This is a great book telling a wonderful story of art in America. This is what American art is all about and how this little pottery enterprise made its mark on the art world. You will enjoy this book very much.

I wrote the 1st review of this book. There are 3 typo's in the second paragraph. It should read "Shearwater POTTERY not potter, (2) struggled not strugged, and (3) their ART not air. Thanks for letting me make these corrections.

THE STORY OF A FAMILY'S DEDICATION TO EACH OTHER AND THEIR ART

By Lynna Williams.

Maria Estrella Iglesias, a collector of American art pottery, was in an antiques mall near Nashville when she saw a pottery vase glazed "an extraordinary blue." Seeing it across the cluttered room "was like catching a glimpse of the ocean," and when she turned it over she found a name and mark unfamiliar to her. Iglesias couldn't know it then, but that chance introduction to Shearwater Pottery would open up an extraordinary world apart: the personal and public history of the Andersons of Ocean Springs, Miss.

Some readers may already be familiar with the brilliant work of painter, printmaker and muralist Walter Inglis Anderson without knowing the story of his role in the pottery, and the broader story of his family's passionate commitment to art as a way of life.

Four generations of Andersons have created Shearwater's art and, while cordially disliking the term "artist," have nurtured potters, painters, sculptors, poets and writers, from the Depression to the present. The story Iglesias and her husband, Vanderbilt professor Christopher Maurer, tell in "Dreaming in Clay on the Coast of Mississippi" has passion and torment sufficient for grand opera, all borne of a relentless dedication to the making of art. It would be a remarkable story in any time. In the America of the 21st Century, when art is so often viewed as extraneous in our daily lives, or as just another commodity to be consumed, it takes on a special, almost electric, resonance. Maurer and Iglesias' book, which starts with an account of their own "falling into" the Shearwater world, is a compelling account of lives in which art, for better and worse, is as basic a necessity of life as air and water.

It began with a marriage, 100 years ago. After a 12-year courtship, George Walter Anderson, a prosperous grain dealer, wed Annette McConnell, a lawyer's daughter educated at Newcomb College in New Orleans, a central force in the post-Civil War resurgence of arts and crafts in the South. By 1907 there were three sons: Peter, Walter Inglis and James McConnell.

From the beginning, their artistic mother wanted art to wash over them, to be fundamental to who they were. Their businessman father dreamed of "Anderson, Incorporated," the family functioning as a unit. "Dreaming in Clay" documents how both parents' wishes shaped their sons' lives, from their free spirits and work ethic, to their specialized educations, to their vocations, to their choice of wives for whom love and art were one, inextricably linked. As in fairy tales, both wishes-for art, for a family enterprise-came true, but not at all in simple, happily-ever-after fashion.

As an enterprise, Shearwater Pottery began after the family's move in 1918 from New Orleans to Ocean Springs, a place where the beauty and wildness of the natural world led inevitably to the making of art. Oldest son Peter was 22 or 23 when he built a kiln in the side of a hill. One of the pleasures of "Dreaming in Clay" is its careful record of what was involved in the making of modern pottery, and an artistic community, in a "sleepy coastal town that had never had more than a nodding acquaintance with art."

Slowly, amid Peter's ongoing education with established artists intrigued with the experiment at Ocean Springs, the family worked to perfect the technical aspects of producing pottery: the right kiln, the right glazes, the right touch with wheel and hand-thrown pots. The Andersons were getting a business on its feet, but artistic concerns were paramount from the beginning: More than 2,500 pots considered unacceptable -- sometimes entire kilnloads -- were intentionally destroyed before Shearwater opened to the public. The name for the pottery came from a book about birds but was used in tribute to Mississippi's black skimmers, which shear the surface of the water to scoop up small fish. The name reflects what has become Shearwater's enduring connection to the Mississippi landscape.

In writing "Dreaming in Clay," Maurer and Iglesias were given access to the family's archive, and it is in the letters of the day that the family's struggles and triumphs come most vividly alive. Nowhere is that more true than in the stories of the two oldest sons, Peter and Walter Inglis (called Bobby by his family), and the women they would marry, sisters Patricia and Agnes "Sissy" Grinstead. Pat was "transported" the moment she saw the handsome Peter Anderson, and was immediately adopted as a "true" member of the clan. Bob's courtship of Sissy was long and arduous, and drew him into producing decorative pottery and figurines at Shearwater as a livelihood, a way of showing that he, too, could support a wife. The two were married in 1933; four years later, Bob had a devastating mental breakdown. Not long after, Peter, too, was hospitalized, suffering from depression. Peter's illness was more easily treated; Bob's involved a more prolonged hospital stay, and the latest, and most extreme, of psychiatric treatments. When he returned home to Ocean Springs he would find his art again but never be a part of the family in the same way as before.

The book's account of Sissy and Pat Anderson is fascinating in its picture of women determined that both love and art would survive. The resolve of all the family to see each other through, no matter what, helps make "Dreaming in Clay" a highly readable and remarkable testament. We're able to appreciate the survival of Shearwater Pottery into the 21st Century in part because it is also the continuation of a family that has lived, and lived through, its passion for art.

A black scout, stupid most of the time and was smart enough only once to rescue a guy, with limited knowledge of scouting and some experience in shooting; Graham, a somewhat tough and stubborn wagon master; a girl called Aggie; an old plainsman with a sidekick Kid; a lot of Camaches and butchering killings assembled together this going-no-where and aimless story. Lot of flash-backs trying to give the readers some unnecessary backgrounds of these vague characters during a close-circuit fighting at a crossing only ruined the whole scenario with too many digressions. What's the symbol of being gelding the private part of Moses? This story is just like one of the mass productions out of Hollywood in black-and-white Camanches attacking wagon train lousy movies. A total failure of Clay Reynolds if compared to his latest more mature and almost perfect novel, "PLAYERS". Readers given this book a "10" should at first to finish "LONESOME DOVE" and "BRULES" , and then might tell the difference of goo

This book was actually spell binding. I found the author had me completely caught up in the characters lives. The book was hard to put down. I think that there was enough material to make two books and the characters certainly could have gone on for quite a while, those that lived. Moses Franklin was exactly as I would think a black man in those times and circumstances would feel and act. He was very believable. It floundered somewhat in the ending but I didn't mind it was a very good read.

Each of the aspiring pioneers in this book suffers, none are quite whole. While one character's mental anguish may not precisely match that of another, the pain is still real, the dream still unfulfilled.

These men and women are moving out west in the desperate hope that they will find what they desire, whether it is worldly success, relief from a horrible situation, or just a sense of internal peace.

That, of course, does not happen. Instead, they become trapped in a claustrophobic pecan grove, surrounded by brutal Indians. There, in Franklin's Crossing, each person's weakness becomes even more apparent, pronounced, whether it is greed, selfishness, or cowardice; and so, when it is vital for everyone to work together, most fall completely apart.

What I liked best about the book is that it is a woman who directly faces the nearly impossible challenges, a woman who survives and adapts and continues to fight back against ridiculous odds.

And, while little joy surfaces throughout the tale, the final feeling is that there is always hope, that the possibility of a better life exists for those who take the necessary risks

I have used the Clay and Medwin's tome almost continuously throughout my career however, I never owned a copy. There were several reasons for this (graduate student income) but with a good job and the pending publication of the second edition I was finally ready to get my own copy. At first I was very pleased. The fundamentals of the first edition were retained while a wealth of new material was added. I eagerly opened to various topics of interest only to be appalled by the poor typesetting quality. Wiley publishers apparently used at least two different typesetting processes. The result is especially obvious when comparing equations; symbols change shape, size, and spacing within the same discussion on the same page. The effect is quite jarring. I'm afraid to guess, but the book appears to be the work of several people using different word processors and the result simply slapped together in an attractive binding. This is no way to treat this venerable text. For now I'll just try to find an old copy of the first edition. Take my advice if you are the least bit offended by poor typesetting this edition will drive you nuts.

Just wanted to clarify a point made in Jim Hawkins' review of this book. John Wiley & Sons was not involved in the publication of the second edition of this venerable work. Any fault with the quality of the typesetting should be brought to the attention of Academic Press and the authors, not Wiley.

D.V. Holliday of Marconi-Tracor Aerospace, San Diego, CA in June 1999 issue of Limnology and Oceanography: "This book will be an invaluable reference for acoustical oceeanographers. It will also be used extensively by fisheries and biological oceanographers as they try to understand and develop new ways to use acoustics to study the physical and biological processes that lead to ever-varying distributions and abundances of organisms ranging from phytoplankton to marine mammals." "I strongly recommend it to acousticians, geophysicists and physical and biological oceanographers".

T.K. Stanton, Department of Applied Ocean Physics and Engineering, Woods Hole Oceanographic Institution, Woods Hole, MA, in the April 1999 issue of the J Acoust.Soc.Am.: "Fundamentals of Acoustical Oceanography is written in a style appropiate for a broad audience at many levels. Much of the text is written in a simple tutorial manner so that nonspecialists and people who are just entering the field can understand it. Furthermore, there is enough detail and references made to the literature so that the specialist can also make use of the material. The book spans areas of marine geology, marine biology, physical oceanography, and marine engineering and would be useful in applications involving ecology, commerce, and the military". "Medwin and Clay integrate diverse concepts and focus on solving realistic problems. Oceanography is described along with acoustics. Acoustical formulations are derived in terms of observable ocean parameters and there are many comparisons of theory with laboratory and ocean data." "The book follows "Acoustical Oceanography", published in 1977 by the same authors but with author order reversed. The first book was widely used and cited.. It had eleven printings, was translated into Russian and was cited routinely by scientists in varied disciplines and in many different journals. Since 1977, there have been significant advances in the area of acoustical oceanography. This new book incorporates many of the advances along with a new format".

D. Farmer, IOS, Canada in Aug 25 issue of EOS, Trans., Am. Geophys. Union: "Part of the excitement pervading this field (acoustical oceanography) stems from the rapidity with which the scope of possible applications is increasing:. Fundamentals of Acoustical Oceanography is an excellent starting point for oceanographers seeking acquaintance with this field as well as a valuable reference for practicing scientists. The opportunities (in acoustical oceanography) will be limited only by the oceanographer's imagination and the need for a firm understanding of the underlying principles. It is this last requirement to which the authors have contributed, and oceanographers will be grateful for their effort"

this book does not even compare to other books on clay projects. It apparently hides behind a couple of religious quotes as a reason to over-charge for a minimal treatment of polymer clay projects.

If mom's are allowed to write a review, I would like to encourage other moms to work with their kids and help them achieve their dreams and goals in life. I am very proud of Joshua, and how far he has come in the 3 years he has been sculpting and teaching others. Joshua's book is excellent in design, lay-out, color, and easy to understand instructions for kids and adults. Joshua has even taught kids with learning disabilities to sculpt with wonderful results. If you are an amateur or a pro at sculpting, Joshua's book will be a delight to all who try their hand at his adorable critters.

This book is a must-have for people of all ages who enjoy working with polymer clay. The instructions for making cute critters in this book are very easy to follow, and fun!

My favorites are Rocky Raven and Cocoa Moose.

I can't wait for Joshua's next book!

I have a love and hate relationship with this book. I love the way the author wrote the book and how he made Dorian almost seem Christ like to Margerot and her husband but it was really too short.

While the writing of this book can be a tad bit overbearing, i still found it to be a good read. i enjoyed how the Stanley Bennett showed that there is a thin line between the rich that live on the hill and the middle class that live in the valley. it was interesting to see how the secrets of Maggie and Lamont Lester-Allegro came full circle. the world really is a small place. ONELOVE

Dorian Moore is a pretty, young, black man who provides various services to the Black elite in Baldwin Hills, California. The novel follows Dorian's stimulating and often-erotic experiences and the affects he has on people.

Clay does an excellent job of portraying the Black upper class, their desires, and their dependencies. Although a mere 127 pages, the book is a slow, poetic, sensuous read with many surprises that will leave the reader wanting more. I eagerly anticipate more works from this author.

Reviewed by Latoya Carter-Qawiyy
The RAWSISTAZ Reviewers

Great book for all Industrial engineers. It does not get completely complicated and relates directly to common day industry practices.

This textbook, which has been around for a number of years and has undergone a few revisions, has become the standard preparatory text for APICS tests and college-level production/operations management courses in dozens of universities.

The content is very broad - it covers almost the entire gamut of P/OM topics to some degree. That may be the only drawback to this book: it so broad in its topical coverage that there may be examples where the authors could have gone deeper in their presentation on specific subjects.

But even so, this charactertistic of being "100 miles wide and a few miles deep" works very well for readers who need a comprehensive primer on P/OM. That would include people just entering the field, or those that need to undestand the primary subject matters and areas of study, to point them in new directions.

I highly recommend this book as a foundation reference guide to your business library. Again, I know of many books that may be deeper in specific areas of P/OM, but I know of no book that encompasses so many topics and does and admirable job of presenting those topics. I would also caution the seasoned, highly-read P/OM professional in buying this book, but leave it for those newcomers to the field.

This book is a classic: depth of information over a broad body of knowledge.

The error mentioned by another reviewer appears on p. 488: the "L-bar" term should be squared. Verifying dimensional homogeneity [i.e.that units of measure calculate consistently across the expression and result in "items" {whatever units demand is carried = units of safety stock}]) would alert a reader quickly that the product in the first term is incorrect.

While Mr. Lucchesi is obviously a very talented sculpter of the human physique,I found this book to be somewhat simplistic in it's approach. Going through its pages was similar to watching the how-to-paint shows on PBS,a few little tricks here and there to get a quick effect,but no real exploration as to what makes a sculpture a real work of art or a true portrait. For someone who already posseses an understanding of anatomy,who knows the foundation of modeling the head,this book describes not much more than forming a maniken. There is no discussion of the relationships between parts of the face or how those relations change with different emotions. I can only recommend this book to beginners with no previous modeling experience.

I am interested primarily in learning figure sculpture, so I bought this as a companion to the volumes "Modeling the Figure in Clay" and "Terracotta." I must say I was not disappointed. The book is a walkthrough of a single sculpture, but it is not developed in the anatomical style taught in "Modeling the Figure in Clay." Students of portraiture may prefer a more detailed treatment of facial anatomy. However, the work shown in the book has the grace and "flow" which is so difficult for beginners to master -- and which is tough to learn without viewing the piece as an integrated whole.

I bought this book (along with several others) while taking a class in sculpture. I found it to be the most informative and inspiring of any source, including my sculpture teacher. Using a series of close-up, detailed photographs, the book walks the student through the steps of creating a clay head. I followed them and made a good (for me) sculpture of a man's head and later a bust of a woman. I went on to make other clay faces, incorporated into mugs and pots. I don't pretend to be a great sculptor but, thanks to this book, I am able to make recognizable sculptures. The excellent directions include how to control surface texture using water and a brush; it is possible to make clay look like skin. If you are struggling to bring clay to life, this book doesn't just tell you how, it shows you how.

Randall Black

Although I'm not prone to reading short stories, anything by author Michael Malone is usually priceless. This collection is no exception. A terrific concept is this, the grouping of Malone's fictional observations of a dozen Southern women, as diverse a group as the real tapestry of women in the south.

Led by Malone's award-winning "Stella, Red Clay" - which is more of a look into the relationship between a father and son, both of whom admire ex-Hollywood star Stella, from a distance, this story was worth the price of the book and definitely deserved the two national awards it garnered. In the collection, about 7 of the pieces are well-developed, and the rest fall a little short of the artistry you've come to expect from Malone's novels. My personal favorite was the look into the soul of a battered woman in "Charmain, White Trash Noir" - Malone perfectly captures the lack of self-esteem, yet the ladylike manner a real Charmain would display when confronted with the dilemma of airing her marital dirty laundry in order to save herself from a conviction.

I granted 4 instead of 5 stars because I particularly disliked the snapshot of Malone's "Justin-Cuddy" series...all about a local deb in Hillston (Patty, Love & Other Crimes). It definitely did not do the series justice.

From the creation of the concept, the cleverness of the cover in the oversize paperback, the ebb and flow of Malone's poetry written as prose, you'll enjoy this collection. And, if you do, be sure to gather Malone's other gems, his novels, which are amazing!

Mr. Malone, I wish you would stick with Cuddy and Justin as they are your finest, in my opinion. The very best story here is Maddie and I wish you had developed her into a full length book. That story was greeeeat. A good mystery, good historical stuff and a good twist in the end although I think I saw it coming. I cannot get enough of Cuddy and Justin so please carry them on into the future. Please????

The Italians have a word for it: "sprezzatura," meaning "the art of effortless mastery." Michael Malone, North Carolina's twenty-first century Prospero has exactly this kind of prestidigitator's touch with the short story form. His collection entitled: "Red Clay, Blue Cadillac" has a natural flow which makes reading it pleasurably easy. Proof of his legerdemain? Presto! Two of these stories garnered national prizes: "Stella, Red Clay" won the Edgar Allen Poe award and "Meredith: Fast Love" the O.Henry laurel.

A notoriously difficult literary form, the short story usually entails a five point structure: 1. situation 2. generating circumstances 3. rising action 4. climax and 5. denouement. Such literary strictures apparently pose no hardship for Malone who, while maintaining his necromancer's panache with narrative, never loses his inventive prowess. His humor and command of southern speak shine. Here, the novelist presents the reader with a dozen distillate vignettes, every conception dazzlingly real.

Each story bears a woman's name and there are as many types as stories: the omnipotent femme fatale, the psychologically abused wife, the easy sexpot, a feisty and unsinkable old African-American... to name only a quarter ot the total. Malone doesn't limit his magician's sleight of hand to the distaff side either; there are fascinating guys too: a good ole boy hunter type personifying bumpkinhood, a clueless, abusive husband, a slick upper class lawyer, and a harried sports manager. These lists omit many memorable minor characters.

I was delighted when Malone's sleuthing duo, police chief Cuddy Mangum and chief detective Justin Savile whom we know from "Time's Witness" and "Civil Seasons" showed up in the seventh story: "Patty: Love and Other Crimes." A Cahner's Business Information, Inc. critic called this story, "pedestrian." I found it anything but. "Patty" fits the classic pattern snugly; plus it has an ingenious plot, insight into the human psyche, really funny dialogue, and enough twists and surprises to keep the reader happily engaged. Loving Savile, as I do, I was disappointed that Cuddy has more hilarious conversations with "Bubba Percy, the star (in his opinion) reporter for the Hillston Star," than he does with his chief detective.

I always envy those who have yet to succumb to the enchantment of a Malone book for the first time. My initial reading brought Robert Louis Stevenson's appreciative lines to mind: "The world is so full of a number of things, I'm sure we should all be happy as kings." Malone's version of the new south is on target and fits this quotation. I'll betcha it'll prove even more rewarding the second time around.

Postscript: When reading a work so full and varied, surely, one must wonder about the inscrutable interior stratagems involved in the creative process. In the fourth story "Charmain: White Trash Noir" there are four words which may hold subtle clues to the internal windmills turning inside the learned, labyrinthine mind of Michael Malone. Tenuous intimations to be sure, but ones too plain to be coincidence. Charmain's patrician young lawyer's name is Tilden Snow and his ancestral home is called "Heaven's Hill." These phrases may jangle, even fibrillate your mindsprings if you have read "The Last Noel," Malone's novel which begins as a rare southern snow is falling. It's memorable heroine's name is Noelle Katherine Tilden and her old southern mansion is known as Heaven's Hill. Mysterioso!

Just got a copy of this for Christmas; latest printing I believe.

I haven't tried to make a folder yet, but I might give it a go soon. However, I'll be buying some other book before I try it.

OK These guys make knives and are the big names. I don't expect them to write well and I wasn't surprised. However, I was surprised on the print quality. Most of the pictures (which the authors rely on quite heavily) are nearly black. "In photo 14 you can see how to ...." In photo 14 you can't see squat.

Personally I think it's great that these guys are willing to share their methods. It's just a shame that the publisher is not doing them justice.

I also need to warn some readers that these 3 are professionals with professional equipment and professional methods. Some of us are garage knife makers and don't have milling machines. This makes their plans quite a bit harder to implement.

Overall if you want to know how these guys construct their knives, you will get a feel for it. If you already make folding knives, you might get some more ideas. If you want to use this book to learn how to do it, forget it.

Also, as another reviewer pointed out, this book is quite remiss in not covering linerlocks.

I am a knife knut. There are three "make a knife" sections to this book. The authors - Lake, Centofante, and Clay are each well respected knifemakers. For a general idea of what goes into knifemaking this book is about average for the "let's write a book for our fans who aspire to make their own" book. It gives methods that each contributor goes through (learned after painstaking years of trial and error, hands on work). The text gives a pretty good description of each artists work, start to finish. As in most of the books in this price range and size, the pictures are not very helpful.
You will not become a knife maker reading this or any of the books like this one. It does show you how much talent and hardwork and knowledge you need to make just one knife though.

I believe that there are items in this book which are exactly what one is looking for if they would like to learn to make folders. I bought this book at a knife show a long time ago but misplacd it. Now I have enough room to set up a bench and think I will buy another copy and give it a go.

The projects in this book are more of a modern artistic
way to use polymer clay.
I really enjoyed reading about the history of "clay".
I find the projects interesting and different.
I do plan to make the Cactus Candleabra though. It
intrigues me.
We have an art district in my area..I plan to make it and
place it in one of the stores. I think it would fit right in.

A lot of the projects in this book are very different. It doesnt go into great detail in describing how to make the project. I wouldn't recommend the book for beginners.

Polymer Claywork is a project-based book, but what is most interesting about it is its front matter. The projects themselves range from fun to a bit dull.

The book includes both a section I've not seen in another PC book - a short history of PC - and a lovely gallery. The history was fascinating for me, since I'm rather new to PC, and answered one of my long-standing questions (what does Fimo mean?). And the gallery was, sadly, too short, but inclusive and inspiring. Those two items alone were worth the lower-end price of the book.

The projects themselves, while attractive, don't always include new techniques or new ideas. They range from extremely basic to somewhat complex. Most of them are of the home decorating or knickknack variety, with a few basic jewelry or bead ideas. One interesting facet of these lessons is the mixed-media aspect; there's rather more of this in Polymer Claywork than in most books - projects like tassels and hand mirrors, for example, with both PC and non-PC components (other than findings).

This book is hardcover and stitch-bound, which is really nice. I haven't had it very long, but I suspect it will hold up to standard use better than many of the PC books available. It's also attractively priced; many of the softcover project-based PC books are more than this one.

A nice, attractive book, and one I'm happy to have, though perhaps not essential in a PC library.