An important contribution in the burgeoning literature relating to the delivery of medical care, and to the broader question of responsible decision-making in those social areas where tragic choices have to be made. The effort is an excellent example of research into, and therapy for, an important social process.

Casanova, Stendhal, Tolstoy: Adepts in Self-Portraiture, the final volume of Stefan Zweig's masterful Master Builders of the Spirit trilogy, discloses the smaller version of a writer's own ego. Unconscious though it is, no reality is as important to the writer as the reality of their own life. Giacomo Casanova, Stendhal (Marie-Henri Beyle), and Leo Tolstoy have different approaches to self-portraiture, but Zweig shows that together they symbolize three levels which represent successively ascending gradations of the same creative function. Casanova is depicted as having a primitive gradation; he simply records deeds and happenings, without any attempt to appraise them or to study the deeper working of the self. Stendhal's self-portraiture is depicted as psychological; he observes himself and investigates his own feelings. Tolstoy has the highest level; he describes his own life, records what led him to his own actions, and focuses on self-reflection in a completely unexaggerated manner. At first glance it might seem as if self-portraiture is an artist's easiest task. With no further trouble than a probing of memory and a description of the facts of life, "the truth" is revealed. The history of literature shows that ordinary autobiographers are no more than commonplace witnesses testifying to facts that chance has brought to their knowledge. A practiced artist is needed to discern the innermost happenings of the soul; few who have attempted autobiography have been successful in this difficult task. The present volume expounds the characteristics of these subjectively minded artists, and of autobiography as their typical method of personal expression.

Casanova, Stendhal, Tolstoy: Adepts in Self-Portraiture, the final volume of Stefan Zweig's masterful "Master Builders of the Spirit" trilogy, discloses the smaller version of a writer's own ego. Unconscious though it is, no reality is as important to the writer as the reality of their own life. Giacomo Casanova, Stendhal (Marie-Henri Beyle), and Leo Tolstoy have different approaches to self-portraiture, but Zweig shows that together they symbolize three levels which represent successively ascending gradations of the same creative function. Casanova is depicted as having a primitive gradation; he simply records deeds and happenings, without any attempt to appraise them or to study the deeper working of the self. Stendhal's self-portraiture is depicted as psychological; he observes himself and investigates his own feelings. Tolstoy has the highest level; he describes his own life, records what led him to his own actions, and focuses on self-reflection in a completely unexaggerated manner.

At first glance it might seem as if self-portraiture is an artist's easiest task. With no further trouble than a probing of memory and a description of the facts of life, "the truth" is revealed. The history of literature shows that ordinary autobiographers are no more than commonplace witnesses testifying to facts that chance has brought to their knowledge. A practiced artist is needed to discern the innermost happenings of the soul; few who have attempted autobiography have been successful in this difficult task. The present volume expounds the characteristics of these subjectively minded artists, and of autobiography as their typical method of personal expression.

"An important contribution in the burgeoning literature relating to the delivery of medical care, and to the broader question of responsible decision-making in those social areas where tragic choices have to be madea. The effort is an excellent example of research into, and therapy for, an important social process."

--Edward Chase, "Camden Law Journal"

Observations Plus Recipes It has been said that science is the orderly collection of facts about the natural world. Scientists, however, are wary of using the word 'fact. ' 'Fact' has the feeling of absoluteness and universality, whereas scientific observations are neither ab- lute nor universal. For example, 'children have 20 deciduous [baby] teeth' is an observation about the real world, but scientists would not call it a fact. Some children have fewer deciduous teeth, and some have more. Even those children who have exactly 20 deciduous teeth use the full set during only a part of their childhood. When they are babies and t- dlers, children have less than 20 visible teeth, and as they grow older, children begin to loose their deciduous teeth, which are then replaced by permanent teeth. 'Children have 20 deciduous [baby] teeth' is not even a complete scientific sta- ment. For one thing, the statement 'children have 20 deciduous teeth' does not tell us what we mean by 'teeth. ' When we say "teeth," do we mean only those that can seen be with the unaided eye, or do we also include the hidden, unerupted teeth? An observation such as 'children have 20 deciduous teeth' is not a fact, and, by itself, it is not acceptable as a scientific statement until its terms are explained: scientifically, 'children have 20 deciduous teeth' must be accompanied by definitions and qualifiers.

The second installment of Katz' Night tales trilogy (v.1 is Night tales from the Shammas), in which an old synagogue caretaker spins the tales that have been handed down through the centuries. The scene is a medieval synagogue somewhere in Germany.