Book Description
There must have been a Civilization One: a highly advanced precursor to what is currently the earliest recognized civilization. That’s the astounding revelation from a powerful duo of writers that includes the author of the bestselling The Hiram Key. Christopher Knight and Alan Butler’s startling conclusion comes from their quest to crack the mystery of the ancient "megalithic yard"—an incredibly precise unit of measurement that’s based on a deep understanding of the solar system. It seems beyond the comprehension of the supposedly unsophisticated people of Stone Age Britain, and yet not only is it visible in the thousands of megalithic structures built in Britain and France, but this measurement keeps recurring throughout nature and science. The implications of the authors’ breakthrough discovery go far beyond the idea of a super-science or prehistory: they indicate a grand plan that will have far-reading theological ramifications.
Customer Reviews:
An Important Chapter in Our History.......2007-10-06
I bought this book because the topic intrigued me. I was both relieved and pleased to read it as the information provides a rare new glimpse at our pre-modern history. I've never read information like this before, and I've read many, many books in this genre. The book is very well written, very easy to read (not too technical and a good writing style). The author is very conscious of carefuly backing up research claims so as to avoid appearing as a lunatic. All in all, an interesting, original, well documented work that should be part of the library of anyone interested in ancient Earth history.
Intriguing.......2006-04-21
I have to admit I have never read a book that covered the subject of measurements used by early civilizations that come to such incredible conclussions. If the authors are right, prehistoric people knew much more about astronomy than we give them credit for. These guys definately think outside the box.
simply a WOW.......2006-02-01
have read lots of book in this genre... hat's off to these guys... a masterwork that gives one pause to reconsider our place in history and how humankind perpetually thinks we are smarter than our ancestors... strong evidence for advanced and integrated thinkers long long ago... inspiring to say the least.
BO-RING!!!.......2005-11-07
I am an avid reader and love topics dealing with historic mysteries, as well as other various types of fiction and non-fiction. The writing in this book just plain sucks. It is laborious to read, and makes a fascinating subject matter completely uninteresting.
In addition to poor authoring, there is the matter of the poor scientific basis. Every other point they attempt to make is stated as 'we find this to be self evident' or 'we found it reasonable to assume that'. By all rights, circumstantial evidence should have been enough to convict O.J. However, in this case, then end result is an odor similar to that of the dairy farms south of Sacramento.
Our mysterious ancestors.......2005-07-18
This fascinating book of alternative history examines the evidence of weights and measures and comes to the conclusion that there must have been an advanced culture in prehistory. The structures of the Stone Age were built by using a very precise unit of measurement, called the megalithic yard. The book explores the science behind prehistoric units, their mathematical origin and means of reproduction, and proves that these are linked to the dimensions of the solar system.
The reader must have a basic knowledge of arithmetic but overall the book is an easy read and very revealing. Amongst the topics discussed are writing, Egypt, Sumeria, the Minoan foot, solar and sidereal days, pendulums and the importance of the planet Venus. It turns out that the British Pound and Pint are both derived from ancient measurements. The units of the hour, minute and second were developed more than 4000 years ago, from the movements of the moon.
The text also encompasses subjects like the harmony of the spheres, Sumerian degrees and the calendar, and explains that the metric system is not a recent invention. There is a section on Thomas Jefferson and his achievements; this great man apparently realized that he was rediscovering parts of a very ancient system.
Amongst the most captivating sections is the chapter on music and light. There is a definite correspondence between the rotating mass of our planet and human music. Also, megalithic mathematics produces its own musical structure. The authors conclude that there must have been an advanced people who instructed the rest of the world in science and technology. They also refer to the Masonic concept of the Great Architect of the Universe.
There are seven appendices that include further information on earth days and the megalithic year, megalithic music, the Phaistos Disc, the amazing barley seed, and the connection between megalithic principles and Freemasonry. The colour plates include approximately 20 full colour photographs and there are many black and white illustrations throughout the text. The book concludes with an index.
I also recommend Lost Civilisations Of The Stone Age by Richard Rudgley, Stone Age Soundtracks by Paul Devereux, and Forbidden Archaeology by Michael Cremo and Richard Thompson.
Book Description
Graphic novels, long stories told in comics format, have enjoyed the fastest-growing sales of any category of book in the U.S. over the last four years. This modern renaissance of comics has produced a library of substantial works, whose subjects are not confined to superheroes or fantasy but are as varied and sophisticated as the best films and literature.
Graphic Novels presents an accessible, entertaining, and highly illustrated guide to the diversity of contemporary comics in book form. Featuring striking graphics and explanatory extracts from a wide range of graphic novels, the book examines the specific language of the comics medium; the history and pioneers of the form; recent masterpieces from Art Spiegelman's Maus to Chris Ware's Jimmy Corrigan; the impact of Japanese manga and European albums translated into English; how artists have overcome prejudices towards the genre; and the ambitious range of themes and issues artists are addressing, including childhood, war and survival, politics, the future, sexuality, and the supernatural.
Customer Reviews:
Awesome For ADHDers.......2007-10-17
I was looking for something to give me a firm history of this "new" genre of fiction and this proved very useful. The author seems to have a firm understanding of how the reader's eye moves about (especially comic book readers) and keeps his format as true to his subject matter as possible. He allows the reader to skip ahead, and around; dig deep in the subject matter, or theme; run rampant around the page. I couldn't recommend this book more for those who are unfamiliar with graphic novels, aspire to write one, or just plain enjoy the history. I loved the way that the author stuck to mature subject matter/ writers as well.
Fantastic!
Only for those published in english.......2007-07-11
This book is a marvelous and very thorough reference book for graphic novels published in the US market. I am grateful since I needed a "taxonomy" of sorts for the newly available works, and the differently-themed chapters seem to group the various works into categories.
While the tradition of the graphic novel has been strong in europe in the sixties and seventies, many of those works have never been translated into english, and thus references to them are not included in this book.
I was pleased to see Hugo Pratt's "The ballad of the salted sea", a revered classic among european readers. I must conclude that the only reason it got included in this book is because it is now available in english.
I noticed Persepolis got included as well. That work as been "cinematized" recently, and shown at this year's Cannes Film Festival. [btw, the english set is half the price of the french set if you were to buy it in france, proof that the english-based publishing world dominates the world...]
Great book. Great resource. Great reference.
Comic Lit Goes Legit!.......2005-11-24
Following his success of Manga: Sixty Years of Japanese Comics with another affirmative and considered guide to comics, Gravett now focuses on the phoenix-like return of the "Graphic Novel" that failed to live up to expectations in the early '90s. However, time has moved on and this book reveals how the medium has evolved dramatically over the past ten years. Gravett's masterstroke is to reproduce at least two full pages of sequential artwork, giving readers a real flavour of each title examined. Annotated notes alongside the artwork explain the material in a manner reminiscent of fine art books. Not only that but the excellent, if initially hard to follow, thematic cross indexing means there are endless ways of making connections between disparate titles such as Nausicaa of the Valley of the Wind (Dystopias) leads to Enkil Bilal's Nikopol Trilogy. Follow another link (Nature) and you get Jiro Taniguchi's The Walking Man. It's a close as the Internet on the page as you'll ever get. This book is perfect for librarians and educationalists looking to broaden their, and their students', knowledge and while many comics aficionados will be familiar with the titles, there are still a few surprises and the chapter openers contain many anecdotal nuggets. A perfect present to convert that literary die-hard who'd have to admit that comics haven't just grown up, but are now entering a self-assured and confident middle-age.
Excellent book for comics novices and fans alike.......2005-11-18
This is a terrific resource for anyone looking to get into comics or a comics fan looking for more reading material. Gravett discusses 100 comics, by such greats as Art Spiegelman, Neil Gaiman, and Daniel Clowes. The book is informative, well-written, and has tons of sample excerpts from various graphic novels. Most importantly, it's a lot of fun to read!
Customer Reviews:
Very well done.......2004-05-11
For a book that covers so many disparate types of daytime programs (game shows, soap operas, sports, cartoons and kids' shows, and so on), the volume is remarkably accurate, well-written and heavily researched. You'd think the author was an expert on every genre. Maybe he is, but more likely, he just cared enough to get everything right. How refreshing.
Great.......1999-01-11
This is the must have reference for all you TV buffs. Very interesting reading, not just a boring refernce guide. I read it cover to cover.
Great book for TV buffs....higly recommended.......1998-01-14
found the book to be very thorough, reads well. Loved reading about the creation of these great daytime tv shows there casts and from the time they aired to the time they were cancelled
Book Description
So, you want to be Canadian? Who doesn't these days? Canucks are enjoying a major renaissance in attention, from their enlightened social policies to their wild and wooly pop culture. This playful, trivia-packed book is a long-overdue celebration of all things Canadian, from the mysteries of "eh?" to the difference between an Ogo Pogo and a Windingo to how to prepare moose stroganoff (mmm!). Featuring a dreamy list of Canadian hotties, a toe-tapping roundup of Canadian smash hit songs, a handy Canadian American translator, and pointers on how to eat, dress, and apologize like a Canadian if you weren't lucky enough to be born a Canuck, So, You Want to Be Canadian demonstrates once and for all why Canada is so cool (formerly just cold).
Customer Reviews:
Good book but too short.......2007-01-18
I am really interested in exploring the option to live in Canada - that's why I purchased this book in the first place. The book references to life in Canada in a humourous manner and is practically intented to familiarize Americans with the Canadian facon de vivre.. It was a fast and fun read though I wished it had more information on everyday Canadian life basics and differences between cities like Toronto, Montreal and Ottawa.
cute but a little light on content.......2006-07-05
If you're looking for a humorous quick read this book will suffice. However, its not going to make you go "yep that's me" or "I recognize that" as much as others of the genre might
Enjoyed reading it........2006-01-03
This is a most interesting read, mostly comedic, but it is really a hoot to read.
Cute and funny for the Canada lover.......2005-09-12
This book has a wealth of quirky Canada facts and is overall an enjoyable read. A true Canadian would probally know most of the information in this volume, so this makes a great gift for that Canadian wannabe you know (or your friend the draft dodger.) Quirky and cute, I would buy this book for anyone who ever said "So what's up with Canada anyway?" This will difinitively answer their question.
A CANADIAN.......2005-05-06
I have to say that I absolutely loved this book! Not only is it very funny, its also informative for Americans who know little/nothing about Canada and gives a humorous sterotypical view of Canada. I have to say that if you were canadian you might find this funnier than americans because you know all the stereotypes and understand things like Poutine (fries with cheese), toques(hats) and the word "eh". There is many cute little diagrams throughout the book, and would be a perfect gift for an american friend, or give a canadian living in united states a good laugh. Definately worth buying!
Book Description
Thank you, our Stalin, for a happy childhood." "Thank you, dear Marshal [Stalin], for our freedom, for our children's happiness, for life." Between the Russian Revolution and the Cold War, Soviet public culture was so dominated by the power of the state that slogans like these appeared routinely in newspapers, on posters, and in government proclamations. In this penetrating historical study, Jeffrey Brooks draws on years of research into the most influential and widely circulated Russian newspapers--including Pravda, Isvestiia, and the army paper Red Star--to explain the origins, the nature, and the effects of this unrelenting idealization of the state, the Communist Party, and the leader.
Brooks shows how, beginning with Lenin, the Communists established a state monopoly of the media that absorbed literature, art, and science into a stylized and ritualistic public culture--a form of political performance that became its own reality and excluded other forms of public reflection. He presents and explains scores of self-congratulatory newspaper articles, including tales of Stalin's supposed achievements and virtue, accounts of the country's allegedly dynamic economy, and warnings about the decadence and cruelty of the capitalist West. Brooks pays particular attention to the role of the press in the reconstruction of the Soviet cultural system to meet the Nazi threat during World War II and in the transformation of national identity from its early revolutionary internationalism to the ideology of the Cold War. He concludes that the country's one-sided public discourse and the pervasive idea that citizens owed the leader gratitude for the "gifts" of goods and services led ultimately to the inability of late Soviet Communism to diagnose its own ills, prepare alternative policies, and adjust to new realities.
The first historical work to explore the close relationship between language and the implementation of the Stalinist-Leninist program, Thank You, Comrade Stalin! is a compelling account of Soviet public culture as reflected through the country's press.
Customer Reviews:
Soviet culture and Pravda.......2005-12-04
Though by reading his title one may think that this book is a history of public culture in all its manifestations, Brooks' monograph focuses on the press. While taking into account many of the newspapers available in the Soviet Union, his focus is on Pravda, since `it was the center of the informational system.' (xix) Not having a sound methodology of choosing which articles to include in his survey, he instead chooses a random sample based on three criteria; one, every tenth editorial in Pravda from 1917 to Stalin's death, two, articles published on important holidays, three, reports on domestic affairs in a random sample of Pravda issues. With these articles as his guide, he seeks to investigate public culture.
Brooks calls Soviet public culture, as he defines it, as a performance. `Political activity has always been akin to drama', he writes, and `Stalin and others employed rituals of theater to draw citizens into public displays of support.' (xvi) While the image newspapers sought to create of the regime more often than naught conflicted with reality, `Soviet people could not take the public culture as a fairy tale because it infiltrated every aspect of their lives.' (xvii)
On November 9, 1917, the day after they seized power, the Bolsheviks nationalized the publishing industry. Initially, the Bolsheviks sought to use the press to persuade the population to their revolutionary cause; however, the language of the new authorities was often not understood by the masses. Further consolidation of the press into a state monopoly increased this inability to communicate. This brought upon a `shift from persuasion to compulsion in the late 1920's.' (18)
A new political class and a new social structure arose during the first decade of Soviet rule for whom `socialist building' had great appeal. The expansion of the state meant upward mobility and jobs in the public sector. Stories in the press of mobility and service legitimated the new hierarchy. In the 30s, `Stalin became the living protagonist of an almost sacred cult.' (60) And it was to him, and to a lesser extent the party, that all Soviet citizens owed a great debt to for the reported great gains of the turbulent period.
Until the completion of the first five-year plan in 1932, the press had emphasized self-sacrifice. This changed after 1932, when the plan was hailed as a success. `The ethos of self-denial for a cause ... gave way to perpetual indebtedness.' (83) Following this `great break' (author's words), the so-called `economy of the gift' became prevalent. There developed a society in which public allocation of resources `were officially presented as moral transactions, and performers who publicly thanked Stalin validated personal ties to the leader.' (84) Even having a normal job was seen as a gift, thus indebting the entire nation to the regime. Hence comes the quote which graces the title, `Thank You, Comrade Stalin, for a Happy Childhood'.
With the advent of World War Two, the press abandoned its effort to center all Soviet identity on Stalin. `Within months of the invasion', Brooks write, `the war spawned a plurality of intertwined narratives and a range of perspectives.' (160) As the war turned for the worse, the cult of Stalin waned. It was during the war when journalists were allowed a `breath of fresh air', and some journalists `tentatively displayed aspects of a civil society.' (175) This is a very strong statement, one that Brooks really doesn't seem to follow up on, or perhaps address effectively. Nevertheless, once `the tide of battle turned from defeat to victory, Stalin reasserted his public persona, and another narrative of the war arose.' (185) Stalin resumed his place at the top of the hierarchy, `the font of recognition and honor.' (186) Following the war, the population's presumed indebtedness to Stalin increased. Victory in the war became attributed to Stalin, and Stalin alone.
To sum up, I'm going to cop out and just toss in this paragraph from the epilogue:
Through his charisma, Stalin established the `otherness of the Soviet experience, its exceptionalism and independence from strictures that governed other societies. By accepting him as leader and prophet, participants in the performative culture were able to enhance their own power, justify the rightness of their cause, and deny the applicability of all other standards of behavior and morality ... The gratitude they expressed in what I have called the moral economy of the gift can be understood as a personal expression of gratefulness to Stalin and of the bond between them. The officials, activists, and enthusiasts who enjoyed this bond with Stalin were the government's link to the general populace ... This is why the pedagogical function of the performance was so important. Participants who comprised the "link" rehearsed the routines of the social order and so communicated their understanding of "the facts of life" to others.
Turgid writing style mars what should have been great book.......2000-07-05
Although this book provides a valuable insight into the dark heart of Stalinism it is marred by an exceedingly odd mixture of writing styles. In part it feels like a turgid academic thesis packed with sentences so convoluted that they don't make sense however many times you read them. But elsewhere Brooks shakes off the leaden prose and delivers just what I expected from the blurb -- an incise study of how Stalinism developed through the eyes of the media. There is a great deal of interesting material here and Brooks has obviously done a huge amount of research. He shows how Stalin gradually throttled the life out of the media and turned newspapers and magazines into codebooks for the Soviet elite, packed with dead language and curious ideas which were of crucial importance to those jostling madly for influence and of no interest or value to the general population. But every time I felt like giving the book the five stars it should have merited, I came across a passage like the following: "In a play, actors and audience briefly leave the quotidian world to enter a special arena of time and space. To describe this realm of the 'betwixt and between' in which wishes or dreams hold sway, one can employ the concept of 'liminal', that is, a threshold between sacred and profane, a transitional zone that participants in a ritual must enter in order to leave the everyday world. Arnold van Gennep, who introduced the notion in his classic 1908 study, The Rites of Passage, postulated three phrases of ritual drama..." I shall spare you the no less impenetrable thoughts of van Gennep. Brooks also has a weakness for the word 'Manicheanism' which appears far too often in this text. I write these words of criticism with a heavy heart, because inside the verbiage there is a very good book waiting to break out. Brooks has done enough to ensure that every half-serious student of Stalinism will have to buy this book, but I only wish he had found an editor able to strip away the excess words.
Book Description
Jean Shepherd (1921-1999), master humorist, is best known for his creation A Christmas Story, the popular movie about the child who wants a BB gun for Christmas and nearly shoots his eye out. What else did Shepherd do? He is considered by many to be the Mark Twain and James Thurber of his day. For many thousands of fans, for decades, "Shep" talked on the radio late at night, keeping them up way past their bedtimes. He entertained without a script, improvising like a jazz musician, on any and every subject you can imagine. He invented and remains the master of talk radio. Shepherd perpetrated one of the great literary hoaxes of all time, promoting a nonexistent book and author, and then brought the book into existence. He wrote 23 short stories for Playboy, four times winning their humor of the year award, and also interviewed The Beatles for the magazine. He authored several popular books of humor and satire, created several television series and acted in several plays. He is the model for the character played by Jason Robards in the play and movie A Thousand Clowns, as well as the inspiration for the Shel Silverstein song made famous by Johnny Cash, "A Boy Named Sue." Readers will learn the significance of innumerable Shepherd words and phrases, such as "Excelsior, you fathead," and observe his constant confrontations with the America he loved. They will get to know and understand this multitalented genius by peeking behind the wall he built for himself - a wall to hide a different and less agreeable persona. Through interviews with his friends, co-workers and creative associates, such as musician David Amram, cartoonist and playwright Jules Feiffer, publisher and broadcaster Paul Krassner, and author Norman Mailer, the book explains a complex and unique genius of our time. "Shepherd pretty much invented talk radio ... What I got of him was a wonder at the world one man could create. I am as awed now by his achievement as I was then." - Richard Corliss, Time magazine online
Customer Reviews:
An Excellent Compendium of Shepherd's Life.......2007-05-14
This book does not attempt to be a linear, narrative biography of Shepherd's life, but instead contains voluminous material organized around broad themes that cut across different time periods of his life. This is both a difficulty and a strength. It can make for a somewhat difficult and disjointed reading experience. The text contains extensive quotes from Shepherd's radio broadcasts, which, while valuable to have in writing, lose something in translation from Shepherd's delivery to written text and break up the flow of Bergmann's text. However, when viewed as a Jean Shepherd encyclopedia, the book is an indispensable addition to a Shepherd fan's library, as it assembles a prodigious amount of material. The book paints a full picture of Shepherd in both his genius and his flaws, including a sensitive treatment of Shepherd's problematic relationships with women and with his two, sometimes unacknowledged, children.
Excelsior, You Fathead! Missed a lot .......2007-05-13
I was very disappointed after reading this book. A lot of good information about the life of Jean Shepherd was left out. Many details of his life were either missed or overlooked. I would hardly call it a biography. Most of the details were left out. After reading the entire book, I said to myself, "Is that it?" Hopefully someone will write a more complete story of such a man that was larger than life.
Warts and all, still a genius.......2007-04-11
For this listener of the incomparable Jean Shepherd when his show was live on WOR radio out of New York and who still tunes in via taped recordings on the internet, "Excelsior...[ever higher]...You Fathead! [a Shepherdism]" is very welcome. His show did not book guests; it was Shep alone, monologist at work. Yes, Shepherd branched out into books, records, and a film he wrote and narrated--but those were pale imitations of the real thing, the radio show.
Some of Bergmann's revelations about Shepherd's personal life will be disappointing to those who carried his banner a tad too high. Bergmann is a fan but his view of Jean Shepherd's unpleasant side is unvarnished and well-researched through interviews and published quotes of those who knew him. By all accounts Jean Shepherd was a hard man to know. Purposely so: he often did not give his real address to employers, coworkers, and friends. He would disappear for days in fast cars, touring the countryside. He traveled the world, usually alone. Which left the author fewer sources than he would have preferred decades after Shepherd's radio years. But he found enough. They offer insights into the "enigma" in the title, a polite description of a probable manic-depressive who often sabotaged his own dreams of fame and fortune.
The "art" was spun out of an empty studio near Times Square in the quiet of late night from the 1950s to the mid-70s; it is an art like no other before or since. Some of Shepherd's monologues are partially excerpted here from recordings Bergmann painstakingly transcribed. Among these the author deftly weaves details he has unearthed of Shepherd's childhood in Indiana, his Army service, his tempestuous years in the Big City.
Of course, not all Shepherd's radio broadcasts were unforgettable. The man had to fill forty-five minutes every night. When he got away from his natural talent for storytelling and indugled in shrill rants against all manner of "phoniness," he played too strongly to the sophomoric segment of his audience, the size of which he sometimes claimed dismayed him, Bergmann notes. Yet throughout his career Shepherd relied heavily on gigs at college campuses for extra income. But he wanted it all. The author relates how his subject fancied himself an heir to Jack Paar on the big-money "Tonight Show" before Johnny Carson snatched it away; had he won the job, Shepherd wouldn't have lasted a month: he was consistently dismissive of that audience...but he still craved its approval. And was bitter he didn't get it.
Yet, he played Carnegie Hall to great success. Carson was an admirer, Bergmann says, advising Shepherd to "get out of that damned medium [radio]." But radio was made for Shepherd and he for it. Bergmann writes that U.S. Poet Laureate Billy Collins grew up a regular listener and acknowledged being influenced by Shepherd. When Shep was "on," it was magic. Regretfully, talk radio was withering in Shepherd's best years. And he knew it.
This is the first book-length work that gives real shape to the man that was Jean Shepherd and the genius behind the voice.
A crummy commercial........2006-12-31
Forget "A Christmas Story" for a moment. Even this long love letter to Jean Shepherd only covers it to the extent of two pages. This book attempts to document the body of work Mr. Shepherd produced, within its contemporary context, and relate it to the present-day descendants. At least, that's where I think the author intended to go.
What ended up happening, from what I can tell, is that there was a great deal of research done 'breadth-wise' and not enough 'depth-wise'. Mr. Shepherd had two children who he disowned, which was a bit of a shock considering his on-air persona. This alone merited an entire chapter of material, analysis, interviews, anything. It barely made it into the book, except to lightly underscore some mild point about Mr. Shepherd being a bit of an SOB. There are all these interesting inflection points throughout, but no attempt is made to root out anything other than a mere mention or two. Instead, the author chooses to use radio transcripts to either demonstrate some thinly-connected theme (Shep as a jazz talk-radio guy, Shep as an anti-corporate loner, Shep as a 'realist'). The transcripts are hit and miss on the coverage of the point being proposed as well. Yes, it's great to read some Shep transcripts, but what's the point being made here?
As a full spectral coverage of Mr. Shepherd's work, it fails to catalog along some consistent continuum all of the work, in its proper context. The author could've used a timeline structure to place all of the known media, which would have made an extremely useful supplementary guide for the book as well as a nice 'wish list' for fans. I feel as though this review could easily turn into the kind of editorial feedback the author needed *before* he submitted his final galleys.
For all the heft of this hardcover, I expected far more analysis or even a somewhat cogent thesis. Even as a comprehensive biographical reference book, it falls far short in the editing department. Still, it merited three stars because it does bring much to the table. It never really organizes it, though.
-Fred
Hmm.. Head Scratcher.......2006-07-17
This will be short and not so sweet. I was disappointed in this book for one reason, it read like a text book, and a very boring text book at that. I don't mean any disrespect because I know this work took hundreds of hours, and the information was very interesting, but like I said it was boring and I had to struggle through just to finish it
Book Description
Lost in America will motivate Christians, individually and in the church, to think and behave as missionaries right here in North America. The case is made that the church has become marginalized in our society and requires changes to make it relevant in reaching our highly relational, postmodern society. Lost in America helps Christians re- image their church as a mission station and shows them how they can meaningfully offer hope to the unchurched in America.
Customer Reviews:
Mixed Feelings.......2004-08-31
I suspect that this is one of those books that some readers will absolutely love, while others will be left disappointed. The book is FULL of illustrations; references to movie clips abound. Church growth "success" stories are frequently described. If you are the type that likes to sprinkle your sermon with statistics (especially with stats that illustrate how we are failing as a church to impact our society), then, this is the book for you! Regretfully, though, I found this book to be lacking in the area of solid content. Upon reading: "Lost in America," there was nothing that I read that I had not read before.
A realistic look at the problems and keys to the solution.......2003-03-19
This book has given me a great insight into the challenges facing Christianity in America today. But, better yet, in bringing these things to light, Lost in America also identifies ways that we as Christians can reach out beyond the obstacles to impact our country for Christ.
In my opinion, this book is a MUST for any Bible-believing Christian who wants to impact their neighbors with the Good News of Christ. We often need to examine things in a new light, and this book has been an inspiration for me to be mindful of the need to be on mission, and wise in the steps I take.
My sincere gratitude to Tom Clegg and Warren Bird for writing this book.
Wow! Eye-opening masterpiece!.......2003-02-28
This book is excellent. The authors really get to the heart of whole-congregation evangelism. And, they don't pull any punches either. Tom Clegg, who's voice we hear throughout the book, served as a pastor in the US, a missionary in Africa, and has consulted with many churches regarding church growth and evangelism. He writes this book as a missionary to the United States (i.e., he writes in a way that will engage our culture).
The book is written in three sections - Changes, Choices, & Challenges.
Almost every chapter has the following sections:
The Big Idea - Introduces you to the subject of the chapter.
Up Close & Personal - Gives an example from a church in the U.S.
Rent this Movie - Movie from which discussion of the topic can be addressed.
Connections - Questions for personal application.
Discussion Questions - Personal or small group study.
I plan to use this book in a small group setting in our church. There are a number of people in our congregation who will hear the truth in this book and embrace it. When we embrace the vital necessity of relationship-evangelism we will reach our friends and neighbors in the twenty-first century.
I recommend this book to every Christian. It will open your eyes, even if one or two of the stories herein break your heart in the process. It is in our brokenness that we will be used by God to reach others.
Turbocharge your impact.......2001-10-10
This is a great book. I have been a Christian for well over 20 years. I have been through discipleship training, read books on evangilism and always wanted to reach people for Christ. Yet, I always felt that I was not doing enough. I had a heart for the lost, but what could I do? Why would they listen to me? What if I fall on my face and the fool? In Lost in America, Tom Clegg and Warren Bird make the evangilism possibilities of our daily lives very real. "I can do that." I kept saying that through the book.
This book makes one feel the need to give our lives to rescue those who otherwise will die. And, it is an urgent need! People are dying today without Christ. What can you do to save one person? Read this book, and you will be motivated and inspired to join the battle in a very real way.
My Neighborhood Is My Mission Field.......2001-07-12
Clegg and Bird inspire and equip the reader to care and act as freedom fighters in the battle for the lost. After an introduction that accurately portrays the state of America's relationship (or lack thereof) with Christ they place the responsiblity for the situation on the church instead of the culture. And they show how to present Christ in relevant and attractive ways to a community that thinks it understands what God is all about. I've used this book as the basis for a Bible study that has seen results in increasing our church's level of commitment to an outward focus. It's must reading.
Book Description
In the new mega-anthology from best-selling editor Russ Kick, more than fifty writers, reporters, and researchers invade the inner sanctum for an unrestrained look at the wild and wooly world of organized belief.
Richard Dawkins shows us the strange, scary properties of religion;
Neil Gaiman turns a biblical atrocity story into a comic (that almost sent a publisher to prison);
Erik Davis looks at what happens when religion and California collide;
Mike Dash eyes stigmatics;
Douglas Rushkoff exposes the trouble with Judaism;
Paul Krassner reveals his "Confessions of an Atheist"; and best-selling lexicographer
Jonathon Green interprets the language of religious prejudice.
Among the dozens of other articles and essays, you'll find: a sweeping look at classical composers and Great American Songbook writers who were unbelievers, such as
Irving Berlin, creator of "God Bless America"; the definitive explanation of why America is not a Christian nation; the bizarre, Catholic-fundamentalist books by Mel Gibson's father; eye-popping photos of bizarre religious objects and ceremonies, including snake-handlers and pot-smoking children; the thinly veiled anti-Semitism in the
Left Behind novels; an extract from the rare, suppressed book
The Sex Life of Brigham Young; and rarely seen anti-religious writings from
Mark Twain and
H.G. Wells.
Further topics include exorcisms, religious curses, Wicca, the Church of John Coltrane, crimes by clergy, death without God, Christian sex manuals, the "ex-gay" movement, failed prophecies, bizarre theology, religious bowling, atheist rock and roll, "how to be a good Christian," an entertaining look at the best (and worst) books on religion, and much more.
Customer Reviews:
Very entertaining coffee table book.......2007-09-30
This book, like the whole series of disinformation books, is very interesting and makes for good, entertaining reading. But don't expect it to be a fact-filled reference book. "Everything You Know About God is Wrong" has a definite bias against religion. Not that there is anything wrong with that, but I would have preferred a more rounded approach. It's really nothing more than "preaching to the choir" (or preaching against the choir I suppose.) Atheists will love the book, religious fundamentalists will despise the book, and open-mined people such as myself will be entertained by the book but disappointed at it's one-sided approach.
A crushing indictment of popular misconceptions about religious belief........2007-09-02
Everything You Know About God Is Wrong is a crushing indictment of popular misconceptions about religious belief. Composed of a wide variety of articles, each by a different author and attacking a different "sacred cow", Everything You Know About Religion denounces hypocrisies, outright criminal behavior perpetrated in the name of religion, horrific statements from the Bible and more. While some articles are written by freethinkers or nonbelievers and reveal a decidedly atheistic perspective, others are by believers seeking reform, justice, or a better understanding of various negative aspects of different religions. Indeed, the introduction remarks that "no contributor necessarily agrees with the other contributors... inclusion is not an indication of collusion." The articles range from "Sandman" author Neil Gaiman's graphically illustrated, adults-only comic of the soul-destroying Biblical story of Judges chapter 19 (in which a host turns over his daughter and his guest's concubine to be gang raped and murdered, in order to protect the guest); to the under reported tale of Magdalene Asylums run by the Irish Catholic Church that used women for profitable slave labor, for alleged prostitution or adultery, being victims of rape, or simply looking too pretty; to the merciless feudal virtual slavery inflicted by the temple theocracy upon the serfs of Buddhist Tibet prior to the Chinese occupation (runaway serfs would often be blinded, have their noses or tongues cut off, or be amputated); the story of a man who believes in Judaism and his struggle to engage in a public dialogue about Judaism and Israel, only to be shut out by Institutional Judaism; and much more. Highly recommended
Book Description
A FEAST OF FRIGHTFUL FLICKS WAITING TO BE REDISCOVERED
As the leading name in the world of horror, Fangoria magazine has been the source of information for fans of fright flicks for more than twenty years—covering feature films, video games, comic books, collectibles, and all aspects of horror entertainment. Working closely with Fangoria’s experts, including Editor in Chief Anthony Timpone, Adam Lukeman has compiled a must-have guide for casual horror fans and hardcore horror junkies with
Fangoria’s 101 Best Horror Films You’ve Never Seen.
With a brief synopsis for each of the included films, lists of cast and crew, “Terror Trivia,” and little-known facts about these lesser-known but must-see gems, Fangoria’s 101 Best Horror Films You’ve Never Seen offers a feast of gruesome information. Featured here are flicks that were dumped by their distributors or were initially flops, like Cherry Falls, Manhunter, and Pumpkinhead, foreign winners such as Cronos, The Vanishing, and Funny Games, and straight-to-video sleepers waiting to be discovered, including Shadowbuilder, Jack Be Nimble, and Nomads. There are even surprise entries directed by industry giants—movies like George A. Romero’s Day of the Dead, Brian De Palma’s Sisters, or Dario Argento’s Opera—that are frequently overshadowed by the filmmakers’ other, better-known works but are worthy of further examination.
Entertaining and informative,
Fangoria’s 101 Best Horror Movies You’ve Never Seen offers more than a hundred reasons to look beyond the often ho-hum Hollywood hype fests . . . when you’re really in the mood to feel your flesh crawl.
Customer Reviews:
Good book .......2007-09-29
I'm a huge horror movie fan and I found this book very enjoyable. All entrys are well written, short reviews and are in alphabetic order and have a few pictures. I bought ten dvds after reading some of the reviews for the films. Two of my favorite films are including in this book: The Changeling and The Dentist. Ive seen at least tweleve movies or more in this book and some movies aren't worth watching once. Some movies dont even sound that great, making me wonder why the put it in there. Then again, everyone has there own opinon to what they like. I got critized once for not liking a horror film and someone said I didnt like horror movies at all because I didnt like one film. Idiot. All in all, a good pickup for a horror movie fan who wants to see something they have not yet.
A Handy Friday Night Reference Tool.......2006-12-16
Ever step into a movie rental store wondering what movie ya might want? Reading this book definitely comes in handy for situations like that one. This guide has a phenominal list of horror movies and great information about all of them. The blurbs about each title are all well-written and informative without giving away anything about the endings. Although you may not agree with how good each movie is that's been listed, they're all definitely worth checking out at least once. I've bought/rented many of the titles from this book and enjoyed most of them. Adam Lukeman's list of horror movies is invaluable for those moments where ya just don't know what flick ya feel like checking out.
All Lukeman Is Saying...Is Give These Flicks a Chance!.......2006-07-23
Adam Lukeman's 101 BEST HORROR MOVIES YOU'VE NEVER SEEN: A CELEBRATION OF THE WORLD'S MOST UNHERALDED FRIGHT FLICKS is a great resource for fans of the horror genre, and younger fans or those new to the genre--that is, those who don't have the time or resources to go back and check out every obscure horror flick of the past--might especially find it helpful.
Of course, hard-core genre fans are sure to find some entries in the book with which they are very familiar (probably even some cherished favorites). GINGER SNAPS (2001), EXORCIST III (1990), and George Romero's DAY OF THE DEAD (1985) are a few notable examples. I am a life-long horror fan, however--one who is now staring the age of 50 damn near straight in the eyes--and I am not the least bit ashamed to report that this book spurred me to check out at least a dozen great flicks that, for various reasons, I might otherwise have forever passed over. For example, I've been a longtime admirer of auteur Frank Henenlotter's quirkily campy classic BASKET CASE (1982) and his 1990 Frankenstein send-up FRANKENHOOKER, but I'd never heard of his even better sci-fi satire BRAIN DAMAGE (1988) until I picked up a copy of Lukeman's tome. And though I'd heard a bit of buzz about maverick independent director Larry Fessenden, I'd never been motivated to actively seek out any of his movies until I read Lukeman's review of Fessenden's 2001 opus WENDIGO. The review intrigued me so much that I secured a copy of WENDIGO on DVD and immediately gave it a serious screening. I loved that flick so much that I went through a lot of trouble to get copies of Fessenden's two earlier flicks NO TELLING (1991) and HABIT (1997)--both of which were well worth to effort to locate--and he has since become my all-time favorite indie director.
No doubt many longtime genre fans will disagree with some of the reviews in this book. In fact, some will argue that a few entries are downright dogs that don't even belong in the book at all. But it's unlikely that Lukeman or the FANGORIA editors expect every serious genre fan to see eye-to-eye with them on every film mentioned. Instead, Lukeman and his cohorts simply hope to expose fans to some good--and, in some cases, really great--horror flicks that have been panned by fans and critics in the past.
And isn't that the point? I don't know about other horror fans, but I read the articles and reviews in FANGORIA and other horror magazines and web sites to help me weed out some of the genuine stinkers at the box office and the home-video store. I mean, I just don't have the time and money to watch everything offered up in the name of horror. But realistically, I know that every once in a while, a good flick falls through the cracks and doesn't get a fair shake. With Lukeman's 101 BEST HORROR MOVIES YOU'VE NEVER SEEN: A CELEBRATION OF THE WORLD'S MOST UNHERALDED FRIGHT FLICKS, some of those deserving flicks will get a second chance at life...and death!
Don't Be So Quick To Rent or Buy Some Of These.......2006-06-10
I agree that there were several films listed in "Fangoria's 101" book that I wasn't familiar with, but to be honest I'm not really anxious to run out and buy those based on quite a few reviews here of films that I am familiar with. While I agree with stellar reviews of "Pumpkinhead", "Exorcist III", "The Vanishing", "The Stepfather" and quite a few others, it's the inclusion of films like "Pin", "The Ugly", "Wendingo" that has me not trusting the films I'm unfamiliar with. Anyone who can give a glowing review to a borefest like "Pin" has to be questioned. I've seen most of the flicks listed here, and while some are pretty decent, they aren't going to displace "Halloween" on anyones faves list.
I didn't have an issue with the writing style as another reviewer pointed out, but I wasn't really looking for crisp prose here, just a chance to discover some forgotten fright flicks. The reviews are decent and concise, and I really liked the "Trivia" sections following each review. It's the perfect kind of useless information that fills my head.
I still think the best horror reference guide is "Legacy of Blood: A comprehensive guide to Slasher Movies" by Jim Harper. It had the best mix of known and unknown titles, and well written reviews.
101 Best Horror Movies You've Never Seen.......2006-06-01
Solid good informative book on more obscure horror films. I watch a lot of horror and out of the 100 mentioned I only saw about 25-30. The rest were obscure yet interesting films worth checking out. I would name them all here but that would take the fun out of reading the book. The book contains more than just the names, it gives descriptions, what sub-genre they're classified in such as ''slasher'', ''supernatural, etc.. it also gives the actors in the film, a brief description of the plot plus cool pictures from the films.
Here's some of the more common ones in the book you might have seen already, especially if you are a big horror/suspense fan.
The Changeling
Maniac
Last House on the Left
When A Stranger Calls
Pumpkinhead
Stir Of Echoes
Exorcist 3
Then some more obscure ones ive never heard of until I read the book such as..
Funny Games- I just purchased this one and all i can say is wow, i wouldve never found this one if it werent this book most likely. ''An Austrian Horror Film''
Cherry Falls- a lower budget film with some of todays young stars
Luther the Geek
Christmas Evil and tons more
This book covers all kinds of suspense/horror films from all different countries. In this book you will find some foreign gems and underappreciated works. Highly Recommended. Enjoy.
Book Description
Millions of Americans have been thrilled, scared, titillated, and shocked by exploitation movies, low budget films with many scenes of sex, violence, and other potentially lurid elements. The term derives from the fact that promoters of such films exploit the contents in advertising that plays up the sexual or violent aspects of the films. This is the first comprehensive study of the American exploitation film to be published. It discusses five distinct genres: the teen movie, the sexploitation film, the martial arts movie, the blaxploitation film and the lawbreaker picture. Contained within these genres are many popular American film types, including beach movies, biker pictures, and women's prison movies. The study provides a history and sociopolitical analysis of each genre, focusing on significant films in those genres. It also discusses the economics of exploitation films and their place in the motion picture industry, the development of drive-in theaters, the significance of the teenage audience, andthe effect of the videocassette. Finally, the book applies major film and cultural theories to establish an aesthetic for evaluating the exploitation film and to explore the relationship between film and audience.
(Ph.D. dissertation, Bowling Green State University, 1990; revised with new preface and index)
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