Author Jon Bellini does an excellent job as he describes the life and "crimes" of Lesley Eugene Warren. The book holds your attention from beginning to end! The loss of the victims is tragic and will touch every emotion...as will the facts of Lesley's childhood. His crimes are horrific...but when as a society will we learn to also prosecute the "master builders" of these sick and damaged killers?!

This book is an excellent description of one experience of government intrusion into media freedom. While it leaves many historical questions unanswered, it portrays the way in which an insecure and intolerant Southern Rhodesian government used the legal system to suppress media outcry over racial and political issues of great domestic importance. For anyone interested in Rhodesian history this is a must read!

This handsome book will appeal to Atget fans and photography collectors. It presents ninety nine photographs printed posthumously by the American artist Berenice Abbott (1898-1991) from the negatives made by the French photographer Eugene Atget (1857-1927). It also reprints one of Abbott's 1928 portraits of Atget and her long-out-of-print 1964 essay "The World of Atget." Finally, it includes a quasi-scholarly essay by Clark Worswick, who is a collector and curator of photography.

Atget fanatics will find this publication worth owning for two reasons. First, it includes several images that have not previously appeared in print. (Worswick claims that the book includes 39 previously unpublished works, although I quickly found at least two of these "previously unpublished" works reproduced elsewhere.) Perhaps the only truly novel image among these previously unpublished photographs is an image that Atget copied from an unidentified book, of a female nude standing with her back to the camera, leaning awkwardly against a wall. The book from which he appropriated the image left a ghost of illegible text, suggesting that the nude might have originally appeared in some academic text, perhaps a book about medicine or anthropology. The fact that both Atget (a heterosexual seller of documents to artists), and Abbott (a lesbian art photographer), found this image worth owning demonstrates how easily individual photographs can serve various professional and personal purposes: as scientific evidence, as models for artists and, perhaps, as pornography. However, for the most part, Atget fans will find little that is unfamiliar in these "previously unpublished" images. The rest simply expand the repertoire of themes already familiar in Atget's work, including parks with their statuary, trees and plants; alleys, streets and river scenes (both with and without street workers, merchants and shop fronts); and farmers working the fields.

The second reason that Atget fans might want to own this book is Worswick's essay. It is the first one devoted to an in-depth discussion of Abbott and Atget. Worswick writes with great skill, weaving together the biographies of these two photographers, whose lives intersected only briefly in the late 1920s, but whose critical acclaim has become forever intertwined. The text is engaging and at times catty, judgmental and illuminating, with threads that flow seamlessly between two continents and through the better part of a century. Perhaps Worswick's most important contribution to the already extensive literature on Atget is his account of the events of 1968 (as told to him by Peter Bunnell), when Abbott, after forty years of patiently preserving and enthusiastically promoting Atget's collection, sold it for a paltry sum to the Museum of Modern Art.

Regrettably, though, Worswick's research was far from thorough, leaving more than mere scraps for later scholars. The scope of this project clearly reflects his financial interest in this collection. Apparently he sees himself as a modern incarnation of Abbott-as-Don-Quixote, tilting at the aesthetic and financial neglect that the Abbott/Atget prints have long received. Not surprisingly, his essay emphasizes Abbott's long devotion to Atget's work despite the critical and financial neglect of others. But, as a result, his essay neglects or glosses over other interesting topics, including the differences between Atget and Abbott's work, which Abbott herself spelled out explicitly in a letter to Ansel Adams in 1940. Obviously, Worswick did not bother to visit Abbott's archives, now in private hands (though accessible to scholars), where this letter to Adams is preserved. Among the other relevant materials that he would have found there are several lists of Atget negatives that Abbott printed in the early 1930s for the Julien Levy Gallery, as well as the name of the woman who ended up with 1/8th of the proceeds from the Museum of Modern Art sale for lending Abbott the money to acquire the Atget collection in the first place. Surely, Worswick would have found this information worth reporting.

In addition, Worswick neglected several important secondary sources of information about Abbott and Atget. Amazon.com customers might also want to investigate Abigail Solomon-Godeau's essay, "Canon Fodder: Authoring Eugene Atget," in Photography at the Dock (1991), Bonnie Yochelson's essay for Berenice Abbott: Changing New York (1997), and Peter Barr's chapter on Abbott and Atget in his 1997 Ph.D. dissertation "Becoming Documentary: Berenice Abbott's Photographs 1925-1939."

This book deserves attention for anyone who is confused by the Left Behind eschatology. (End times study) Strong and cogent arguments made using astronomy and the bible's astronomical dating system.

This book provides tools of prime importance for engineers and researchers involved with biomedical engineering. One outstanding aspect of the book is the the way the the fundamentals of signal processing are presented. Special aspects such as chaotic behaviour of the signals are also presented.

my father, who died this past june, wrote this book. it was poorly edited by the publisher, which made the book somewhat disconnected in comparison to the original version. even though, it is a wonderful read with content that revealed the wonderful faith my father had.

The author definately pinpoints and focuses on every aspect of catering. The book is really a resource book for a person in the industry or preparing to develop their own operation. The only concern is that for the price, the book looks as if it is copied. All pictures are in black & white.

CGI Developer's Guide is a great book for starters with little knowledge about CGI. Try it!!!!

While I personally don't like ALL of Moore's work (the Piazza Del Italia's too gaudy for me), this book presents a strong case for his elevation to Master. A very comprehensive survey of his works, it relies mostly on photos & illustrations, with some text. From Sea Ranch to Kresge College, everything's here. Pick it up in conjunction with his memoirs (often available on remainder tables) & you have a really good set!

This is a well organized and indexed fire science text which is a useful reference for anyone who works with hazardous materials on a daily basis. It explains DOT regulations and how the regs are actually related to the chemistry of the materials. It explains the chemistry behind proper transport, handling, and storage of most major commodity chemicals and offers guidlines for emergency planning and response. The author does a good job of introducing/reviewing the concepts of chemistry with a clear focus on reactions which can lead to disaster. Two flaws: the writing is repetative, at times you can sense that the author/editiors were a bit tired of the text or in a hurry to get it to the press. The illustrations are O.K. but the black and white photos are AWFUL. Mr. Meyer, if you read this, go back and re-do all the photos for the next edition. I work at a RCRA TSDF and have found the text very useful for myself and our new employees who have studied chemistry but do not have a firm grasp of DOT and fire safety.