Last year Humphrey Carpenter published his official biography of Dennis Potter. Roughly 500 pages long Carpenter's book was a disappointing mixture of synopsis of Potters' plays, edited quotes from interviews Potter made to other journalists and interviews with people who have known Potter. Carpenter decides early on that the key fact to Potters' life was his sexual abuse, and the rest of his life is viewed from this angle. His remarks on Cold Lazarus are only concerned with a few, strange sexual remarks.

I mention this because it makes such a contrast to Gilvert's book. At times it is clumsy, wooden overwritten and a bit unfocused, and yes, a lot of it doesn't hold together but it is distinguished by a genuine, though healthily critical approach to his life.Gilbert understands Poters' importance as both a literary figure and a creative figure and writes passionately about both. Potter was a brilliant, difficult man and although he has not yet got the brilliant, difficult review he deserves, Gilbert's goes a long way to understanding the man and his extraordinary writing.

I found this book to be a very wonderful guide to Harry Potter and the Prisoner of Azkaban. I didn't quite understand HP3 until I read this book. Then it all clicked! I read this book, then read HP3 again, and it made so much more sense. I have loaned it to many other readers, and they all agree. It told word meanings and about the author. I suggest that any true Harry Potter fan get this guide!

I purchased this book at a remainder shop about ten years ago. It is a great favorite of my children for bedtime reading. It features tales of about a dozen hybrid animals such as rhinocerostrich and camelephant. Each animal has an original illustration and a poem about the animal. This is a wonderful book. I highly recommend it.

We have girls and boys, ages 3-6 and they all love this book. We have spent more time reviewing pages, and our kids request it night after night -- which is okay with us as it's actually entertaining and fun to watch the kids look and find and prove they have better memories than we do!

We totally recommend this as staple for your home, and as a great gift idea!

Louisiana Breakdown is an impressively written and thoroughly entertaining novel by Lucius Shepard that blends superstition and lore with faith, potions, and machinations. When a new figure arrives in a small Louisiana because his BMW breaks down, he becomes caught up in the town's tradition of appointing a ten-year-old Midsummer Queen every twenty years. A dark fantasy, Louisiana Breakdown is commended as an imaginative and thought-provoking tale of the fantastic.

A wonderful book, with a wealth of information about Lucie Rie, her life, her work. I have been looking for this book for several month, it is out of print, but.... translated into German, it is sold like a catalogue at the current Lucie Rie exhibit at the Museum für Angewandte Kunst in Vienna, Austria. Many photos, partially in color, a lot to read and a lot to look at. I am delighted.

If you're the owner of a Macintosh running OS X and security is either a concern or an interest, this book is a great reference.

It covers both the very basics in good layman's terms and identifies what is useful information to the average user, such as safely sharing a computer between many users, encrypting files, saving passwords, and how to prevent unauthorized use.

For system administrators and power users, it points out and describes the security considerations of using the more advanced features features of Mac OS X, including file sharing, NetInfo, the Apache web server, and the many networking features and protocols for which Mac OS X includes support.

In order to prevent and monitor for security incidents, the book contains a good description of monitoring an OS X system, and in the unfortunate case of such an incident happening, forensics tools are discussed as well.

In summary, "Mac OS X Security" is a comprehensive reference on the security features, functionality, and strengthening of Apple's new operating system with good information for OS X users of all levels of skill.

-Peter Bartoli

Richard Spivey's large-format book, MARIA, serves as an excellent visual and textual appreciation of the pottery of Maria Martinez, the famous Native American artist of San Ildefonso pueblo in New Mexico. Numerous full-page color photographs of her pottery and B/W photos of Maria at work with her husband and son provide a feast for the eyes. You can almost feel the smoothness of the pottery eased into being by her creative hands. Much of the text is taken from oral interviews and reminiscences by Maria herself, who died in 1980 at the age of 93. In 1907 Dr. Edgar L. Hewett of the School of American Research in Santa Fe, New Mexico began excavating prehistoric Pueblo sites near San Ildefonso pueblo. Julian Martinez was hired as one of the laborers in the dig. When his wife Maria saw the shards of ancient pottery being unearthed, she was delighted by the designs. Dr. Hewett asked her to try to reproduce the polychrome pottery with those designs and was amazed by the beauty of her work when he returned the next archeological season. Julian had helped by painting traditional designs on his wife's new pottery. Dr. Hewett bought practically everything they had made. From that moment on Maria and Julian dedicated themselves to pottery. Over the next few decades, as tourism increased in New Mexico, Maria's fame spread and potters in other pueblos took up the nearly forgotten ancient art. Maria had been attempting to create pottery since the age of seven. There were still two excellent potters in her pueblo (Martina Montoya and Nicolasa Pena Montoya), who encouraged the little girl in her initial efforts. Their pottery was, as it had always been, beautiful utilitarian pieces -- plates, cups for atole, bowls for mixing chili or soup or dough, cooking pots, and large jars in which to wash hair. Clay "ollas" stood outdoors to collect rainwater. Pottery was traded in other pueblos for wheat, corn, or chile, but never for money. However, Maria's pottery would change all that. Over a 40-year period Julian and Maria shared their labor. Julian gathered clay from the earth. Maria prepared the clay, coiled it, shaped it into pottery, smoothed, and fired the completed pots. Then she polished them with stone or sandpaper. Finally Julian would paint symbolic designs around the piece. He became the leading pottery decorator and she the leading potter of her pueblo. Encouraged by the Museum of New Mexico to continue spending more time on fewer but higher quality pieces, Maria and Julian produced exquisite shapes and designs, which included clouds, butterflies, plumed serpents (avanyu), feathers, plants, clouds, turkeys, kiva steps (ceremonial underground centers), and geometric designs. In 1919 Maria began experimenting with her soon-to-be famous matte-black-on-polished-black ware. After perfecting the right combination of matte and polish accompanied by her husband's designs, Maria unselfishly shared her secrets with other potters. The first Santa Fe Indian Market was held in 1922 under the direction of the School of American Research with all New Mexico pueblos represented. "Native clays, pigments, and traditional methods were required in order to participate in the market." Maria began to win the first of many prizes. In 1924 a bridge was built across the Rio Grande near San Ildefonso and tourists came to the pueblo to buy directly from the potters. Withdrawing from its physical isolation, San Ildefonso became "one of the most progressive arts and crafts centers" among Rio Grande River pueblos. Maria and Julian were the primary causes of this new prosperity. Living standards rose in San Ildefonso and other pueblos where arts and crafts were practiced. Income from pottery began to exceed that of agriculture. Domestic problems declined. New houses were built. Maria began teaching classes at the Indian School in Santa Fe. When her husband died in 1943, Maria turned to her daughter-in-law Santana to paint the designs on her pottery. In 1948 Maria's son, Popovi Da ("Red Fox") opened the Popovi Da Studio of Indian Art at San Ildefonso to display and sell outstanding examples of his mother's and other pueblo artists' work. In 1950 he began assisting in the painting of some of his mother's pots. In 1956, after a highly successful partnership with Santana, Maria began working solely with her son Popovi Da ("Red Fox"). He wanted to carry the art further and began experimenting with new designs ("new colors and combinations of colors, new finishes, and a higher level of perfection.") He respectfully intended to wait until his mother's retirement before branching out completely on his own, but his early death prevented our seeing where he would have taken his art. "Gunmetal" silver was one of the new finishes he added to pottery. He was first to add a bit of turquoise to a piece, also. Skunks became a favorite motif that he worked into his designs. After the death of both Popovi Da and Maria, grandson Tony Da picked up the family tradition of pottery and has carried the art even further into modern designs and styles. This beautiful book serves as an excellent visual and textual overview of Maria's exquisite pottery still unmatched in its fine lines, graceful shapes, and simplicity. As an introduction, there is a moving speech ("Indian Pottery and Indian Values") given in 1969 by Maria's son and fellow potter, Popovi Da, at the School of American Research before his untimely death in 1971.

Maria Martinez was an Indian woman from the San Ildefonso Pueblo in New Mexico.The date of her birth is estimated to be between 1881 and 1887. She learned her skills as a potter when she was a child, but went on to perfect her work and become one of the most gifted of the Pueblo potters. Her "black-on-black" style pottery is world famous.

Not far away from the San Ildefonso Pueblo is an ancient village site where the Anasazi Indians had lived. Dr Edgar Lee Hewitt led an archaeological expedition to the Anasazi site in 1908. The archaeologists found caves with artwork on the walls and also discovered pieces of Anasazi pottery. Julian Martinez, Maria's husband was one of the local men to be employed working for the archaeologists on that site. He used his drawing skills to copy the Anasazi drawings. Dr. Hewitt asked if Maria could try to duplicate the ancient pottery and he enlisted the help of Julian to paint the Anasazi designs on her work. Over the years, Maria and Julian created a lot of beautiful pottery. After Julian died in 1943, other members of the family worked with Maria creating the beautiful pieces that are cherished today. Maria Martinez died in 1980.

There are some great photographs of Maria, Julian and other members of the Martinez family at work on their pottery. Maria received many honors and acclaim during her life. In 1934, Eleanor Roosevelt invited her to be her guest at the White House.

Written by an anthropologist who tells Maria's story through short stories as told to her by Maria. This book begins with Maria's accounting of pueblo life during her childhood. You learn of her life with her artistic, but alcoholic, husband Julian. An interesting accounting of their work which earned world acclaim for the unique pottery they produced. This book is a window to a time long forgotten and into the soul of a creative artist. The community spirit of the pueblo is well described and inspiring. You can't put this down once you begin. It's a great read!