Product Description
Richard Gilman referred to How to Read a Film as simply "the best single work of its kind." Janet Maslin of The New York Times Book Review marveled at James Monaco's ability to collect "an enormous amount of useful information and assemble it in an exhilaratingly simple and systematic way." And Richard Roud, Director of the New York Film Festival stated, "Anyone who writes about film, who is interested in film seriously, just has to have it." Clearly, few books on film have met with such critical acclaim as How to Read a Film. Since its original publication in 1977, this hugely popular book has become the definitive source on film and media. Now, James Monaco offers a completely revised and rewritten third edition that brings every major aspect of this dynamic medium right up to the present day. Looking at film from many vantage points, Monaco discusses the elements necessary to understand how a film conveys its meaning, and, more importantly, how the audience can best discern all that a film is attempting to communicate. He begins by setting movies in the context of the more traditional arts such as the novel, painting, photography, theater--even music--demonstrating that film as a narrative technique is directly comparable to these older mediums. He points out that much of what we see and experience in film can be traced directly back to other art forms. Accordingly, as film is a technology as well as an art, he examines the intriguing science of cinema and follows the development of the electronic media and its parallel growth with film during this century. A new chapter on multimedia brings media criticism into the late 1990s with a thorough discussion of such topics as virtual reality and cyberspace and their relationship to film. Monaco goes on to show how film operates as a language, describing the various techniques and concepts responsible for the often visceral reactions that only film can elicit.

Lavishly illustrated with over 350 halftones and seventy-four original diagrams, as well as discussions on the development of the art of movies and the major theoretical developments of the last seventy-five years, How to Read a Film is an exciting and definitive behind the scenes look at the complex world of film. ... Read more

Customer Reviews (16)

An enlightening text which has stood the test of time.
Monaco's How To Read A Film is a triumph in bringing together a very wide range of theoretical, social, aesthetic, political, economic, historical, and technical information and ideas about film. In the newer editions, he has also addressed the broader range of media in general. It has been considered the "bible" by many on film history and theory for three decades. As a young film student 25 years ago, this was a required text for me then and still is today in many important schools. I learned so much from it then, and amazingly, continue to take away insights which inform my own film-making even today.

Some of the comments from other reviewers here are a bit baffling, to be frank. I don't find his writing style to be irritating at all; just the opposite! I feel that one of Monaco's real strengths is his style; he deals with what could easily be rather dry material in a way that has me unable to turn the pages fast enough! He always keeps the subject very interesting and is quite economical and free of excesses and digressions in his delivery. If anything, I found myself wanting to know more at times. One reviewer states that Monaco lacks organization and drifts randomly between topics. He cannot be serious (??). Whatever you might come up with to be critical about, I don't think that anyone could possibly make that case. On the contrary, given the utterly ambitious amount of material that he is dealing with, I truly applaud him for the organizational skill and deft handling of the presentation of such a massive amount of information! I think that he brings it all together extremely well with three indexes and a remarkable bibliography to support a highly accessible and coherent structure of chapters. This same reviewer claims that "There is nothing about auteur theory" and "very little about editing."That's just flat wrong. My gosh, did he read the book?? Monaco deals directly with this in chapter five; he points out the rather dubious translation of Truffaut's "Politique des auteurs" as a "theory," and suggests the distinction that it is more of a "policy" with a fairly arbitrary critical approach, and goes on to elaborate on the difficulty with the notion of authorship. And as far as any discussion on editing? MONTAGE, my friend!! That's a central topic which is dealt with in great depth throughout the entire text!

There is perhaps only one area that I might raise a critical question. That concerns Monaco's complete understanding of semiotics and the rhetorical devices of literary theory. He, of course, applies them extensively to film analysis; but I did yearn for a bit more scholarship at times. For example, the term "trope" is defined in a great many texts as a rhetorical figure which represents the specific figures: metaphor, synecdoche, metonymy, hyperbole, etc. But Monaco doesn't use it that way and it's a little confusing. It may simply be that these terms have evolved and have acquired nuanced meanings in film analysis.

For me personally, one of the wonderful things about the book is Monaco's honesty about the state of film criticism in current times as compared to the 1960s and 70s. He has the courage to admit what so many try to say in a backwards, camouflaged way. "Thumbs have replaced theories," says Monaco; today, "there is no one with an interesting theoretical ax to grind" like the prominent critical personas who established such a ferment of critical thinking and polemics thirty years ago; people like Pauline Kael, Andrew Sarris, Manny Farber, and Molly Haskell, to name a few. Controversial? What's surprising is that it's not; but it's a vitally important opinion to understand. And Monaco supports his claim with a fascinating and well written book. I consider this an essential text; it completely changed how I approach film, both in how I make them and in how I read them.

Fast delivery
I am so pleased with the purchase.
The book is in a great condition, not saying that it is also amazing in its content.
Highly recommended to read for those who are interested in film history and theory.
Moreover, the book arrived month and some days before the date of the estimate delivery, which I was very pleased to find out.

'Best Book of its Kind'?I agree
James Monaco's knowledge of film and other media is almost scary!He discusses things like film emulsions, the evolution of the movie camera, the physiological nature of perception and the montage techniques of Eisenstein and Pudovkin, "underground films" of the 60's with such authority, you might think he has some mental wikipedia in his brains that he simply surfs for whatever topic he happens to be addressing.A book like this one could easily end up being a thin overview of visual media with no subject given adequate coverage, but regardless of what he's explaining, Monaco explains it in-depth and he has the added ability to explain difficult subjects in clear terms: read his analysis of structuralism and post-modernist film criticism, for example. It actually makes sense.Not that it made me enjoy the academic approaches, but at least I learned what they are (and they're not all that much).If I had to have one book on film studies, I'd pick this one, unless the version with the DVD is better.I haven't looked at it, but I imagine it would be great to see real excerpts from classic or modern films as they are analyzed.

Not great, not lousy
"If poetry is what you can't translate, as Robert Frost once suggested, then 'art' is what you can't define."

And yet, the author tries. Most people who notice this discrepancy probably berate the author for this, but I give him marks for trying. Art has been an important part of my life since I was 3, and its study remains a topic of great interest to me.

This book fails to explain film as art, at least largely. And I'm not entirely sure why. Many of the concepts presented seem lifted from film studies courses, which in my experience are usually aimed at convincing the student to adopt political attitudes about films and about life in general. This propagandizing has never worked on me. I don't think the author follows through with the worst of the propaganda material that I'm used to seeing, but his arguments seem very similar, and similarly unconvincing.

This is not to say that the book is worthless. The elements on the history of film and its interaction with other art forms was very interesting.

Finally, there are technical errors. I don't think that any of them are particularly crucial to the understanding of film (at least, not those that I noticed), but I have to wonder whether an author who has an imperfect understanding of the technical aspects of film making has a similarly imperfect understanding of other elements. As an example, the author twice states that the focal length of a lens is the distance from the center of the front lens element to the film plane; in actuality, focal length is the distance between the lens focal point (somewhere inside the lens structure) to the film plane.

If I was going to choose one book to understand the language of film, this would not be it. On the other hand, if you can get it cheap, give it a shot.

How to Be a Film-Buff
Since the publication of its first edition in 1977, this book has been applauded--and rightly so. Monaco magically mingles art history, critical theory, and opinion on so many varieties of media (all within the focus of the single notion of "film") that what looks like a text book in fact stands as a delightful read in itself. In delving into each facet of film study, it results in catering for all aspects of film interest, all of which are nicely separated into clear chapters and sections.

Of course, even though this book is likely the greatest of its kind out there, it obviously cannot capture everything (Where is David Lynch?). For any one interested in expanding their notion of what a film is and learning how to appreciate it for more than a Friday night out, then there is probably no better place to start. Even if you aren't interested in the bulk of critical theory, the list of movie titles in itself is worth a read: from Lumière to Chaplin, from Eisenstein to Bergman, and from Godard and the French New Wave to Altman . . . this is film, captured in a book.

Reviewed by
Dylan Popowicz ... Read more

Product Description
A History of American Movies provides a survey of the narrative feature film from the 1920s to the present. The book focuses on 170 of the most highly regarded and recognized feature films selected by the Hollywood establishment: each Oscar winner for Best Picture, as well as those voted the greatest by members of the American Film Institute. ... Read more

Product Description
Mark Twain once famously said "there was but one solitary thing about the past worth remembering, and that was the fact that it is past and can't be restored."  Well, over recent years, The British Library, working with Microsoft has embarked on an ambitious programme to digitise its collection of 19th century books.

There are now 65,000  titles available  (that's an incredible 25 million pages) of material ranging from works by famous names such as  Dickens, Trollope and Hardy as well as many forgotten literary gems , all of which can now be printed on demand and purchased right here on Amazon.

Further information on The British Library and its digitisation programme can be found on The British Library website. ... Read more

Product Description
Webster's bibliographic and event-based timelines are comprehensive in scope, covering virtually all topics, geographic locations and people. They do so from a linguistic point of view, and in the case of this book, the focus is on "Monaco," including when used in literature (e.g. all authors that might have Monaco in their name). As such, this book represents the largest compilation of timeline events associated with Monaco when it is used in proper noun form. Webster's timelines cover bibliographic citations, patented inventions, as well as non-conventional and alternative meanings which capture ambiguities in usage. These furthermore cover all parts of speech (possessive, institutional usage, geographic usage) and contexts, including pop culture, the arts, social sciences (linguistics, history, geography, economics, sociology, political science), business, computer science, literature, law, medicine, psychology, mathematics, chemistry, physics, biology and other physical sciences. This "data dump" results in a comprehensive set of entries for a bibliographic and/or event-based timeline on the proper name Monaco, since editorial decisions to include or exclude events is purely a linguistic process. The resulting entries are used under license or with permission, used under "fair use" conditions, used in agreement with the original authors, or are in the public domain. ... Read more

Product Description
Webster's bibliographic and event-based timelines are comprehensive in scope, covering virtually all topics, geographic locations and people. They do so from a linguistic point of view, and in the case of this book, the focus is on "Monaco," including when used in literature (e.g. all authors that might have Monaco in their name). As such, this book represents the largest compilation of timeline events associated with Monaco when it is used in proper noun form. Webster's timelines cover bibliographic citations, patented inventions, as well as non-conventional and alternative meanings which capture ambiguities in usage. These furthermore cover all parts of speech (possessive, institutional usage, geographic usage) and contexts, including pop culture, the arts, social sciences (linguistics, history, geography, economics, sociology, political science), business, computer science, literature, law, medicine, psychology, mathematics, chemistry, physics, biology and other physical sciences. This "data dump" results in a comprehensive set of entries for a bibliographic and/or event-based timeline on the proper name Monaco, since editorial decisions to include or exclude events is purely a linguistic process. The resulting entries are used under license or with permission, used under "fair use" conditions, used in agreement with the original authors, or are in the public domain. ... Read more

Product Description
Amid the turbulence of political assassinations, the civil rights struggle, and antiwar protests, American society was experiencing growing affluence and profound cultural change during the 1960s. The film industry gradually redirected its energies, resulting in a distinctive break from traditional business and stylistic practice and emergence of a new "cinema of sensation." Feature films became faster-paced and more graphic, the antihero took his place alongside the classic Hollywood hero, and "downer" films like Midnight Cowboy proved as popular as those with upbeat fare. Paul Monaco gives a sweeping view of this exhilarating decade, ranging from the visceral sensation of Bonnie and Clyde, to the comic-book satire of Dr. Strangelove, to the youthful alienation of The Graduate. ... Read more

Customer Reviews (3)

Not the Best of the Series But Still Worthy
Though I hesitate to criticize any portion of the "History of the American Cinema" series, just because the whole is so encyclopedic and overdue and absorbing, I would nonetheless have to agree with Mr. Samerdyke that this entry leaves some things to be desired. As compared to others in the set (particularly "The Emergence of Cinema," which discusses film up to 1907, and "Lost Illusions," which covers the 1970's), this edition comes off thin. The seminal films and major stars discussed seem selective at best, and there simply isn't the quantity of subtext that makes David Cook's "Lost Illusions" such a fascinating and enlightening read. A notable omission is the significance of passing film generations during this decade; giants such as Gable, Grant, Tracy and Hepburn virtually (or literally) passed out of the industry during the 1960's, yet the impact of this warrants scant if any mention.

That having been said, there are strong points, such as the discussion of nonfiction films and the analysis of the more groundbreaking films from these years (and the book definitely told me some things about Jerry Lewis that I didn't know). On the whole, I would recommend "The Sixties" as a worthwhile introduction to the cinema of this period, or for completists (such as myself) who want to own this entire, wonderful series. For the hardcore film student looking to learn something new, however, this will be an interesting read but will likely come up a little short in terms of fresh perspectives.

Good Material Badly Organized
Mr. Monaco does a good job explaining the changes that American film went through in the Sixties.However, although I agree with a lot of what he says, the organization of the material in this book baffles me.

He has a chapter on landmark films of the Sixties.There is a still from Psycho on the front of the book, but he discusses Psycho AFTER he has discussed landmark Sixties films from David and Lisa to Easy Rider.He discusses The Wild Bunch before he discusses Bonnie and Clyde.

And that is just one chapter.Elsewhere, he discusses the TV broadcast of the Oscar ceremony in a different chapter than he discusses the films that won the Oscar.I can't see the logic in that.

He does a good job in detailing the contribution of editors, cinematographers and composers to changing American film in the Sixties, but there is no comparable section on directors.Another glaring omission is when he talks about male stars who became prominent in the decade, and never mentions Clint Eastwood.(The only time the spaghetti westerns are mentioned is when he discusses changes in sound technology.)

Again, Monaco's conclusions and judgments are fair and on the money, but the organization of this book drives me nuts.

Good Material Badly Organized
Mr. Monaco does a good job explaining the changes that American film went through in the Sixties.However, although I agree with a lot of what he says, the organization of the material in this book baffles me.

He has a chapter on landmark films of the Sixties.There is a still from Psycho on the front of the book, but he discusses Psycho AFTER he has discussed landmark Sixties films from David and Lisa to Easy Rider.He discusses The Wild Bunch before he discusses Bonnie and Clyde.

And that is just one chapter.Elsewhere, he discusses the TV broadcast of the Oscar ceremony in a different chapter than he discusses the films that won the Oscar.I can't see the logic in that.

He does a good job in detailing the contribution of editors, cinematographers and composers to changing American film in the Sixties, but there is no comparable section on directors.Another glaring omission is when he talks about male stars who became prominent in the decade, and never mentions Clint Eastwood.(The only time the spaghetti westerns are mentioned is when he discusses changes in sound technology.)

Again, Monaco's conclusions and judgments are fair and on the money, but the organization of this book drives me nuts. ... Read more

Customer Reviews (5)

Boring text!
No I didn't buy this book becourse of the boring text. Where are the emotions for a so emotionally place and racing!!! The photos are very nice.

F1 photography doesn't get any better than this
Rainer Schlegelmilch has covered Grand Prix racing since the early sixties and probably now has one of the biggest photo archives on the sport available. What distinguishes him from many of his colleagues is that he has always striven to capture the passion and the human side of a sport that is by nature highly technical. The Monaco Grand Prix is the last true road race that is left in the current Grand Prix calendar and its location, history and flair give it an air and mystique like no other race in the world. Schlegelmilch captures past and present, triumph and tragedy that make up the story of this most famous race in Formula One. The quality of the printed photos is outstanding and the book has a good balance of black and white and color images. The accompanying 3-language captions are short but informative. The book also includes full race statistics of all races up to 1998.

Only photos
Iy you like to read about MOnaco GP, this is not the book. If you wanna see great photos about Monaco GP, this is the book. There is one unforgivable flaw in this book: if it is a book about Monaco GP only, whythe author didn't include absolutely nothing about the traditional MonacoF-3 Grand Prix also?

A perfect testimony of one of the greatest grand prix.
A must have for every F1 enthusiast. About 8 pages for each year since the first G.P. in 1929 to 1998; a lot of superb photos; great 3 language text; near complete data of the competitors, the cars, the qualifing and raceresults. The race history highlights full recorded in separeted articles;the very big format and the photo record of the first 6 of more than 20last years are the touch of perfection of this fantastic book. Only a morecomplete technical data of the cars might be presented.One of the bestmoney value in F1 books; like others of this great author.

See review in June 1999 Road and Track
The review in Road and Track raves about the book-enough to make me buy it. ... Read more

Product Description
In all its glittering splendor and decadence, here is the uncensored story of a family bred for glory, and destined for tragedy.

The jewel in the crown of Europe's lush Cote D'Azur, the fiercely independent principality of Monaco gleams like a diamond above the Mediterranean. This playground of the rich and beautiful reached its zenith with Prince Rainier, Princess Grace, and their three children-- until Grace's tragic death in 1982. As the myth began to crumble, scandal rocked Monaco in every way, from its institutions to its image to the royal family itself. Now, through searching interviews with family members, personal friends, and long-time courtiers, the intimate, shocking truths about Monaco are explored in vivid detail, including:

* The ancient Curse of the Grimaldis and its legacy of misfortune
* The never-before-told story of Princess Grace's abortion before she married Prince Rainier
* New details about Princess Grace on the night before she died, and her death in a Monaco hospital
* The alleged secret plot to destroy Princess Stephanie's marriage
* The appalling rumors about the death of Stefano Casiraghi, Princess Caroline's second husband
* The wild love life of Prince Albert and the rumors that haunt him

With eight pages of dramatic photos!
... Read more

Customer Reviews (14)

Royal pains, royal mess
Really enjoyed this book.I don't usually read books that don't deal with a true life murder/crime.I rarely worry about those in other countries let alone royal families but something about Monaco is really relatable and pretty interesting.Stephanie was just the eightie's Paris Hilton.What a charmed life those people were handed and they just couldn't handle it.The book is well written and has all the goodies.It reads like a juicy tabloid story.I liked it.

Royal House of Mnoco
Book is okay but if you have a collection on the Monoco royal family as I do, including many articles & books on Princesses Caroline and Grace, this book is a very minor addition. The author gives credit in the back of the book for sources but it's hard to know, while reading, what is "sourced" and if it's an accurate source, or just the author's opinion mixed with some undocumented hearsay. It's worth an afternoon read but I wouldn't quote it--find the real source of information and make sure you get it accurate. I was hoping for a more in-depth analysis of the personalities.

Comme ci, comme ca
This is a very interesting book to read, what with the glitz and the glitter that the author presents.
However, the historical accuracy is slipshod at best. There are a lot of lies published in this book that the author tries to pass off as true fact. He gets many dates and names mixed up as well.

I'd like this book better if there was at least some research put into it.

"Royals" without the lies
John Glatt pens a more truthful version of "The Royals," with less favoritism and more fact. Admittedly this isn't the British royal family (who have provided us with entertainment for many years) but a lesser-known (and no less juicy) dynasty, the Grimaldi's of Monaco.

Monaco first came to attention when Prince Rainier married the film star Grace Kelly, who brought glamor and modernity to the teeny little country. Grace's past -- involving multiple love affairs -- was swept out of sight as she ascended to the glamorous -- and severely stress-inducing -- position of princess, wife and mother. Rarely happy in her long and paparazzi-studded marriage, she nevertheless gave it her darndest and died tragically and suddenly when she was starting to find fulfillment again.

The book shifts focus after Grace's death in a car accident, to her three *ahem* spirited children: Caroline, who married one playboy after another, got pregnant out of wedlock, and once burst out of her top at a club, then had to shift into the social position that her mother left vacant. Albert, a playboy himself, who played around with one woman after another but wouldn't make even a vestige of commitment--even to one ex-girlfriend who had his baby, Tamara Rotolo. Stephanie, who shocked Monaco with her wild antics, drug use, explicit singing career and wild modelling career, bodyguard live-in boyfriend, and humiliating divorce after marrying said boyfriend.

Sound like a tabloid? Well, that's a royal family for you. Fortunately, Glatt doesn't speculate on the inner thoughts of the Grimaldi family (said to be under a curse from a witch raped by a Grimaldi) but allows their actions to speak alone. His writing style is pleasant to read, and gives us insights that other biographers apparently didn't get. I especially enjoyed the interviews with Cassini (Grace's ex-fiancee) Robyns who wrote a steamy biography but edited it at Grace's request, excerpts from members of the Grimaldi family, and from people who knew/know them.

This is hardly flawless. He describes Grace as a devout/militant Catholic, yet chronicles love affairs (with men married and single), an abortion, astrology beliefs, etc. Sorry, these are not the actions of a "militant" Catholic, though admittedly it is possible that she confessed these to a priest (something we will never know). He does occasionally linger on stuff that is more than we want to know, but it does give us a good look at the Grimaldis.

Stephanie, Caroline and Albert have already been in the spotlight, tabloidwise, so I suppose Glatt felt that there was no real reason to sugarcoat things. Rainier gets away the easiest, for though he was unfaithful to Grace during their marriage, very little space is given to it (as compared to Albert's girlfriends, Stephanie's partying days, etc).

In recent years the Grimaldis seem to have calmed down, but this book is nevertheless a heckuva read. If you liked the Royals but didn't like the made-up parts, try this book on for size.

Not bad, as far as it goes
Make no mistake, this is a book by a journalist, not a historian, and it reads that way. If that's what you're looking for going in, this will most likely satisfy your curiosity.

Although the subtitle mentions the Grimaldi 'dynasty,' 70 percent or so of the book is about the, um, 'complex' personal lives of Princesses Caroline and Stephanie and Prince Albert, the three children of Rainier and Grace. There's little effort to put the dynasty or the principality in more than the immediate historical context, and although Rainier is frequently described as an absolute monarch or even 'Europe's last dictator' (which isn't even true), matters of state take a distinct back seat to the 'glamour, tragedy, and scandal.'

This is too bad. One of the most interesting assertions in the whole book was a comment from one of Glatt's sources to the effect that the Grimaldis were not becoming tawdry, but rather had always BEEN tawdry, and had hidden that fact behind a false front of elegance while Princess Grace was alive. I don't know if that's true or not: Glatt unfortunately lets the statement pass almost unanalyzed.

Glatt is to be commended, at least, for the variety of his sources, including several who (at least according to Glatt himself) had never spoken on the record before. While the book frequently reads like an extended essay in People magazine, Glatt avoids the temptation of acting omniscient about his subjects' thoughts and motivations. When they act inexplicably (which is disturbingly often), he says so. Glatt's tone is respectful and polite, but he didn't pull his punches. As someone who only paid cursory attention to the Grimaldis, I think I have a better understanding (and a lower opinion) of them as a result of this book.

A worthwhile read, all in all, for monarchy fans whose interests lie more in the personal than the political, the contemporary rather than the historical. ... Read more

Product Description
Here is a cheeky, irreverent look at Monaco, and the quirky characters who populate the fairy-tale Principality. A trendy Tex-Mex saloon in the "native" quarter becomes the author's second home as he attempts survival in the world's swankiest neighborhood. The Principality's most eccentric characters cling to Le Texan like algae to a Venice wharf-it is the hub of MONACO COOL.

MONACO COOL'sbreezy style and charming blend of brio, zest and menace make this a wickedly good treat. ... Read more

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2000 7X10 96 PP FULL COLOR GLOSSY ENGLISH VERSION GUIDE SOFTCVR ... Read more

Product Description
Chapters: List of Rulers of Monaco, Monaco Succession Crisis of 1918, House of Grimaldi, Postage Stamps and Postal History of Monaco, Monegasque Franc, History of the Jews in Monaco, Franco-Monegasque Treaty, François Grimaldi, United Nations Security Council Resolution 829, Treaty of Trodesillas. Source: Wikipedia. Pages: 44. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: The early history of Monaco is primarily concerned with the protective and strategic value of the Rock of Monaco, the area's chief geological landmark, which served first as a shelter for ancient peoples and later as a fortress. Part of Liguria's history since the fall of the Roman Empire, from the 1200s to the early 1400s the area was contested for primarily political reasons. Since that point, excepting a brief period of French occupation, it has remained steadily under the control of the House of Grimaldi . The Rock of Monaco served as a shelter for the area's early inhabitants from the end of the Paleolithic period, approximately 300,000 BC, evidence of which has been found in a cave in St. Judist's Gardens. According to the accounts of historian Diodorus Siculus and geographer Strabo, the area's first permanent settlers were the mountain-dwelling Ligures, who emigrated from their native city of Genoa, Italy. However, the ancient Ligurian language, which probably was Indo-European, is not directly connected to the Italian dialect spoken by the modern inhabitants of Liguria, nor to the modern Monegasque language. The Phocaeans of Massalia founded the colony of Monoikos, named for its Ligurian inhabitants, in the 6th century B.C. in the area now known as Monaco. Monoikos was associated with Hercules, venerated in this location alone as Hercules Monoecus (i.e. the lone-dweller). According to the "travels of Hercules" th...More: http://booksllc.net/?id=19262 ... Read more

Product Description
This scarce antiquarian book is a selection from Kessinger Publishing’s Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone! ... Read more

Product Description
This book is part of the Our Name in History series, a collection of fascinating facts and statistics, alongside short historical commentary, created to tell the story of previous generations who have shared this name.The information in this book is a compendium of research and data pulled from census records, military records, ships' logs, immigrant and port records, as well as other reputable sources. Topics include:

• Name Meaning and Origin
• Immigration Patterns and Census Detail
• Family Lifestyles
• Military Service History
• Comprehensive Source Guide, for future research