At first W. Chambers claimed that Alger Hiss and others were secret Communists whose purpose was to influence policy (from 1939 to November 1948). After being sued for slander Chambers produced 69 documents to support his claim of spying. Chambers earlier stated he was a Communist until "1935", or "early 1937", or "the end of 1937", or "the spring of 1937". The documents were dated between January 5 and April 1 of 1938. Chambers then changed his story to leaving on April 15, 1938. You can judge his veracity by this. Note his memory of wallpaper patterns!

The original State Department files were rated "classified" to "secret". Most consisted of trade agreements, which were of commercial, not political, importance. When Chambers learned that Alger Hiss could not type, he then claimed Priscilla did it! (Did writer and translator Chambers ASSUME that other men had this skill?) The most telling fact about these documents is that most had never been routed through sections where either Alger or Donald Hiss had worked! This discrepancy has never been explained. When the contents of the three rolls of microfilm were released in 1975, they were found to be Navy Dept instructions on how to use life rafts, fire extinguishers, and chest parachutes. Where did they come from?

The biggest lie of all is Chamber's claim that the stored documents were a "life preserver". Because they had no value without his testimony to corroborate them! He should have seen a lawyer, made a notarized statement, and left immortal testimony. But then it couldn't be changed to explain new facts.

One of the great things about the Hiss case is the transparent dishonesty of those who defend Hiss. If you knew nothing else about the case, the fact that Hiss's defenders lied so often would tell you he was guilty. (For that matter, anyone reading Hiss's testimony, with it's carefully worded replies that sounded like answers, but, on examination, turned out to be legally meaningless, should have known that Hiss was desperate to hide the facts).
"A Reader" says:

'At first W. Chambers claimed that Alger Hiss and others were secret Communists whose purpose was to influence policy.' Actually, the first time Chambers ever told anyone in the govt. about his actions (Sept. 3rd, 1939; to Adolf Berle of the State Dept.), Chambers said he was a spy, a fact Berle recorded in his diary and notes of the conversation. When Chambers didn't get immunity from prosecution, as promised, he stopped confessing to felonies.

Yes, Chambers was vague on when he left the Party. He had a lousy memory for dates. And Hiss got the year he "gave" his car away wrong by a year, and the season he "sublet" his apartment to Chambers wrong by months. Imperfect memory happens.

As for the documents Hiss passed, they were of great importance to the former Soviet Union (OOH! I just LOVE to type "former Soviet Union!"), which already knew it was likely to end up in wars with Nazy Germany and Imperial Japan. Contrary to the claim, almost all the documents had been routed to Alger's department (some had his initials on them to show he'd seen them, some were handwritten by him). Much of the information passed to the Soviet Union concerned Japan's war in China. The trade agreements concerned U.S. trade with Nazi Germany, a subject of considerable interest to the USSR.

As for the other microfilm, it was never claimed that Hiss had anything to do with passing it. And while much of it was worthless, some was excellent technical intelligence (for example, inertia starters for aircraft engines). It was passed by a contact of Chambers in the Navy Dept.

And the "life preserver" was not intended to be a legal document. It was a threat to use against the GRU if they found Chambers and tried to kill him, a 'leave me alone or I'll expose some of your spies posthumously.'

All the above, btw, has been part of the public record for decades. It was mostly covered in the earliest books about the case, and it was ALL dealt with in Allen Weinstein's PERJURY: THE HISS-CHAMBERS CASE, which I give my highest recommendation.

Oh, about THIS book: these are classic essays by people involved with varying aspects of the case, looking at it from many different personal and political views. They're hard to come by, and I'd read less than half in my years of studying this case. By all means, read this to see why the Hiss perjury case was important, then and now.

This book is a collection of essays about the Hiss/Chambers case. All points of view are taken into account, including supporters of Hiss, supporters of Chambers, and various agnostics.

What is great about this book is that it doesn't just tell the story of the case, but it shows how these events influenced political thinking in America over the subsequent 50 years.

To criticize this book by taking shots at Whittaker Chambers, as if it were uniformly supporting him, is foolish, reactionary, and illiterate.

Although the fifth seems more accurate, the Sixth has so many errors that some times I just get lost. However in dover's defense I haven't found a Mahler score that hasn't left something out. An okay buy for the price range, but could be better

Being a Mahler lover, composer, timpanist, and conductor, I constantly pour through recordings and scores of his works. This edition, while a fine orchestral score, is full of errors which Mahler later corrected. While the musical ideas and feeling of the works here are present, there are some details which differ from newer editions. Do not be fooled; every note these scores contain are Mahlers own. But these are first-edition, first performance scores. Mahler was notorious--conductor that he was--for editing and revising his works after premieres. I have looked at other scores, later, more difinitive scores, which show errors, and some are quite audiable in recordings. But for any young conductor to get a flavor for the structure of these works, the Dover edition is the most practical and cost effective score to buy.

Probably my favorite Mahler Symphony, his Symphony No. 5 was the first I ever saw performed. It's a fantastic work and, unlike his "Tragic" Symphony No. 6, the tragedy from the opening Funeral March is reconciled by the exhuberent and boistrous finale. The very last section of the fourth movement to the end has a triumphant feel (and even sound and structure) reminiscent to Tschaikowsky's Symphonic finales. The Tragic 6th is a great piece to study, but, for me, can be very weary as the symphony does not more then briefly rise above meloncholy.

A great large score, the print is very readable and there a few translations for the German text (though, having a completely German version of the score, there are several instructions that have been left out). It lies flat on the desk or music stand, which is a great plus. Lastly, it's inexpensive, which makes it a must for Music students and I highly reccommend it to professionals and listeners alike.

This book starts with a extremely well explained chapter on the philosophy of control charts. This is really the most important part of the book. Other topics about rational subgrouping and myths are also very well covered. The book deals with interesting examples which should be a little bit more up-to-date. Presenting control charts on mm-paper is outdated in this computer era.

This is an excellent cookbook for participants in SPC. It helps you to avoid of miss-using the SPC.

For me, it helps me to prepare training material on SPC easier.

Unfortunately, the theory aspect in this book is not enough for expert usage.

It is a really great book about SPC methods. Clearly written, Dr. Wheeler's book explains the dos and don'ts of SPC techniques. I found Dr. Wheeler's style of writing simple, but always reaching SPC target. If you are looking for a sound and understandable information about SPC, read it. It is worthwhile book.

Highly recommended. It is apparent from the start of the novel that the author has a deep knowledge of the working level functions within the city/county level judicial system. As the characters within the story are introduced, great detail is given to the development of their personalities, making each individual vivid and credible. The way in which the lives and personalities become interwoven and affected by events as they unfold had me glued to the book throughout the story. Fantastic reading!

Cop and courtroom drama with a touch of Grisham and a dash of Wambaugh mixed into the formula.

Frank Salter, a cop near retirement age, is married to District Court Judge Susan Beckwith, the first woman ever elected to the bench in that county. Salter and Beckwith married for love and security but for both the sense of security died quickly, soon followed by the love. Now both want out of the marriage, but the problem is Beckwith wants all the marital assets. A pistol shot in her own chamber will settle the issue forever and turn Salter from law enforcer to criminal defendant.

A Death In Chambers works on several levels including an insightful look into a marriage that never should have happened and a very perceptive view of the criminal justice system.

I liked it and gave the book five stars, though some of the errors in editing were a bit distracting during the second reading. But put the blame on the editor, not the writer. He did his job and did it well.

Am not a professional reviewer but am familiar with the incident on which this novel is based. Summerfield knows his stuff be it law, law enforcement, or the brutalities that can be brought out in the divorce process.

The protaganist of the book, cop Frank Salter, is a man near the end of his police career. Like most of us, all he wants is a quiet retirement but his soon to be ex-wife, Susan Beckwith, isn't about to let that happen. Susan is a District Court Judge with a good public image and a private life that can't withstand much scrutiny. Their conflicts will lead to the death in chambers of the title, and take Frank Salter from trusted law enforcement officer to being a defendant on trial for murder.

Though based on reality, fiction begins where reality ends and the author makes that transition smoothly and successfully.

I got my money's worth. It's a good, solid piece of writing
and a darn good read.

Although I don't have a Microtek scanner like the author has, I was still able to follow along and learned everything I needed to know. This book also has almost as good a selection of novice material on Paint Shop Pro as PaintShop Pro for Dummies! Well worth the money.

This book told me all I needed, I'm using my scanner just about every day now that I know what to do. (Plus I have it set right to take the best scans) Great coverage of filters and plugins too.

This book is as good as the amazon editor claims, I got my new HP scanner up and running in an hour so you know the installation and setup chapters were good! The coverage of web graphics is very good and provides lots of tips and instruction. You won't find as much on PhotoShop but the step by step Paintshop pro material is worth its weight in gold. Well written and funny. I am going to add this author to my Dummies watch list!

"Effi Briest" is considered by many to be THE classic example of German realism, even though it comes late in the movement. Fontane's inspiration for the novel was equal parts "Madame Bovary" and the real-life Ardenne case, in which a respected military officer duelled against and defeated his unfaithful wife's lover. Well crafted and thorough in its sketch of characters and environs, "Effi Briest" articulates tensions rampant in the late nineteenth century but still pertinent today.

Effi is still dangerously young when the older and accomplished Baron von Innstetten swoops into her mother's garden and marries her. The couple settle in a distant port town, in a house that gives Effi the creeps to the point that she imagines she is being haunted by the ghost of a Chinese man who died in the town years before. Innstetten, often away on government business, dismisses her fears, but the Major Crampas listens to her, and a liaison develops between him and Effi. Years later, the affair ended, the Innstettens move to Berlin, and the Baron discovers the old letters of the Effi-Crampas correspondence by accident. Without giving away the ending, there's a duel and a divorce and a death.

At the mere level of plot, there's plenty here to entertain, but there's much more to the novel than the headline story itself. Fontane forces a look at the Prussian involvement in empire-building projects of the nineteenth century, as well as the debilitating effects of indiscriminate secularization; "Effi Briest" depicts a culture alternately hungry for and wary of romance and enchantment, caught between occasional fascination with the newer world and the comforts of burgeoning technology at home.

Douglas Parmée's translation is generally very good, capturing the somewhat informal but authoritative tone of the original. There is one important translation hitch that bugs me, though: he renders the repeated image of the "wide field," the "zu weites Feld," as "too big a subject," and, while this is certainly the connotation, its robs the reader of a little elasticity.

To a twenty-first century reader, "Effi Briest" will no doubt come across as a little schlocky and sentimental at times, but no more so than, say, Austen or Brontë. If you enjoy the classics, I think this one endures pretty well. It's a wonderful book, with characters you really get to know and love.

Theodor Fontane's 1895 novel, "Effi Briest," is the moving and melancholy story of Effi, a sprightly teenage girl whose limited interactions with society and the moral bearings of that society are brought into direct and terrible conflict. Fontane gives an all too realistic portrayal of late 19th century Victorian morality and the lives of minor German aristocrats. The novel relates Effi's struggle to negotiate the constraints of society as an extremely young woman who in many ways rejects them all.

"Effi Briest" begins as Effi, a fifteen year old girl, enjoys the privileges of wealth and beauty in the small town of Hohen-Cremmen. She plays with the other young girls of her neighbourhood, Herta, Berta, and Hulda. They play childish games and indulge each other in romantic stories and juvenile ambitions. One day, while telling the story of an unrealized love affair between her own mother and a military officer, Geert von Innstetten, Effi is informed that Innstetten, now upwards of forty years old, has come to visit, and has proposed marriage to Effi. Effi cannot but comply. Relocated to the port town of Kessin, Effi finds herself in a commercial center, without the kind of genteel society she is accustomed to, nor the variety or the spontaneity in her lifestyle that she had always enjoyed. Innstetten's workaholism and emotionally detached bearing make life nearly insufferable for her. She is relieved by two men, Gieshubler, a kindly old hunchbacked chemist; and Major Crampas, a 'reformed' libertine whose marriage is unsatisfying. Gieshubler offers Effi a haven of conversation and empathy; Crampas offers her a seductive, liberatory companion. As Innstetten's job absorbs most of his time, he permits and even encourages Effi to spend time with Crampas. A secret correspondence between Effi and Crampas sets the scene for the rest of the novel.

"Effi Briest" is really an extraordinary work. Fontane examines throughout the novel the effect of national and international politics, cultural mobility, and trade on the individual. Fontane's presentation of the port town of Kessin, in particular, is fascinating. Here, Effi is truly taken out of the sheltered life of Hohen-Cremmen and exposed to a mobile and commercial society, where people from different cultures and epistemologies flit in and out of her life, like the seemingly liberated woman, Maria Trippelli, in whom Effi takes an intense interest, and Roswitha, a lapsed Catholic nursemaid. In Kessin, she is also encounters a story that haunts the entire novel, the highly evocative and ambiguous story of the Chinaman.

Ambiguity is a hallmark of "Effi Briest" and is a major part of the appeal of Fontane's novel. Fontane refrains from making authorial pronouncements or assessments on his characters' actions and situations. To what extent, for example, does Innstetten's political ambition justify the lack of time he devotes to his young wife? Is Effi an agent in her own life, or is she a reactive victim to social morality and impossible standards, especially as a teenage wife? The relationship between Effi's parents highlights this ambiguity, bringing it even into ambivalence, as every difficult situation draws from Effi's father a dismissal of "that's too big a subject". Overall, a very complex and beautiful novel.

"Effi Briest" is not just a German version of Emma Bovary or Anna Karenina - it is quite unique in its depiction of a not untypical 19th century marriage. At the age of 17 the impetuous Effi Briest is married to a man 21 years her senior. He is decent enough in his treatment of her, but for Effi being married is a horrible experience, mostly because her husband's job forced her to move to the small town of Kessin where hardly anybody is fit to become her friend.

What always strikes me about Fontane is the fairness and the understandig he shows towards his characters. "Effi Briest" is Fontane's psychological insight at his best. None of characters is gloryfied, none vilified. You can identify with Effi and understand what drives her into the arms of another man; but you can also see that her husband simply doesn't understand what he is doing to Effi; actually he's doing his best to make her happy.

When the attractive, ageing womanizer Major Crampas moves into town, Effi pities him at first. Later, her attitude changes, but Fontane does not give any details of what's going on between the two. He shows what made it happen - and how Effi and her husband will deal with it. - It is a very entertaining read, not least because of Fontane's excellent low-key sense of humour.

This book covers most popular hand colouring techniques. Thus, it is a good material for getting to know the alternatives. However, as most of hand colouring books currently in the market (as far as my knowledge) this book is very poor in technical information, such as pigment and colour dye nature, their interaction with the silver image, effects to contrast and picture integrity, picture and colour durability etc. Methods are not very clearly identified, either, still leaving a lot of questions in your mind. It is a good advertisement for the American consumer market though. You will get to know which particular brands and their products will work best (! ) for you, ignoring all about the basic (raw) material knowledge. It is amazing that neither this nor any other book in the subject will discuss lightfastness of the colours. In my opinion, this book works fine for people who want recipes and where-to-buy lists.

Handcoloring Photographs Step by Step

by

Sandra Laird & Carey Chambers

Sandra Laird, a commercial and fine art photographer who teaches handcoloring, and Carey Chambers, a technical writer, teamed up and competently produced a very helpful and knowledgeable book for those interested in learning the art of handcoloring photographs. Every step is described and illustrated in detail. You just can't go wrong. Chapter one introduces you to the supplies needed and media available for handcoloring photographs. How to set up your workplace is discussed as is how to choose and prepare the photograph you want to color. Part of the preparation for the photograph is the correct printing of the photograph, print size and paper choice. These considerations are fully discussed. Then you make your choice of media. You can choose oil paints and pastels, watercolor paints, colored pencils, markers, acrylics or gouache. Chapter two introduces you to toners and dyes. "Toning or dyeing can help you achieve a better handcolored result," the author suggests. A before and after sample print shows the difference sepia-toning a print before coloring can make. The results are indeed, pleasing. Each step of the toning and dyeing procedures are clearly illustrated and explained. Again, sample prints illustrate the effect each process has on a print. Selective toning or dyeing (a method of toning or dyeing only a portion of a print) is also described. You are introduced to oil paints, pastels and other oil-based media in greater detail in chapter three. How to choose the medium best for your project and preparing the print for the particular media you choose is covered. Again, clear illustrations and text allow you to follow the artist through the steps taken to handcolor a specific photograph using each oil-based medium. Laird and Chambers take the same care going into detail in chapter four. This chapter covers all you need to know to get started using watercolor paint to color your photographs. Clear explanations and instructions accompany the step-by-step illustrations. Types of watercolor (liquid, tube or cake) are discussed as are brushes. Chapter five talks about using colored pencils and chapter six discusses all other media. Can you mix the various media when coloring one print? You bet. Examples of such prints are shown with suggestions and instructions on how to do it in chapter seven. Chapter eight ties all the loose ends together, and answers any questions you still may have before tackling your project. Chapter nine is a quick course in color theory, mixing pigments and choosing the best colors for your particular photograph. The last chapter tells us how to finish the print and prepare it for showing. Subjects such as spray finishes, matting, framing and displaying your print and archival considerations are covered. Appendix A lists manufacturers and suppliers for the various products needed for handcoloring photographs. Appendix B follows with a guide to the advantages and disadvantages of the different coloring media. A glossary and index end the book. I found this book thorough, clear and complete. Well illustrated with attractive and well- done photographs, simple instructions in easy-to-understand text takes you through each step of the processes. I really can't find anything to complain about where this book is concerned. This is an excellent book for a beginner and may even give pros an idea or two they can put to use.

After looking at other books on the subject, Handcoloring Photographs, Step by Step, offered the most examples and visuals. In my opinion, this book clearly is the best choice for anyone new to the area of handcoloring photographs. If you have to buy one book, this is the one.

lovecraft's story here is my personal favorite. derleth's is a good one. in addition chambers have his Yellow king here, his masterpiece. Bierce is here, though i'm not a fan of him, his stories have an interesting concept. brennan's story is not that great, but i was amused. wagner's story contains a very well written opening, but the concept turns out to be poor. between 3 and 4 stars, i'd say. i have to agree that the last part of the anthology, with this mysterious race or whatever, shouldn't been here. hastur turned out to be an entertaining concept.

Chaosium starts an attempt to make the works of HP Lovecraft and his followers accessible to fans who haven't subscribed to the esoteric fanzines. The series ranges between general anthologies of mythos stories, works by a single author and studies of certain aspects of the mythos. This book is of the 3rd variety and gives us the history of Hastur. We get works by Lovecraft, Derleth, Chambers and others while tracing the concept of Hastur in the stories. This is an excellent way to get introduced to the classic horror of Chambers King in Yellow. These eerie works are best in short doses as given here. Couple that with a Lovecraft classic and a story by Will Murray (the hardest working man in pulp these days) and you've got yourself a feast of great horror stories. This book is also a good intro to horror fans who haven't discovered Lovecraft yet. Yes, it's like a private eye fan who doesn't know Hammett, but they both exist.

THE HASTUR CYCLE was a very entertaining book of frightening short stories. Some of the stories didn't make sense to me(this may be because I'm just a teenager), but most of them were good. I enjoyed this book immensely, especially Lovecraft's short story "THE WHISPERER IN DARKNESS." The book was pretty good.

Well yes i go to a french school and, yes i know french. I finished reading this book and it is really not the same...I don't really like it at all...I mean, look at the cover!!!
The English one is MUCH better because well just because!

Harry Potter is back at Hogwarts, his wizarding school, and thankful for it. He had the worst summer with the Dursleys, his aunt, uncle, and cousin, whom he hates. He met a house elf, who caused him to be locked in his room for 3 days, with next to no food at all. Then the Wesleys come to rescue him, in a flying car. But that is not all that happends, Harry and Ron can't get through the wall to the Hogwarts train that awaits them on the other side. Then they remember the flying car. After a rough journey to his school and an even rougher landing, Harry Potter thinks that it can't gets worse, but it does. A cat is found hanging on a lamp post in front of Harry, Ron and Hermione, not quite dead, but not really alive, it was Stunned. Then, even worse, a student is next. Everyone, but a couple of his friends thinks that Harry did it. And when people keep getting Stunned, no one belives that he is innocent. It is up to Ron, Hermione, and Harry to find out who is really doing it, before the Hogwarts students get killed off one by one......

This is an exciting and thrilling book. I couldn't put it down! It was so exciting to find a book that I enjoyed so much! The part with the basilisk. If you are a young Harry Potter lover make sure you get to read the first three books. Read the second one slowly and make sure you understand it. You will indefinetily find it very thrilling!

I bought the book and thought to have both violin and piano parts on separate sheet. Unfortunately, the violin sonatas are printed in form of score containing both violin and piano. I have to copy the score for my piano accompaniment. Other than that the Fugue and Patitas are great. Overall this book is good for personal collection and I can never stop playing them.

First, I studied the Bach Partitas from the Carl Fisher Edition, and some day I lost it. I see the portrait of this work, and I liked and buy. Bach is phenomenal; and an important part of the violinist life, and this edition has a good distribution of the work, but the edition is not good, for example the Arpeggios of the Ciaccona are edited in a very old style, and not depured the different legato, sincerely is very difficult to undertand the intention of the editor; for the sonatas the edition could be better if the work includes the violin part separated from the Piano.
I choose three stars because, this work is very important, and the edition not help so much to explore all the work, because some passages will generate to a new violinist many ambiguities.

I have been a musician for 30+ years. I was a theory and compostion major in college. But I just took up the violin about a year ago. Of course, everything in this collection is way over my head, but I have considered it a joy to plow through a few bars at a time, picking up what I could of the craftsmanship of the guy who virtually invented music as we know it. It's amazing to watch him compose with complete anticipation of the performer. He gives you breaks when you need breaks. He gives you open strings when you need to hear intonation. He gives you a hold just in time to move to another position. Yet, if you listen to the partitas on CD, it sounds totally spontaeous, seamless, and fluid. It is a fulfilling exercise simply to listen to the CD, with violin in hand, as you follow along in the music. I will be learning these pieces for the next 30 years. I will never cease to be challenged by them. And their mastery will always be a very satisfying quest. The more I look into the mind of J.S. Bach through these compositions, the more I appreciate his genious!