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Avedon so successfully transcended the world of fashion photography (Vogue, Harper's Bazaar) that his photography became recognized as artwork. This catalog, published in conjunction with an exhibition touring Europe and the United States through 2009, includes 130 black-and-white and a handful of color reproductions of Avedon's fashion photographs, reportage, and portraits. The subjects of the portraits range from the very famous (e.g., Marilyn Monroe, the Duke and Duchess of Windsor, the Beatles) to the unknown (e.g., "drifters," an oil-well worker, a beekeeper). There are six essays about Avedon's life and his work; curator Helle Crenzien's opening biographical sketch and essays by the book's editor, Holm, and gallery director Jeffrey Fraenkel (Richard Avedon: Made in France) are of special interest. Holm's essay adds context to Avedon's photographs of Ezra Pound and Bob Dylan, while Fraenkel's essay reviews details of a 2002 photo session in which Avedon and fellow photographer Lee Friedlander took portraits of each other. The text adds a new dimension to the individual photographs and to Avedon's work overall. Recommended for public and academic libraries with photography collections.—Valerie Nye, Coll. of Santa Fe, NM

An eccentric French car collector bought and acquired about 40 cars over the course of several decades. He drove or pushed them into barns and sheds, or under trees on his farm, and there they deteriorated in major ways over time. The premise here is that these treasures become more interesting as rusting junk, with the collective patina of oxidation on the outside and the leather-and-wood interiors turning into impromptu homes for chickens and vegetation. Ridiculous. The photographs of this mess by well-respected European photographer Hesselmann have merit, as vines and wildlife are wrapped around some very notable Alfas, Bugattis, Cords, Ferraris, Panhards, and the stray Chevy, creating a kind of "revenge of nature" against the machine. But the fundamental problem persists: Is it acceptable to find and buy good antiques and leave them in the rain or worse? It seems more like a mad ego at work. The other problem? The collection has a few stars but for the most part includes too many ordinary or merely special-interest automobiles. Few classics, thankfully, reside in the mysterious owner's cache. Not recommended.—David Bryant, New Canaan Lib., CT

Weighing in at more than 15 pounds, measuring 12¾" × 15¾", and including more than 400 color and duotone images, this tome Magnum Magnum truly lives up to its name. Published on the legendary photo agency's 60th anniversary, this landmark book showcases no fewer than 69 Magnum photographers, including founding members Robert Capa, George Rodgner, David "Chim" Seymour, and Henri Cartier-Bresson and current members Susan Meiselas, Martin Parr, and Alec Soth. Like the agency itself, the book was a collaborative effort. Each Magnum photographer chooses and critiques another's six key works, e.g., Elliott Erwitt selects and writes on the work of Eve Arnold. This structure provides insight into the minds of some of the world's top image makers. Only current agency members were considered for inclusion; James Nachtwey and Sebastião Salgado, no longer represented by Magnum, are both omitted. Nevertheless, the book's sheer size permits the reader to enjoy these photos on a scale comparable to a gallery experience. With an introduction by photo critic and curator Gerry Badger and a brief history and bibliography on the agency; recommended.—Shauna Frischkorn, Millersville Univ., PA

Art historian Nead (Birkbeck Coll., Univ. of London) here expands on her past scholarship (Myths of Sexuality: Representations of Women in Victorian Britain; Victorian Babylon: People, Streets, and Images in Nineteenth-Century London), exploring the impact of the moving image across visual media in fin de siècle Britain. Following the precedent of art historian Jonathan Crary's analyses of technological, psychological, and perceptual histories of modern vision—Techniques of the Observer (1990) and Suspensions of Perception (2000)—Nead incorporates an exhaustive list of scientific and cultural events that helped shape the cinematic impulse of the period. To tell this story, she unearths colorful and overlooked case studies, such as that of social realist painter and car enthusiast Hubert von Herkomer. From fairgrounds to Freud, peep shows to Proust, few references are left unexplored. While this democratic breadth is admirable, it can also overwhelm the casual reader. At these moments, the rich and unusual illustrations provide happy relief. Nead's book picks up in its second and more original half, with interesting chapters on how new visual technologies relate to mass sexual imagery and on the projected image's connection to astronomy and spectral phenomena. Recommended for art history or visual studies collections.—Prudence Peiffer, Washington, DC

This highly regarded survey by Rosenblum (A History of Women Photographers) is a standard college text and important reference for the history of photography, distinguished by its international scope. Since its original 1984 publication, it has been translated into French, Japanese, Polish, and Chinese. This update to the third edition, published a decade ago, largely retains the text, organization, and 800-plus mostly black-and-white illustrations of the earlier editions. But more attention is paid to the impact of the Internet and globalization on marketing photography as well as to technological advances like the cell phone. A new chapter on contemporary photographers represents the work of Lara Baladi, M. Couturiér, Lalla Essaydi, Paolo Pellegrin, Thomas Struth, and more. The index, bibliography, glossary, and time line provide additional reference value. Larger public and all academic libraries should have at least one recent edition of this essential work.—Nancy B. Turner, Syracuse Univ. Lib., NY

This impressive, large-format book provides a broad, in-depth study of the life and works of Edward Steichen (1879–1973), one of the most talented and prolific photographers in American history. It traces Steichen's career from his early years as a Pictorialist to his stunning success as a commercial photographer, curator of the brilliant "The Family of Man" exhibition, and director of photography at the Museum of Modern Art. Editors Brandow (curator & director, Fdn. for the Exhibition of Photography) and Ewing (director, Musée de l'Elysee, Lausanne) have done an admirable job of selecting and arranging the images and contributions from many other scholars. They also include comprehensive biographical essays about and critiques of the work of this legendary photographer as well as a detailed chronology. Most impressive, however, are the more than 250 lovely reproductions, many printed in four colors to capture the subtleties of Steichen's classic works. One of the finest photography books published in many years; highly recommended for all libraries.—Raymond Bial, First Light Photography, Urbana, IL

If you've ever contemplated the poetry in the title of an artwork, take a step back—and you'll find that Weiner's works appeal to you. With his medium of choice being "language + the materials referred to," Weiner's art takes the form of words on gallery walls, customized cast-iron manhole covers, storyboards, and descriptions of works yet created (many times never created). This catalog, produced in collaboration with the artist and copublished by the Museum of Contemporary Art, Los Angeles, and the Whitney Museum of American Art, New York, accompanies the first major retrospective of this primary figure in the conceptual arts movement, cataloging his work from 1960 to 2007. After examining the 250 superbly reproduced full-page photographs—with titles and descriptions subtly printed in the gutter—one might compare this artist to Marcel Duchamp, Sol LeWitt, Christo, or Barbara Kruger. Yet the insightful essays contributed to this volume by scholars, artists, and exhibition curators De Salvo and Goldstein reveal Weiner's unique vision as they challenge our very perception of art, asking us to take a closer look at the world around us. Highly recommended.—David L. Reynolds, Cleveland P.L.

Consisting of large color reproductions of approximately 300 archival pieces of artwork from the first-year release of the highly popular World of Warcraft® Trading Card Game (TCG), which originated in 2004 as a Blizzard Entertainment online role-playing game before evolving into a card game in 2006, this nicely illustrated 11" × 9" coffee-table book features sketches, paintings, and digital illustrations by more than 90 talented fantasy artists, including Todd McFarlane (Spawn) and Greg Staples (Judge Dredd). Organized into chapters showcasing various heroic and mythological creatures, each captioned piece lists the card name and its deck, number, medium, and artist. Brief forewords by Blizzard Entertainment's Samwise Didier and Glenn Rane and a short introduction by Upper Deck Entertainment's Jeremy Cranford offer insightful information about the images' production environments. Lacking detailed analytical essays, explanatory entries, artist biographies, or bibliographic references, this almost entirely visual book—which also includes artist and card title indexes—clearly was conceived to appeal to individuals who actively play the online and/or the trading card games and who enjoy the games' artworks. While its significance may be elusive to nongamers, it is recommended for public libraries having ample numbers of gaming patrons and aficionados.—Cheryl Ann Lajos, Free Lib. of Philadelphia

Allende (The House of the Spirits) has a personal commitment to begin a new book every year on January 8. One year, agonizing at daybreak, she had no first sentence to report to her agent, who then requested the letter that turned into this memoir of family events since the death of Allende's daughter—the topic of her earlier Paula. Allende appropriately describes life as a "disorderly, quick process filled with unforeseen events" and admits that she has trouble following her husband's repeated advice to "keep her nose out" of her extended family's emotionally complicated lives (addiction, divorce, children with three different mothers, and failed medical procedures are just the short list of the problems faced by her "tribe"). Allende's trademark magical realism is ever present as she writes of Paula's spirit throughout this book. She reports that her houseguests smell jasmine and feel furniture moving in Paula's room, and her grandchildren see ghostly visions on the stairs. This high-spirited, emotionally packed book enables readers to get a closer look at the life of a much-loved writer—who even shares her schoolgirl crush on actor Antonio Banderas. Recommended for all literature collections. [Visit the author online at www.isabelallende.com.—Ed.]—Joyce Sparrow, JWB Children's Svcs. Council, Pinellas Park, FL

Phillips, who has written for publications ranging from the Harvard Lampoon to Newsweek International, here presents—to quote the book's promotional material—"the essential primer on how best to despise yourself!" This assessment isn't far off: Phillips has written a gleefully sardonic guide to self-condemnation and disapproval that offers up wisdom in bite-size morsels. Short chapters are broken up with quizzes, "questions from the floor," tips, and inspiration boxes. Although the material isn't groundbreaking—Phillips mentions self-loathing through abuse of food, bad love relationships, or demeaning family dynamics—the deftness with which she ties it all together makes this a delightful read. The sections on meta-self-loathing and spiritual self-loathing add an unexpected bit of flavor as well. Phillips is a self-described media tramp, and, as such, many of her examples will best resonate with those who follow celebrity news. This smart, accessible title—good for sit-down comic reading and with outstanding sound-bite potential—will entertain audiences from precocious high schoolers to retirees. A good choice for all public collections; academic libraries may also wish to consider.—Audrey Snowden, Cleveland P.L.

A beautifully written work that examines Keats's place among his contemporaries and the definition of poetic immortality, this book nevertheless suffers from a confusing organizational scheme. Noted poet Plumly (poetry, Univ. of Maryland, College Park), a National Book Award finalist last year for Old Heart, assumes that his readers are fairly familiar with Keats's life and has arranged his biography thematically. While this works well for Plumly's poetic analysis, not surprisingly one of the book's strengths, it will puzzle readers expecting a more traditionally formatted biography. Plumly neglects to explain, e.g., who exactly Fanny Brawne was to Keats (his onetime fiancée) before mentioning several times, offhandedly and without clarification, the great effect "the Brawne family" had on the Romantic poet. Plumly also unrealistically assumes knowledge of certain past events, as when he states that only one person in an 1834 audience would have had "the slightest knowledge of, let alone more than passing interest in, the work of John Keats." Part biography, part poetic analysis, and part hypothesis, this will make a worthwhile addition to the collections of larger academic libraries for its unique critical analysis of Keats's poetry; smaller libraries should stick with more conventional biographies.—Megan Hodge, Randolph-Macon Coll. Lib., VA

A worthy companion to the late Vonnegut's 2005 essay collection, A Man Without a Country, this collection of new and unpublished short fiction, nonfiction, and artwork examines the horrors of war with Vonnegut's trademark black humor and pessimistic criticism. Only a few of the 12 stories rely on the twists of reality and narrative present in Vonnegut's novels; the majority are carried by the characters' struggle with the absurdities of war and peace. Vonnegut's World War II experience as a prisoner of war in Dresden haunts the work, with multiple stories featuring American POWs in Germany. Completing the book are a nonfiction account of the firebombing of Dresden, a duplicate of a 1945 letter Vonnegut sent home to his father in Indianapolis after the bombing, and a copy of Vonnegut's final speech, written days before his death. The author's son also contributes an introduction. Readers of Vonnegut's books won't find any surprises here, but because he is at his sardonic best when working in short form, they won't be let down by his humor and poignancy, either. Recommended for public and academic libraries. [See Prepub Alert, LJ 12/07.]—Steven Chabot, Univ. of Toronto

The distinctive counterculture of the 1970s is the backdrop for much of this absorbing reminiscence by Brooks, who was a major writer and performer with the Angels of Light—a surrealistic, interactive theater troupe based in San Francisco and formed as an offshoot of the Cockettes. Brooks, a onetime political activist and acquaintance of the Warhol crowd, intertwines his own eventful personal history with that of the Angels. The result is a no-holds-barred story set within the larger framework that defined the era, the country, and especially its urban centers: we see, for example, the emerging gay liberation movement, antiestablishment philosophy, the drug culture, the experimental artistic front, and social change. The performing life of the group, from actors and staging to costumes and artistic concepts, is described here in vivid, often graphic detail, as are the private lives of its members, which are no less dramatic. Brooks is certainly honest, and he re-creates a unique era that was ultimately shattered by the passage of time and the devastation of AIDS. Nicoletta's striking photographs enhance this unusual text. For large theater/performance art and social history collections.—Carol J. Binkowski, Bloomfield, NJ

This excellent introduction stands out in a crowded field with its lively, accessible writing, broad coverage, and particular focus on traditionally marginalized figures in film history. Dixon (James Ryan Endowed Professor of Film Studies, Univ. of Nebraska-Lincoln; Film Talk: Directors at Work) and Foster (English, Univ. of Nebraska-Lincoln; Class-Passing: Social Mobility in Film and Popular Culture) discuss the technical innovations that moved the art form forward, and their lucid descriptions of often complicated concepts convey the excitement of innovation in mechanical as well as creative processes. The most striking aspect of the book is the coverage of women, African Americans, and Third World filmmakers, which strongly complements its solid coverage of American and European film. Illustrations abound, and even the best-versed cineaste will find new films to track down after reading the breezy, enthusiastic analysis in this book. Highly recommended for all collections, this text would also make an excellent textbook for introductory film-studies courses.— Christian Zabriskie, Queens Borough P.L., NY

Rock critic Williams commemorates the 30th anniversary of Bob Marley's recording of the album Exodus, which was named by Time magazine the best album of the 20th century. While not everyone will agree with that assessment, Exodus is definitely one of Marley's best albums and one that introduced many casual fans to reggae music. Unlike some commemorative or coffee-table books, this one includes exceptionally fine writing. The contributors range from Lloyd Bradley (This Is Reggae Music) to music critic Robert Christgau to the famous dub poet Linton Kwesi Johnson. The different narratives cover the events of the remarkable last few years of Marley's life—e.g., the assassination attempt on Marley, his exile in England, details of the recording of Exodus, and a description of the artist's legendary One Love Peace concert, during which he clasped together the hands of warring Jamaican politicians. The photographs and layout are excellent throughout, and the book includes the complete Exodus compact disc for those few reggae fans who may not yet own it. A fine book to add to any reggae collection; highly recommended.—Bill Walker, Stockton-San Joaquin Cty. P.L., Manteca, CA

Friedman's (Tales of Times Square) collection of musician, producer, and songwriter profiles ranges in style from the cynical to the profane as he explores the back roads and tributaries of the rock and blues worlds while focusing not only on the trials and tribulations of working musicians but also on their relationships to the music business at large. The pieces consider a myriad group of individuals, from legends such as Mose Allison and Dr. John to more obscure musicians like bassist Chuck Rainey and 11-year-old blues guitarist Andrew Baxter Jr., with appearances from dozens of music legends who crossed their respective paths during the last 50 years of rock and blues history. These profiles focus on hard lives, tough business dealings, and, ultimately, perseverance. Friedman's sometimes misanthropic tone along with occasionally freewheeling and rambling narratives can be grating and will not be to everyone's taste, but those with an intense interest in some of the obscure stories of music history will find value here. Recommended for larger libraries with extensive popular-culture collections.—Jim Collins, Morristown-Morris Twp. P.L., NJ

Beginning in the 1990s, Greene, a New York Times best-selling nonfiction author (Duty; Once Upon a Town) and commentator for National Public Radio's All Things Considered, spent summers traveling and performing with surf-music legends Jan Berry and Dean Torrence. In this easygoing, readable narrative of his experiences, Greene shows that life on the road is not all limousines and caviar. As he relates performing at state and country fairs, corporate parties, and grand openings of shopping malls, Greene emphasizes that what drives these musicians is the music. He explores themes found in his earlier writings, especially the reality of small-town America and nostalgia for the past—here, the heyday of surf music in the early 1960s, which becomes almost the raison d'être for the musicians and their audiences. After Jan's infamous near-fatal car accident in 1966, he remained active for decades, despite having to relearn lyrics each day, many he originally wrote. Greene sees a similar longing for the future via nostalgia for the past in audiences across America, who come to hear bands whose hits are decades old. Highly recommended for all public libraries. [See Prepub Alert, LJ 2/15/08.]—James E. Perone, Mount Union Coll., Alliance, OH

Many actors have a high opinion of themselves, and Shatner is no exception. The difference is that he has learned to laugh at himself and turn failures into success. This autobiography covers both Shatner's career and his personal life. The star of many Star Trek television series and movies, he has also written nine "Tek World" books that became 24 Marvel comics. He has directed, produced, written, and starred in other projects and has appeared on shows from Hollywood Squares to WWE. Shatner is witty but wordy, and he inserts amusing distractions in the middle of his anecdotes. Occasionally, he forgets to finish a story and continues to something else, which makes the later chapters repetitious. Star Trek fans will love Shatner's tales of his voyages on the Enterprise and how the character of Captain Kirk paved the way for more lucrative opportunities, but others may tire of plugs for merchandise strategically placed in the text. Recommended for larger public libraries where there is interest in celebrity books. [See Prepub Alert, LJ 1/08.]—Rosalind Dayen, South Regional Lib., Broward Cty., FL

This sprawling and varied work features 36 essays on digital sampling, music, sound, and culture. The range of topics is vast, covering the invention of the synthesizer, an interview with Moby, the history of bells, and Muzak. The international cast of contributors—composers Steve Reich and John Cage, rapper Chuck D, sf novelist Bruce Sterling, and Dick Hebdige (Subculture: The Meaning of Style), among many others—is equally so. The collection bears the stamp of its editor, the multitalented Miller (Rhythm Science). Miller is best known for his experimental and hip-hop recordings in the "illbient" (a cross between ill, as in cool, and ambient) and trip genres and his numerous collaborations, and his characteristic eclecticism and ability to draw together disparate influences are much in evidence throughout. The pieces are generally brief, but the sheer breadth of topics is boggling, perhaps to a fault. The foreword, introduction, and Miller's opening piece do little to shed light on the unifying idea behind the collection. Still, this is a provocative and intriguing text, of interest to anyone working in or studying contemporary experimental music. Recommended for music libraries.—Dave Valencia, Seattle P.L.

With his imposing bulk, cold blue eyes, and darkly menacing mien, Canadian-born actor Raymond Burr (1917–93) became typecast as a heavy in the movies from the 1940s on. His modest cinema fame was overwhelmed by his later television celebrity as defense lawyer Perry Mason. But while Mason sought the truth, Burr was not so forthright about his own life. Almost all the publicity about his personal life was false, including his alleged war service, two marriages that didn't happen (he had a single brief one), and the deceased young son he never had. The reason for the deception was apparently the secret to which biographer Starr (Mouse in the Rat Pack: The Joey Bishop Story) refers—Burr's homosexuality. But that has been no secret for many years, and this superficial, straightforward chronology of the actor's career and life does not add much to the facts that have been readily available for a long time. Burr was an extremely private man, and little insight is provided into the closeted real person. Recommended for inclusive cinema collections only.—Roy Liebman, Los Angeles P.L.

Like Jostein Gaarder in Sophie's World, Bowen (A Journey Through the Landscape of Philosophy) here uses a fictional tale to explain philosophical ideas and topics. His intended reader is one who, like his protagonist, is new to philosophy. The story follows the nightly encounters between 14-year-old Ian and a mysterious old man in his dreams, with whom he discusses topics like ethics, free will, and faith—all of which leaves him puzzled and agitated. When Ian awakens, his parents help him use reason to analyze each topic discussed so that he can come to some philosophical understanding. As the story progresses, the reader is given clues to why Ian is having these experiences. Bowen incorporates quotes from philosophers, scientists, and popular culture to guide the narrative. While most chapters do an adequate job of explaining the complexity of the topic in question, the plot is slow to develop and generally uninteresting, which may make the book unappealing to its intended audience. Not recommended.—Scott Duimstra, Capital Area Dist. Lib., Lansing, MI

This latest entry in a solid series that has treated both individual thinkers and epochs supports the publisher's reputation for providing scholarly overviews that are elucidating to graduate-level readers while remaining accessible to undergraduates. The 18 individually authored chapters include Robert Black's "The Philosopher and Renaissance Culture," Dag Nikolaus Hasse's "Arabic Philosophy and Averroism," and Peter Harrison's "Philosophy and the Crisis of Religion." Each essay unfolds in clearly marked subsections that facilitate a complete reading while allowing ready entry, via the index, to the portion that may be most useful for reference. Black-and-white illustrations amplify the text where appropriate, as with the "concentric spheres" in Brian P. Copenahver's "How To Do Magic, and Why." The appendix includes brief biographies of period philosophers from Western Europe, the Mediterranean, and Byzantium. Given its topic and approach, this book is pertinent to philosophy and history readers alike. For all academic and most public libraries.—Francisca Goldsmith, Halifax P.L.s, NS

Long admired for his lengthy dramatic monologs, Bidart (Star Dust) here channels his poetic energies into relatively compressed lyrical forms, honing what could have been expansive meditations on mortality, illusion, transformation, and rebirth down to thunderbolts of image ("At the threshold/ you can see the threshold: —/ it is a precipice") and aphorism. Nearing 70, Bidart writes as if under a deadline, emphasizing essence over exposition ("A good photograph tells you everything/ that's really going on is invisible") and cutting straight to the poem's metaphysical core ("What none knows is when, not if"). This work exudes an almost visceral poignancy—a bitter half-acceptance of a world that distracts us from recognizing the brevity of our lives with fleeting manifestations of beauty. Bidart sometimes speaks through the imagined lives of others (Marilyn Monroe's mother, Tu Fu), but his masks have grown transparent, and when he writes (in "Under Julian, c.362 A.D."), "the fewer the gestures that can, in the future,/ be, the sweeter those left to you to make," we know who's really doing the talking. Recommended for most collections.—Fred Muratori, Cornell Univ. Lib., Ithaca, NY

Salter (Open Shutters) is an exceptionally gifted poet whose engine fuels itself on formal challenge: she prefers the poetry "slalom" to the "slam": … "skirting flag after flag/ of the bloody obvious;/ …. while speeding downhill,/ at the key/ moment,/ in a sort of whole-/ body trill." In this new collection, a section of new poems precedes selections from five previous books, a verse history that is confessional yet aware of the potential solipsism of that genre: "as if what really matters/ is our happiness above all, we sail/ on their wave of blessing over the sun." As she moves from family and friends to the lives of others, the poems slip from lyric into narrative, using historical figures like Helen Keller or Thomas Jefferson as larger canvases for explorations of the spirit steeped in time. Like her early teacher, Elizabeth Bishop, Salter conjures gold from the seemingly trivial or the overlooked: a child refusing to relinquish his seat in a game of musical chairs or a small gesture that foreshadows the erotic: "Once shod, you pull the creaking blinds whose slats/ narrow their sleepy eyelids into slits." For all poetry collections.—Ellen Kaufman, Dewey & LeBoeuf Law Lib., New York

Perfectly timed for the 2008 presidential season, this new book on how politicians use the Bible is unique in that it is written by an academic (Jewish civilization, Georgetown Univ.; The Secular Bible: Why Nonbelievers Must Take Religion Seriously) with a background in biblical studies rather than by a journalist or political scientist. The text is divided into two parts: "The Bible and Public Policy" and "Rhetoric and Religious Imaging." Part 1 covers such topics as the idea of the Bible in American politics; views on the environment, abortion, and stem-cell research; and the role of the Bible in American foreign policy. Part 2 explores some of the religiopolitical narratives today's politicians employ. This book wants to be a popular work while maintaining the edge of an academic publication, but instead it often comes off as pedantic, with the political analyses little more than journalistic bloggings. Despite the book's timeliness in this election year, it seems outdated, and it even omits key figures in the presidential race. Recommended only for larger public libraries.—Anthony J. Elia, JKM Theological Lib., Chicago

Claiborne (The Irresistible Revolution: Living as an Ordinary Radical) and Haw, a graduate student of theology at Villanova University, here lay out an action theology in which Jesus commissions his disciples to become, collectively, a new humanity filled with a contagious love that spreads to communities, nations, and the world with grace. In following him, his disciples partake of his "cup" and will possibly die as sheep among wolves. The authors describe an action theology that boldly confronts social injustice, violence, and war with weapons of grace, sharing, peacemaking, and acts of love, substantiating their position with examples from both the Old and the New Testaments. "Like Abraham and Sarah," they write, "disciples would be a humanity born again in a dysfunctional world…to infect nations with grace." The book ends by illustrating the outworking of this action theology both in history and especially in our present day. Examples include Martin Luther King, war protesters, and "new monasticism" communities such as inner-city Philadelphia's The Simple Way, of which Claiborne is a founding member. This is a good read even if you personally question the theology, idealism, or practicality it espouses. Recommended for large libraries.—George Westerlund, formerly with Providence P.L.

Here, Levering (theology, Ave Maria Univ.; Christ's Fulfillment of Torah and Temple) compellingly argues for the legitimacy of a type of biblical interpretation once prevalent among the Fathers of the Church and medieval theologians, one that includes a participatory encounter with the divine. The historical/critical method of studying the Bible, which looks simply at the facts of biblical history, replaced this earlier method. Levering does not reject the more modern method but instead seeks to combine the two. Using commentaries on John 3:27–36, he shows how the theory of interpretation has changed over the years. He then champions an exegesis based on the practice of St. Thomas Aquinas and argues that a valid exegesis must be made in the context of faith. Written from a Roman Catholic perspective, the volume will appeal to anyone interested in biblical interpretation. While directed toward scholars (fully half the text consists of extended endnotes), the book is nonetheless accessible to the intelligent lay reader. For a somewhat more accessible and extensive survey of the history of exegesis, see Bertrand de Margerie's multivolume An Introduction to the History of Exegesis. Highly recommended for all theology collections.—Augustine J. Curley, Newark Abbey, NJ

Mullin (modern Anglican studies, General Theological Seminary of the Episcopal Church) condenses two millennia of Christianity's sociological progress and change into a readable volume that, despite its brevity, conveys the essential details of Christianity's major and even many of its fringe groups. His inclusion of Asian, African, Hispanic, and female perspectives throughout ensures a true global history. Mullin reflects on modern scholarly perspectives regarding various aspects of church history, e.g., how Christianity formed, the 19th-century missionary movement, and the current struggles with modern and postmodern realities. Unfortunately, he purposefully forgoes notes and a bibliography in favor of a few selected readings. Overall, the book will appeal to students and armchair historians seeking a better grasp of why, not just how, Christianity transformed the world and how Christianity itself was transformed through the centuries. Comparable to Martin E. Marty's The Christian World: A Global History, it is suitable for academic and larger public libraries.—Ray Arnett, Fremont Area Dist. Lib., MI

Philostorgius lived in the fourth and fifth centuries C.E. and belonged to the Eunomian faction of Christianity, whose adherents strongly resisted the Christian faith represented by the Nicene Creed and affirmed as the official religion of the Roman Empire. His 12-volume Church History presented the early centuries of Christian faith from his sectarian perspective. While the complete text no longer exists, portions of each of the 12 volumes remain and are gathered together here. Amidon provides a very readable translation of the text, complete with critical, detailed notes. Additionally, he offers a helpful introductory chapter, a useful bibliography, and several additional documents in the appendix. Readers will be intrigued by Philostorgius's fresh perspective on the early church period, which also provides a unique window on both Eunomian thought and Eunomian ideas about church history. Recommended for academic libraries.—John Jaeger, Dallas Baptist Univ. Lib.

Sentilles (Taught by America: A Story of Struggle and Hope in Compton), who has a divinity degree from Harvard University, was a onetime candidate for ordination to the priesthood in the Episcopal Church. Here, she interviews ordained women as well as women who sought ordination until the process was ended by their own or others' peremptory actions. Through numerous examples, she reveals Christian sexism as pervasive, systemic, and long affecting not only ordination processes and responses to women ministers, but also theology, religious language, and biblical studies. She considers not just church judicatory processes and mentorship but the local church environment; not just inclusive language and appropriate vestments or other clothing but dating difficulties among single straight women, gay women, and transgendered ministers or potential ministers; not just mainstream Protestant women but Roman Catholic women and those of the Womenpriest movement. Finally, she discusses issues of justice and equality that she feels can transform the church so that the word minister, instead of merely implying power and position, comes to mean service. This challenging and thought-provoking book is essential for seminary and large public libraries and is highly recommended for women's studies and prophetic justice collections as well.—Carolyn M. Craft, formerly with Longwood Univ., Farmville, VA

New Zealand journalist and political activist Wilson (Swimming with the Devilfish: Under the Surface of Professional Poker), who has also written on environmental and other political topics, once again turns his attention to professional poker. Starting with characters from the Western frontier whose names are more or less associated with the popular card game, he describes the life stories of poker's best-known players, trying to separate fact from myth in stories of the Old West and the riverboat era. The most interesting sections deal with the professional traveling players of the 20th century and how they survived moving from one illegal game to another. Wilson goes on to show how these players and the game both gained legitimacy so that today poker is a spectator sport with a worldwide television and Internet audience. The penultimate portion, mostly capsule biographies of modern players, will be of greatest interest to real aficionados. Wilson closes by recounting his experience playing in the World Championship of Poker. Not a priority acquisition for most libraries but fun for avid followers.—Harold D. Shane, formerly with Baruch Coll. of CUNY