When reading An Unnatural Order it will be difficult to not get the impression that Jim Mason is a visionary, on par with Henry Salt. We are privileged to have Mason as a contemporary. Years from now people could easily look back on him as the spark that helped reverse the course of destruction humans were on at the end of the 20th Century. Unfortunately, as with the ideas in it-and like Salt's work-An Unnatural Order has been largely ignored. Like a great movie that no one has seen, the fault for this must lay with lack of promotion. This review is appearing several years after the book's publication. This is unfortunate. An Unnatural Order is an important book.

"This book is written in hope and celebration. My hope is that we have the strength to rid ourselves of the destructive strands in Western culture," Mason begins. These destructive strands manifest themselves in the "Nature Question." Grossly simplified, the Nature Question is the intellectual belief that somewhere in our evolutionary past our ancestors broke their bonds with the living earth and put Homo sapiens above all other life on the planet, resulting in our species having no sense of kinship with other life nor any sense of belonging. The earth is beneath us; we are alienated from nature.

Mason continues "It is now time to bring this question into popular discussion, and I hope this book is a start." The roots of our alienation are deep-and deeply explored. Thirty pages are devoted to identifying dominionism. A picture of the world before agriculture-the seed of dominionism-is painted. Using current research and extensive references, a vivid portrait results that is as believable as any anthropologist's.

An all-things-are-connected web is spun, touching animal-human history and relationships; the crossover to agriculture; misogyny and misothery (the author's invention for "an attitude of hatred and contempt for animals and nature"); racism, colonialism, and dominionism. The breadth of his discussion is extensive and not every reader will agree with all of Mason's personal viewpoints. It irrelevant. In the long run one will feel certain that the book hits the mark of verity.

The final chapter brings it all together and offers Mason's broad outline for what needs to be done to turn dominionism around. He shows how the awareness of our social and environmental problems is widely known, citing the 1992 Rio Earth Summit, quoting political leaders and scholars, and referencing a who's who list of environmental writers, who he concludes all have the same message: "Humanity needs fundamental changes in its relationship with nature."

Supplying the missing piece, Mason states: "All having laid down such strong rhetoric, however, the movers and shakers, with rare exceptions, stop dead in their tracks when they approach the Animal Question. The Animal Question is regarded as illegitimate, silly, peripheral." To address the Animal Question reduces ones credibility. Driving home the point, Mason ponders how Christopher Stone's landmark 1972 article "Should Trees Have Standing?" would have been received had he written "Should Chimpanzees Have Standing?" He concludes that the Animal Question "is the very heart" of the Nature Question. The two cannot be separated. In order to make any progress toward healing our dominionist worldview, this gap must be bridged.

In the last few years some headway seems to have been made in this area. For too long the wedge that existed between "animal" and "environmental" groups has done all harm and no good. Since An Unnatural Order's publicatiom, there has been a call for unity as well as a more serious acceptance of the "Animal Question." Peter Singer's 1993 book and continued efforts with The Great Ape Project; the publication of When Elephants Weep by Jeffrey Masson and Susan McCarthy; and E magazine, which, beginning with its September/October 1995 issue, published a three-part series "to promote a dialogue between these two disparate communities," are just a few. Hopefully this is the start of serious progress.

In 1993, Jim Mason's An Unnatural Order appeared. While not totally ignored, there may never be a "modern dominionism" movement. If the message in his book is even remotely accurate, our culture cannot wait 80 years for some as-yet-unborn author to rediscover An Unnatural Order's message.

Joseph Connelly

In addition to a court of thirteen fairies representing each season (with a Lady, Knave, King, Queen, and Ace), there are eight fairy festival cards (Imbolc, Ostara, Beltane, Midsummer, Lughnasa, Herfest, Samhain, and Yule). It's easy to sense at a glance which fairies are good to work with and which are not, since each card conveys through use of color, expression, and lighting the feelings being described. THE FAIRY RING book further clarifies which fairies are helpful and provides advice regarding how best to obtain help from them (such as Habetrot, Asrai, the Sea Mither, Brownies and Leprechauns), and which fairies are best avoided because they are known for being treacherous, illusory, or inaccessible (such as the Changeling, Will o' the Wisp, or Jenny Greenteeth). For those who need a little help asking the fairies for guidance, nine different divinatory spreads are provided, along with a sample reading for the Fairy Market spread.

If you already feel an affinity for fairies and are willing to read through the stories and divinatory meanings for each card, this deck will quickly become an invaluable aid. I received meaningful guidance and advice from THE FAIRY RING deck after using it twice!

Ms. Franklin, a practicing pagan and high priestess, has spent more than twenty years collecting and exploring fairy lore and legends. Her time at this pleasurable occupation has been spent commendably, for she offers us a deck where each card has its legend or lore, divinatory and reversed meanings, ways to work with each fairy - or whether it is wiser not to work with them.

The cards are split into the four seasons called the courts, which I find a huge plus for not only those of the fae path but also for hedgewitches whose day to day lives are also lived by the seasons and elements. Along with the four suits of court cards, there are also the eight major fairy festival cards. This I have not seen before and I enjoy working with these as well. There are nine spreads, a sample reading and a guide for meditations for the cards. All in all, the book was written for the basic reader and is very user friendly.

Mr. Mason is truly a visionary. Using photography and artistry together, he blends the cards into a beautiful masterpiece that is his own signature. Bringing fantasy, imagination, illusion and desire into the cards, he has managed to create symmetry of grand proportions!

The Fairy Ring is one of grandeur, from the beautiful fairies to the distorted ogres, and all in between. You will want to work with the oracle on a daily basis to give you the divine inner wisdom that you seek! Anna Franklin and Paul Mason, together, have created a treasure in The Fairy Ring.

M.L. Benton, Publisher, Echoed Voices
Copyright © October 2002

9-11: Emergency Relief is a benefit book that is filled with true stories from September 11th. They range from touching, to infuriating, to thought-provoking, and the list of creators reads like a who's who of Indy Comics: James Kochalka, Will Eisner, Tony Millionaire, Harvey Pekar, Tom Hart, Joyce Brabner, Ted Rall, and literally DOZENS of others. Besides being entertaining, and raising money for the Red Cross, the book fulfills another important purpose: It stands as a reminder of a day we must NEVER forget. God Bless America!

Must have worked, he pulled it off, survived. So, we get to read his book.

HINTS: The reader should get a somewhat detailed map of Alaska as Mort takes you many places. Alaska is, in a word,'HUMONGOUS',
as he describes it, like 3 states of Texas would fit inside but some of us don't realize how HUGE Texas really is, so a map will help.
Mort starts book out kind of 'stiff',(pilot-talk) like "flying the N2029Y etc. etc." but that's just his way to identify airplanes. He loosens up and gets less technical as book progresses.

The picture Illustrations are extrodinary. You will page back and forth over and over again. The pictures of rescues of broken airplanes were eye opening and special. the photo of a wingless Piper Cub being hoisted by a helicopter is imaginable but I especially liked that one of a cub airplane body, lashed to the float struts of an even bigger float plane (Beaver) defies imagination. That has to be the most un-aerodyamic, lopsided, unflyable, etc. setup I've ever seen ! Amazing.
Mort describes and explains, from a pilots reasoning, why flying Alaska can be a 'different-ball-game'.
The FAA, (our sky cops) who make our airways the safest in the world, can't very well say, "O.K., here's the rules everyone, (except Alaska)" Mort tells how they make it work.

The word 'super' became popular during 50's-60's (Super-Bowl)etc.
meaning the best, ultimate, whatever.
Mort's statement: " Whatever you've heard, seen, before about a SUPER-CUB airplane, BELIEVE IT" !
He goes on to write about some hair raising experiences using that airplane.

Mort describes/shows the modern Alaskan airplane. The words 'flimsy' or 'fragile' would best apply to the 'where' the airplanes are being used. Rather BEEFED-UP, Alaskan-style is a better description. Mort tells of the many airplane customized
changes. Reinforced landing supports, larger horsepower engines,
tires,retractable ski's, etc.etc.
Compare 'off-road-vehicles', to 'all-terrain-airplanes' and Alaska is the undesputed king.
The lakes Hood & Spenard, that Mort repeatedly refers to, is
exactly as he describes.They are adjacent to Anchorage International airport and the parking lot of the worlds wildest airplanes. The planes are stacked in there like cordwood, a sight to behold. If your ever in Anchorage, Alaska, and would like to see some of the (Mort-type) airplanes, rent a cab or take a drive around the lakes and you'll see all the variations, from Big Foots to Turbocharged X-perimentals.

On the lighter-side, Mort has many 'rookie' (him) stories and adventures, which will tickle the reader. A few of my favorites were:
* The German customers, HERR SCHMIDT, ("Sprecken-Nein-English")
or
* Mort drank too much coffee and HAD to pee with nowhere to land.

Lots of laughs for the reader. Mort tells it like it is/was. ........

This small volume is a treasure. In hardcover, the pages are silver, the dark blue typography is a beautiful old-style Roman, perhaps Garamond or Times, good-sized and leaded out for easy readability. And the illustrations are unsurpassed.

First, the illustrator: Gustave Dore was born in 1832, sixty years after the birth of Coleridge. He died in 1883. Coleridge preceded him in death by 49 years. Coleridge was born in 1772 and died in 1834. Dore was born in Strasbourg, and was a renowned illustrator who was doing lithographs at the age of thirteen.

The fact that Dore was a near contemporary of Coleridge is important because we can be assured that the characters' costumes in his illustrations reflect the actual dress of the time Coleridge was describing. The ships also are correctly drawn and beautifully detailed.

To say that his illustrations complement this classic epic poem is an understatement.

As to the poet, some wag said once of The Rime of the Ancient Mariner, that "a half-great poet had a wholly great day." I have also heard that Coleridge is supposed to have written his epic in one sitting, in a great burst of inspiration. I can't vouch for that, but it is truly a masterpiece--of that there can be no doubt.

I recall trying to memorize it when I was in high school, about sixty years ago. I loved it then, and I still do now.

For the price, this book is an absolute steal. No library is complete without this poem, and of all the renditions I've seen of it, this is by far the most beautiful.

On the surface, this may just seem to be a simple poem by an English Romantic. But there is so much more. There is a lesson to be learned, one of respect for God's creatures and for all of creation. This is certainly a Romantic point of view, and Coleridge puts it forth very nicely in this poem.

This is a great beginning poem for novices of poetry, for beginners and for people who dislike poetry if it doesn't rhyme and have a definite rhythm. This is definitely Coleridge's best poem, one that everyone should be familiar with. This version with the woodcuts makes for a very attractive package--the illustrations add nicely to the poems overall effect.