Rabu, 20 Agustus 2014

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Non-Invasive Management of Gynecologic DisordersFrom CRC Press

Non-invasive options for the management of gynecologic conditions continue to grow in popularity, as they offer considerable benefits in reduced patient stress, hospitalization time, and cost. Non-invasive Management of Gynecologic Disorders provides an informative, concise, and highly practicable resource for the diagnosis and management of gynecologic disorders for which non-surgical treatment options are available. An evidence–based approach is followed through-out the book.



Non-invasive Management of Gynecologic Disorders is a valuable source in offering guidance to physicians on how and when it is appropriate to choose more conservative modalities and also to differentiate between the variety of treatment options available.

  • Sales Rank: #3824021 in eBooks
  • Published on: 2008-04-15
  • Released on: 2008-04-15
  • Format: Kindle eBook

About the Author

Aydin Arici MD, Yale University School of Medicine, New Haven, CT, USA. Dr. Arici is Contributor for  OLIVE: Endometriosis in Clinical Practice; on the Editorial Board for Current Opinion in Obstetrics and Gynecology; Chair of "Prevention of Pregnancy Failures in IVF" at COGI, Athens, 2005; Faculty for the Postgraduate Course "Current topics in reproductive endocrinology for the clinician" at ACOG 2005; and Guest Editor for Infertility and Reproductive Endocrinology Clinics of North America "Reproductive immunology" January 2002.

Emre Seli MD, Yale University School of Medicine, New Haven, CT, USA.

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Selasa, 19 Agustus 2014

^^ Ebook Free Managing Agricultural Greenhouse Gases: Coordinated Agricultural Research through GRACEnet to Address our Changing ClimateFrom Academic

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Managing Agricultural Greenhouse Gases: Coordinated Agricultural Research through GRACEnet to Address our Changing ClimateFrom Academic

Global climate change is a natural process that currently appears to be strongly influenced by human activities, which increase atmospheric concentrations of greenhouse gases (GHG). Agriculture contributes about 20% of the world’s global radiation forcing from carbon dioxide, methane and nitrous oxide, and produces 50% of the methane and 70% of the nitrous oxide of the human-induced emission. Managing Agricultural Greenhouse Gases synthesizes the wealth of information generated from the GRACEnet (Greenhouse gas Reduction through Agricultural Carbon Enhancement network) effort with contributors from a variety of backgrounds, and reports findings with important international applications.



  • Frames responses to challenges associated with climate change within the geographical domain of the U.S., while providing a useful model for researchers in the many parts of the world that possess similar ecoregions
  • Covers not only soil C dynamics but also nitrous oxide and methane flux, filling a void in the existing literature
  • Educates scientists and technical service providers conducting greenhouse gas research, industry, and regulators in their agricultural research by addressing the issues of GHG emissions and ways to reduce these emissions
  • Synthesizes the data from top experts in the world into clear recommendations and expectations for improvements in the agricultural management of global warming potential as an aggregate of GHG emissions

  • Sales Rank: #3158285 in eBooks
  • Published on: 2012-10-16
  • Released on: 2012-10-16
  • Format: Kindle eBook

Review

"...extremely well written and should be of interest to professionals as well as to advanced graduate students interested in agricultural GHG dynamics." --Journal of Environmental Quality

"Whichever discipline the reader may originate from, this book will provide a more holistic viewpoint of managing greenhouse gas emissions and carbon sequestration in agriculture. For researchers, industry professionals, and regulators, Liebig et al., who are associated with the US Department of Agriculture-Agricultural Research Service (USDA-ARS), synthesize research findings from about 30 ARS locations participating in the GRACEnet (Greenhouse gas Reduction through Agricultural Carbon Enhancement network) project. Contributed by USDA and other agricultural researchers mostly from the US, the 29 chapters describe the evaluation of agricultural carbon sequestration and greenhouse gas management, measurement, and modeling; economic and policy considerations for the short-term future; and long-term opportunities and the need for research collaborations. They discuss current trends in greenhouse gas emissions, agricultural contributions to those emissions, and risks associated with global climate change; background on the GRACEnet initiative; soil organic carbon dynamics for prevalent agroecosystmes in the US (cropland, rangeland, pasture, and biofeedstock production systems); the responses of carbon dioxide, methane, and nitrous oxide fluxes to management; five common ecosystem models for estimating SOC dynamics and greenhouse gas flux; key attributes of analytical methods used to estimate carbon change in soil and greenhouse gas flux; economic outcomes, incentive programs, and policy scenarios associated with reducing greenhouse gas emissions; and networks worldwide involved in climate change-related research." --Reference & Research Book News

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? Fee Download The Wind Comes Sweeping, by Marcia Preston

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The Wind Comes Sweeping, by Marcia Preston

Marik Youngblood left her Oklahoma hometown—and the child she gave up for adoption—intent on becoming an artist instead of a rancher. Her father's death brings her back to a failing cattle operation, a pile of debt and a haunting need to find the child she left behind. But when the bones of an infant are unearthed on her family's ranch, Marik fears she's learned her daughter's fate.

Burt and Lena Gurdman own the property that neighbors Killdeer Ridge Ranch. Lena is poor and uneducated, with a husband who's quick to blame her for any perceived wrong, but she knows she and Marik have more in common than the property line between them. She, too, has a secret…but to reveal the truth, she must find the courage to explore a past she buried long ago.

  • Sales Rank: #1270709 in eBooks
  • Published on: 2012-08-15
  • Released on: 2012-08-15
  • Format: Kindle eBook

From Publishers Weekly
Despite a laconic style that helps temper some of the more disturbing content, Preston's tale of a woman struggling to stay afloat on a contemporary Oklahoma ranch is too distancing to be truly affecting. Marik Youngblood lives alone on Killdeer Ridge Ranch, haunted by regrets. Her ranch is debt-ridden, but rather than ask her wealthy sister for relief, Marik leases part of her acreage to a power company for wind towers, angering her neighbor, Burt Gurdman. After Marik and Jace Rainwater, who's applying to become Killdeer's foreman, discover a dead bald eagle under one of the wind towers, they learn that Burt poisoned the bird in a failed attempt to prove the towers unsafe. Burt's hostility grows and Marik is forced to turn to Devon, a powerful man from her past. Preston (Trudy's Promise) ably frames Marik's story with the legend of Silk Mountain, the story of an 1890s frontier woman who committed suicide rather than face life in the harsh Oklahoma territory. But even the cast of multidimensional characters, especially Jace and his autistic son, cannot entirely shore up this novel. (Apr.)
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

About the Author
Marcia Preston grew up on a wheat farm in central Oklahoma, and her first two books were mysteries in an Oklahoma setting. She was awarded the 2004 Mary Higgins Clark Award for suspense fiction, and the 2004 Oklahoma Book Award. Her most recent books are general fiction. Before writing novels full time, Marcia taught high school English and was a freelance writer for a long list of national magazines. She also published and edited a specialty magazine for writers.

Excerpt. © Reprinted by permission. All rights reserved.
Killdeer Ridge Ranch

Before sunrise, Marik drove her father's old truck along the white gravel service road that wound up the ridge to the giant windmills. Dust funneled up behind the pickup's tires, and a chilly wind gusted through the passenger window, stuck permanently halfway open. The pickup's heater poured warm air on her boots. A preseason thunderstorm had blown through the night before, with plenty of bluster but only a spattering of rain. Spring was weeks away.

She took it slow over a patch of graded ruts, coffee sloshing against the lid of its thermal mug in the console, the arthritic joints of the pickup creaking. Her dad had named the truck Red Ryder, after an old-time hero of cowboy comics. Every time she climbed into the cab to make her morning rounds on the ranch, she caught her father's scent, though he'd been gone nearly two years.

She was nearing the apex of the ridge where she stopped every morning to watch the sun rise over the ranch and the river valley. Against a blue-gray sky, forty-five giant wind turbines towered above the horizon, catching the first rays of sun in their long white arms. Below them the earth waited in shadow.

The first time she'd seen windmills like these at the White Deer facility in West Texas, their stark beauty and clean design had stopped her breath. Their slow, rhythmic turning sounded like a heartbeat, the mystical pulse of the earth itself. Regardless of storms or heat, the white giants stood inscrutable, heads turned to the wind. These forty-five turbines produced enough electricity to power nearly a million homes, and this was only phase one of the wind farm.

Marik parked Red Ryder at her usual spot on the highest point of the ridge. That's when she saw it—a dark mass on the rocky ground, something that didn't belong. It lay at the foot of Windmill 17, where the service road wound back on itself before disappearing behind the low hill.

She leaned forward against the steering wheel and squinted into the predawn light. The blackish mound was about the size of a newborn calf, nearly hidden by last season's sagebrush and dried yucca. But it couldn't be a calf; the cattle were in the lower fields now, on winter-wheat pasture. Maybe a runaway trash bag that blew up here in the night? But it looked too solid for a trash bag, and heavy.

It wasn't moving with the wind. She had the sinking impression that whatever it was, it had once been a living thing.

She searched the dusty floorboard for the binocular case. The binocs, too, had been her dad's. She could see his calloused hands on the metal when she removed the beat-up glasses and got out of the truck. Wind whipped her ponytail and the loose ends stung her eyes. Should have brought a stocking cap. It was always cooler up here than in the ranch yard, where the ground was flat and trees sheltered the buildings. She zipped her jacket and stood on the running board with the door open, steadying her elbows on top of the cab.

The sun had breached the horizon now, and the slim rotors of the windmills cast moving shadows across the land. Next month wild verbena and prairie daisies would thrust up from the rocky soil. But in February the ridge was a tonal study in pale gold and shades of russet brown. She liked to paint it that way, but those paintings were hard to sell. Buyers wanted more color.

She held the binoculars to her eyes and searched the landscape for the alien object. Low brush and shadows obstructed her view, and the lenses of the old binocs were fogged with scratches. She tossed the field glasses on the truck seat and walked down the service road toward number 17.

Gravel crunched beneath her boots. The only other sound was the unhurried soughing of the windmills.

An immense canopy of sky arched cloudless from horizon to horizon. Severe clear, her pilot father would have said. It was the kind of day her grandmother had written about in diaries, a diamond of hope after a long, cold winter. Soon when she walked here she'd have to watch for killdeer eggs at the edge of the road, the speckled eggs perfectly camouflaged among the rocks.

When she drew closer to the dark object lying in the scrub growth, she saw the wind ruffle its edges—like feathers. Her chest closed up. Please, not an eagle. But no other bird would be that large. She left the roadbed and crossed open ground, stepping over clumps of dried timothy and prickly-pear cactus. Another few feet and she stood over the fallen bird. Damn.

Her artist's eye cataloged the mottled colors—burnt umber, sienna, Payne's grey. Highlights of gold oak. A golden eagle, she thought, though she'd never seen one this close. She crouched beside it.

The head was bent beneath its body. One wing lay unfurled and obviously broken. Even inert, the hooked talons looked macabre. Those claws could seize a slippery fish right out of the water, or rip apart a small animal to feed the eagle's young. She touched the bird with the toe of her boot, hoping for movement and a chance for rescue. There was none. The body felt stiff.

From a distant pasture a bull claimed his territory with a wheezy bellow. Above her head, the windmill blades kept up their leisurely whough, whough, whough, whough. She looked up at the turning rotors. The carcass lay right below them, no more than twenty-five feet from the tower base, as if the eagle had simply dropped from the sky. The fiberglass rotors appeared to turn slowly, but that was an optical illusion. Each hollow blade was more than a hundred feet long. The tips of the blades could reach 156 miles per hour and still look slow to the human eye.

Was it possible the eagle had flown into one? She couldn't imagine that. Eagles' eyesight was legendary; they spotted prey on the ground or in the water from hundreds of feet above. Nevertheless, if her neighbors found out about the dead eagle, that's exactly what they'd claim—that the bird had been killed by the blades. Burt and Lena Gurdman had objected to the wind farm from the beginning and had delayed construction of the first phase with their complaints. Folks around here were stoutly protective of the migratory birds that wintered along the river, and Marik had no doubt Burt Gurdman would use the eagle's death as ammunition for another battle.

The dark feathers glistened in angled sunlight. The bird's wingspan must be seven feet, at least. Even dead it looked beautiful and strong and utterly wild. Carefully, she rolled it over. Thank God it didn't have a white head. She was fairly sure bald eagles were still on the endangered-species list, though the U.S. Fish and Wildlife Service had recommended delisting several years ago.

She ran her fingers over the satiny breast feathers. "What happened to you, big brother? I wish you could tell me."

The coming furor rose in her imagination like a bad movie. It was illegal to be in possession of an eagle feather, let alone an entire animal. If he could, Gurdman would use this new argument to stop construction of the last twenty-five wind towers.

Don't borrow the jack before the tire's flat. It was her father's voice, clear as ever in her head. His easygoing ways had endeared him to everyone but had also led the ranch into deep debt. She'd had no idea how deep until his sudden death.

Marik laid an arm across her forehead, shading her eyes from a brilliant sunrise. Her gaze traveled down the slope and across the wide fields near the river.

She saw three choices. She could turn the bird over to a county official or wildlife ranger and meet the consequences head-on. Or she could haul the eagle to the river, let it be found in its usual habitat—but on the opposite bank that was part of the state wildlife preserve. Not on her ranch.

Or she could bury the creature where it lay and keep quiet.

All three options stunk. But when she thought of the impending brouhaha over the eagle's death, it was damn tempting to go home and get her shovel.

Her battle of conscience dissolved with the growl of tires on gravel. Somebody was coming. The sound drifted to her across the ridge before she spotted the vehicle winding through the switchbacks and up the rise.

Double damn.

Marik straightened her spine and stood beneath the giant turbines, facing into the wind. Waiting for trouble.

A white pickup tacked toward her at a leisurely pace. She had not closed the gate at the main road and, despite the No Trespassing signs, the driver apparently took the open gate as an invitation. The men who tended the windmills drove white pickups, but she could already see this one was a stretch cab and the power company's gold logo wasn't painted on the door. None of the neighboring ranchers drove a truck like that, either.

She lost sight of the vehicle behind a rise and then it emerged again on the high ridge. The truck stopped beside Red Ryder and a tall, lean man got out. He wore jeans and low-heeled boots with a quilted vest over his long-sleeved shirt. She didn't know him. He clamped a wide-brimmed hat on his head and started down the slope toward her with a rolling stride.

His face looked friendly enough until he saw the mound of feathers at her feet. When his eyes fixed on the eagle, all hints of a smile faded away. He didn't speak as he approached but knelt immediately and put his hands on the bird, turning it over, spreading out the feathers on the underside of the tail.

"Bad news," he said. "It's a bald eagle."

He looked up at her with gold-ochre eyes. She frowned. "There's no white head."

"It's a young one. They don't get the distinctive white feathers on the head and tip of the tail until they're at least four years old."

"How do you know it's not a golden?" she said, still hoping.

"The feet, for one thing. Golden eagles have feathers all the way to the claws. This one doesn't. And see that grayish color of the feathers on the underside of the tail? That's distinctive to a young bald eagle. A golden would have white on the tail, up next to the body."

"It's sure big to be immature."

"Probably a female. They get larger than males. I'd guess it's two or three years old."

Perfect. Not just...

Most helpful customer reviews

8 of 8 people found the following review helpful.
One of her best
By Patricia Kay
I first discovered Marcia Preston with THE BUTTERFLY HOUSE, and since then I've bought and read all her books. THE WIND COMES SWEEPING is probably my favorite and I competely disagree with the featured review saying the story is told too distantly and that the protagonist is not affecting. Marik Youngblood is complicated. She's not the kind of person who shows her emotions, therefore she's not easily understood. She was profoundly affected by the decision she made to give her child up for adoption and when the story begins, eight years after the birth of her daughter took place, she is still questioning whether she did the right thing. In fact, she's questioning everything in her life. Marik is lonely. She's reached that point in life where she wonders what her life would have been like had she taken a different path. Preston is a marvelously gifted writer, and in her capable hands Marik's story is told against the desolate beauty of an Oklahoma ranch where wind turbines play an important role. There's not a single false note, even though Preston juggles several different threads that include romance, murder, and suspense. I really loved this book and intend to recommend it to my book club. HIGHLY RECOMMENDED.

9 of 10 people found the following review helpful.
fast-paced suspense
By A Customer
Marik Youngblood fled Oklahoma after her family forced her to give up her baby for adoption. When her father died, Marik returns home saddled with a failed cattle ranch and a debt that in her mind rivals the Feds. She would prefer to get rid of the financial elephant but made a death bed promise to her dad. Desperate to bring in income, she leases part of the Killdeer Ridge Ranch to a firm building windmills in order to use wind turbines to create energy.

Marik's action angers Burt and Lena Gurdman, who own the neighboring ranch. However, Marik is unconcerned with the Gurdman ire as she has bills to pay until a dead bald eagle is found by a windmill; she believes Burt is trying to use the endangered species act to force her to shut down. However, the excavation is actually halted when the remains of an infant is dug up. Marik fears the unmarked grave contained her child whom she was told was living a happy life. Needing to know the truth Marik begins to investigate further upsetting the Gurdman couple especially an outraged Burt.

Although the pace starts slow, once Marik begins her amateur sleuthing, the story line accelerates into a fast-paced suspense with romance in the air. Marik is terrific as she tries to save her heritage, learn who the remains are, and praying it is not her daughter whom she hopes to one day meet. Marcia Preston writes an interesting Oklahoma character driven contemporary tale with an intriguing subplot re windmills on the plains that oilman T-Boone Pickens would appreciate.

Harriet Klausner

5 of 5 people found the following review helpful.
Solid winner for Marcia Preston
By Patti Dickinson
The main character in The Wind Comes Sweeping is mysterious and intriguing. Also memorable. So thoughtfully portrayed, the image of Marik Youngblood lingered in my thoughts long after I closed the book for the night--something I found difficult to do. Already curious about Marik's mysterious past, Preston skillfully draws us readers into the windswept Oklahoma landscape with almost lyrical prose--a Marcia Preston trademark I've come to expect, and I wasn't disappointed here. I found that as I became more intrigued with the characters and I was enjoying the scenery of the Killdeer Ridge Ranch, she ramped up the excitement and mystery. Vintage Marcia Preston--she grabs the reader and doesn't let go--a story you can't forget yet at the same time don't want to put down. A solid winner. Loved this one and look forward to Marcia Preston's next book!

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Organobismuth Chemistry, by Hitomi Suzuki, Naoki Komatsu, Takuji Ogawa, Toshihiro Murafuji, Tohru Ikegami, Yoshihiro Matano

This book is written for scientists who require information on organobismuth chemistry, either by specific topic or by compound. "Organobismuth Chemistry" covers, through early 1999, stoichiometric compounds that contain the Bi-C bond; not included, with the exception of a few examples, are inorganic compounds, minerals, metal alloys, and non-stoichiometric materials.

Organobismuth chemistry is covered in a comprehensive, self-contained manner. The book focuses on the academic aspects of the field; therefore, references to patents are made only when pertinent. Chapter 1 serves as an introduction to bismuth as the element. In chapters 2 to 4, organobismuth compounds are classified according to the types of compounds and dealt in detail. Chapter 5 is devoted to the use of bismuth and derivatives in organic transformations. In the first four chapters, brief to moderate descriptions for selected experimental procedures are included; they are intended to inform the readers of relevant protocols and should serve in preparative studies which are based on analogies. In the final chapter the X-ray data of fundamental and/or structurally interesting organobismuth (III) and (V) compounds are collected. At the beginning of each chapter, the text is preceded by detailed table of contents of the subject dealt in it. By inspection of the table, it should be possible to locate quickly information on a specific organobismuth compound.



Definite efforts have been made to include all factual data pertinent to an understanding of each class of organobismuth compounds. The main attention is paid to the methods of synthesis, molecular structure, and chemical behaviours of organobismuth compounds, although some knowledge of spectroscopy and other physical properties are also included. The format for presenting information has both descriptive information and numerical data. Numerical data are mostly presented in tabular form. Tables of known compounds in each chapter are organized so as to enable the readers to make easy access to the most relevant data source of a compound. The nomenclature does not follow strictly the recommendations of IUPAC, but usage is mostly consistent with common practice in the current literature. In order to help the readers to save time in looking for appropriate spectral data, an effort has also been made to provide the IR, MS, NMR and UV spectral data sources in tabular form. All references for chapters are collected together in a list at the end of the book. In the list, references are given chronologically both in code and in full form, with authors names.



This book will appeal to academic and industrial researchers alike, and will be particularly useful to chemists engaged in bench work. In addition it is hoped that this book will provide a stimulus as the basis for further development of organobismuth chemistry.


  • Published on: 2001-02-22
  • Released on: 2001-02-22
  • Format: Kindle eBook

Review
K. Seppelt, Freie Universität Berlin
"It seems to me that every chemistry library should have this book, especially those serving laboratories which might consider using bismuth organic compounds for organic synthesis."
Angewandte Chemie, Vol. 41/14, 2002

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Untamed, by Helen Kirkman

They had known each other only in dreams, but now a violent fate had made their waking worlds collide.

The ethereal Lady Aurinia lived in danger from the powerful who would use her for their own ends. And yet she freely aided those in need, even knowing that love was forever denied her!

Powerful in ways unspoken, the warrior Macsen had breached the mystical defenses surrounding Lady Aurinia's ancient hall, for desperation drove him to seek the help of her healing hands—and her open heart!

But could the bond they'd formed—fine as gossamer, strong as steel—withstand the firestorm of a marauding Viking horde?

  • Sales Rank: #1474859 in eBooks
  • Published on: 2012-08-15
  • Released on: 2012-08-15
  • Format: Kindle eBook

Review
"Amazingly good . . . This will be an author to watch!" -- Historical Romance Writer on A Fragile Trust

Excerpt. © Reprinted by permission. All rights reserved.
Wytch Heath, near Wareham, the South Coast of England, AD 876

This time the dream of him was different. The dark warrior that had invaded her dreams was closer. Aurinia caught the sense of danger from him and her breath sharpened, even in the bands of a sleep that was at once real and unreal.

She saw his face first, only that, the strong lines and the night-black hair, the eyes dark as ripe sloe berries, and her heart tightened on the familiar dizzying ache.

Light and shadow from her empty hall flickered over her closed eyelids and the dream pulled her down, overmastering her senses, making them catch fire. He called to her, her dark warrior with the costly armour and the eight strands of gold at his neck. His presence and the potent sense of his vitality overwhelmed her. But this time the shadowy bond was fierce, intensified by the danger. Pain.

She smelled the blood. It was all around him, terrifying and death-filled, like the shouting.

He saw her, had sensed her, five miles away on the battlefield.

The brilliant eyes locked for one burning instant with hers and the unspoken bond snapped tight, frightening and deep. Then the contact broke. She saw him swing round, the swift sudden movement of the leaf-bladed spear in his hand, its flight like lightning through the dark, a bright curving arc of terror.

Aurinia's fist clenched, hard against the patched linen of her dress. The shouts all around him were in Danish, Viking words. He was not Danish, with his dark eyes, fine high-bridged nose and his bronzed skin that spoke of southern climes.

Then even as she watched, caught in the dreaming, the sharp arrow points ripped through the air, a death rain hissing toward him, and the slighter, unarmoured figure next to him fell. The screaming voices, the fast feet of the Vikings, rushed forward like a wave.

He had kept his feet, but he would have to turn, run. Run. Her heart spoke to him across distance and time that had no meaning, as though they were one, she and the dark warrior who fought so bitterly against odds that were desperate. As though he could feel the desperation in her own heart, as though his unmatched strength had the power to penetrate the frozen isolation that held her trapped in this empty hall, to shatter it with his heat. As though they could touch.

Run.... She watched him unsheathe the glittering line of a broad-bladed sword. She could smell death, death and wounds.

He did not turn back. He stepped in front of the fallen man. The wave broke over him.

And she--The desperation flooded her heart, terrible, matched by a raw will.

"Lady!"

The sharp sound of Huda's voice shocked through her, real, close. The grip of her steward's hand on her shoulder shook her awake in the quiet hall at Wytch Heath. His breath rasped with his fear.

She was shivering. The dream dissipated, lost like the hot vital grace of the dark-haired man.

"Lady Aurinia..." Huda's voice, anxious, demanding, cut through, breaking the sleep that had come over her as she'd sat beside the window. The only retainer who had remained faithful to her had come to tell her what she already knew. That the invading Vikings and the troops of King Alfred of Wessex were fighting at Wareham, not five miles from here.

"...there is a battle. Men fleeing from the army may force their way through here."

"They cannot." Aurinia sat up, forcing movement through her stiffened body, every muscle wound tight with tension. One thing in this world was certain. No stranger had ever reached the hall at Wytch Heath. The pure isolation of her home stood unbroken.

It had the strength of a curse--"No Viking will get through."

"No," answered Huda, the heaviness deliberate. "Nor Saxon." He paused and then said, "Not even a king's man."

A king's man. Aurinia had glimpsed the stranger of her dream, in a hall greater than this, cloaked in shadow and rich light, the weight of the golden dragon pouring down his shoulder like fire. The Saxon king's sign.

"Are we not on the same side as the king's men?" Huda's hand tightened for an instant on her shoulder.

"No one is on our side."

She looked away. Huda was the nearest thing she had to a father. She had to protect him as she did herself. The isolation at Wytch Heath existed for a reason. Her fists were still clenched, as though the terrible life-and-death struggle of the stranger touched her even now.

No one ever found the path through treacherous ground to her hall. It was wolf-ridden.

Unless--She stood. The white cloth and the rune staves at her feet scattered. She had already read those angular shapes carved on wood, at once an ancient alphabet and signs filled with hidden meaning. She did not look at how they fell. She had seen the portents.

They had spoken of death.

The red glow of sunset filled the chamber, stinging her eyes, staining the pale cloth like the blood she had smelled, tasted. She could feel pain, heat, despair. How could she turn away from that? From him.

Sudden sound made her gasp, and Muninn's winged shape sliced through the sunlit air in a flurry of disturbed plumage. The raven perched on her windowsill. Muninn, bird of memory, sacred in the old days to Woden, chief of the sky gods. A raven was a messenger.

Huda crossed himself, even though every living creature who visited her was familiar to him. Ravens were double messengers; they might bring bliss, or they might come to feed on the battle-dead. The sun struck the bird's blue-shadowed wing as it settled. It was the same colour as the night-dark hair of the king's man.

She could feel the power of the man's will across the distance that separated them. It reached inside her. Her heart seemed to stop, suspended between one beat and the next.

He would bring the outside world and the scent of blood if he fought his way here. If she let him. If he lived.

Her life would change.

She did not meet Huda's eyes. Her decisions were her own. They always had been. She watched the raven.

He would come.

Wareham--The Vikings' Fortress

MACSEN STEADIED THE THIN, unconscious figure draped

across the front of his saddle. He was careful not to touch the protruding arrow shafts. He was trapped. The river blocked the way to the king's encampment. It might have been possible for him to cross alone, even with the pursuit behind him, but not with the wounded man.

The shouts behind closed in, so near he could make out the Danish words. They wanted the helpless burden he carried. They wanted death.

He would not let them take it. The hot rage at what had been done to the injured boy's body burst inside his head, its power fed by fury at the threat to someone helpless and by something darker that belonged to the past, his own unatoned blood guilt.

He wheeled the horse left, the movement abrupt and complete. The rest of the Saxon force had withdrawn and his pursuers were close. But they hesitated, even Earl Guthrum's guardsmen with their red shields and their burnished chain mail, because they understood which path he chose, toward the barren heath and the dark woods where no one lived. No one except the reputed sorceress, the Saxon hell-rune.

The Lady of Wytch Heath.

In his head, he could see her, standing alone in her hall, her beauty as strong as the sun breaking the clouds. The light streamed in through the open window, dazzling her eyes.

Five miles. The knowledge of the distance that separated them formed out of the air. As though the thought were hers. The awareness of her burned him, mind and flesh and harshly tightened skin.

Five miles. He moved and Du Moro, named for that other black stallion of legend, responded. He did not know whether luck would last long enough. Whether the wounded boy he held would survive. If the arcane reputation of Wytch Heath was enough to stop pursuit...

Two of the group of five pursuers followed him.

The luck gave out with the light. The empty heath vanished, and with it the eerie brilliance reflected off the autumn bracken, crimson-bright against the deep purple of ling and heather. The black woods closed out the dying sun. The thick undergrowth hid ground that was treacherous.

There was no other way. Macsen set spurs to the exhausted horse. The others, fresher, unencumbered, closed in. If he could not lose them, he would have to fight. It was unlikely he would win.

Even as the thought took shape in his head, the first sound came of a pursuit that was not human.

Du Moro, trained to battle, trained even to the smell of death, reared, hoofs sliding on the narrow moss-slick track, nearly unseating him. Macsen kicked his feet free of the stirrups. If the stallion fell back, it would kill him.

He sought for balance, to hold the helpless burden of the unconscious man. The bolt of fear that surged through the bunched sweating muscle beneath him was primeval. The same nameless fear was in his own blood, transmitted through the unearthly sound, through the touch of panicked flesh beneath him, into the dark place that existed in everyone far below the reach of reason. It was enough to blind him.

He fought it. The power in that moment dominated by primitive instinct came not from high courage but from the savage force of his anger. He controlled the war-stallion, fear-mad, nearly five times his weight, by the depth of that appalling power. This time, there would not be the death of someone hunted. He would stop it.

Anger gave him the power to force Du Moro forward. Anger let him keep the stallion moving so that it could not rear again. Tree branches whipped at his head. Behind him, he heard one of the pursuing horses go down. There was a raw scream that encapsulated all the primitive fear in the black air. He could not tell whether the sound was human or animal. Across it was the unearthly noise, the nightmare of every civilized creature, the howling of wolves.

The lone Vi...

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3 of 3 people found the following review helpful.
Yawn
By J. Hirsch
Almost no character development. The Aurinia is the archtypical nurturing female who needs protection, and it's almost nauseating the way she clings like a baby to Macsen in their sex scenes. Ditto with Macsen, the archtypical alpha male. No interesting dialog, and the supernatural elements just confused me. Sometimes it was hard to figure out what was happening because it all seemed like a drug-induced dream.

1 of 1 people found the following review helpful.
Reality versus magic
By Mistral Wynde
How do you explain fate or destiny? Helen Kirkman does an impressive job of weaving the ferocity of battle in a time when battle grounds won loyalty. What happens when a fierce warrior possesses something more than just valor, loyalty, and courage? What if he possesses an ability that in his time could have him killed as a heretic? Then add to that unwanted "gift" a pretenatural bond to a woman who has been cast out by all humankind as a "hell-rune". She lives amongst wolves, spirits, practices healing arts, and the very land she lives on protects her from any and all intrusion, but for the fierce warrior Macsen, Aurinia is his equal and his salvation. Both will either save one another from the invading Vikings and Anglo-Saxon, or they will doom everyone and everything they hold dear. No matter what direction they choose, neither of their lives will ever be the same.

It's an enthralling read from beginning to end. If you have an interest in psychic ability, the way healers have been persecuted throughout time, this will also interest you. It adds a strong dimension to the story line.

2 of 3 people found the following review helpful.
The witch, the warrior, and the dark ages
By A Customer
In 876 Lady Aurinia lives by herself at Wytch House on the coast of England because her father disowned her. At first she tried to help the nearby villagers of Wareham with her healing powers, but her payment for her kindness was fear that she was a witch. She stopped visiting the village leaving her only human contact with those inside of Wytch House, mostly her steward Huda.

The Vikings and King Alfred's troops fight nearby, but Aurinia fears nothing as no one will reach her isolated home whose only path is through wolves that protect her; that is if someone even finds the path. No one has until now as Lord Macsen has accomplished the impossible and not only found the path, but journeyed through the wolves to reach Wytch House as if he was guided by someone else. When Macsen sees Aurinia he is shocked as she is the beauty who has haunted his dreams for months. Though they just have met, both agree to marry right away even as each has doubts. He wonders if she has bewitched him with a love spell and she distrusts all men except Huda and the wolves. Their love will soon be tested when his enemy captures his beloved.

The witch, the warrior, and the dark ages - what more could historical romance readers want. UNTAMED is a fine tale of love starring two heroic protagonists struggling to trust their hearts, even as treachery makes each question whether their feelings for the other masquerade a betrayal. Fans will enjoy this fun ninth century tale.

Harriet Klausner

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Mary Coin: A Novel, by Marisa Silver

Bestselling author Marisa Silver takes Dorothea Lange’s Migrant Mother photograph as inspiration for a story of two women—one famous and one forgotten—and their remarkable chance encounter.
 
In 1936, a young mother resting by the side of the road in central California is spontaneously photographed by a woman documenting migrant laborers in search of work. Few personal details are exchanged and neither woman has any way of knowing that they have produced one of the most iconic images of the Great Depression. In present day, Walker Dodge, a professor of cultural history, stumbles upon a family secret embedded in the now-famous picture. In luminous prose, Silver creates an extraordinary tale from a brief event in history and its repercussions throughout the decades that follow—a reminder that a great photograph captures the essence of a moment yet only scratches the surface of a life.

  • Sales Rank: #35678 in eBooks
  • Published on: 2013-03-07
  • Released on: 2013-03-07
  • Format: Kindle eBook

From Booklist
Inspired by Migrant Mother, the iconic Depression-era photograph snapped by Dorothea Lange in 1936, Silver reimagines the lives of both the photographer and the subject. Interweaving the stories of Mary Coin, a young mother grappling with the cruel realities of raising a family during an enduring economic crisis, and Vera Dare, the brilliant young photographer facing life-altering decisions of her own, this dual portrait investigates the depths of the human spirit, exposing the inner reserves of will and desire hidden in both women. Though their paths cross for a brief moment, their fates—stretching into succeeding generations—are permanently altered by the meeting. The luminously written, heart-wrenching—yet never maudlin—plot moves back and forth through time, as history professor Walker Dodge unpeels the layers of the photograph’s hidden truths. --Margaret Flanagan

Review
A New York Times bestseller
A Los Angeles Times bestseller

“Mary Coin is quite simply one of the best novels I have read in years. 'You'll know who you are when you start losing things,' says one character, and the story burns in this quietly emphatic way, only to erupt in moments of excruciating pain and beauty.  In her portrayal of a time in American history when survival was often a day-to-day thing, Silver drills down to the absolute essentials: family, love, loss, the perpetual uncertainty of life. Again and again I found myself wondering: How does she know that? Silver's wisdom is rare, and her novel is the work of a master."

—Ben Fountain, author of the 2012 National Book Award winner Billy Lynn’s Long Halftime Walk
 

“Marisa Silver renders the soul of an iconic image, giving it moving life. Mary Coin is a soaring work of imagination, dedication and history.”

—Mona Simpson, author of My Hollywood and Anywhere But Here
 

“An extraordinarily compassionate and wise novel, Mary Coin imagines the life of Dorothea Lange's iconic "Migrant Mother." What emerges, in Silver's nuanced, resonant telling, is a poignant exploration of a single life that touches many others, and a powerful, moving portrait of America during the Great Depression. Silver is one of those preternaturally gifted writers who can with the lightest of touches make the reader enter a world that feels as fully real as the one around us.”

—Meghan O’Rourke, author of The Long Goodbye


“Inspired by Migrant Mother, the iconic Depression-era photograph snapped by Dorothea Lange in 1936, Silver reimagines the lives of both the photographer and the subject....this dual portrait investigates the depths of the human spirit, exposing the inner reserves of will and desire hidden in both women....The luminously written, heart-wrenching—yet never maudlin—plot moves back and forth through time, as history professor Walker Dodge unpeels the layers of the photograph’s hidden truths.”
—Margaret Flanagan, Booklist

“[A] superb new novel....Silver’s acute observations and understated style are evident here as are her matter-of-fact, unapologetic characters....mesmerizing...Silver has crafted a highly imaginative story that grabs the reader and won’t let go. A must-read for Silver fans that is sure to win over many new followers; the acclaimed author’s best work to date.”
—Library Journal, STARRED REVIEW

“Marisa Silver’s transfixing new novel...deftly sprinkles historical fact into her fictional narrative...a raw and emotional tale that leaves readers with a lingering question: Do photographs illuminate or blur the truth?”
—O, The Oprah Magazine

“Gorgeous … This narrative of mid-century hope, loss, and disenchantment is both universal and deeply personal. With writing that is sensual and rich, [Silver] shines a light on the parts of personal history not shared and stops time without destroying the moment.”—Publisher’s Weekly, STARRED REVIEW

“Mary Coin is the fictionalized story of [the “Migrant Mother” photograph], with Mary standing in for the actual subject, Florence Owens Thompson, and Vera Dare standing in for Dorothea Lange....a story ready and waiting for a fictionalized treatment. And Marisa Silver does it full, glorious justice. The story is compelling and honest, never sentimentalized or made easy, the writing exquisite in its luminous clarity. Silver accomplishes much in this work, including giving a human face and story to overwhelming disaster, just as the original photograph did....Silver’s story is artful in a way that life often is not, carrying the story of one family through several generations....This novel is simply not to be missed. It is memorable.”
—Historical Novels Review

“Silver is an evocative, precise writer...[she] smoothly integrates ephemeral period details...[Dorothea] Lange's photograph and the world it conjures up is inherently melodramatic. But Silver's writing isn't: she's restrained and smart. Throughout her novel, Silver tackles big questions about the morality of art and, in particular, the exploitation of subjects in photography.”—Maureen Corrigan, NPR

“Special recognition therefore goes to Marisa Silver, whose new novel, Mary Coin, fictionalizes the circumstances of the most famous image of the Depression...the book is a skillful, delicate apprehension of that photograph and its moment in history....[Silver is] a fine, delicate stylist, with an aphoristic style that fills even simple moments with meaning.”—USA Today

“Silver never rushes her story. Instead, she takes her time, setting down the particulars of her characters with palpable care….Silver's focus on the discretely biographical [produces] some truly lovely lines and deeply moving scenes…I read Mary Coin in a day—eager to know who this 32-year-old migrant mother was and willing to imagine how it must have felt to be known for all time for an instant in time, to be invaded by conjecture of both the casual and novelistic sort. A photograph is a single snap. In Mary Coin, Silver suggests all that echoes after that.”
—Beth Kephart, Chicago Tribune

“[A] compelling, hard-to-put down story....As the cover of the novel suggests, the story emanates from the photograph, “Migrant Mother,” taken by Dorothea Lange in 1936...it continues to haunt us. Just as Silver’s new novel will linger and haunt, attached as it is to the famous photo, which wonderfully deepens the story behind the making of history.”
—Nina Schuyler, TheRumpus.net

“Silver’s provocative new novel [is] a fictionalized, multigenerational account of [Dorothea] Lange’s life and the life of her migrant farmworker subject. Silver writes beautifully and has meticulously researched her historical details, making for an informative, addictive book whose Depression-era narrative feels particularly relevant in today’s recessionary times.”
—People

“This resonant novel, teasing clues from a famous photograph, keeps us both looking and seeing. And admiring.”
—Jeffrey Ann Goudie, Kansas City Star
 
“In Mary Coin, Silver takes a picture and spawns the proverbial thousand words many times over. The result is a stirring human portrait of two women and the times they lived in.”
—Hector Tobar, Los Angeles Times

“Phenomenal … Silver writes with an unadorned impressionism that never feels self-conscious or fussy … History is not a succession of icons or frozen moments but of messy lives lived, of people doing what they can with what they’ve got. Therein lies the power of this novel, and the Novel: Silver wields it here with grace and devastating effectiveness.”—Antoine Wilson, New York Times Book Review
 
 “Piercing … Silver is a marvelous writer, capable of stirring profound emotions one moment, intellectual reflection the next.”—Joanna Connors, Cleveland Plain Dealer
 
“Mary Coin is a lovely and deeply satisfying read … Each of these characters is fully realized and amazingly sympathetic; their cumulative story a worthy, nuanced tribute to an indelible image … In the end, she achieves the aims of her historian, discovering — explaining — how history actually happened to people.”—Eugenia Williamson, The Boston Globe
 
“What sets Mary Coin apart is that Mary’s life pulses with real and relatable humanity before and after her moment as an artistic subject … Mary Coin has a personal history that reads like one of Silver’s expertly drawn short stories, a series of disappointments and tragedies small and large rather than a dramatized biography …  Silver’s writing, in Vera and Mary’s glancing interaction (they meet only once, when she takes the picture) reads less as an indictment of Lange than as a sophisticated reading of her work, one with consequences extending into both fictional women’s futures.”—Daniel D’Addario, The New Republic

About the Author
Marisa Silver is the author of the novels The God of War (a Los Angeles Times Book Prize finalist) and No Direction Home; and two story collections, Alone With You and Babe in Paradise (a New York Times Notable Book and Los Angeles Times Best Book of the Year). She lives in Los Angeles.

Most helpful customer reviews

110 of 123 people found the following review helpful.
"Until she received Mary Coin's letter, Vera had never known the woman's name."
By Luan Gaines
Based on the iconic photograph taken of a migrant worker and her children in the 1930s taken by Dorothea Lange, Silver constructs her novel around three characters: Mary Coin, an Oklahoma farm wife; Vera Dare, a portraitist who found her true calling in the faces of those who moved from camp to camp in search of work; and Walker Dodge, a professor who begins an exhaustive search of his own family's history after his father's death. Mary and Vera's stories begin in the 1920s, Walker inspired in his quest much later, in 2010. When Mary marries Toby Coin in Oklahoma, she has no idea the devastating environmental damage that will drive them and their children to a life on the road and itinerant labor in the California mills and later in the fields. By the 30s, the Great Depression has hit, people living in tents, broken down cars, standing in bread lines, jobs scarce.

Throughout this ordeal, Mary, though struggling, is luminous, determined to provide for her family, her once young face weathered by hard times and exhaustion, her children clinging to her for security. When Dare stops at the side of the road to take Mary's picture with the children, neither are aware that hers will become the face of a generation. Dare's career began as an East Coast society portraitist, but in San Francisco in the 30s, she gains employment with the government, documenting the conditions of migrant workers in the camps. Crippled by polio as a child, Dare is sensitive to her deformity, painfully conscious of her failings as a mother in pursuit of a career, a career that opens up after the publication of the photograph of Mary Coin. It is that same image that captures the attention of Walker Dodge in Porter, California, years later. Son of a family of growers, Walker knows little of the family business, his comprehension growing while rummaging through boxes of papers and pictures in the home occupied by generations of Dodges. Something speaks to him in that photograph, an intuition awakening that inspires a search that will eventually provide answers he has long sought.

"It looks like you're a robber trying to break inside a person's skin." So says Mary's mother in Oklahoma, to a daughter who is hungry for life. It is an apt description of Silver's writing as well in this beautifully rendered novel, an understanding of Mary Coin's world so profound that both her spirit and desperation are as vivid as her life on the road, her love for her children and the choices she makes to provide for them. It is a novel fully fleshed and ripe with passion, one that ties us even to Mary and Vera's final days and the photo graph that links them for posterity. In this life and death cycle, there is both joy and grief, compassion and courage in a country driven to its knees by environmental and financial disaster. But Mary shines through her burdens. Silver shines as well. She has found her moment and embraced it. Luan Gaines/2013.

43 of 47 people found the following review helpful.
Revisiting John Steinbeck...
By Spindrift
It was with much anticipation and excitement that I dove into "Mary Coin". I am a John Steinbeck enthusiast, my family lived this story in 1930's California's central valley, and my favorite all time book is "The Grapes of Wrath". I pore over and have a desire to collect Dorothea Lange prints like most people do Monets and Cezannes. So it is more than fair to say that my expectations for this book were very high.

Marissa Silver divides her narrative into three parts. She gives us Mary's story (her fictional Florence Owens Thompson, the real subject of the photograph "Migrant Mother"), Vera (her fictional Dorothea Lange), and Walker Dodge ( a totally fictional character). The literary device of fictionalizing real people and events is an interesting and entertaining one, allowing the author to give whimsy and flourish to historical episodes that could very well have happened within the context of reality. I feel that Silver is most successful with the character of Mary. She begins with Mary's childhood in dust bowl Oklahoma and the reader accompanies her growing family on their infamous journey to California to try and make a living in "the golden state" with thousands of other migrant families. The pain and visceral angst of trying to feed her sad and hungry children is palpable in the story telling. Mary is drawn with a nuance and droll personality that I found to be very credible, she has been ingrained with the fatalistic aura of her mother, Doris, and deals with life's disappointments with a weariness that the photo that she is famous for so realistically depicts. The highlight of this book, for me, was how the author consistently maintained Mary's unique and distinctive personality from childhood all the way through to her old age. Never missing a note, Mary remained quintesentially herself until the end.

Vera's sections contrast Mary's experience of the years of economic depression portraying her as a more sophisticated and independent woman, who, however, still must deal with raising children under adverse circumstances, while giving a lovely perspective to her profession as a photographer working for President Roosevelt's government program that was attempting to help the migrant workers. Although I loved the geography of the Walker Dodge chapters, and the writing remained stellar, I felt that the story line here veered a little too close to womens fiction and asked the reader to suspend disbelief a few too many times.

This is a beautiful book, about a profound and painful time in history, I enjoyed it very much. I read "Mary Coin" on my Kindle, but will be ordering a hard copy to display on my coffee table, as it is adorned with the magnificent photograph that is the book's subject, "Migrant Mother".

34 of 37 people found the following review helpful.
Excellent until Charlie Dodge
By Rita Sydney
If this were just the story of the lives of Vera Dare, photographer, and Mary Coin, migrant field worker, and how their lives intersect in 1935 it would be a 5 star read.

The women come to life on the page: their dreams and disappointments, how they became who they are, how they cope in the Depression raising their kids.

Then, a year before the taking of the photo that becomes iconic of the era, Mary Coin catches the eye of Charlie Dodge, son of Dodge Farms where she's picking oranges. He follows her around, she's been widowed 4 years and is more than willing.....there's sex, no promises, no demands, just sex in the field.

It will turn out that the third main character in the story, the present day Walker Dodge will follow clues back to the likelihood that Mary Coin was his grandmother.

Not a bad plot. Not unlikely. Except that I never understood why Charlie Dodge wanted Mary Coin.

For all of the rich detail the author provides readers to show us who Vera and Mary and Walker are -- what motivates them -- Charlie Dodge is a blank.

Maybe if the picture of Mary Coin (i.e., Migrant Mother by Dorothea Lange) were not on the cover of the book I would not be so unsatisfied. But the author's inspiration came from that photograph so I have to pay attention to it.

I see that Mary's not beautiful, not voluptuous, not young. Being sexy is not on her mind. What is it that makes Charlie want her?

Why does he like sex in the rough with a destitute mother of 6 working in the fields owned by his family? Is this a pattern with him? Does it make him feel powerful? Is the extra money she finds at the end of the week in her pay charity from him or payment?

The author just doesn't bother to make Charlie Dodge dimensional, to make his desire understandable, to put his relations with Mary Coin in the context of his life.

Although I finished reading the book my level of enjoyment fell at that point. It never fully recovered.

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Guardians of Prosperity: Why America Needs Big Banks, by Richard X. Bove

Since the financial crisis, amid outrage at the likes of Citigroup and JPMorganChase and Washington's rejiggering of the financial system, the banking industry has had one major defender: Richard X. Bove. Now he explains why big banks are the nation's lifeline to success, and why financial disaster will ensue if we make it impossible for them to fill their role in the economy. Bove argues that big banks are necessary to ensure America's position in global finance; to assist corporations in achieving their goals against foreign competition; and, most importantly, to defend the average household's access to financial services.

  • Sales Rank: #963096 in eBooks
  • Published on: 2013-12-26
  • Released on: 2013-12-26
  • Format: Kindle eBook

From Booklist
Bove, a well-known bank analyst, explains that the nation needs healthy banks, including the biggest banks, and he sets out to demonstrate that the demonization of banks since the 2008 financial crisis has been mostly exaggeration, although he adds, “I have no intention of defending errant banks or rogue bankers.” Further, we learn that congressional actions (particularly the Dodd-Frank legislation) have actually harmed consumers and businesses, now getting fewer services at greater cost, and “the United States financial system itself has been harmed by anti-bank activity.” Bove offers seven solutions for healing the U.S. economy to achieve long-term prosperity, including: regulators must do their job, bank accounting is misleading and must be changed to achieve transparency, and the ban against proprietary trading should be lifted. “Banks should be allowed to invest, without limitation, in venture capital concepts.” The author’s thought-provoking argument is certain to add fuel to the ongoing debate on the 2008 financial crisis and its aftermath. --Mary Whaley

About the Author
RICHARD X. BOVE is a widely respected bank analyst. He appears frequently on CNBC, Bloomberg, and Fox Business and is often cited by Forbes, Fortune, The Wall Street Journal, and National Review.

Most helpful customer reviews

0 of 1 people found the following review helpful.
Loose Analysis
By Marcus White
Misleading half-truths and outright falsehoods used to justify thesis. Very shaky analysis and no acknowledgment of the protective benefits of smaller, more scope-limited financial services firms. Author's style of constructing straw men to argue against is particularly annoying.

9 of 11 people found the following review helpful.
Thought-Provking Thesis
By Kevin
As one who is in search of truth, this was a thesis which I greatly appreciate. When authors challenge talking points and commonly held misconceptions, you know you are on intellectually fertile soil. "Big Banks" just sounds menacing (try saying it real devilishly), so to be brought down to earth and told how important they are is a contribute which Mr. Bove should receive the honest reader's approbation. "Big Banks" are a scapegoat for big government to demonize the private sector and sidestep their hand in the recent financial recession. Recommended reading.

2 of 2 people found the following review helpful.
Pro-bank
By Stephen T. Hopkins
Everyone who works for a bank (or who owns shares) should buy and read Richard X. Bove’s book, Guardians of Prosperity: Why America Needs Big Banks. This book challenges the populist vitriol against large banks, and explains why current regulation in response to the financial crisis will harm America. Bove writes in plain language for a general audience, explaining what banks do, and why large banks are needed. His viewpoint is different from that most readers find on the topic of large banks. For that reason alone, whether one agrees or disagrees with his views, this book contributes to broader understanding of this issue.

Rating: Four-star (I like it)

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