history

This was the most interesting and engrossing book that I have had the pleasure of reading. It came highly recommended from a friend who read it years ago, and I was not disappointed. The tactics and determination of the German SS soldiers in the French Foreign Legion should be adopted by armies who are dedicated to destroying our current enemies. This book is the purest example of an eye for an eye, causing the enemy to be cautious in his conduct, possibly saved numerous lives. The involvement of German SS soldiers in Vietnam, as a lethal arm of the French Foreign Legion, following the WWII, is not evident or readily known by most people. Their doctrine of unconventional warfare would be very effective in our current problems in Iraq and Afganistan, but the liberals and news media would not permit this type
of military action.

This book was recommended to me by a friend who was finishing up film school. This is the first-hand account of an experienced combat officer who lead an all-German battalion of the renowned French Foreign Legion. The details and descriptions are blunt, but nevertheless necessary in conveying the harsh realities of fighting an unconventional war against communist guerrillas. Hans Wagemuller is the alias for the book's main character and story teller. This is done to protect his identity and those of his comrades. Wagemuller was a former SS officer who fought on the Eastern Front. Before the reader of this review balks at reading this, bear in mind that Wagemuller describes himself and his colleagues as fiercely anti-communist, rather than haters of Jews and Catholics. He was not one of the members of the SS who guarded camps and exterminated defenseless civilians, but what is referred to as a kopfjaegar - a headhunter - one who hunts terrorists and unconventional combatants. Wagemuller offered his insights and experience to the U.S. military, but never received a reply. Ironically, Wagemuller simpathizes with the draft dodgers because of the way the U.S. prosecuted the war. This book, I believe, is better suited to the person who has an interest in Vietnam, and who believes that the war could have been won had it been prosecuted differently.

Eat your heart out, guys! I just picked up a paperback edition in a local PB store for $2.00, in great condition! I had this book and its sequel back in the 80's, and it was slow in dawning on me that this was no fictional work!! Like an idiot, I loaned both to a good friend, never to be seen again. Needless to say, I do not loan books anymore. My first copy must have been the original Dell paperback, because there was no indication that this was anything but a fictional tale. The recently purchased edition is copyrighted 1985, and on the cover it is indicated that this is a non-fiction historical work. But mere words cannot describe the graphic realism of the violence that these former Gernans meted out to their designated enemies. More like fighting a fire with nukes. Does it come as a surprise that it takes German Nazis in the French Foreign Legion to do France's dirty work? This is not meant to slam the French; they do a pretty good job of that themselves. This piece is a paean to the professional warrior, those with the motivation, training, and elan to confront all risks and take on all comers. And also to the warriors not encumbered by having to look over their shoulders at commanders overly concerned with Political Correctness. This is a story of ancient heroic Germanic and Celtic warriors, fighting in the traditional manner, with modern firearms and motorized vehicles. "Kill them All...Let God sort them out" describes the mayhem most admirably.

When I picked up SOLO I had no idea what to expect. All I knew was that I had finally discovered a book with some of my favorite artists displayed. I was beyond thrilled for every artist in it is amazingly talented and deserves all the recognition in the world that some of today's tireless acts are receiving.

Wow is all I can really say. I curled up on my couch hour after hour reading the struggles, the triumphs and the roads every woman featured went through. It truly was like sitting down with a group of women and recounting the past and telling dreams of the future. The amazing thing about books is being immersed into them and while reading SOLO, I felt like I was no longer in my world, but a world with a group of people that I admire and who inspire me. I felt like Sarah or Holly or anyone of those artist's were right beside me, confiding in me.

Emma Dodge Hanson and Marc Woodworth chose a very diverse group of women, appealing to every type of music lover. The photos are priceless, conveying each artist's emotions and and the writing is terrific, detailing each woman's life and portraying them both as talented and also human beings...and that's not easy to come by these days. Another thing that I enjoyed was the "trend" of women artists being addressed. It's not a trend,folks, women are just finally the getting recognition they deserve. Women have been around for a long time and SOLO acknowledges that women will be here forever. My opinion? It's about damn time.

"Solo" is a refreshing, absorbing read. What makes it so interesting is that all of the excerpts are written by the artists themselves, all brilliant yet human artists whose experiences are lucidly and effectively related throughout the book. As a singer-songwriter myself, it was a pleasure to gather inspiration and encouragement from these women, most of whom have travelled the long and lonely road in search of artistic and spiritual breakthrough. Each entry is very intimate and personal, and I felt like I was having coffee with each artist! The accompanying photographs by Emma Dodge-Hanson are lovely and introspective, showing thoughtful, quiet sides of each dynamic woman that are often ignored in the glossy images of magazines or music videos. I often return to "Solo" to draw out words of wisdom from my favorite artists. I can only hope there will be a companion book to follow! *****

I learned so much about all of my favorite artists in this book. This book is tastefull done (unlike Building a Mystery by Judith Fitzgerald). The author actually talked to the artist and got their perspectives on many different topics and the meanings behind their songs, which makes this book true and somewhat autobiographical. It is good to see a book also where the artists are not portrayed as glamorous. These black and white photos seem the bring the artists back down to the same level that the reader is working on. It is a really nice book and an interesting read.

I wish there had been even more pictures. We get no daylight bird's eye view, front or rear view and the nearest picture to this of the whole ship is obscured by cut outs of inside the ship. In one illustration at the front, a sort of veil over the corner of one of the decks is not explained. Excellent book but still leaves me begging for a few more views of the great ship - just some external views.

Titanic: An Illustrated History is absolutely the most definitive book written on the subject ever. Included are hundreds of photos and color illustrations exploring the ship in extreme detail from bow to stern, smokestacks to double bottom hull. The reader will enjoy this look back at an age of innocence which ended as the Titanic sank slowly to the bottom of the Atlantic ocean. It takes the reader from the laying of the hull to the gaiety aboard its maiden voyage, that gaiety turned tragedy as an iceberg spelled doom. We are brought full circle with spectacular photos from the discovery of the mighty ship's final resting place. This book is a must for anyone interested in Titanic lore. April A. Scandora-Knighto

If you are looking for a beautifully illustrated, wonderfully arranged and truly awesome book, this is it. Ken Marschall is the gratist Titanic artist ever! His paintings, mixed together with real photos, seem to bring you back to the Titanic. the way Don Lynch gose in depth explaning her maden voyege, you won't need any other Titanic books, Titanic an Illustrated History has it all.

At a time when many Americans want to understand Arab and Islamic influences and their effect on current events, Rick Francona's book is an excellent and enduring source.
As an Air Force intelligence officer, a Middle East veteran, and a fluent Arabic speaker, Rick had seen the Iraqis, first as an ally, and later as an adversary, as the title suggests. Early in the book he tells us about visiting Iraq during its long war with Iran. He visited areas of grinding combat around Al-Basrah and observed, as an ally, the army we would later face in the Persian Gulf War. His unique, first-hand observations would be invaluable later. He also entertains us with stories of life in Baghdad, once even escaping his Iraqi escort and conversing in Arabic with surprised ordinary Iraqis in the marketplace.
Later in the book, he gives us an insider's view as General Schwarzkopf's interpreter at the meeting at Safwan where Iraq was to receive surrender terms. Asked to translate instructions to the senior Iraqi representative, Rick tells us, "I translated the words into Arabic; the Iraqi interpreter, a brigadier who had spent several years living in Michigan, nodded to Sultan Hashim that my translation was correct." He ties many of his experiences together at a meeting later in the book when he finds himself facing an Iraqi major with whom he had worked during the Iran-Iraq war. "I was stunned to be now face-to-face with Majid Al-Hilawi, whom I had not seen since my last night in Baghdad at the end of the US-Iraq military relationship in 1988. I simply walked over to where Majid was sitting and offered my hand which he took warmly."
Rick Francona makes us feel like a personal witness to all these events. This is a great story from an observant eyewitness. It is all the more compelling because we saw the highlights on CNN and many of the observations will probably be relevant far into the future.

Rick Francona, a retired USAF LtCol., has written an account of the Gulf War as no one else can. He is probably unique in that he served in Baghdad during the Iran/Iraq war (to include excursions into Iraqi frontline trenches during the fighting) and then on Gen. Norman Schwarzkopf's staff as an interpreter and intelligence officer. Francona's experiences and perspective make for an interesting memoir of the war. He was there for most of the key decisions and events of the war, and he is very frank in his description of working with the Coalition partners, particularly the Saudis. Likewise, he provides an honest account of the efficacy of the air war, summed up in the placard over the desk of one of the airpower planners in Riyadh: "We are not preparing the battlefield, we are destroying it."

Also, readers will learn how the politics of realism comes into play in the Middle East -- from US involvement in the Iran/Iraq war to the decision to end the Gulf War without moving into Baghdad.
Francona has written an extremely readable history. This book belongs on the shelves of historians, collectors, and military history buffs.

I truly enjoyed this book. It is somewhat parochial regarding the air force, but not awful about it. Some of the personal anecdotes were quite interesting, especially the description of the Saudi officers. I laughed out loud at the anecdote of "you are now leaving Saudi Arabia, please set your watches ahead 600 years".

This book assumes the reader has something of a military background, which isn't an issue to me but I can imagine some people struggling w/the story. If your interested in military history in the mideast, you can easily afford the day or two it will take to read this.

Ross King's story of the "Pope's ceiling" is much more than the history of the painitng of the Sistine Chapel, as fascinating as that is. Spanning only four years, this book is art history, military history, church history and more all in one. Michelangelo was a renowned sculptor, who at the beginning of the 16th century was commissioned by Julius II to create the grandest tomb the world had known. But Julius, the feared and volatile ruler of part of Italy as well as the Pope, changed his mind before Michelangelo started, and directed him to paint the chapel instead. Unskilled in the complicated fresco process, and bitterly disappointed, Michelangelo nevertheless has no choice and begins the project. King details the challenging job of preparing the walls, transferring the design to the plaster, quickly painting before the walls dry. The author debunks many of the stories that have grown up over the years--Michelangelo did not work alone but with a changing crew of assistants; he did not lie on his back but painted in a much more uncomfortable position--standing, looking up.

King also offers an intriguing look at the corrupt church of the time, as we recall that the chapel is being painted on the eve of the Protestant reformation. The pope is hardly a spiritual leader, but one prince among many, with the extra power of condemning his enemies to hell or granting forgiveness and absolution for sins. Julius spends more time warring with rival kingdoms than worrying about salvation, and one cannot help thinking of the many lives lost during these useless escapades. Julius fancies himself as the successor not only of the first pope Peter but of Christ himself, and his triumphant entry into conquered cities in a fashion reminiscent of Palm Sunday are colorfully described. The clergy are uneducated, poor and hardly living a life of holiness--the vow of chastity simply means one cannot marry, and as a result Rome is overrun with prostitutes. In a wonderful aside, King quotes from the writings of the young Martin Luther--overjoyed at the prospect of visiting Rome's holy shrines, he quickly sees the filth and corruption in the city, which no doubt deeply influenced his subsequent break with Rome.

King does a wonderful job describing the fresco itself, explaining the origins of the designs in history, the classics, and earlier art works. We also learn quite a bit about Raphael, a young likeable man about town compared to the grumpy Michelangelo. Raphael was painting the pope's apartments at the same time as Michelangelo was working on the ceiling, and King does a great job explaining the differences between these two great masters. Leonardo da Vinci, the older, acknowledged master, was also working at this time, and King refers to his works throughout.

Whatever one might say about Julius and the corruption of the time, the popes did much to nuture the flowering of the Renaissance, and they certainly knew their art! This book is highly recommended--the audio version is also very well done.

Michelangelo & the Pope's Ceiling by Ross King tells the story of four years, 1508-1512, in the life of three larger than life personalities: Michelangelo, Pope Julius II, and Raphael. Mr. King's latest nonfiction historical "thriller" is, however, more than a story of the four years that Michelangelo spent laboring over the twelve thousand square feet of the vast ceiling of the Sistine Chapel. In Mr. King's able hands it becomes an early 16th century soap opera, starring Michelangelo, Pope Julius II, and Raphael, and featuring all the intrigue, passion, violence, and pettiness of a Sopranos' episode. What's so astonishing is that all that is told actually happened -- it's history.
Ross King's gift is his ability to bring us, his readers, back through the maze of time and lead us to an understanding of all that coalesced -- politically, socially, and artistically -- to create great art, great history and, for us, great reading.
According to King:
"Pope Julius II was not a man one wished to offend.... A sturdily built sixty-three-year old with snow-white hair and a ruddy face, he was known as il papa terrible , the 'dreadful' or 'terrifying' pope.... His violent rages, in which he punched underlings or thrashed them with his stick were legendary.... In body and soul he had the nature of a giant. Everything about him is on a magnified scale, both his undertakings and passions."
Michelangelo and Raphael as portrayed by King:
"Almost as renowned for his moody temper and aloof, suspicious nature as he was for his amazing skill with the hammer and chisel, Michelangelo could be arrogant, insolent, and impulsive....If Michelangelo was slovenly and, at times, melancholy and antisocial, Raphael was, by contrast, the perfect gentleman. Contemporaries fell over themselves to praise his polite manner, his gentle disposition, his generosity toward others....Raphael's appealing personality were accompanied by his good looks: a long neck, oval face, large eyes, and olive skin -- handsome, delicate features that further made him the antithesis of the flat-nosed, jug-eared Michelangelo."
The stories of these three men during this extraordinary four year period and the art they produced is the story embodied in Michelangelo & the Pope's Ceiling. The confrontations between Julius II and Michelangelo are legendary. "The major problem seems to have been that Michelangelo and Julius were remarkably alike in temperament. Michelangelo was one of the few people in Rome who refused to cringe before Julius."
For almost the entire four years Michelangelo was shadowed by the brilliant young painter Raphael, who was working in fresco on the neighboring Papal apartments. This rivalry the Pope seemed to enjoy and encourage. To help us better understand the friction between these two great artists King introduces us to Edmund Burke's treatise on the sublime and the beautiful:
"For Burke, those things we call beautiful have the properties of smoothness, delicacy, softness of color, and elegance of movement. The sublime, on the other hand, comprehends the vast, the obscure, the powerful, the rugged, the difficult -- attributes which produce in the spectator a kind of astonished wonder and even terror. For the people of Rome in 1511, Raphael was beautiful but Michelangelo sublime."
For me, reading a book like Michelangelo & the Pope's Ceiling is the way to read history. Mr. King transported me back to those four years during which Michelangelo and Raphael created art both beautiful and sublime. I was there with and among the players, engrossed in the anecdotes King skillfully wove into his narrative. This is history -- up close and personal -- and yet far, far away from the pain, anguish, anger and turmoil that pervaded so much of the lives of Michelangelo, Pope Julius II, and Raphael. As I read, I learned, I felt, and I understood. Isn't that what reading is all about? I certainly could not ask for anything more.

As a chemical engineer by training and an amature historian by choice, I found King's book to be hard to put down. His explaination of the chemical aspects of creating a fresco were both poignant and detailed. Those explicit details were important in understanding the difficulty an artist faced in creating a fresco. I only wish more script was spent on detailing the mechanical problems in producing a fresco vs. a canvas painting. Nonetheless, the book was fascinating and would have appeal to a wide audiance. I "loved" it.

Jim Albus

This book presents a wonderful way to read Thucydides. While the introduction and appendices can be quite helpful to the non-specialist, the edition's greatest strengths are its translation and its maps. Crawley's is truly the definitive English translation, doing justice to Thucydides' majestic, albeit sometimes dense, prose. At the same time the maps make reading it a real pleasure. The Peloponnesian War ranged all across the Greek world, and most editions force you to constantly flip back to a few small and confusing maps in a feeble attempt to follow it. This volume entirely relieves you of that burden, removing all obstacles to the enjoyment and appreciation of this classic.

For those further interested in Thucydides and the war he recounts, I highly recommend Donald Kagan's four-volume analysis of the Peloponnesian War. An up-to-date, thoroughly scholarly work, it is also very accessible to the non-expert and well-written to boot. For expanded views and interpretations of the war, as well as an evaluation of Thucydides himself, pick up any one of his volumes.

Robert Strassler has done a remarkable editing job with Thucydides' Peloponnesian War. He has included three key features which provide the reader much luxury:

One, he has provided maps throughout the text, to the extent of repetition, to ensure that textual geographic references are always accompanied, in close proximity, cartographically.

Two, he has provided paragraph summaries on the margin throughout the work so that a reader, who has put the edition down for any length of time, may refresh their memories quickly by reading as many of these one to two sentence summaries as necessary.

Three, as Thucydides provides his narrative in chronological order, he must often leave one narrative to begin another. Strassler has provided a thread to follow each narrative through to its' end by way of footnotes.

These editorial enhancements greatly enrich the reading experience and would be a welcome addition to any historical text.

Thucydides, himself, presents the reader with a narrative unromanticized, strictly adhering to the events of the Peloponnesian War. His work possesses many passages that rivet the reader, but also contains areas where the sheer and voluminous recitation of fact can render one foggy. This is not a book for the light-hearted, though Strassler's editorial enhancements make for a pleasurable experience. It is, in short, a classic which has been classically edited.

I have to say this is a fantastic presentation of Thucydides although I have not read him in the original Greek and therefore am not qualified to pass judgement on the translation. But I also notice that Victor Hanson provided the bibliography rather than the author and no sources are quoted for the essays at the back and the bibliography is mostly secondary sources. Yes, this book is meant for the masses, but I would prefer an approach more similar to the Penguin Herodotus. Nevertheless, the maps are useful and the book is well worth reading.

Just before Christmas my husband and I saw this author speaking on BookTV and he called and ordered Creekers for me. I am glad I saw and listened to her before I read the book because I could clearly hear her cadences as I was reading. In a most unique writing voice she takes us along on her journey from an Appalachian Creek, to which she forever remains loyal, out into the wider world beyond. Though she speaks lovingly of her home in Appalachia, along the way this writer manages to show us the time and the place and the people without a hint of sentimentality or condescension. I particularly enjoyed her description of the metamorphosis brought about by her education. Her story is by turns funny and painful, sometimes simultaneously! Both my husband and I enjoyed this book, which is not the usual occurrence, though he liked the first half while I preferred the last half. We look forward to more work from this talented writer and we agree that she really should put this book on tape!

If you've ever thought about the consequences and significance of your life, your family and your home, then you are like me. And, if you're like me, then chances are pretty good that you'll count Scott-DeRosier's "Creeker" among your favorites. This is an interesting and gripping autobiography of a woman who is living the kind of life we all hope to live; it made me laugh out loud, reflect on the choices in my own life, and it moved me to tears -- all qualities of a book to be read more than once. In addition to all these strengths, Scott-DeRosier shared her Appalachian Mountain memories lovingly and candidly. Through her you will see what you've never seen before, respect people you might not have thought about before, and find reasons to hope for renewed community in our own lives. There was so much familiar in Scott-DeRosier's life story that I recognized those universal questions and truths that resonate in my own life, in all our lives no matter where we come from.

I loved this book. It really tells the story of my people.

It's a rare thing indeed to discover a movie adaptation is actually better than the book that inspired it, but here it is: Paul Brickhill's THE GREAT ESCAPE is a great plot with no characters to speak of.

Brickhill gives a firsthand account of the escape of 76 men from Sagan, a German prisoner-of-war camp, during World War II. Through tireless efforts and disheartening setbacks, the men managed to dig a lengthy tunnel 30 feet down into the earth, and 300 feet towards possible freedom. The plan, which originally called for three such tunnels, was the single largest escape in WWII history, and the efforts, patience, and bravery of the men secures their escape as one of the most noble efforts of man.

What a pity, then, that THE GREAT ESCAPE is a fairly badly written first-hand narrative, related with all the style of a person making a grocery list. Brickhill has provided the bones of an amazing story, but he neglected to provide any meat along with them.

The story couldn't help but lend itself to a fascinating read. The actions of these men could never be anything less than remarkable. But all Brickhill does is tell the story. He doesn't add any true characterization to the hundreds of people who pop in and out, resulting in a lack of empathy for these men. The reader is left wanting to know more, but is frustratingly denied the opportunity. Even the leader, Roger Bushell, is a cipher, easily interchangeable with any other character.

It is easy to see why this story makes such fertile ground for a movie. The plot is astonishing, and the complete absence of any true personality leaves the filmmakers free to make up any character they want. Roger Bushell didn't escape from Sagan, Richard Attenborough did. So did Steve McQueen and Charles Bronson.

I don't want to seem as if I am making light of the situation. THE GREAT ESCAPE was a shining example of what humanity can achieve under the most strenuous circumstances. But Brickhill doesn't provide us with any reason to care. The story unfolds with all the excitement and tension of someone telling of their day at work. Simplicity in storytelling can be a fine thing, but not where the story demands so much more.

220 Allied POWs would have been swarming all over the Third Reich before the Germans realized they were missing. Unfortunately, only 76 managed to escape through a tunnel under Stalag Luft III that had taken a year to dig. Of those 76, only 3 managed to make their way back to Britain. Twelve found themselves back in Stalag Luft II in a matter of days. Eight wound up in concentration camps. The remaining 50 were shot by the Gestapo, on orders from Hitler himself. Among the 50 was South African-born RAF Squadron Leader Roger Bushell, a.k.a. "Big X", the originator of the escape plan. The Great Escape is an incredible read. While the book is narrated from third person omniscience, its author was anything but detatched from the story. Paul Brickhill mentions his own role in the escape only very briefly in the foreword to the work. A key element of the escape plan, as Brickhill recounts in great detail, was the forging of official papers required for freedom of movement across the Reich. Brickhill led the gang of "stooges" that warned the forgers when camp guards approached. He found himself barred from participating in the actual escape when Big X learned of his acute claustrophobia. That fear may well have saved his life. After the war, Brickhill interviewed several of his other fellow survivors to assemble the grand narrative. The result is a riveting tale that ranks among the greatest war stories ever written, fact or fiction. You've seen the movie. Now read the book!

What a wonderful book. I've read it a few times and I marvel at the every day heroism displayed by the hungry, sex-starved men of Stalag Luft III.

My own copy is the First Edition, printed by Norton in 1950 and signed by George Harsh who wrote the Introduction. I got it for an astonishing $12 and it's one of the most treasured books in my collection.

It's part memoir and historical account. You read as the POWs begin their audacious plan and despite for many of them, what would be a tragic ending, you marvel at what these men had to endure and go through.

Despite the tragedy, this is no weepy account. This is a testimony to the human spirit which triumphs in the face of human isolation. They are prisoners true, but they in the end, are the ones to triumph over nazism.

The movie of course, inspired me to read the book, but just remember that the movie's characters are fictional composites of the real men. It would do well to remember the old cliche, "the book is always better than the movie," which is entirely true in this case.

A Wonderful Book.

Read It.

Some nine books into his Napoleonic series, Cornwell pauses here to return to the beginning of Sharpe's association with the 95th Rifles. In 1809 French forces were sweeping the British out of the Spain in a full retreat to Portugal. Sharpe is a Lieutenant, and a lowly quartermaster at that, but through a series of mishaps and skirmishes, he finds himself in command of the tattered remnants of a Rifle Company cut off from the main British army. These men, led by the indominitable Irishman Harper, are demoralized, distrustful of Sharpe, and waver on mutinousness. We see his first clumsy attempts at leading men, as he tries to get them to safety. Their momentary alliance with a Spanish Major who is escorting a mysterious strongbox only leads to more trouble as the combined forces are dogged by a unit of French Cavalry intent on capturing the box. Of course, over time, the contents of the box are revealed and a thrilling city battle is fought. We also see Sharpe's first awkward falling in love, with the niece of some British missionaries (who provide some of the most comic moments in the entire series). It's a good prequel to Sharpe's adventures in the Peninsular Wars, and while it makes a logical place for newcomers to start the series, it might actually be more fun for those who have already gotten to know Sharpe and Harper.

Sharpe's Rifles is the book in which Sharpe gets his first command. It's the bringing together of two characters that will see the peninsular wars to an end. Sharpe meets Harper for the first time in this book, and it not what I expected. It is however a great tale of how the two soldiers came together.

This book puts Sharpe in Spain, during the British retreat towards Corunna. This is a dark point for the British in the peninsular wars when French victory seems not so far off. Sharpe, while second in command of a detachment of riflemen cut off from the main British force, is soon to face the most challenging point of his career. Sharpe has to learn quickly when his commander gets killed and leaves him in charge. He needs to earn the respect of his men and lead them to victory. It's a great story and a great look at how Sharpe came to be so admired by his men. This book starts of many of the features that make the Sharpe series so great, it's a must read for all Sharpe fans.

4 Stars.

This was my first foray into the Napoleonic historical fiction genre (including the Hornblower series as well as the Aubrey/Maturin books) and since I am more of a landlubber I went with the Sharpe series. The writing style can be light and fluffy at times but there is enough period detail to keep the historian in you engaged. The action is quite bloody and there is a certain gritty realism to much of the story. I could have done without the whole chick element that Louisa brings but it does serve to offer some insight into Sharpe's character by the end of the story. A quick read, and hard to put down. I'm looking forward to Sharpe's Eagle.

Ron Chernow's "The House of Morgan" is both an engaging history of the Morgan banks and a brilliant account of the growth of global finance from Victorian times through the late 1980's. It's every bit as enjoyable as Chernow's "The Warburgs," but provides a better analysis than the Warburg book of key business and political developments of the 20th century.

No one should be intimidated by this book's length or the complexity of its subject. Its pages are rich with lively portraits of the sometimes quirky men who ran the Morgan banks, the high and mighty of the world with whom they did business, and the world's many critics of such concentrated economic might. Pierpont and Jack Morgan and their successors at the top get the most detailed treatment, but figures as diverse as Brandeis, Mussolini, Lindbergh (the son-in-law of a top Morgan partner), Bryan, Theodore Roosevelt and Margaret Thatcher all play a part in the story, not to mention interesting but lesser-known figures like Ferdinand Pecora, Judge Harold Medina and central bankers from Britain, Germany, Italy and Japan.

As a backdrop to the Morgan saga, this book includes accounts of the main events of 20th-century financial history, such as the Panic of 1907, the creation of the Federal Reserve system, the Crash of 1929 and the depression and bank failures that followed it, the New Dealers' attack on banks led by Pecora that resulted in the Glass-Steagall Act and the separation of commercial banking from investment banking, and the rise of hostile takeovers, Eurodollars, petrodollars, Latin American lending, junk bonds and the securitization of debt, all refreshingly written for laymen rather than experts.

"The House of Morgan" has perhaps two overriding themes. The first is that as the years have passed, and the Morgan banks have faced increasing competition, the Morgan bankers' need to maintain their global preeminence has led them to take bigger and bigger risks. Some of these risks have resulted in large financial loss, but more often they have resulted in a loss of both public and customers' confidence, which has eroded the very preeminence that the banks seek to maintain. The second theme is that the top Morgan bankers have consistently underestimated the power of government to control what they do, and even make their lives miserable. From Pierpont on down, they have ignored government at their peril. It's almost a certainty that with the next big economic downturn, the Morgan banks will be attacked again, and I hope that Chernow will be on the scene to provide an account of it.

"The House of Morgan" is one of the best business biography books I've ever read. It is an unbelievably comprehensive piece of research work on an important banking history in the United States. The stories of the people behind JP Morgan & Co give readers so much hopes and belief that anything is possible in your life. Mr. Chernow covers the company's historical and current background in great detail. He also presents a more technical view on what happen in the cycles of US economy that spans over many decades. What I like most about the book is the coverage of individuals involved in building and leading the firms (JP Morgan and Morgan Stanley). These groups of talented individuals are amazing leaders whose stories are worth reading.

I thought that the first 40 pages were pretty slow, but the actions did pick up real soon. By the 700th page, I was hoping there would be a second book written on the House of Morgan. I was especially impressed with Mr. Thomas Lamont that I proceeded to read a separate biography on him. I loved the book so much that I went on to buy some other books related to it - (RJR Nabisco story on Leverage Buyout and The Chief: The Life of William Randolph Hearst). It's a thick book but it's really worth the time to read. You'll be pleased with yourself!

Ron Chernow is arguably the best business historian writing today. His ambitious attempt to tell the story of the famed banking dynasty of J.P Morgan could not have succeeded more brilliantly. Here is a story not of just a bank. It is even more than simply the story of the financial services industry. It is, in fact, the story of the modern era, where everyone from Teddy Roosevelt and Benito Mussolini to Paul Volker and Ivan Boesky figure prominently.

At the heart of this epic is a great paradox: the rise of modern global finance ushered in the demise of the banker. In J.P. Morgan's day, a small group of bankers held sway over giant corporations and the governments of global powers, serving as intimate advisors and self-regulating their industry with a strict but unwritten gentleman banker's code of conduct. The institutions that banks like Morgan created ultimately grew too powerful to control. Whereas once governments and companies were at the mercy of their bankers, today the reverse is true. Chernow tells the story of this transformation in exquisite detail and with admirable clarity.

As interesting and well written as this book is, some may still find it to be a challenge to finish. For those who like to read a few pages before bed every night, you should expect the "House of Morgan" to be on the nightstand for several months. However, if you have the time and commitment, you'll likely find the experience of reading this book to be a worthwhile and fulfilling one.