Book Description
The House that Jack Built Series
Everyone has, at some point in their lives, entertained fantasies about spending some time—a few days, weeks, months, or years—in a home on wheels—whether a simple holiday caravan or a traditional horse-drawn gypsy vardo. What is the attraction? It's that special combination: the freedom to go where you want when you want, and that wonderful feeling of cozy self-containedness. The independence to follow your own star has a timeless appeal for all of us.
Now, as an addition to the highly acclaimed The House that Jack Built series, comes this delightful colorful guide, Freewheeling Homes, which describes a range of original and inspiring customized examples from wheeled-home enthusiasts all around the world. These vary from converted trucks, buses, and ambulances to old rail wagons and lovingly restored deluxe airstream trailers from the United States. After these creative craftspeople have told their own heart-felt stories, the book then goes on to explain how you can custom-make your own wheeled home to your individual tastes and requirements. Providing inspiration plus practical tips, Freewheeling Homes is the perfect companion to making your long-held dreams a reality, whether you are a humble beginner or proficient expert. You really can create your own wheeled home—a personal space with soul and spirit.
Customer Reviews:
An awfully nice little book.......2006-07-28
Appropriately enough, a book about mobile living is economically sized, yet surprisingly luxurious. The photos are tempting, like the best food porn, and helpful besides. The small size makes it conveniant, and the illustrations are alluring. These little houses or wagons offer the comforts of home with the freedom of the open road. There's shepherd's wagons, gypsy vardos, airstream restorations, and a whole host of other options, each more enticing than the last. Brightly-colored, beautfully-constructed, and lit by stained-glass windows, these wagons make the comfiest of homes---and I'm biased toward the tiny myself----look cumbersome and dull.
Book Description
The ultimate guide for anyone who wants to write dynamic comics, Writing for Comics With Peter David teaches readers how to create comics from start to finish. This essential guide:
-Provides easy-to-understand guidance for beginners, as well as seasoned advice for intermediate comics writers
-Features the expert instruction of highly successful Marvel and DC writer Peter David, whose credits include Spider-Man, Wolverine and the Hulk
-Includes illustrations throughout from major comic publishers, showing readers the creation process from start to finish
With an eye-catching package and superior advice, this book is a must have for anyone who wants to write comics or graphic novels.
Customer Reviews:
An excellent primer on storytelling for the visual medium!.......2007-07-18
There are many books on storytelling, but none can match Peter David's book "Writing for Comics" with regards to writing for the sequential arts medium. Whether you are interested in writing a super-hero comic or a webcomic, there is excellent information to be had by reading this book.
Peter David, the prolific writer behind a plethora of fiction books (both literary novel and comic books) writes a clear, concise, and occasionally humor-weaved primer on writing for comics. I found this book to be well written, interesting, and informative to read. Many examples from both past and present day comics are used to illustrate critical storytelling elements (climax, plot, theme, etc).
In summary, this book does what it says in the title, and does it well. Highly recommended for writers and aspiring-writers alike.
Lively, bite-sized nuggets.......2006-10-20
I'm not sure what I was expecting with this book, but I had a great time reading it. Although its short sections and chapters made it easy to find a stopping place, its lively presentation and accompanying graphics made it hard for me to put down.
If you want to start writing for comics, this book gives you the basics of theme, conflict, and characterization, as well as the limits of presenting them in a comic book format. Then it continues with practical advice about how to present your work to the industry professionals who would buy it. Finally, if you're just a Peter David fan, you get a bit of insight into his thought processes.
I wouldn't recommend this as your only book to understand comics. Scott McCloud and Will Eisner have books that dissect and explain the mechanisms of quality comics. But for its narrower focus of how to create a comic book story, Peter David's work is as good as anything I've seen.
Plenty to appreciate.......2006-09-24
Comic fans, science fiction buffs and graphic novel writers alike will find a fine how-to book by a leading comic book writer in WRITING FOR COMICS WITH PETER DAVID. His writing prompts, stories, and humor is something different, outlining the basics of character and plot development, pacing, and sound effects in a manner beginners will find most accessible. Add memoirs and anecdotes of his life as a comic/graphic novel writer and you'll find plenty to appreciate, even if you don't pick up a pen to try your own hand.
Diane C. Donovan
California Bookwatch
The best introductory text out there for comic writing but..........2006-08-26
This is the best introductory text out there for comic book writing, but...
1. There are maybe a dozen books on the subject of comic book writing alone to begin with. Maybe half of which would be easy to find. So no matter how great a resource it is, it is a small field to choose from.
2. The book is heavily biased towards mainstream, superhero, comics. The way he writes it, the same things could easily be applied to almost any genre of comic story. But he does assume at least some familiarity with superhero comics most of the time so a few people might be lost at times.
3. He doesn't include very many writing exercises. And the ones he does include are quite vague. If you want a good list of writing exercises check out Fiction Writer's Workshop by Novakovich, use those exercises and write them in comic form.
4. Honestly, for those of you guys who have read a lot of writing books or taken a lot of writing classes, probably a quarter to a third of it will be stuff you already know. Though it is very useful to read it in a form specifically designed to be applicable to comics.
5. He goes in to Joseph Campbell.
Honestly, I think Campbell is about the least useful thing to push on writers, particularly beginning writers. I've written a substantial amount on this subject. My main points are (and please note that this is coming from someone with a substantial background in literature, film and history):
A. He is more useful for studio executives then writers because his criticism is so clear cut and unambiguous that it lacks the ability to strive for deeper meanings and contextual analyses.
B. By looking more at the similarities of roles and meanings then the differences, he fails to see not only the disparate meanings but the potential for paralell evolution.
C. Since he did his work (I believe he died in the late 1980s but his seminal books were like the 50s and 60s), not only has there been a substantial rise in multicultural literature and the study of this in the context of a pluralistic literary canon, but there has also been a substantial amount of writing translated in to English for the first time (mostly non-Western) that Campbell was probably not taking in to account. Since Campbell wrote his books, gender studies, queer studies and ethnic studies have all started and/or became much more substantial critical movements.
D. The applications of Campbell for writers are even more harmful because they are the worst of both worlds in terms of wanting both a desire to make your project unique and attaching it to some kind of "universal" (which, like almost all definitions of universal, comes from a position of privelege and an agenda to maintain a specific canon).
But if you want another opinion, ask any screenwriter or screenwriting teacher.
If you actually want a useful grounding in terms of literary theory and criticism check out Critical Theory Today by Lois Tyson or The Norton Anthology of Theory and Criticism edited by Leitch.
If you are interested in read literary criticism/theory in terms of contextual application to a given work of literature, my two favourite editions are the Case Studies in Contemporary Criticism and the Norton Critical Editions. Both of them have their strengths. The Norton ones are much easier to find, but, make sure to check the copyright date and get a newer version. The older versions tend to be a bit heavy on formalism and dated historical criticism that make them more useful for studying the interpretations of the work then the actual work (for people not interested in that sort of scholarship). The critical essays also tend to be a bit more abstract and scholarly. But the primary source materials do an excellent job of contextualizing the work. The Case Studies line features contemporary theories applied to a given work of literature and are much more accessible. The weakness is that, outside of a university, they're not particularly easy to find.
I am also slightly troubled by the fact that this book does not spend a lot of time trying to push potential comic creators towards trying to find influences outside of comics. This is not a problem unique to David's book however.
All of my issues aside, however, David does an excellent job of combining the theoretical and practical aspects of writing in a way both tailored specifically to the comic book medium and accessible to beginners as well as useful to people with some experience.
I highly recommend this as the introductory text for anyone that is interested in writing for the sequential medium. After you finish this, move on to Alan Moore's Writing for Comics (with regular trips back to David).
This book is well worth owning. And, not just owning, reading. And I figure it will be one of the seminal comic writing books for some time.
Good for beginers and old pros!.......2006-08-18
The year was 1991. A younger Geek in the City (technically, Geek in the Sticks) was ditching school at the one place where he felt safe in his Geekiness... The local (and only) bookstore, which, I know sounds like such a very sad place for a teenager to play hooky. What can you do? Bookstores are my people's hangout of choice when drama club isn't in session. My (mis)adventures at said bookstore are well documented and remembered every time I return to the dusty, sagebrush-infested steppes of Susanville. Anyway, it was the spring of 1991, and while waiting for 3 o'clock to arrive, I decided to snag some new Star Trek books. Few were catching my eye. I have never been one of those Trekkies that will buy anything with a Warp Nacelle on the cover. However, one book did garner my attention... A Star Trek: The Next Generation giant novel titled Vendetta... By a one Peter David. I bought the book and sat in the corner waiting for school to let out. Little did I know that I was taking my first step into fandom that exists to this day... Peter David instantly hooked me. His knowledge of the Trek universe and the characters within was (and is) perfection. His ability to use dialogue to drive his stories is fantastic. In addition, I say without a bit of hesitation, his writing style has inspired me to become a better writer. Some people follow Aaron Sorkin. Some follow David Mamet. Some follow Tom Stoppard... I follow Peter David.
As such, when he publishes a book on writing for comics... I devour it without hesitation!
The Book - The book itself is jumping with primary colors and practically screams its comic book subject matter, with nary a page passing without some form of balloon or inserts adding an insight. At a 175 perfect bound full color pages, the retail price of $19.95 feels like a fair price. I have paid more for lesser books. For those who may be concerned about the bright colors taking away from the book's readability, fear not, the book designers took care in maintaining a balance between looks and function.
Readability - As I have stated many times in the past, Peter David has a very fun and engaging style of writing. One might even call his style of writing as conversational. Well, perhaps not realistically conversational, which is stilted and stuttering (a fact David points out within this book). Rather, David's writing is how we wish we conversed. It doesn't matter if you are familiar with David's writing or not. His style pulls the reader in; you quickly forget that you are reading, essentially, a "How-To" guide. Reading Writing for Comics feels more akin to a comfortable conversation with a friend over drinks in your favorite watering hole... a friend who just so happens to be a highly successful writer. Doing more than simply telling you what does and does not work within comics, Writing for Comics gives you crystal clear examples ripped from the comic page. In addition to Peter David's own insightful viewpoints, snippets of wisdom from other highly successful comic book writers fill the book. While some of the reproduced comic panels feel a tad like filler, the highly readable nature of Writing for Comics is in no way lessened.
Usability - While by no means an "Idiots Guide" stylebook, Writing for Comics does cover many of the basics within comics. Indeed, it covers many of the basics of drafting fiction as a whole. This is not necessarily a bad thing. It is very easy, especially the longer you write, to forget about the basics of story telling. Forgetting these basics, particularly within the realm of comics can be a dangerous thing. When you charge a reader $2.50 (or more) for 23 pages, you had better hold that reader and hold them well. Again, David doesn't treat his book like a textbook, however, he does delve deeply into what makes a hero and why he or she does what they do, (and, more importantly, how to make their actions believable to the reader). There are many moments within Writing for Comics that I found myself thankfully nodding over simple issues that I had long neglected, an example being the use of well-known myths into modern takes. It is so tempting to create something completely original, you forget that there really isn't anything original. Only the ability to create interesting takes on well-known cultural myths and legends. One small portion of Writing for Comics that I found to be extremely useful was the "Exercises"... Throughout the book are small sections where Peter David challenges you to create (among other things) a believable villain or create heroes based on your friends (without offending said friends). Tasks that I used to do as a wee Geek, but for some reason stopped as I "matured" as a writer.
Filled with excellent insights into the nature of comic book writing and the industry as a whole, Writing for Comics is a must. Anyone who wishes to make a career out of funny books, be it as one who wishes to place their stamp on established characters or go the independent route, Writing for Comics is essential. Filled with personal and humorous stories, Writing for Comics is a fun and informative book that earns a place on my "books I'll keep using' shelf, right next to Stephen King's On Writing, Struck and White's Elements of Style, and Understanding Comics by Scott McCloud.
I give Writing for Comics with Peter David 4 out of 5 Critical Hits!
Book Description
A Unique Collection of 285 Amateur Photographs; Compiled by Michel Frizot and C+-dric de Veigy. "In the hands of amateur photographers, the camera is unpredictable; itcaptures the things we wish to preserve, but not always intended. . . .Perhaps we recognize our own feelings in other people's gestures, our owntroubles in their turmoil, and our own small pleasures in their privatemoments."Michel Frizot C+-dric de VeigyMore than a billion new photographs are taken every week.A child's firsthesitant steps, a sunny summer day at the beach, a couple's embrace, afamily dinner--all intimate and universal aspects of everyday life whichresonate emotionally with every individual.Photographs capture and freezethese moments.Collected and viewed together a photo album of the world isproduced. PHOTO TROUV+#137;E is a unique collection of 285 amateur photographs found,collected, and edited by the eminent French photohistorian Michel Frizotand the photographic researcher C+-dric de Veigy.Gathered and discoveredat flea markets and antique shops over a 20 year period, these photographsof everyday life from the past and the present, with subjects that areimmediately familiar, conjure up familiar images and emotions.Frizot andVeigy's aim in this collection was, "...to give these images back toeveryone who has taken a photo and would love to take a longer look atit." These photographs once belonged to hundreds of now anonymous men and women,both young and old, poor and rich, suburbanite and urbanite, capture socialevents and individual portraits, natural and urban landscapes, still lifesand everyday objects.Above all, they reveal moments and situations, whichonly photography can freeze and make visible. Viewed in one album, the photographs form what the authors call ananthropology of the ordinary'.The images have been selected as much fortheir atmosphere and universal feelings of humanity as for their intrinsicquality as photographs, often provoking more questions than they answer.With the tremendous growth of the influence of amateur' photography withinprofessional photographic circles, provoking the interest of such figuresas Martin Parr, this beautiful object and its exceptional picture editingwill catch the attention of picture editors, researchers, and allphotography enthusiasts.
Book Description
As seen in Self, Fitness, Real Simple, Health, Ladies' Home Journal, and Redbook, this much-praised celebration of women's friendships-now in paperback-explores the keys to forming emotionally supportive and sustaining connections at every stage in life.Embraced by some of the most popular women's magazines, this book has struck a chord with women everywhere who know that finding close friends as an adult isn't easy. Most women rely heavily on their friendships with other women to share their joy and see them through the rough spots, but common life changes-having a baby, leaving a job, moving to a new town, starting an at-home business, becoming divorced or widowed-not only make it difficult to forge new ties but often fray the ones we already have. Marla Paul brings together the moving personal experiences of many different women with the keen insights of psychologists and other relationship experts in "her wise and helpful book on this much neglected subject," says Harriet Lerner, Ph.D.
Customer Reviews:
The "Female Middle-Age" Friendship Crisis.......2007-09-20
The title is somewhat misleading. Ms. Paul is not addressing this topic from a gender-neutral perspective, though the topic is certainly large enough to warrant a separate treatment. Instead, this work addresses some of the more specific aspects of female friendships. Measured against that metric, the work is very well organized, complete, and empowering (and a quick read). Or at least I think it is, as being male I can only infer so much.
The author acknowledges early on this is a "for women" book, but I decided to read through it anyway, with the goal of trying to map the subject matter into a more widely applicable set of principles for all friendships. If you work at it, you can do that with about 40% of the material: friends break up, people's relative situations change that require them discuss and adjust the friendship, the role of the internet and friendships with large age differences. There is some subject matter here useful for all.
Still, the work was written for women, and much of the time you can't work around that. Indeed, parts of it are downright hostile to men, as if they have a different capacity for friendship than women. From the book, pg. 100: "A man whips into his relationship toolbox - tiny as it is - and tries to fix a problem with a wrench twist of advice. Now, could you please hand him the remote and make some popcorn." Or this: "Females are hardwired to turn to other women in times of stress....A guy may brood on his La-Z-Boy. Women call a friend.", which just scream of gender bias.
If you read past those parts, you can get some value from this book. I think the Robert Putnam book "Bowling Alone", which she quotes in several places, might offer better coverage of the more general topic.
Misleading title.......2007-01-11
I bought this book and its totally useless for men. It only refers to women, married or widoved ones, possibly with kids. What are we guys supposed to do??? Why limit the book to women only? I felt like everybody ignores men's solitude problems. If you write such a book, then you ahould state it clearly in the title or subtitle that it wont help guys.
A little disappointed.......2006-07-26
I really wanted to like this book as I felt the subject matter was so timely for what I've been going through, as a single, childless, woman in her late 30's. However, like many other reviewers said, it mostly fell short for me. I've tried, multiple times, many of the things the author suggests. Much of the book was written for women with children, however, I did read the entire book despite this fact. I consider myself shy and there's even a chapter about that - but I gleaned nothing from this chapter that I haven't already tried without much avail. I do think the author means well and although I really "liked" her, from what I could glean as she wrote about herself, I didn't find this book to be as helpful as I'd hoped.
Not just for married women w/ children.......2006-04-26
Another reviewer states this book is just relevant for women who are married and most likely have children. Not the case. Also, not the case that women without children have to make all the "sacrifices" to work around the schedule of those who do. You just need to be more aware and accomodating of things that go on in your friends' lives (you don't have to have children to lead a very busy life, you know). It's give and take and it's better not to keep score.
I don't have children, but I really benefited from reading the entire book because it showed me points of view and lifestyles that are different from my own. It helped me determine what I may have done wrong in the past (esp. related to my friends that have had children or got married long before I did--when our lives took very different paths) and what I could've done to save and preserve those friendships. I almost didn't read the chapter on losing a husband thru divorce or death because I didn't think it pertained to me. But it does...because most likely some day I will have a friend who loses her husband and it taught me how to help her and showed me her point of view--what she would want from me as her friend.
It's not just about finding and making friends. It's also about being a good friend to the ones you've got--married, single, with, or without children.
Thank you, Marla Paul, for writing this book!
too generalized .......2006-04-22
The problem for me is that the author gives generalized advice without specifics. She has a good heart, and it's mostly about don't feel bad don't take it personally if someone doesn't want to be your friend. Book is not about why women lose friends all the time, and the destructive competitiveness. I found the book is a little too positive and not realistic enough.
Book Description
Witty, insightful signs that you're getting older.
Customer Reviews:
Funny Funny Funny.......2000-07-26
This book is hilariously funny with the good humor of Jeff Foxworthy. It supplied some much-needed laughs after a stressful day. Content can be enjoyed once or several times... and is suitable for youngsters.
Average customer rating:
- Julian Harris and his journalism peers
|
Someone Had To Be Hated: Julian LaRose Harris - A Biography
Gregory C. Lisby , and
William F. Mugleston
Manufacturer: Carolina Academic Press
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Book Description
The social progress and post-war economic prosperity that characterized the South during the "Roaring Twenties" had a dark underside typified by racial hatred, legal chicanery, political cronyism, illiteracy, and religious extremism. To serve Georgia and the South to the fullest, to make a real difference, someone had to be willing to be hated, willing to shout the distasteful truth from the rooftops to create a fierce discontent with public conditions and a determined intent to change them. Such a man was Julian LaRose Harris.
The son of noted journalist and folklorist Joel Chandler Harris, Julian Harris (1874-1963) struggled all his life to carve his own niche in the world and emerge from the shadow of his famous father. As editor of the Columbus Enquirer-Sun, Harris found both his voice and soapbox. There, with his equally talented wife, journalist Julia Collier Harris, he spent the 1920s fighting the Ku Klux Klan, lynching, anti-evolution laws, Prohibition, corruption in state government, and substandard public education. It took uncommon courage to push a progressive agenda in a provincial cottonmill town like Columbus during the twenties and Harris, more than any other man, deserves credit for freeing Georgia from the grip of the Klan. For his efforts, he and his newspaper won the 1926 Pulitzer Prize for public service; he was the first Georgian to be so honored.
This sharply-etched biography reveals Harris in his many complexities: courageous, yet insecure; debonair, yet sarcastic; gracious, yet combative; sentimental, yet cynical; kind, yet belligerent; and, a loving, family man who was also a social and political maverick. This is the nearly forgotten story of a journalistic hero in the early twentieth century who unquestionably made his beloved South a better place.
Customer Reviews:
Julian Harris and his journalism peers.......2002-10-15
By Tom Bennett
The Atlanta Journal-Constitution
Ralph Ellison wrote that Aesop and Uncle Remus teach us that comedy "is a disguised form of philosophical instruction."
Growing up in the hotbed of philosophy that was Wren's Nest, the west Atlanta home where his father Joel Chandler Harris spun the engaging "Uncle Remus" stories, Julian LaRose Harris had to have experienced a good deal more intellectual growth than the average boy in Atlanta in the 1870s.
He also had to have gained from the stories a roundabout introduction to philosophy, and each day had rub off on him the gentleness and altruism of his famous father.
This upbringing and his world travel formed a sophisticated Georgian, one who would prove be out of place in his home state.
Julian LaRose Harris and his brilliant wife Julia Collier Harris counted among their friends the newspaper titan H.L. Mencken and the sociologist Howard Odum. The Harrises' were on the world stage at a pivotal time, while Julian was general manager of James Gordon Bennett's Paris Herald during World War I.
Julian covered the 1896 Democratic national convention in Chicago at which William Jennings Bryan was nominated; the Versailles peace conference; and the Scopes monkey trial.
You cannot retain the narrow world view of a west Atlantan of the 1870s while you are hearing firsthand the oratory of a Bryan, or watching the streets of Paris fill up with the wounded from the Battle of Verdun.
Julian Larose Harris emerged from all this far too progressive to last for long as editor of a Georgia daily in the 1920s. He flamed out on the Columbus Enquirer-Sun after nine years, but not before it won the Pulitzer gold medal for public service for facing up to the Klan. (That "it" is correct, for the gold medal goes to the paper and not the person.)
"Someone had to be hated" is a book you can like a lot.
It answers questions that I've long had about this engaging pair who formed the second generation of a distinguished Georgia journalism family -- Julian and Julia.
What experiences shaped their progressive views, ruinous for their careers? What are the details of their perilous defiance of the Ku Klux Klan while putting out the Columbus Enquirer-Sun? What made Julia a notable figure in U.S. journalism in her own right?
All these answers are provided by authors Gregory C. Lisby and William F. Mugleston, and Georgians owe them a debt.
Julian LaRose Harris got a jump-start on The Atlanta Constitution as an 18-year-old reporter, but he soon would depart on his journalism odyssey taking him to Chicago to Europe to the banks of the Chattahoochee River in Columbus. He initially didn't want any help from The Constitution, his father's newspaper, for fear of charges of nepotism. If only second-generation journalists strictly applied that standard!
Harris' clear flaw as a progressive editor was that he wrote for Georgia journalists at least as much as for the readers of Columbus. No wonder they never subscribed as heavily to his Enquirer-Sun as they did the rival Ledger of the nondescript Page family.
A frequent target for what the authors call Harris' "broadsides" was The Atlanta Constitution. It doesn't come across well at all. He described it as the "Atlanta Morning Moddle-Coddle." It made no editorial comment after the Enquirer-Sun exposed how Gov. Clifford Walker told journalists he was headed to Philadelphia for a rest - A rest? In Philadelphia? -- but in fact he went to Kansas City to address the convention of the Ku Klux Klan.
Perhaps Harrises' most strident criticism for the three Atlanta papers -- Constitution, Journal and Georgian -- was that in that era they "were not representative of anything except the cheapest politics, and the most childish rivalry in obtaining or controlling cheap political jobs." Ralph McGill's emergence as a progressive about 1938 turned that around.
Thomas Friedman of the New York Times has cautioned that we must give the Arab world time to democratize. In our own experience, he points out, we gradually enfranchised our citizens over a 200-year period.
It's in that light that journalism history must view the 58 years from Plessy v. Ferguson to Brown v. Board Education, from 1896 to 1954. That's a period squarely in the middle of which Julian LaRose Harris briefly flashed across the firmament as Georgia's liberal editor. Even so he never took an integrationist position. It put him at enough personal risk to advocate what them was progressivism of Georgia editorial pages. It was this: It's wrong to drag people from their beds and hang them from trees until they are dead.
This book reiterates how the immediate heirs of Joel Chandler Harris could have used marketing and business know-how. In the teens, they sold away Wren's Nest to a mismanaging committee of 100, for a pittance. In the twenties, Julian and Julia never figured out that their Enquirer-Sun bookkeeper, Francis Edward LaCoste, was stealing them blind.
Whether they intended to or not , the authors relieve the heartbreak of the Harrises' loss of control of the Enquirer-Sun by relating the story of the "cornpone-and-potlikker debate." What a welcome thing it is for the reader!
Gov. Huey P. Long of Louisiana bragged how he won over road contractors by serving them potlikker, with a platter of cornbread for dunking in it. Julian Harris, now news director of The Atlanta Constitution, led as the paper galvanized support across the South for the view that it was far better to crumble cornpone in your potlikker rather than dunk it.
Clark Howell Sr., The Constitution's partisan owner, had not fared very well in the authors' narrative until now. We see his witty side as he cables dryly from his Hawaii vacation getaway: "The boys at home have overlooked my instructions not to engage in any serious controversy during my absence."
Book Description
This digital document is an article from Journal of Southern History, published by Southern Historical Association on February 1, 2004. The length of the article is 488 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Someone Had to Be Hated: Julian LaRose Harris, a Biography.(Book Review)
Author: Catherine O. Badura
Publication:
Journal of Southern History (Refereed)
Date: February 1, 2004
Publisher: Southern Historical Association
Volume: 70
Issue: 1
Page: 191(1)
Article Type: Book Review
Distributed by Thomson Gale
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Querida Nicaragua
Anna Cortadas
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ASIN: 8440683022 |
Books:
- Glass Construction Manual (Construction Manuals (englisch))
- Graphic Thinking for Architects and Designers
- Great American Houses and Gardens: A Pop-up Book
- Great Lodges of the West
- Guy Debord and the Situationist International: Texts and Documents (October Books)
- H2O Architecture
- Handbook on Enterprise Architecture (International Handbooks on Information Systems)
- Healthcare Spaces No.2 (Good Idea)
- HGTV Before & After Decorating
- Hugh Newell Jacobsen
Books Index
Books Home
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- History: Fiction or Science
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- History: Fiction or Science
- Islamic Architecture: Form, Function, and Meaning
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Portable Houses
Circle Houses: Yurts, Tipis and Benders (House That Jack Built)
Mobile: The Art of Portable Architecture
Mobile Mansions (Intl) : Taking Home Sweet Home on the Road
Silver Palaces
