GA

If you are looking for a place to step back into time ...you will have arrived! Charles Seabrook brings to you a special path of so much beauty and history that you can simply feel yourself slipping back as if you are actually standing beneath
the massive, sheltering arms of one of hundreds of arching
oaks that canopy one of many small, dirt lanes. As you continue chapter to chapter, you respect the island more and more in the physical sense, as well as practically standing beside some of the characters that are described. You begin to love the island in the same fashion that so many before you have. You see, I grew up along the Georgia coast and until recently, never realized the history that has unfolded on this cherished island. I cannot wait to set out on a camping trip to really spend some time and discover the multitude of treasures that abide there!

I would give this book 10 stars if I could. This is an amazing wealth of history and information about one of my most favorite places on the planet. For anyone who loves Cumberland Island, as anyone who has ever visited there does, this is a must read.
This book reads well and has all of the "insider" information and juicy tidbits that you could possibly want. Buy it, read it.........you won't be sorry!

As a non-literary type, a psychotherapist, I found this book to be a revelation. Dr. Meerson, in a brilliant tour-de-force analysis, reveals not only the existence of taboos in Dostoevsky's works, but what those taboos are. This is tricky as the writer in the preface points out; after all we could claim that since the characters never speak about pink rhinoceros', this is the taboo. But Meerson makes a different claim: a careful analysis of the text reveals a pattern of hints, omissions, interruptions in narratives, and other devices. By comparing these interruptions, by pointing out what is omitted in many places, we begin to see an emerging outline of a taboo. Even more striking is her ability to show how Dostoevsky lures us into identifying with various characters, thus implicating us in those taboos. For anyone interested in psychoanalysis and literature, this book is essential reading. It is full of fascinating insights, and her methodology of analysis has tremendous implications for analysts and therapists as an approach to analysis of the process. For those fascinated by the interpersonal school, this work has much to add to the writings of Donnel Stern and his elaboration of selective inattention and unformulated experience. For those interested in the role of projective identification in literature, this book illustrates how Dostoevsky achieved this and what his purposes were in doing so. Her careful analysis of the literary devices which induce us to identify and thereby become implicated in taboos against knowing and speaking has great implications for therapists. For what is therapy, in a certain sense, but overcoming the taboos against knowing and thinking which we come to share with the patient? Embedded in these shared taboos, only gradually through dialogue do we extricate ourselves. Meerson's work shows us how this happens in a literary context.

Meerson's revelatory book focuses on what Dostoevsky, his narrators and characters do not say, the omissions which signal their pain (Raskolnikov's inability to pronounce to himself the word "murder"; the younger Karamazovs' refusal to recognize Smerdiakov as their brother). This is not, however, a "deconstructionist" move: it is precisely the holes in the text which create and reveal the values pervading Dostoevsky's novels. Meerson's hermeneutic is both an elaboration and a critique of Bakhtin and some of his followers: "polyphony" is not just a free-for-all in which we all get our say--and the the world remains just as we found it, or merely turned upside down. It is a transforming experience in which we are implicated in each other's most secret thoughts and desires. "Everyone is guilty before everyone," says Father Zosima, "everyone is responsible for everything." What makes people human and therefore deserving of love, even if they are murderers, madmen or scum, is the fact that they have "sore spots." It is not only the sympathetic characters who have something to tell us. Whatever people regard as too sacred or too scary to talk about, even to themselves, signals the existence of a value. No taboos, no values-- and vice versa! Nor does the reader get off scot-free. We readers are not confronted by some discursive argument or plot, proposed by author or cahracter, which we can then accept or reject. We are ourselves sent down into the labyrinth of Dostoevsky's narrative, stumbling over our own resistances and obtusenesses. The revelation of value when it does hit us is then all the more powerful. Meerson's analysis will be most effective if you are familiar with or have recently reread (not a bad thing!) the works that she discusses. If this book does not change your life, it will change the way Dostoevsky changes your life.

It's an excellent book that has great words to describe the story. It's good for visualization. The book makes you want to read more and more. I read five cahpters in one hour because it was so interesting.

This comments on the previous review. The title character whose name this reader has forgotten is unforgettable. Excuse me, did I miss something?

I hope that Larry Shriner publishes more! His book grabbed my attention on the first page and I couldn't stop turning the pages! I love his work.

This book should receive a lot of attention. Shriner has done his homework. It is refreshing to read a novel that does not fill space with four-letter words and sex. I hope to read more of his novels.

This is the best gardening book I've found with practical advice for gardening in the hot, often drought stricken South. His advice is right on, practical, and delivered in an often humous style. It is evident that Mr. Rushing has both first-hand experience as well as textbook knowledge. I can already tell this is going to be one of the most treasured books in my library.

I feel as if I know this guy. I use the book year round. I may not remember where I left my digging fork but I know where I left Felder's book. When I kill another plant, Felder tell's me where I went wrong. When I get a complement on a plant, I give him credit. The book tells you what to plant, when to plant it, where to plant it, and when to gather the seeds or divide the plant. Whenever I dig a new hole or pinch off an early bud I have already consulted this book to be sure the time is right. The monthly almanac pages are almost worn out. I do not turn the page on my monthly calendar before I consult the almanac to be sure the yard is ready for the next month. Felder is not just the holder of horticulture degrees, he is a dirt worker with lots of experience.

This is a lovely book. I'm an experienced gardener in England and my husband bought me this when we moved to Tennessee. It has given me the confidence to understand what I'm doing in this new climate, and to ensure that my efforts to 'improve' the land I garden here won't damage it.

The book has good detailed information on native plants and starting points for acquiring them.

Normally with a reference book on any subject, I would just dip into it as needed. This one I picked up and read cover to cover !

On my first gardening day after purchasing Margie Hunter's book, I used it at least three times to make sure I had the right plant in the right growing conditions. Margie has managed to squeeze an amazing amount of information in a small space, using a very pleasing format. Her book, while providing excellent details, presents the information with a chatty, casual voice, as though one was getting advice from a neighbor with a very green thumb. The section on the geology of Tennessee was a delightful surprise for me with its explanation of the origin of the variety of soils within our state. My only criticism of the book is the size of the excellent photographs. While the handbook size of the book makes it easy to take to the garden for reference, these middle-aged eyes of mine find the small pictures a little disappointing. For Tennessee gardeners in particular, and mid-south gardeners in general, anyone interested in gardening with native plants will find this book to be a thorough, well-researched and enjoyable aid to their efforts.

THIS IS AN EXCELLENT BOOK IT TELLS ALL ABOUT OUR FAMILIY'S HISTORY. I REALLY LIKE IT BECAUSE IT SHOWS YOU WHO THE PEOPLE ARE SO YOU CAN ACTUALLY KNOW AND TEACH THE YOUNGER CHILDREN ABOUT THE FAMILY.

As an African-American who lives in Kennesaw, Georgia the book was a priceless gift about the history of where I live.

I hope Ms. Lassiter does a follow-up and soon.

This book grabs your interest from the beginning and leads one into caring about each of the characters and what they suffer as a result of the Civil War as experienced by families living in the mountains of North Carolina and Tennessee. It is a rare view of what took place because of deserters from both sides and their raids of family farms. It also gives a more realistic picture of the thoughts and actions of the common soldier than is usually found.

This book was especially interesting to me since I live in the area where this story took place. It was fascinating to see how each family dealt with war, family upset, loss and neighbor against neighbor. This is a book that should be read by every student in America. Everyone can relate to the turmoil and tragedy of the Civil War (or as they say down here - The War of Northern Aggression) on a personal level through the skillful writing of this author. Tremendous first book!

Margaret Mitchell's Models in Gone With The Wind is a thoroughly original detective story. Its author penetrates a delicate web of fact, fiction, old (very old) rumor, myth, and fantasy. He proceeds unhurriedly, with sympathy and cool judgment. As he journeys into the living backgrounds of Mitchell's novel, Hardman introduces new truths into the rarefied, elusive climate that has traditionally surrounded Mitchell's great romance. After reading this work, I can never again view Gone With The Wind in quite the same way. The author has made Margaret Mitchell and the Gone With The Wind subject much more interesting.

According to Samuel Hardman's new study of Margaret Mitchell'smodels the first enthralled readers of Gone With The Wind foundMitchell's magnificent characters and their story much too real to be fiction. They assumed that she must have based her work on the lives of real people. Who were they? Where was Tara? Thousands of her readers demanded to know.

Some of Atlanta's most prominent citizens thought they knew who Mitchell's models were and where they had lived. The regent of a local D.A.R. chapter told Mitchell who she had been talking about in her book. In 1939, using Gone With The Wind as his sole guide, the distinguished Atlanta historian Franklin M. Garrett published the location of Scarlett's Peachtree mansion in an Atlanta newspaper. The new mega-star Mitchell responded to Garrett's model by denying the content of her published work to heap scorn on the historian and to silence him on the subject of Gone With The Wind models for the next fifty-six years.

From Hardman's work it appears that
Mitchell's famous characters and their homes were indeed drawn from life; further, it appears that when writing Gone With The Wind, Mitchell plagiarized the published work of another Atlanta writer, Miss Ella May Powell (1863-1955).

Margaret Mitchell's Models in Gone With The Wind seriously questions the veracity of Margaret Mitchell's statements concerning the origins of her famous novel and brings to light a persuasive and heretofore unknown literary model for Gone With The Wind; explores Margaret Mitchell's early reputation and history of plagiarism, dating from her school days at Washington Seminary, and inquires into the sensitive race issue by recording a fresh sub-text of anti-Semitic sentiment.

Here is literary skulduggery of the highest order. Hardman's unique view of Mitchell and her work is very much that of the ultimate insider. His fascinating portrait of Mitchell as an irreverent chain-smoker addicted to hard pornography is startling.

END

This lavish, oversized presentation with photos by Dennis O'Kain surveys the towns of the South which are most colorful in aspect, from those with notable architecture and beautiful gardens to sites sporting local festivals and color. This beautiful coffee table edition will offer many possibilities for both armchair travel and planning a destination in the South, and is packed with stunning photos.

This book explores the many varied regions of the Southeast, and does a great job of showing the beauty and culture that is associated with these different regions. The towns in the book are typical small towns that many people have never heard of, even if they live in the South. Bonnie Ramsey does a great job of finding many distinct and interesting facts about these towns and their culture, while Dennis O'Kain does a fine job of portraying some of the prettiest houses in the South in his photos. This book is for anyone who enjoys the beauty and culture that is associated with the South, even if you think you are competent in Southern culture and towns. This book will surely be a welcome addition to anyone's library. This book is the most recent addition to the Thames & Hudson line of The Most Beautiful Villages of. . ., and it continues in the fine tradition that this line of books has already established.