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Johannes Bobrowski is widely regarded as the most important German poet of this century. He began to write poetry on the Eastern Front in 1941 where, as a 24-year-old German soldier in Kaunas, he saw the "slavering wolves" of the SS drive the "grey processions" over a hill to death. A prisoner-of-war in Russia until 1949, he returned to Berlin to write with a purpose: to inform his countrymen of the history and myths of Eastern Europe and to preserve the memory of his childhood home. The poems in Shadow Lands reflect Bobrowski's hope, in the words of Michael Hamburger, "that he might succeed poetically in bearing witness to that vanished world, " that is, the world of Eastern Germany before the war. With an almost surreal lyrical beauty, he evokes the pre-Christian era of the gods and heroes of the ancient Prussians. The poems also resonate with the most eloquent and picturesque descriptions of Bobrowski's homeland - its rivers, its forests and quiet villages - ultimately leaving us with a sense of "the hiddenness of all perfect things." Personally intense and far-reaching, these poems have been treasured for their originality, their beauty, and their broad and lasting appeal.

• Sales Rank: #1189890 in Books
• Brand: Brand: New Directions
• Published on: 1994-10-01
• Original language: English
• Number of items: 1
• Dimensions: 7.88" h x .55" w x 5.14" l, .49 pounds
• Binding: Paperback
• 206 pages

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• Used Book in Good Condition

From Publishers Weekly
The East German poet Bobrowski (From the Rivers) died in 1965 at the age of 48, four years after his first collection of poems had appeared to critical acclaim in both Germanies. The Meads began translating his work before he died, publishing increasingly comprehensive selections in the U.K. In America, however, Bobrowski remains relatively unknown-a matter for regret, since he is a major postwar European poet. The heart of his poetry is the writer's evocation of Sarmatia, an ancient name for an area including parts of East Prussia, Latvia, Poland and Russia. This is the culturally diverse region Bobrowski grew up in and remembered lovingly, but which, as a soldier in the Nazi army serving on the eastern front, he had helped to destroy. Sarmatia is thus both a casualty of history and a zone of the guilty spirit where peoples, religions, languages and armies come and go in the shadow of migrating birds and the drifting smoke of campfires. Sarmatia is a frightening and poignant conception, in which a vision of the postwar wasteland is combined with the memory of a prehistoric and now forever forbidden peaceable kingdom. Bobrowski's poems are hushed and elliptical, composed in short, imagistic lines that are like the shards of a long German compound sentence shattered beyond repair. They have been beautifully translated by the Meads, who, while observing the peculiarities of German syntax, succeed at hitting a strange, genuinely poetic, English note.
Copyright 1994 Reed Business Information, Inc.

From Booklist
Bobrowski's first book of poems was published in 1961, yet by the time the East German died four years later at 48, he had been recognized as a rising star in the literary universe. This collection of his work bears a title that will cause it to be confused with Shadow Land (1966), but that is its only failing. Bobrowski demonstrates a vibrant lyricism and masterly style. His subjects--such things as birch trees, wolves, and swan feathers--usually seem diminutive and minor, but with these spare images he invokes tradition and a larger image of his personal and political world. These are poems to be read aloud and savored for their contradictory combination of energy and calm. Elizabeth Gunderson

Review
Above The River
Always To Be Named
The Animals At Christmas
Answer
Arrival
At The River
Beachcomber
Bird Routes 1957
Bird's Nest
The Bird, White
Blood Rain
Brentano In Aschaffenburg
By Day
By The River
Calamus
Call
The Call Of The Quail
Calls
Cathedral 1941
Childhood
The Church: Comfort My Afflication
Cloister Near Novgorod
Counterlight
Crypt/brandenburg Cathedral
The Daubas
Dead Language
The Death Of The Wolf
The Deserted House
Deserted Township
The Don
Dryad
The Duna
Dylan Thomas
The Eagle
Easter
Elder-blossom
Else Lasker-schuler
Encounter
The End Of The Summer Night
Esther
Estrangement
Exodus Of The Gods
Experience
Fire And Snow
Fire And Snow
The Ford
French Village
From The Rivers
Gertrud Kolmar
Gongora
Graveyard
Gunderode
Hamann
The Hawk
Holderlin In Tubingen
The Homeland Of The Painter Chagall
House
Ikons
In Memory Of B.l.
In The Empty Mirror
In Transit
J.s. Bach
Jakug Bart In Ralbitz
Joseph Conrad
The Jura
Kaunas 1941
Kolno Dance
Lake Ilmen 1941
Lake Shore
Lament
Landscape With Birds
Language
The Latvian Autumn
Latvian Songs
Lithuanian Songs
The Lithuanian Well
Log-cabin
The Log-cabin Above The Vilia
Meadowbrook
Memorial Leaf
Mickiewicz
Midnight Village
Midstream
Mobile By Calder
Mourning For Jahnn
Mozart
Names For The Persecuted
Night-swallows
Nightfisher
Nightway
North Russian Town
Novgrod (arrival Of The Saints)
On The Tauric Road
One Day
Pike Time
Place Of Fire
Plain
Precaution
Pruzzian Elegy
Reawakening
Recall
Report
Return
River Poem
The Road Home
The Road Of The Armies
Russian Songs
Sanctuary
The Sarmatian Plain
Sea-piece
Shadow Land
Silcher's Grave
The Singing Swan
The Spoor In The Sand
Steppe
Summer Cries
Tale
To Holty
To Jawlensky
To Klopstock
To Nelly Sachs
To The Chassid Barkan
To The Jewish Dealer A.s.
The Tomsk Road
Town
Under The Edge Of Night
Undine
Unsaid
Village Church 1942
Village Music
Village Road
Villon
Vilna
The Volga Towns
Wagon Trip
The Wanderer
Weathersigns
When The Rooms
Windmill
Winter Cries
Winterlight
With The Songs Of Sappho
With Wings
With Your Voice
The Wives Of The Nehrung-fishers
The Word Man
-- Table of Poems from Poem Finder®

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Richard Bare is primarily known as the sole director of the television series Green Acres, but his Hollywood career spanned over 40 years, starting with his USC student film, So You Want to Give Up Smoking, which resulted in a long-term contract at Warner Bros. He has directed over a dozen feature films and over 400 television shows, including Maverick, 77 Sunset Strip, The Virginian, and the Twilight Zone. Follow Bare through his many years in the film industry, which brought him into contact with Hollywood's biggest stars, like Gary Cooper, Betty Hutton, Debbie Reynolds, Eva Gabor, Eddie Albert, and Charlie Chaplin, as well as producers Steven Spielberg, George Lucas, and Walt Disney. Bare opens with a gripping story of how he and the crew of MGM's The Islanders almost lost their lives in a devastating plane crash in the Caribbean Sea. Includes filmography.

• Sales Rank: #4430089 in Books
• Brand: Brand: Scarecrow Press
• Published on: 2001-08-01
• Original language: English
• Number of items: 1
• Dimensions: 8.76" h x 1.07" w x 5.66" l, 1.29 pounds
• Binding: Hardcover
• 344 pages

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• Used Book in Good Condition

Review
The day I met Richard Bare changed my life. (Garner, James)

[A] useful addition to the always excellent and informative Scarecrow Filmmakers series, which has done much to preserve the memories of the veterans of the cinematic community. (Historical Journal Of Film, Radio, And Television)

Dick Bare is not only a highly skilled director but is also an articulate spokesperson for his fellow directors. (Robert Wise)

[A] useful addition to the always excellent and informative Scarecrow Filmmakers series, which has done much to preserve the memories of the veterans of the cinematic community..... (Historical Journal Of Film, Radio, And Television)

About the Author
Richard Bare, the award-winning Hollywood director, lives in Newport Beach, California.

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1 of 2 people found the following review helpful.
Worthless Book That Doesn't Cover Director's TV Career
By Mediaman
Richard Bare is known for one thing: directing TV series. So why is his book not filled with stories about the shows he directed?

It's a complete waste of time. Bare decides that his life story is more interesting than the shows he directed, so he spends time talking about his friends, his wives, his drinking, his boat, his injuries, the minor films he directed (none which you've ever heard of) and even details about the movie cameras he owned! Of the 315 pages, he doesn't even get to talking about TV until page 255--and then only half of the other 60 pages are about it. That's right--only 30 pages in the book are devoted to his television career. And that is spent mainly on Cheyenne (which no one today remembers) and Green Acres (of which he has almost no stories other than that Eva Gabor tried to get him fired).

This ill-conceived book is filled with Bare trying to make himself sound more important than he was (he compares his looks to Cary Grant at one point!), while he ignores the only things we're interested in hearing about. He directed Beulah, the first interracial show on television. Yet he only says one sentence about it! He worked with Walt Disney on the first year of Disney's TV show and only manages a couple paragraphs. He skips quickly through Maverick and Twilight Zone. But there's zero about The Donna Reed Show, Route 66, Lassie, Alias Smith and Jones, and other well-known series.

This book may be found in libraries but it's not worth checking out, and it's certainly not worth buying. I'd give it zero stars if I could. What a major disappointment that he thought his dull normal life and inconsequential movies were more interesting than the television series he is remembered for.

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• Sales Rank: #6185869 in Books
• Published on: 2006-08-01
• Original language: English
• Number of items: 1
• Dimensions: 14.50" h x .25" w x 10.50" l,
• Binding: Calendar
• 34 pages

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This book is the first comprehensive biographical study of Bartok as man, composer, and folklorist, including the background and development of his unique musical language and the impact of his pioneering investigations of multinational musical folklore on his composed works. His career as an outstanding pianist, connections with contemporaries in the world of music, and the socio-economic factors that affected his creative and scholarly activities are also included among other hitherto unexplored aspects of his life and times.

• Sales Rank: #4354336 in Books
• Published on: 2002-01-15
• Original language: English
• Number of items: 1
• Dimensions: 8.80" h x .94" w x 5.68" l, 1.10 pounds
• Binding: Hardcover
• 338 pages

Review
...Suchoff's survey is valuable precisely because it is so compact. Placing summaries of the various ethnic musics Bartók studied in one place allows the reader to see how much Bartók's criteria for organizing his collections varied. (Ethnomusicology)

About the Author
Benjamin Suchoff is Adjunct Professor in the Department of Ethnomusicology at the University of California, Los Angeles and a member of the American Society of Composers, Authors and Publishers. He has been successor trustee of the estate of Béla Bartók, curator of its New York Bartók Archive, and editor of the fifteen-volume Bartók Archive Studies in Musicology Series and the two volumes of the Bartók Archive Edition series of piano works.

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A gorgeous illustrated poetry collection by W. G. Sebald: "An extraordinarily handsome edition of poems by the late great writer" (Confrontation).

Unrecounted combines thirty-three of what W. G. Sebald called his "micropoems"―miniatures as unclassifiable as all of his works―with thirty-three exquisitely exact lithographs by one of his oldest friends, the acclaimed artist Jan Peter Tripp.

The lithographs portray, with stunning precision, pairs of eyes―the eyes of Beckett, Borges, Proust Jasper Johns, Francis Bacon, Tripp, Sebald, Sebald's dog Maurice. Brief as haiku, the poems are epiphanic and anti-narrative. What the author calls "time lost, the pain of remembering, and the figure of death" here find a small home. The art and poems do not explain one another, but rather engage in a kind of dialogue. "The longer I look at the pictures of Jan Peter Tripp," Sebald comments in his essay, "the better I understand that behind the illusions of the surface, a dread-inspiring depth is concealed. It is the metaphysical lining of reality, so to speak." 33 black-and-white illustrations

• Sales Rank: #1790524 in Books
• Brand: Brand: New Directions
• Published on: 2004-11-17
• Original language: English
• Number of items: 1
• Dimensions: 10.30" h x .70" w x 6.50" l, 1.21 pounds
• Binding: Hardcover
• 112 pages

Features

• Used Book in Good Condition

Review
"Now this poem of gazes has become a memorial, a bequeathal...this legacy of his has the density of epitaphs."

Think of Sebald as memory's Einstein.--Richard Eder

The images...set up a mysterious dialogue with the text, rather like the photos Sebald inserted into his novels. --Adam Kirsch"

The magic of W. G. Sebald's incandescent body of work continues to unfold, with this unexpected collaboration. --Susan Sontag"

The drawings along with Sebald's text play with serious themes in a European tradition that has all but vanished. --George Porcari"

Now this poem of gazes has become a memorial, a bequeathal...this legacy of his has the density of epitaphs. --Andrea Kohler"

A totally original book of poems...haunting, profound, nonsensical, surreal at moments even painful. "

Think of Sebald as memory's Einstein. --Richard Eder"

About the Author
W. G. Sebald was born in Germany in 1944 and died in 2001. He is the author of The Emigrants, The Rings of Saturn, Vertigo, Austerlitz, After Nature, On the Natural History of Destruction, Unrecounted and Campo Santo.

Jan Peter Tripp was born in 1945 and lives and works in Alsace.

Michael Hamburger (1924-2007) wrote many collections of poetry and criticism. Other notable translations include Baudelaire's Twenty Prose Poems. He received the European Translation Prize for Poems of Paul Celan.

Most helpful customer reviews

4 of 4 people found the following review helpful.
"The metaphysical lining of reality"
By R. M. Peterson
The core of UNRECOUNTED is a collaboration between W.G. Sebald and his good friend Jan Peter Tripp. Near the end of his writing career, Sebald began producing short "micropoems". They might be thought of as a variant of Japanese haiku, a genre that Sebald was reading at the time he was producing his first micropoems. Shortly before his death in December 2001, Sebald sent Tripp a collection of micropoems, leaving it to Tripp to select which ones to include in a book, for which Tripp would produce a lithograph to accompany each Sebald micropoem. Sebald and Tripp had been discussing the collaborative project for some time, and "their declared aim was that text and image should not explain, let alone illustrate, each other but enter into a dialogue that would leave each his own space for reverberations" (to quote an essay by Andrea Köhler that concludes this volume).

Tripp is a distinctive artist, whose works are intensely representational and realistic, so much so that they take on an air of mystery and otherworldliness. For UNRECOUNTED, Tripp selected thirty-three of Sebald's micropoems, and he chose to accompany each of them with lithographs of pairs of eyes, closely cropped to reveal only the eyes, brows, and eyebrows as well as the bridge of the nose and part of the nose itself but (almost) never the end of the nose. One lithograph is of the eyes of Sebald's dog, Maurice. As for the subjects of the other thirty-two lithographs, most (and perhaps all) are people from the world of literature or the visual arts -- such as Javier Marías, Francis Bacon, Jorge Luis Borges, Rembrandt, Jasper Johns, Marcel Proust, and Samuel Beckett, as well as Tripp, Sebald, and Michael Hamburger, the translator of UNRECOUNTED.

The lithographs are fascinating, almost intoxicating. To me, they are, by far, the better part of the collaboration. The book includes an essay by Sebald on the work of Jan Peter Tripp, in which he writes that behind the representational reality of Tripp's art is "a dread-inspiring depth, * * * the metaphysical lining of reality, so to speak". After one spends some time with Tripp's work, that description of it doesn't seem like sheer nonsense. I will make a point of seeking out more work by Jan Peter Tripp.

I am, however, indifferent about Sebald's micropoems, even after having read them twice. They probably have personal significance for Sebald, but they convey very little to me. As an example, here is the one that accompanies Tripp's lithograph of the eyes of Marcel Proust:

But the time

in which darkness
prevails
that time one
does not see

Here is another, which is paired with the lithograph of the eyes of Kurt Weidemann:

At eleven o'clock

the swastika men
assembled on
the Theresienwiese
& under the command
of an officer
began to exercise

The pages are oriented horizontally. By that I mean that when you open the book (which measures about 6 inches wide and 10 inches high), you then have to rotate it ninety degrees clockwise to read each set of pages. For each pair of lithographs and micropoems, the lithograph is on the top of the two-page spread (after rotating the book) and then below the page-fold and binding there is the micropoem. The title (which does double-duty as the first line as well) and all the lines of each micropoem are centered in the middle of the page (i.e., there is no left-hand justification). The entire arrangement or formatting of the book strikes me as somewhat gimmicky.

My four-star Amazon assessment is the average between five stars for Tripp's lithographs and three stars for Sebald's micropoems.

20 of 20 people found the following review helpful.
WG Sebald in the Guise of a Poet
By Grady Harp
UNRECOUNTED is a collaborative work by the deceased and sorely missed WG Sebald and his life long artist friend Jan Peter Tripp. Together they blocked 33 poems and 33 lithographs on apposing pages that were meant to create a sense of communication. In Sebald's words "The longer I look at the pictures of Jan Peter Tripp, the better I understand that behind the illusions of the surface, a dread-inspiring depth is concealed. It is the metaphysical lining of reality, so to speak."

As a devoted reader of all of Sebald's output I was eagerly looking forward to yet another posthumous document from this astonishingly fine writer. What is in this handsome volume is not really 'poetry' but rather brief haiku-like musings. Not that they aren't lovely, it is just that they are not up to the challenging standards of his novels. Still one is left with a satisfied feeling having read this (sideways printed) book of thoughts. The art of Tripp is stunning - eyes of famous writers and thinkers. In the end, in Sebald's own critical self examination, these works are "time lost, the pain of remembering, and the figure of death". As such, they gain more meaning. Grady Harp, September 05

25 of 30 people found the following review helpful.
Like an unknown trunk with a stranger's garments in it
By Kevin Killian
My first thought was that Sebald (1944-2001) might have been a great novelist but he wasn't too good as a poet. And my second thought was that the good people at New Directions are really milking his posthumous fame to try to sell this puzzling "keepsake," as they call it, for $22.95, when it is so manifestly inferior to his other books. But luckily I kept the book on top of my desk for awhile and presently found myself returning to it again and again, trying to puzzle out what made it different than other books of poetry I had read. These "micropoems," as the translator calls them, do creep under your skin.

Here's one:

The house

in the night

through the windows

the flickering light of

flames

That's it! As New Directions lays them out, these lines are all centered a la Michael McClure (it's hard to tell if Sebald planned this effect.) By the way the translator (Michael Hamburger) must be British and I wonder what a good US translator could have done with the German of these poems which the editor has supplied as an appendix for our eluctation at the back of the book. They are so short you could copy them all out on your lunch hour, but they gain weight and resonance by their placement next to the lithographs that inspired them-33 portraits by Sebald's best friend Jan-Peter Tripp) of people's eyes. (A lot of the poetry is about questions of seeing, perception, realization, etc) I thought I recognized some of the faces and I was right in one case only. The eyes are mostly those of famous artists (Francis Bacon, rembrandt, Jasper Johns, Barnett Newman) and writers (Capote, Borges, Burroughs) and some of the juxtapositions attain a transparency as luminous as ice water. But you don't find out whose eyes they are until the end, so the volume has the aspect of a parlor game to it. By the way, check out page 74. It says those are the eyes of Proust, but they look like Rex Harrison to me!

So you're reading these haiku and puzzling over whose eyes are whose and before you know it, you are swept away into the land of the Unerzahlt for the ride of a lifetime.

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A person is murdered only once while a crime scene can be destroyed many times. Whenever something is added or removed from a homicide scene before police process it, the interpretation of what took place could be altered. This type of altering is only one bump in the road that homicide detectives come across during an investigation.

Homicide Investigation is an introduction to forensic science, investigative procedures, and the underlying motives in specific cases. Utilizing the jargon spoken by police the author analyzes the combination of methods detectives use to determine what they think took place at the scene of a violent crime. Using hundreds of sources including newspaper and magazine articles, Internet sites, books, television programs as well as information not broadcast on television news shows and not published in newspapers, this book describes graphic details of classic and routine homicides. A chronology and a list of acronyms are included to help the reader.

Chapters cover:
· Types of homicides
· Serial killers
· Police databases
· Crime scenes
· Evidence
· Wounds and injuries
· Weapons
· Forensic investigation procedures
· Perpetrator profiles

True crime readers, students and professionals in law enforcement, sociology, psychology, criminal justice, law and criminology, and anyone concerned with his or her personal safety will have an interest in this book.

• Sales Rank: #904292 in Books
• Published on: 2003-10
• Original language: English
• Number of items: 1
• Dimensions: 8.80" h x 1.02" w x 5.66" l, 1.22 pounds
• Binding: Hardcover
• 224 pages

About the Author
John J. Miletich, former librarian at the University of Alberta, is the author of reference publications in the social and health sciences. He is also the author of Police, Firefighter, and Paramedic Stress: An Annotated Bibliography.

Most helpful customer reviews

2 of 2 people found the following review helpful.
A must-read book!
By A Customer
Read this book and enter the dark world of real-life homicides. From the beginning of this fascinating book to its last chapter, police and underworld jargon explain the motivation and behavior of killers, victims, and investigators. Topics covered in the first seventeen chapters include: snuff movie, hitman, geographic profiling, National Crime Information Center, cold case squads, death notification, detective stress, bagging the hands, tape lift, contact head wound, disfigurement of fingerprints, arsenic, dynamite, chain of evidence, time of death, camera filters, human decay research, castoff blood, poly light, pyromanic, and stalkers.
The last chapter is about 22 high-profile homicides committed during the past fifty years. Chandra Levy, Danielle van Dam, Elizabeth (Black Dahlia), Kitty Genovese, Marilyn Sheppard, and Carol Stuart are some of the American female victims. Esther Castellani and Christine Demeter represent Canadian high-profile victims.
The extensive bibliography indicates the author went to great lengths to research this book and the outstanding crime scene photographs bring to life the topics covered. Every true crime reader should read this book. Very highly recommended.

0 of 0 people found the following review helpful.
A Great Introduction to Homicide Investigation!
By A Reader
This book provides an in-depth overview of homicide investigation and is both accessible to the lay reader and a valuable resource for those with a professional interest. The depth and range of research is remarkable. The bibliography alone is worth the price of the book.

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> Ebook Buddhist Himalayas, by Olivier Follmi, Danielle Follmi, Dalai Lama, Matthieu Ricard

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This spectacular book invites the reader on a journey to a faraway exotic land-and into one's own heart and soul. The beauty of the majestic Himalayan countryside, of the Tibetan people-spiritual masters and humble shepherds alike-and of their sacred places all inspire a desire to look within, in search of an understanding of the essence of Buddhism and the Himalayan spirit.

Contributions by eminent specialists on Tibetan culture-from the noted photographer Galen Rowell to the Dalai Lama himself-illuminate the cycle of birth, life, death, and rebirth. Glorious photographs of the Himalayas combine with the text to form a harmonious mosaic of this uniquely spiritual mountaintop civilization.

• Sales Rank: #2020840 in Books
• Brand: Brand: Harry N. Abrams
• Published on: 2002-10-16
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Dimensions: 14.75" h x 1.33" w x 11.75" l,
• Binding: Hardcover
• 424 pages

Features

• Used Book in Good Condition

From Publishers Weekly
"Terma," a Tibetan word meaning "revealed treasures," applies to teachings hidden by ancient masters under rocks or in the earth to be found by future generations; it also applies to this massive volume of photographs and text. The Föllmis have spent 25 years living, working and travelling in the Himalayas with peasants, nomads, monks and spiritual masters; Ricard, a monk himself, has photographed life in Tibet and Nepal for 30 years and is the French translator for the Dalai Lama. Their giant, glossy photographs (often in two-page spreads) capture the vividness of Tibet's landscape and people in beautiful detail. The accompanying essays cover basic Buddhist concepts, schools of Tibetan Buddhism, Tibetan astrology and medicine as well as profiles of village, monastic and nomadic life. (The topic of meditation, however-a core practice of Buddhism-strangely warrants only a brief description in the glossary.) Chilling accounts of the Chinese invasion and occupation and its results (1,200,000 slaughtered, over 6,000 temples destroyed) convey the bleakness of the situation: this is a culture on the verge of extinction. Captions to the 185 color photographs come at the end of the book, and although going back and forth from photo to explanatory text can be bothersome, the stunningly rich images make the effort worthwhile. For anyone interested in Buddhism and the history and culture of Tibet, this book is a worthy object of meditation.
Copyright 2002 Reed Business Information, Inc.

About the Author

Danielle and Olivier Föllmi divide their time between the Alps and traveling the world. Together they founded HOPE, an association dedicated to promoting education. They are the authors of many books, including Offerings: Buddhist Wisdom for Every Day. Matthieu Ricard lives in the Himalayas as a Buddhist monk and spent the past thirty years photographing spiritual masters and monastic life.

Most helpful customer reviews

0 of 0 people found the following review helpful.
the Follmis have both a great eye and real living experience in the
By Nicolas
simply gorgeous, the Follmis have both a great eye and real living experience in the Himalayas

4 of 8 people found the following review helpful.
Hardly Justified By The Contents
By Edward C. Carpenter
I purchased this somewhat expensive book with much anticipation, since I already owned The Spirit of Tibet, by Ricard. Buddhist Himalayas left me unsatisfied, chiefly for the reason that it's size and title suggest a more expansive survey than is offered by the experiences of the authors. Several of the photographs by the Follmis consist of plain and uninspired subjects. Numerous short essays, however, provide a more satisfying description of the world of Tibetan Buddhism. With the image of the re-incarnate Khyentse Rinpoche on the book cover, I come to the conclusion that this is one more book about the remarkable man the authors were privileged to know, but hardly justified by the contents.

6 of 7 people found the following review helpful.
Absoutely Marvellous
By Bindu Madhavan
First, the book is very well produced. The quality of the

book for this price is awesome. It should hold

up to good use. The reproduction of each and every photograph

is extremely good.

Quite a few of the photographs in this

book are exquisite. All the photographs are well composed.

It is obvious that the photographers have a special

sympathy to the subjects of their lenses -- as another reviewer remarked, there is a radiance about the subjects that comes through in the photograph. The photographs of people are great -- it is marvelous to see the reflection in the eyes of the subjects of what they are looking at. Some of the photographs

are so stunning that it is quite natural that other photographs

in this book do not quite live up to that impact. The text is

well written. Highly recommended.

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This is the biography of illustrators Jessie Wilcox Smith and Elizabeth Shippen Green, and Muralist Violet Oakley, who took over the Red Rose Inn, a picturesque estate on Philadelphia's Main Line. They made a pact to live together forever - until one of them created havoc by marrying.

• Sales Rank: #294674 in Books
• Brand: Brand: Harry N. Abrams
• Published on: 2000-03-01
• Original language: English
• Number of items: 1
• Dimensions: 11.38" h x 1.00" w x 9.00" l, 2.73 pounds
• Binding: Hardcover
• 216 pages

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• Used Book in Good Condition

Amazon.com Review
Alice Carter's The Red Rose Girls traces the lives of three talented artists: Jessie Willcox Smith, Elizabeth Shippen Green, and Violet Oakley. After studying together under the sympathetic guidance of Howard Pyle in Philadelphia, the three (all youngest siblings) decided that they could work best away from the distractions of the city. In 1900, they established their home and studios in a rambling country house called the Red Rose Inn, leading Pyle to dub them the "Red Rose Girls." Strengthened by the emotional support and artistic inspiration that each gave the others, their careers blossomed. Green was a successful illustrator, especially for Harper's Magazine; Smith produced charming portraits of children; and Oakley was famous for huge murals commissioned to decorate state buildings. With their friend Henrietta Cozens acting as "housewife," their unconventional living arrangement attracted much interest, not all of it positive. Carter, a professor at San Jose State University, claims that it freed them from the domestic responsibilities and isolation that could cripple an artist, especially a female artist in pre-emancipated society. For eight years the four led an almost idyllic existence of genteel lifestyle and artistic productivity, but eventually the group disintegrated, with Green's marriage causing an especially painful break. Carter's sympathetic, easy prose perfectly complements the women's idealized art and their uncomplicated belief in the goodness of life. Combining delightful photographs of their domestic lives with examples of their work, The Red Rose Girls re-creates a vanished world of optimism and grace. --John Stevenson

From Publishers Weekly
Three of the first American women artists to achieve fame and fortune in the Victorian era--Jessie Willcox Smith, Elizabeth Shippen Green and Violet Oakley--lived unconventional lives marked by a remarkable degree of collaboration. In this fascinating but incomplete study, Carter explores the trio's internecine artistic and romantic relations, sparked during their studies at the renowned Pennsylvania Academy of the Fine Arts. Smith's idyllic representations of children in her Child's Garden of Verses remain well known. Green's art-nouveau paintings graced the covers of most of the popular magazines of her day, including Collier's and Harper's. Oakley, the youngest of the group, was the first American woman granted serious commissions, including a series of murals for the Pennsylvania State Capitol in 1911. For 17 years, the three committed themselves to each other as "sympathetic companions" and artistic collaborators, sharing a studio in Philadelphia and then an estate, the Red Rose Inn, in Villanova, Pa., where another companion, Henrietta Cozens, served as the "wife" of the household. As the women's fame grew, the press lauded their accomplished m?nage ? quatre (not considered a disgrace in the days when "Boston marriages" were presumed to be asexual). But when Green married at 39 after a seven-year engagement, Oakley's devastation created a scandal and severed the group's artistic partnership. Carter builds a solid foundation but never fully fleshes out the artists or their romantic association, though the exquisite illustrations are worth the price of admission. 115 b&w and 60 color illus. Agent, John Campbell. (Mar.)
Copyright 2000 Reed Business Information, Inc.

From Booklist
Imagine women living and painting in a genteel world of rose gardens, an environment in which creative ideas can cross-pollinate, and yet each woman maintains her own artistry, neither diluted nor overshadowed by that of the others. Illustrators Jessie Wilcox Smith and Elizabeth Shippen Green and illustrator and muralist Violet Oakley created and enjoyed such a life. The three were dubbed "the Red Rose girls" by illustrator Howard Pyle because of their shared living-studio space in the Red Rose Inn, a Philadelphia Main Line estate they rented with Henrietta Cozens, Smith's companion and overseer of the household. They embraced the nineteenth-century aesthetic of sentiment and narrative in their work, succeeded on their own terms, and vowed to live together forever, forsaking marriage. Early-twentieth-century society created a large audience for their art, and all was, well, rosy until Green defected to marry a man. Whether or not the four had been two lesbian couples, their shared strength, creative ideas, and love of one another and of beauty live on, in the story and the artwork they left behind, as examples of feminist independence and evidence of female success in a male-dominated world. With its many lavish color illustrations and reference photos, this is a gorgeous coffee-table book--and much more. Whitney Scott

Most helpful customer reviews

0 of 0 people found the following review helpful.
Four Stars
By Read Aloud
AS STATED!

4 of 4 people found the following review helpful.
Add my voice to the chorus of praise! Wonderful!
By A Customer
I loved this book. First, it is a quality book--great paper and color reproduction. Second, it is fabulous to finally have a book centered on some of the great female artists at the beginning of the century. Presentation is lovely, the writing clear and interesting. Buy it!!

21 of 23 people found the following review helpful.
Red Rose Girls
By A LeNay
The Red Rose Girls is a remarkable book. Alice Carter does a superb job of documenting the lives and careers of Violet Oakley, Jessie Wilcox Smith, and Elizabeth Shippen Green. When the last page was turned I not only had a deep respect for their professional accomplishments but I felt that I had known each of these women personally.
The strength and success of these women artists is an inspiration to everyone regardless of their sex or chosen occupation. The "Red Rose Girls" is a must have for any library. The quality of writing and research in this book makes it hard to put down and I am looking forward to seeing more publications by this author.

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## Download PDF The MLS Project: An Assessment after Sixty Years, by Boyd Keith Swigger

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In 1951, the American Library Association (ALA) Council approved new standards for accrediting library education programs. These standards shifted accreditation from the bachelor's degree to the master's degree, making the master's degree in library science the professional credential for entry into the profession. At the time, librarians believed this change would transform the practice of librarianship, the nature of library education, and the social standing of librarianship as an occupation.

In The MLS Project: An Assessment after Sixty Years, Boyd Keith Swigger examines the reasons the American Library Association enacted the change and looks at the consequences of this decision. Reviewing the last several decades, Swigger addresses a number of concerns: What were librarians' and library educators' arguments for changing the system of library education? What problems were they trying to solve? What were their objectives? Did the change in the structure of library education solve the problems perceived in the late 1940s? Have the objectives set then been accomplished in the half century since? What have been the intended and unintended outcomes of the change?

In his review, Swigger draws general conclusions about the MLS Project, the perception of librarianship, libraries, the developments of curriculums in library schools, and how librarianship compares to the new information professions. The MLS Project is an informative and critical evaluation that every librarian should read.

• Sales Rank: #2565367 in Books
• Brand: Brand: Scarecrow Press
• Published on: 2010-07-19
• Released on: 2010-07-19
• Original language: English
• Number of items: 1
• Dimensions: 9.17" h x .50" w x 6.09" l, .60 pounds
• Binding: Paperback
• 170 pages

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• Used Book in Good Condition

Review

Calls for a reexamination of ALA's decision in 1951 to make the MLS the primary degree for entry into the profession. Swigger...examines why the decision was made and whether or not it is a currently valid model for today's students. He suggests some new approaches.

(Zentralblatt für Geologie und Paläontologie)

This eye-opening assessment quotes librarians’ discontent with status and image in the early 1950s—disconcertingly similar to the mood today. With well-researched history and data, Swigger (Sch. of Library & Information Studies, Texas Woman’s Univ.) assesses the ALA-spearheaded 1951 increase of education requirements for professional librarians (from a stipulated bachelor’s degree to a master’s degree), implemented as a means to the dual end of more professional respect and compensation for librarians. Did these “MLS project” changes enacted in library education solve the professionalism issues for librarians? Not as much as was hoped! This reviewer has been as guilty as many in averring, largely without examining the issues, that librarianship is a profession. Swigger has examined a range of careers and definitions. The results? It seems likely librarianship is still not a full-blown profession. This important book makes the notion of librarianship as a trade more palatable. Swigger believes “librarianship has suffered at the hands of its celebrators.” It still does. What’s next? Multiple models for library education. ... VERDICT An essential read for librarians and a must-have for librarianship collections.

(Library Journal, Starred Review)

The MLS Project is an important cautionary tale, offering well-supported arguments that the current accreditation process for library education programs has stifled a much-needed reconsideration of the library profession itself. (Information & Culture)

About the Author
Boyd Keith Swigger is professor in the School of Library and Information Studies at Texas Woman's University, where he has been a member of the faculty since 1981 and served as dean of Library and Information Studies (1991-2000) and dean of Professional Education (2000-2003). He has written and spoken frequently about education for librarianship and has played a role in creating innovative programs in distance learning and alternative certification.

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# Download Ebook From the Greek Mimes to Marcel Marceau and Beyond: Mimes, Actors, Pierrots and Clowns: A Chronicle of the Many Visages of Mime in the Theat

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Annette Bercut Lust has spent a lifetime developing the knowledge to produce this definitive work on mime.

One of the few studies covering the historical flow of mime from its beginnings to postmodern movement theatre, this book explores the evolution of mime and pantomime from the Greeks to the twentieth century, depicting the role of mime in dance, clowning, the cinema, and verbal theatre throughout the centuries. It is also an in-depth study of twentieth-century mime masters, including Jacques Lecoq, Etienne Decroux, Jean-Louis Barrault, and Marcel Marceau.

In addition to defining and tracing the history of mime, Lust documents present-day training programs in North America and Europe, providing contact addresses and information on mime festivals and centers. A filmography listing mime and mime-related films and an extensive bibliography contribute to the usefulness of the book. There is also a chart tracing the origins of mime to the present and a chart demonstrating exponents of the various styles and schools of mime. With over 60 illustrations, this worldwide study is indispensable for the student, teacher, or fan of mime.

• Sales Rank: #1343514 in Books
• Brand: Brand: Scarecrow Press
• Published on: 2002-11-19
• Original language: English
• Number of items: 1
• Dimensions: 10.00" h x .85" w x 7.00" l, 1.67 pounds
• Binding: Paperback
• 416 pages

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• Used Book in Good Condition

Review
Lust...has produced a comprehensive history of mime and a rich analysis of its current state...Thanks to Lust's involvement in international mime festivals, she can present detailed accounts of the diverse work currently being done. The volume includes ...an excellent bibliography. Recommended for all theatre collections. (Choice)

Of the books in the field of mime and movement theatre during the last half of the twentieth century..this work is unique...Through her love and devotion to mime and movement theatre..Annette Lust endows this book with her integrity...a much needed historical survey as well as a detailed and reflective statement-of-the-art report. (Bob Fleshman Theatrical Movement)

...the book offers encyclopedic coverage of most of the leading lights of movement theatre in the Western hemisphere since 1950. There are very useful appendices, listing schools and curricula for movement training; archives, resource centers and performer directories; periodicals; library and museum collections; and festivals. The annotated bibliography is copious...There are plenty of well-reproduced and expressive illustrations. (Theatre Research International)

Beginning with a fascinating history of mime and pantomime from antiquity down to our day, Annette Lust carefully documents how different writers, critics, and mimes distinguish these two different arts in varying and contrasting ways. Her work responds to the call of mime and movement theatre organizations in Europe and in America to establish archives and information services for new findings in the art of mime, more documented research, and descriptions of new styles of mime art. (Atme)

Fascinating for both the lay person as well as the scholar...Dr. Lust's work is so detailed and comprehensive that I cannot list all of the outstanding women artists and their contributions that the author cites. I strongly recommend this book... (Women's Voices)

Lust documents for both the mime theatergoer and for the serious student the critical turning points in the evolution of mime in a highly understandable way that makes her book an ideal companion to all who are interested in learning about this entertaining art form. (The Commuter Times)

About the Author
Annette Bercut Lust is professor emerita at Dominican College where she teaches courses in beginning mime, theatre production, dramatic literature, and French language and literature. For her teaching and publication on the French School of Mime, she received the Palmes Académiques from the French government in 1973. An active producer and director, Lust produces the annual Bay Area Original One-Act Play and Solo Festival at Dominican College.

Most helpful customer reviews

20 of 20 people found the following review helpful.
Economical and Entertaining
By Conan the Librarian
Of all the books written about Marcel Marceau and other great mimes, this is the most developed. Annette Lust presents the history of the artists with clarity and sustained interest. Her timeline is impeccable and her characters lively. Her power is particularly evident when Marcel Marceau is introduced. The pantomime's genius is apparent in every sentence, and the author highlights the purity of his timing. Marceau, like his 1947 creation `Bip', is seen as enigmatic, and I agree with Annette's assessment. I had the good fortune to meet Monsieur Marceau when we were both guests on the 'Tonight Show' with Johnny Carson in 1988. Marcel was naturally reticent, so Carson filled the silences with bird calls and beverage gargling. Near the end of the interview, the frustrated host asked Marcel to explain his miming philosophy. Marcel looked at me, pondered briefly and replied, "." Impressed, Carson announced effusively, "Fantastic! I couldn't have said it better myself." So I was somewhat surprised when, during the ad break, Johnny dragged me off-stage and fumed, "Schwarz, can you believe that clown? I thought he'd never shut up!"

4 of 4 people found the following review helpful.
Amazing descovery!
By Julio C. Burgos
This is the best book in mime history I have ever seen since Allardyce Nicoll's "Masks, Mimes and Miracles" and there's no other as contemporary as this.

0 of 9 people found the following review helpful.
Greek mimes to marcel mareceau and beyond
By francisca morán
I need ilustrations and photographies about mimes in the theatre, information of marcel marceau and the art of pantomime. The body was a language of comunication.

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