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We told you about the book earlier this year, and now it's just about here. Set for release on October 4th, The Magic of Reality will be unlike any book written by Richard Dawkins before. It is illustrated for starters, and largely geared toward young and old readers alike. Perfect, he says, for anyone 12 and up. When it comes to the structure and gist of the book, Dawkins does a pretty good job of explaining things. So let's let the video roll… Note: If you're willing to tweet about the book, you can view the first 24 pages of The Magic of Reality here.

Evoking adventure made possible by the railroad, steamship, and automobile, and before adventure was accelerated beyond recognition by the jet airliner, these 50 National Geographic articles hail from the 1890s to the 1950s. Simon Winchester's introduction rues the haste travel has acquired, while the commentary of editor Jenkins ( Off the Map: Bicycling across Siberia, 1992) introduces the author and the genesis of his or her odyssey. Theodore Roosevelt's postpresidency safari kicks off the geographical organization--Africa, South America, and so forth--and also typifies Jenkins' editorial preferences for the lost worlds of imperialism, still-unexplored regions of earth and sea, and peoples untouched by modernity. Some of Jenkins' selections may be oft-anthologized classics by Roy Chapman Andrews, Richard Byrd, and Edmund Hillary, but most are not frequently reprinted. Collectively, Jenkins' grouping captures imagination-firing details in non-Western settings, such as capture by Mongolian bandits. Suiting the armchair as well as they did as long as a century ago, these articles will be popular indeed. Gilbert Taylor Copyright © American Library Association. All rights reserved --This text refers to the Hardcover edition.

So the Wind Won't Blow it All Away is hugely underrated in the Brautigan canon. The narrative is laced with a sense of sadness for a lost way of life, the loss of childhood and the death of the American gothic, something Brautigan blames on television for the way it "crippled the imagination of America and turned people indoors and away from living out their fantasies with dignity". Whereas in earlier works, Brautigan's characters viewed the world with child-like fascination, in this last book he reverses the process by examining a child's world through an adult's sad and diminishing gaze. It's a summation of all that Brautigan had previously achieved but in the harsher, colder climate of the late 20th century.

There is a puzzling quotation that opens Herman Hesse's early novel, Demian: I wanted only to live in accord with the promptings of my true self. Why was that so very difficult?