As with all the booklets in Muncaster's "Examine the Evidence" series, this booklet packs a powerful punch of highly compelling and abundant evidence that the Bible must have been divinely inspired. Excellent concise, yet comprehensive presentation. The booklet size makes the content quickly digestable (and skeptical friends may be more likely to actually read it.)

This book fulfills every question one might have about the Churchill family. The trials of love are heartwrenching. It is a wonderful thing to see how Winston was formed through the actions of the people around him. Jennie is a lady not to be forgotten in British and American society.

I first read Mr. Moody's books as a child and then re-read them as an adult. They had lost none of their attraction. He is like the person we all know that can tell a story that captivates and entertains.... This review extends to all of Mr. Moody's autobiographical books; they all fit together in a series.

The graphics in this remarkable little book are cleverly designed to awaken imagination to the psychic and physical kinematics behind resultant images. Thus the authors are able to hide their calculus on a single page in the Appendix and concentrate on the visual calisthenics involved in translating quantitative data into meaning. Seating themselves comfortably in Chaos, they succeed in making conventional order appear strange and wonderful "accidents," and thus enable us to think about it without conventional straight-jackets. I can't imagine an academic study which these ideas would not enrich. A valuable introduction to the new millennium, and an indispensable "traveling companion." (Ernest McClain, author of The Myth of Invariance and The Pythagorean Plato).

The Elbo Elf story is funny, heart-warming and happy with a strong moral ending. It stresses never losing "faith in what you can do." The songs are wonderful; you'll be singing along with them in no time! Great gift for kids of all ages!

For anyone who wants to learn, and really understand, the principles of Microeconomics, this electronic companion software is an absolute must.

As an Economics major several years ago in college, I picked up the software on the recommendation of a past professor. My intention was to bone up on the basic concepts to better prepare for my pursuit of an MBA. What I found was an outstanding product that not only refreshed my memory of Economics, but taught me things I never knew before.

The difference is the product's use of mulitimedia to convey the information. Whereas I would toil over a textbook for hours during my college days, trying to comprehend a particular concept; this software illustrates the concepts using graphics, voice-overs, video, etc. that bring everything to life. Otherwise totally abstract ideas actually make sense. And it is done in such a way that the software is enjoyable to use.

I wish I would have had a tool like this while I was in college. For those studying Microeconomics, this is a tool you simply can't do without.

A classic collection of contra dances in the old style before "zesty" dancing took over. You may be surprised how pleasing these old dances are if you haven't done them in a while. Compared to the frenzied pace of some more modern dances, these seem clean and simple. Page has included newspaper clippings about old dances and the melodies for New England fiddle tunes for a glimpse into the roots of New England contra dance.

I am a student, and I am currently using this book. This book continues on from the first volume in a successful way. It makes learning Neopolitan chords a little easier; it explains everything clearly, and allows the student to apply it in the right way. Good informative book.

There is no doubt that while one can access the "Canterbury Tales" in printed form at a fraction of the cost of the Working Facsimile, yet owning one, seeing the patience, dedication and art that went into scribing such works of a monumental stature at the time - that, in itself, is a thrill. The facsimile, showing all the side remarks in the margins, (including the ravages of woodworm in some cases) offers the scholar of the period enough indications and insight almost as much as the original MS itself. Of course, the most-loved Ellesmere Manuscript has again been safeguarded and rebound in the most sensible way as it originally was. Surely, working on the MS Facsimile has been a joy to me, and nothwithstanding the price which I found a bit staggering, I am sure I would be interested even in obtaining the full colour copy that was issued about two years ago.

This is the best overview of the state of the literature on Emerson. It gracefully carries the reader from the initial evaluations of Oliver Wendell Holmes, George Santayana, and John Dewey, through the development of what had become the standard view represented by Matthiessen's American Renaissance: Art and Expression in the Age of Emerson and Whitman (1941) and Stephen Whicher's Freedom and Fate: An Inner Life of Ralph Waldo Emerson, (1953) to the contemporary 'detranscendentalizing' movement that reads Emerson "after Nietzsche, after Wittgenstein" as Stanley Cavell puts it. The book aims in part to counter the mid-century views that stressed the moral idealism and 'naive' optimism that made some experience reading Emerson's Essays as akin to taking "happiness pills" (Kennith Burke).

Lopez continues a revaluation of Emerson's "demanding optimism" that had its first roots in Newton Arvin's compensatory essay "The House of Pain: Emerson and the Tragic Sense." (Hudson Review, Vol. XII, No. 1, Spring 1959) Lopez describes a "New Emerson," like the "New Nietzsche" that has emerged since Gilles Deleuze's Nietzsche and Philosophy (1962) Jacques Derrida's "Differance" (1968) "The Ends of Man" (1972) and Tracy Strong's Friederich Nietzsche and the Politics of Transfiguration (1975).

Lopez's book is an excellent corrective to the conventional wisdom and what has nearly become the standard interpretation of Emerson, although Lopez argues forcefully that no reading of Emerson has established itself as the accepted standard view. Emerson is distinguished from other major American writers of his time such as Poe, Whitman and Melvill precisely on the lack of a consensus as to what his main writings mean. This is in part because scholars have been reluctant to take what Emerson says in his major published works at face value. The typical response to his 'hard sayings' is to attribute the hyperbolic style and his exuberance and enthusiasm. But Lopez shows more than that Emerson expresses ideas in line with the intellectual and philosophical milieux of the ninetieth century. He also shows that Emerson's ironies, aphorisms, peculiar voicing of claims and subtle forms of self-erasure warrant a view of his work as significantly more 'modern' or even 'post-modern' than has been allowed