Greg Williams is an upcoming British football star whose professional life is going up, while his personal life seems adrift due to his searches for a boyfriend. After a sexual encounter with his best friend Matt who's to be soon married, Greg can no longer hide his feelings for Matt, but Matt avoids Greg at all costs. After leading his team to the championships, Greg gives Matt a bachelor party where the two reconnect and finally decide where their futures lie. Filled with hot sex and with a rather good story, "Man On!" is a good example of what an erotic novel can be.

In Osprey's Campaign #119 Marston Moor 1644, John Tincey summarizes one of the more decisive battles of the English Civil War that lost northern England for the King Charles I. This summary is more interesting than the previous volume on First Newbury, and while the author tends to digress on issues of historiography, he does provide a relatively clean campaign narrative.

In standard Osprey campaign series format, Marston Moor 1644 begins with short sections on the background to the campaign and opposing commanders. The section on opposing armies is unusually long at 22 pages (plus two more pages for the actual order of battle), and includes subsections on deployment and fighting tactics. Unfortunately, much of this space devoted to opposing armies is spent discussing and comparing various modern theories about unknown or controversial aspects of the campaign. Most readers will probably find this section tedious and distracting from the campaign narrative. The author then spends 14 pages on the early stages of the campaign, particularly the relief of York, and then covers the battle itself in 26 pages. The campaign narrative is supported by five 2-D maps (the opening campaigns of 1644, the siege of York, Rupert's march north, the relief of York, and the aftermath of Marston Moor) as well as three 3-D Birds Eye View maps of the battle itself. The three battle scenes by Graham Turner (probably Osprey's best contract artist) are excellent: the relief of York, Cromwell's Ironsides charging and the last stand of the Whitecoats.

Most of the military actions of the English Civil War appear confusing to modern American readers and herein lies the value of studying such conflicts. Unlike our own Civil War, which was fairly linear in nature, the English Civil War was set in a more fluid and non-linear environment. From the King's perspective, the enemy lay in the southeast, southwest and northeast. This non-linear combat environment and low force density resulted in very mobile operational methods and control of population centers (with attendant tax resources) became the decisive terrain. One such piece of decisive terrain was the city of York in the northeast; the Parliamentarians besieged it and the King sent Prince Rupert's army to lift the siege. Rupert's relief of York is probably the best part of this volume and should be studied carefully by military professionals. The Parliamentarian army occupied a favorable blocking position on key terrain overlooking the most obvious direct route into the city and awaited Rupert's advance. Boldly, Rupert fixed the enemy's attention with a small feint and then marched the bulk of his army across an undefended bridge far to the north and then slipped into York without firing a shot.

As for the Battle of Marston Moor, Tincey does a decent job describing the battle, although it is not always clear from his account why one side or the other prevailed in certain engagements. Clearly, the fact that Rupert's army did not expect battle to begin so late in the day and was surprised by the enemy's sudden attack was a major factor (similar to the Roman disaster at Adrianople in 378). Tincey argues that discipline was also a factor, in that the superior Royalist cavalry was difficult to reign in after one charge, while Cromwell's Ironsides were capable of reforming quickly. However, one could argue that it really was an issue of managing reserves, and both armies suffered from poor command and control after the initial action began at Marston Moor. Although both sides had light cannon at Marston Moor, there is virtually no mention of their participation. Tincey is also vague on casualties, relying instead only on a 17th Century source (no mention of modern diggings on the battlefield).

If you are looking for a brief introduction to this intriguing figure in American history, _Cry Freedom_ could be it. It includes portions of most of the important literature regarding Turner, including the full text of his 'confession' to Thomas Gray. However, one must be careful. The book has attracted very little attention in the academic community. Moreover, there are several errors, and it fails to come to a proper conclusion. Use it as a 'spring-board' for further research, but if you want the definitive collection of documents on Turner's rebellion, obtain a copy of Henry Irving Tragle's _The Southampton Slave Revolt of 1831_.

This book is designed to create a bleak,desolate tone (a la Wuthering Heights), and it does so by describing the heroine's graduallyincreasing suffering and oppression. The novel, like so many of Arthur Conan Doyle's SherlockHomes stories, exposes the vices that can flourish in the lonely, isolated British manor. The hero'ssufferings come as a blast of fresh air and relief in the novel: Orlando goes to fight on the Britishside in the American revolution and ends up wounded with several Indians in a rather inaccuratelydescribed American landscape. There is a sort of sequel, The Wanderings of Warwick, which tells what happens to two of the characters who disappear for a huge portion of the novel. The heroine is rather pathetic for a good deal of the novel, but she gets a burst of feminist courage at the end of the novel as she sets out on her own and finds a job.

Statistics, statistics, statistics. For those who believe that racial discrimination does not exist or who seem to think that affirmative action serves as a solid counterweight should read it. Useful in arguments against conservatives who claim racism is dead (see D'Souza,Dinesh). A less dry source with the same information was a Primetime Live special called "True Colors". If you can track it down, watch it. You won't regret it.

I already own and love "Period Costume for Stage & Screen, 1500-1800 Vol 1," so I rushed right out and bought this book as soon as it came out. I was very disappointed.

It is a decent book, especially for theater use, but it lacks the excellent understanding of period cut displayed the 1500-1800 book. I expected mush more from Hunnisett.

There are many poorly-drawn illustrations which manage to get the point across, but they do not always show what is really in the paintings they purport to be redrawn from. No explanations are given for some of her more unusual cutting decsions, such as the use of big obvious darts on 15th cent. bodices. In other cases, period garments are pictured next to pattern layouts that could never produce anything resembling them-- almost as bad as Hill & Bucknell. None of the example costumes shown in the book are actually intended as authentic-looking medieval dresses-- all are more or less fantasy-inspired.

If you are looking for a general book on how to make pseudo-medieval fantasy costumes (that look like tie-dyed nightgowns), perhaps for children's theater, this is an okay book, but not great-- nothing inspiring here. If you are looking for a book showing an expert cutter's conjectures on period cut to use as a starting point for developing an authentic-looking costume, either for theatrical or historical reenactment use, don't bother with this one except to check the one page bibliography in the back, and the single useful one page spread of 15th cent Italian sleeves. The rest is nothing special at all. Like so many of these books, you must take everything she shows you with a big grain of salt.

On the other hand, I cannot recommend "Period Costume for Stage & Screen, 1500-1800 Vol 1" highly enough.

In May 1997 protesters from an unemployed workers' movement occupied the Bank of France and successfully demanded a meeting with the bank's directors. In December protesters occupied the pyramid at the Lourve demanding more welfare and Christmas bonuses for the unemployed. Persistently high unemployment and a well organized protest movement have created a sense of crisis in France. Full employment has gone and it's not coming back.

André Gorz is convinced that capitalism is almost over. In 'its final phase' it is eliminating the need for work, and workers are fighting each other for the few jobs which are left. The answer, according to Gorz, is for us to understand work in new ways. Why, for example, does taking care of children only become work if you're getting paid for it? Gorz wants governments to provide a basic income to every citizen, not a means tested negative income tax (like Milton Friedman suggests) or an allowance which is conditional on social or economic participation (as some communitarians propose), but an unconditional income which is enough to live on comfortably. We can then move to a 'multi activity' society where individuals can choose whether to accept paid work and on what terms. Alternatively they can fill they time with unpaid work in their communities, their families or on personal projects.

Whether Gorz's account works for you will depend on how much of his broader world view you share. Gorz assumes that capitalism is fundamentaly unjust and inhuman and he tends to write about it as if it were a cunning and malevolent dictator. Coming from the Marxian tradition means he often lapses into portraying industrial labor as the paradigm case of 'work' a view which suggests that labor is a commodity and jobs can be easily shared. Gorz also senses a growing economic crisis, unemployment is not a short term phenomenon but an early sign or the end of work as we know it. This perspective might be plausible in France but if you find yourself caught up in America's overheated job market it might be tougher to maintain.

Reclaiming Work presents some challenging new ways to think about work, what it is and why it matters. It offers a utopian vision of the future where having a job is optional and government benefits carry no stigma. It's a fascinating, but not always convincing, perspective on a crisis and a way through it.

I think this books is even a good book for fascinated children. I read it twice.

This book is a relatively well written story of one of the key figures of the golden age of aviation, Roscoe Turner. Through flying in races, movies, record breaking flights and attempting to stay financially aloft, this is a good overview of a life. The only issue I had with this book was that it never truly conveyed the character of Mr. Turner and seemed more like a chronology than a true biography.

dear sir/madam, please send me a 800words review of this book now. It is an emergency I need to know about this book and I from Jamaica.