Form-3 Books

Great book! Tarzan remains one of my favorite fictional characters and Edgar Rice Burroughs is my favorite action/adventure writer.When you couple this with the extraordinarily beautiful artwork and incredible visual storytelling ability of Russ Manning you get an irresistably compelling,engaging,and entertaining work of art!
I strongly reccommend this and all other Russ Manning works (particularly Tarzan and Magnus,Robot Fighter.)

With beautiful Russ Manning art, an exotic prehistoric setting, and a non-stop action plot that never slows down, Tarzan in the Land that Time Forgot is one of the best Tarzan comics ever. Edgar Rice Burroughs never took Tarzan to Caspak, but if he had, the results might have been a lot like this story. I thoroughly enjoyed this book, and recommend it to anyone who likes adventure.

Lolah Burford gives the reader a story as subtle in words as the demands in the 1700's require.Subtle innuendo,metaphors,dreams,the locking of a door,the biting of a sheet to quell a scream,a pillow on a face to control.Control is the only thing The Earl knows,craves,needs. He is a man with 'unusual'tastes (strong suggestion of s&m)
So with this man who was never loved comes an innocent six year old boy who may or may not be his son. Over the course of the boy's life with the Earl he is given everything...and nothing. A vacation to Vienna,and the beginnings of touching,kissing,arousal. He is educated and beaten.Forcibly confined even when attending Oxford, he is humiliated,isolated,and loved.
The Earl creates Edward to be his perfect lover.Telling him to abstain from snuff,coffee and too much food. Edward falls in love with his cruel master and lover. The Earl regards Edward,the young man as his possession, his lover,his muse.
The Earl loves begins to literally and physically destroy Edward health. Even on his sickbed, The Earl cannot resist his Edward.
This books is erotic in it's simplicity of words and actions. Could not put it down.
To those readers who enjoy power struggles,tortured souls in the gay genre..you will never regret reading this excrutiating love/hate relationship.

"It is a hunting tale of a strange romance between a worldly and dissolute man, James Noel Holland, Earl of Tyne, and the golden-haired young Edward, his ward--or perhaps his son. Homosexuality, sadomasochism, and incest are elements in their relationship--and so are affection, love, and the saving quality of grace.

The time of the story is the beginning of the nineteenth century--the pre-Regency years of domestic unrest, of the Napoleonic Wars, and of lawlessness, cruelty, and the vast chasm between the rulers and the ruled. The place is alternately the cold Northumberland wild country where the Earl has his seat, the grim and beautiful city of London during the Season with all its pomp, the retreats of Devon and Brighton, and eventually Vienna at the acme of its musical splendour. The background figures include Mrs. Siddons, the famous courtesan Harriett Wilson, various noted rogues, Beethoven and Schubert, Castlereagh, Godwin, George III, and particularly, in retrospect, John Wesley, whose religious teachings, precipitates and early crisis in Edward's life but is to prove an enduring force.

In the course of the narrative a great many warring elements shape Edward's character. He is sent to Oxford, where he proves a brilliant student. Holland takes him to London to spend some months living in his resplendent townhouse while he is grooming him--assisted by Beau Brummell, among other famous figures--to take his rightful place in the world of society when he comes of age and receives his inheritance--for the Earl has by now privately acknowledged that he is Edwards father. He obtains the skilled services of two of his former mistresses to introduce Edward to the techniques and arts of heterosexual intercourse--an experience which replulses Edward at first, and then proves pleaseant indeed. Soon Edward finds himself growing fond of a young girl--but both families violently oppose a match, in true Montague-Capulet fashion.

Many times the two men, father and son, abjure their passionate lovemaking, only to resume it more violently than before. Finally Edward's apparent duality, augmented by a serious psychological and physical breakdown, have all but destroyed him utterly. Deeply concerned, the Earl takes him to Vienna and dramatically demonstrates that now Edward must make one of two choices: life or death. And in the end of the story is the beginning...."

This book arrived promptly, well packed and in perfect shape. Very please with the overall transaction!

This is just a great book . Fantastic photograghy and great writing. It made feel like I was there ! This book is just great!!! If your wanting a good book on Egypt you should get this one . This book you get more than your moneys worth !!!!

Andre Breton s'interessait a la poesie creee au hasard. Ensuite son copain Max Ernst en faisait le meme dans l'art. Il representait, par des images creees au hasard, la super realite au-dela du quotidien. La dedans se melaient toutes les influences: de l'art dadaiste et expressioniste, des drogues, de l'hypnose, de la philosophie. Par son art - de collages, decalcomania, frottages, gouttages, grattages - il ouvrait la porte aux artistes de l'abstrait et du culture pop, de l'apres-guerre.

Surrealism founder Andre Breton wondered if random creating could work in art as it had in poetry. His friend Max Ernst made the effort by drawing on experimentation with hypnosis and mind-altering drugs, his own studies in philosophy, his years as an Expressionist and then Dada artist, and influences from fellow Surrealist Giorgio de Chirico. ERNST's collages, decalcomania, drippings, frottages, and grattages personalized images from the conscious and the unconscious into an eerily mysterious, unexpected super reality different from the waking world and not so easy to understand. He went on to influence post-war Abstract Expressionists and Pop artists, as seen by reading Carter Ratcliff's THE FATE OF A GESTURE and by viewing "Pollock." I used to think that the Dali dream sequence in the film "Spellbound" was the best glimpse of what Surrealism was about, but editor Jose Maria Faerna also gives a clear, compact view. This well-illustrated and organized book, along with his DE CHIRICO, shows what happened after William Vaughan's GERMAN ROMANTIC PAINTING. It also pigeonholes Ernst's place in Robert Motherwell's THE DADA PAINTERS AND POETS, Herbert Edward Read's A CONCISE HISTORY OF MODERN PAINTING, Peter Howard Selz's GERMAN EXPRESSIONIST PAINTING, and Patrick Waldberg's SURREALISM.

What subtle writing! When I read this book, I was struck by how ephemeral the imagery is, the strange, half-real world of a boy in circumstances that I consider exotic, the ways that he accepted (and didn't accept) his surroundings. I was struck by the re-occurring images, the melancholy air of the story.

And then I got to the end, and I just burst out crying. All of those little images that seemed interesting but disconnected all came together within the space of a single paragraph, and it's the most powerful paragraph in literature I've read thusfar. I had to set the book down because I was crying so hard. It was a very powerful experience.

I would recommend this book to anyone who's looking for a writing style that's different from the traditional western storytelling style, but not so challanging as to be unapproachable. Fans of movies like 'Unbreakable' and 'Signs' will probably appreciate it.

The Essence of Camphor is a wonderful story. It is mesmerizing how closely the childhood memories of a perfumer overlap the imaginary and the real. The camphor base of his perfumes mirror his loneliness, and the loss of a friend - she had said that like camphor, death is a cure for many pains. Most of the other characters appear ghostly or distant, as sometimes adults appear to children. At the same time, the image of the 'camphor sparrow' becomes very real, it literally takes flight from its frame in the living room. It reappears on a tree, reached it is dead -- hollow with ants, or again, sighted flying above the rooftop with a string attached, it is alive and free. These precise images are offset by a sketchy background of families of women where men are mostly absent. The boy-protagonist's adventures are very much his own, and passionate in his creation of objects which to him are 'real', more real probably than things around him. What are his creations and how real are they? Images telegraph back and forth till a sense of the past and the future is blurred, as the house once abandoned where people sat with their heads bowed is later inhabited with people who bring with them a similar uncanny melancholy. In the narrative, camphor becomes a metaphor for healing, for emptiness, for renewal, and for death. Heavily layered, read it carefully. Highly recommended reading!

I have this book and I love it. You are given a glimpse of the New York art scene in the 1960's and get a feeling of what it must have been like during that exciting period. In fact, it's a little scary to imagine being around during that time, kind of overwhelming. Conceptual art, pop art, Andy Warhol, the whole psychedelic hippie scene. But oddly still a man's world, for all the miniskirts and 'free love' hype. Her contemporaries were pretty much all men, and the women tended to be more like sidekicks and dilettantes. (Not to take anything away from male artists, that's just the way it was at the time.) The end of Eva's marriage, to another artist, seems almost a given once she really started to come into her own right. It must have been kind of lonely, men were probably threatened by the idea of a female artist, or maybe it was just that she didn't have time to find the right person in her short life. Also, at the time there was much less awareness of toxicity in art materials both traditional and non-traditional. I have to admit I'm fascinated by the romance of this heroic figure producing art despite the cost to her personal life and health. I don't see her as a martyr but as a brave pioneer who left us with beautiful art. Many of Eva Hess's sculptures were made using ephemeral materials but this book has pictures of them when they were new. Even if the actual sculptures don't survive, the image of them will somehow continue to survive, maybe with the help of virutal reality technology? Anyway, thank you Lucy Lippard for this informative book packed with pictures and info about Eva!

Featured are reproductions even of artworks which no longer exist, and Lippard's commentary is always to the point. I don't dwell on the fact that Eva Hesse died young -- in fact, I'm not interested in the cult of personality which in my view only obscures the works themselves. But in at least three directions Hesse has given me plenty to think about and purely enjoy, and this book documents everything... maybe it slights the drawings a bit, but there's another book out there with nothing but drawings, drawings galore. The implications of what Hesse accomplished remain "mindblowing." Anyone who has only heard about her or seen one or two works needs to see what they've missed.

This volume of Chesterton's Collected Works brings back into print The End of the Armistice, the last book GKC wrote. I have always thought this was one of his finest pieces of non-fiction. It is thoughtful and articulate, as he always was. It shows how clearly he saw Hitler and the Nazis for what they were, at a time when an embarrassing number of English and Europeans who should have known better admired Nazi Germany. Finally, it connects Chesterton's abhorrence of the Third Reich with his religious convictions, making GKC in retrospect immensely more admirable as a Roman Catholic than Pius XII. The End of the Armistice is by itself worth the price of this book.

One thing for sure: GK was no fan of Prussia. Volume V of "Collected Works" contains political essays mainly dealing with events surrounding WWI. One of my favorite selections is "The Crimes of England', a candid confession of his homeland's crimes against humanity. GK lays much of the blame on Prussia, or more precisely, on England's government for cozying up to Prussia beginning with the William Pitt government around 1800. In GK's view, England should have stood with France, as inheritors of Roman/Christian values, in opposition to barbarian Prussia. Instead, England created a monster by propping up the Prussian regime, to the peril of all nations--particularly France, Poland, and Belgium. Moreover, barbaric Prussian values crept into English political and intellectual life as a result of this unholy association. English fascination with German social efficiency and scientific determinism hastened England's decline from a pastoral country to one overwhelmed by an ugly, dehumanizing urban capitalism. These are common themes in GK's writing, but I think never more fully fleshed out than here, as he traces all these developments from Pitt forward. It's a pity Chesterton does not show up more on reading lists for Western college courses in history.

I first heard of David Kunzle's book through a review written by Angela Carter. The book puts forward what was a novel argument at the time it was written - namely, that use of the corset and tightlacing was not simply a sign of the social oppression of women, but that it was simulataneously a rebellion against that oppression. Particularly focussing on the Victorian era, he argues that use of the corset was subversive, in view of the socially sanctioned role for women as sexless 'angels in the house' - tightlacing being overtly sexual, and not seen as consistent with housewifely duties. He marshals an impressive array of data in support of this thesis, particularly from the vehement anti-feminist opposition. Fascinating social history - highly recommended.

This was a VERY in depth book. If you are interested in this kind of thing I owuld say this is one of the better books to get. I enjoyed it and it had so much good information in it.

I bought this book not because I had heard good things about it, though I had; but because not ever having a father myself, I have always been curious as to what they were really like. I'd expected to skip through the book, verifying my own thoughts as to what my father might have been like should he have opted to stick around, then stuff the book onto a shelf. Wrong! Once begun, I was hooked (and I'm not a fan of anthologies or short stories).

O'Keefe has pulled together a group of writers who depict almost every type of father imaginable, some loving, some distant, some giving and strong, others needy and weak, many in between. I found myself reading through the night, forgetting about my original reason for picking up the book.

Some that stood out for me were the pieces by E. Annie Proulx, Jane Praeger, Ana Veciana-Suarez (the scene where her father is shot in a drive-by is riveting, the ending touching) and Jonathan Kellerman.

What surprised me was that some of the better known names did not live up to what I'd expected. Dean Koontz came across cold and somewhat arrogant in his writing, though to be fair, this may just have been the particular character he wrote about. Interesting was the story by Jonathan Kellerman's son, Jesse. He does show potential, but his writing seemed flat and the characters one-dimensional. It goes to prove that becoming a good writer takes time and maturity, and perhaps paying your dues.

What I find really amazing, though, is that some of the best work in the book was by writers whose names were not familiar to me, and I am an eclectic reader. I have put their names in my mental file to look for again. Oh yes, Claudia O'Keefe's own essay came closest to what I was searching for when I bought Father. I would like to spend lunch with her to exchange thoughts on fathers. Her choice of restaurant, I'll buy. As for O'Keefe's editorship, she has managed to change my feelings about anthologies. Before reading Father I thought them nothing but literary grab bags. I'm now looking forward to her next one, whatever the subject she may chose.

but I bought this one the moment I saw it. Fathers are a subject of such huge importance to families today, but so rarely discussed in modern literature. I thought Dean Koontz' essay about the atheist father who actively tried to deny his son any hope of eternal life was brilliant, but very dark, and a little soft at the end. John Updike's characters were good, but the story went nowhere. Claudia O'Keefe's portrait of the father she never knew until she was an adult and found out she was better off not knowing was memorable as was Caroline Leavit's picture of the family vacations from Purgatory. Jonathan Kellerman's semi-mystery of the cop who doesn't want his daughter following in his footsteps was unexpectedly touching, not to mention suspenseful. But to top them all off, that David Forsmark, a guy I've never heard of, blew them all away with a somewhat tongue-in-cheek tale of the woes of his fundamentalist upbringing which kept me glued - and grinning - from start to finish. I hope to see more books of this type and will definitely keep my eyes peeled for anything by Forsmark.

Jules Feiffer is a comedy genius, one of a kind. I will never figure out why he was never syndicated. Why did his comics only appear in the Village Voice? Maybe he is syndicated, but not in any papers that I've ever seen. There's no reason why his cartoons wouldn't be appropriate in a mainstream newspaper (which the Village Voice certainly is not). If Doonsbury could make it into widespread (to say the least) syndication, then why can't Jules Feiffer. Maybe he chose not to, for some reason or other. All I know is that millions of Americans have been deprived for years of the comedic genius of Feiffer. Sure, he's intellectual, but certainly not out of reach of an average I.Q. Oh, well. Anyway, I will tell you that he is deep, in a way that is reminiscent of the Peanuts cartoons of the fifties to the sixties: funny, but fragile and touching as well. He can put a political edge to his material, or he can just make a statement about the human condition. Actually, the latter is what he does best. To enjoy Jules Feiffer, one need not be a genius, but just a thinker. But the main thing is he has an uncanny ability to hit the nail right on the head, and not shove the point he's making down your throat. It's satirical and pointed comedy that goes down as easy as Budweiser, the king of beers.

I originally ordered this book( Sick Sick Sick ) because my old Feiffer book, Passionella, was falling apart. It was a Fontana publication, and had the following titles:
Passionella, Munro, George's Moon and Boom. It was printed in 1965 and I inherited it from my older sisters.
Well this book does not have all those titles, but it is still a worthwhile replacement!

The book starts of with excerpts from the Village Voice years, and kicks into high gear with Boom, Rollie and the Deluge.

It delivers satirical commentary on society; all done in a humorous way that will make you smile.
For example:
The Beatnik era.
Government propaganda of the sixties and the nuclear testing programs
The media
The dating scene
And much more!