay, so it was stupid that the "supposed killer" is chaperoning a high school dance, but I loved it anyways!! Ms. Hughes, give me more!

In American Visions, Robert Hughes takes on the rather daunting task of summing up the history of American art. While he does not entirely succeed it is a valiant effort. By using nine time periods, Hughes attempts to make the understanding of the art he believes is important easier to digest. The inherent problem lies with the concept of what Hughes deems important. Art is not easily criticized, one man's masterpiece is often someone else's waste of time, and although I admire Hughes' willingness to put himself on the line time after time, I often disagree with his emphasis. Artists like Winslow Homer and Edward Hopper get their due, but many others like Alexander Calder get a fleeting mention. Sculpture and photography are ignored and architecture is dealt with in huge sections and then forgotten until the next period Hughes feels is worth discussing. Hughes also has the annoying habit of referencing a painting and then not have it shown, an example being the Warhol "Electric Chair" pieces that are not presented although they are discussed in some detail. Hughes' vocabulary will have you reaching for a dictionary at some points and wincing at the use of crude descriptions at others ( "Charles Demuth was not a flaming queen" "Mabel Dodge Luhan ...an intolerable b----) Overall this book frustrates as it educates and the combination is irritating to say the least. It just appears that Hughes has just bitten off more than the reader can chew. While it is a starting point for those of us whose art history is sorely lacking it just doesn't satisfy as a reference work; it is more of a critical review of art in America, not the same thing as a history.

This is an extraordinary book. Robert Hughes combines a receptive eye, historical fact and resonant writing to tell the story of American Art. Hughes' contempory critical faculties guide him through four centuries of art making, avoiding sentiment or patriotism. He feels the tactile and human nature of art deeply. A must have for American Artists.

This book has all the usual verve of Robert Hughes insightful eye. As always, his wit goes where no one else dares lurk. His personal insight and vision is indelibly etched in the deep recesses making this a rich and rewarding reading experience. With none of the usual ethnocentric prejudices, his work analyzes the American psyche from a social context and reveals to us a side of ourselves that is not otherwise easily seen, least of all by us. The marvels of his occupation lay bare the foundations of American art in a form that will, no doubt, endure the test of time.

I was hoping to find a cookbook that would have quick, easy to fix recipes but what I found were recipes that require a lot of special ingredients and a lot of time to make them. They may be good recipes but I don't have the time or money to fix them so I'll never know.

Finally! A cookbook that includes your 3 meals a day plus wonderful tasty desserts (my favorite). I carry it around all day like a bible, planning my next meal. I've cooked many of the recipes and got my husband to actually eat them with me.

This book is perfect for me. I want to eat a 1200 calorie a day menu. But I was spending so much time compiling recipes from the various books that I have that I gave up. This book allows you to choose a breakfast, lunch, dinner and dessert. No strict regimen. No matter which meals you choose, you don't exceed 1200 calories. It's perfect. The recipes are more "gourmet" which is what I like to prepare. All the recipes are based on 4 people but its not that difficult to scale down to one or two, it just takes a smidgen of effort. Best recipe book I have found to date.

Robert Hughes is one of my favorite writers on history and art, and I also enjoyed his book, The Fatal Shore, a history of the Botany Bay colony in Australia. Hughes has always had an interest in modern art (many of you may recall his great TV series, "The Shock of the New," back in the 80's), and since much of modern art has come out of America, perhaps it's no surprise he wrote this book, which takes a broader look at American culture.

Hughes's devastating critique of the foibles of modern American politics, political correctness, racial and gender issues, pop culture, post-modern criticism, and graduate liberal arts education, to name a few of the things he takes aim at, is articulate, entertaining, and deadly accurate. Unlike the post-modern critics whose obscure and turgid prose he skewers, Hughes knows how to write, and he puts that to good effect in this book. Cultural ideas, icons, and events, both high- and lowbrow, don't fail to escape his purview and his petard. (He even has an entertaining discussion of religion and masturbation on pages 56-57).

Hughes's book reminds me of another important work, The Cultural Contradictions of Capitalism, by sociologist Daniel Bell, in which he noted America is a country where seemingly paradoxical cultural traits often find happy marriages and perhaps even happier divorces. And as Hughes points out, our increasingly politically correct Zeitgeist threatens to underwhelm us all with the ever more blanched and bloodless cornucopia of American pop culture.

Overall, this is a fun romp through the cultural minefield of modern America, and I'd actually give it 4.5 stars if I could. If we listen to Hughes, perhaps it won't become the sterile, cultural necropolis full of the "stuffed and hollow" men that T.S. Elliot wrote about in his famous poem, "The Wasteland."

Robert Hughes managed to make clear what ails us as a culture and a people in this book, and it is simply ignorance, immaturity and mediocrity hiding behind the Constitution, in all its guises. There are times, when I didn't agree with him and his assessments, and times where I felt he knew little of what he was talking about in a given arena- he didn't "get it"; the real emotional/spiritual motivation behind the arguments and work of those he criticizes. That, laughingly, more than the "yes!", "exactly", and "that's what I've been trying to tell them"'s I cheered when I agreed with him, is what made me know, humbly, that he was essentially right on each and every point. Robert Hughes, tying it all into the end of the Cold War and the ennui and the emerging sociological addictive personality that is now a hallmark of American society under the surface of our achievements, cretaes a book that has lasting value as a prognosis as much as a polemic. As we all know, anyone can write a polemic- no talent needed there. Not everyone can chart the history and symptoms of a spiritual disease; a disease, like all others, that is not partial to any particular gender, race, ethnicity, social standing, or political leanings. Just look at his listing of those who suffer from it!

From the title of Hughes' book you might think this is a tale of woe; a malady of national discontent. Not so. It's too concise, humorous, and ultimately, optimistic, to be a Jeremiad. Nevertheless, Mr Hughes does spend a lot of time lamenting what's wrong with American culture, politics, and the society at large. His focus, and some of his wittiest criticisms are directed at the political ideologues; in academics, the arts and sciences, journalism, and of course party politics. He is dismissive of both extremes; the politically correct left and what he calls the patriotic correct right. He disabuses both sides of any idea that we are enthralled with their message. "One would rather swim than get in the same dinghy as the P.C. folk. But neither would one wish to don blazer and top-siders on the gin palace with it's twin 400-horsepower Buckleys, it's Buchanan squawk box, Falwell & Robertson compass, it's Quayle depth finder and it's broken bilge pump, that now sits listing on the Potomac..." Mr Hughes trains his critical spotlight on dogma, hypocrisy, biases, and bigotry; the opinion makers, spin-doctors, jargon generators and euphemists that have obfuscated the issues, and worse, have sacrificed consensus on the altar of ideology.

He is ultimately optimistic as the problem does not lie with citizenry, as we are 'America' The problem remains squarely with ideologues. "The fact remains that America is a collective work of the imagination whose making never ends, and once that sense of collectivity, and mutual respect is broken the possibilities of Americanness begin to unravel. If they are fraying now, it is because the politics of ideology has for the last 20 years weakened and in some cases broken the traditional American genius for consensus, for getting along by making up practical compromises to meet real social needs". In a word - balance! Exactly the approach we need, and precisely the type of analysis in this well written and incisive book.