This book made me want to laugh, to cry and to admire the dignity and resolution of the characters. It certainly gave me an insight into the workings of the convent, the Church and the individuals involved. Read it, it's a treat!

Frankie Schelly's At The Crossroads is a deftly written, powerful novel of modern moral dilemmas facing four postmodern nuns who are caught between the beliefs they have long cherished and modern feminist values. The Roman Catholic Sisters find that they must struggle and think their way through what it truly means to respect themselves and fellow women. From the divisive issue of abortion to infertility treatments to a contested living will, At The Crossroads explores the hot-button social issues that come uncomfortably close to home for men and women today. An involving book that forces the reader to re-examine his or her own decision-making processes, At The Crossroads is highly recommended reading from first page to last.

From Henry Berry--The Small Press Book Review. The situation of Schelly's novel is four nuns living at a St. Anthony Convent and teaching at the parish school. The novel is set in Illinois. Thrown into confusion by the priest's sudden, peremptory decision to close the school, the four women react in different ways to this action. The varied ages, backgrounds, and personalities of the four central characters allow the author to explore a variety of social issues, particularly from feminine perspectives. The nuns have not been sheltered from events and issues of the larger world. Their spirituality has not been an escape from it, but is a guide and resource for dealing with the tough choices they face. This spirituality gives an added dimension to the treatment of the contemporary issues. The nuns are not feminists in the familiar or stereotypical way, but rather their actions disclose new shades of involvement, concern, and also effectiveness, with respect to circumstances and events of contemporary life facing all thoughtful persons. The reader becomes absorbed in following the characters as they struggle to make up their minds about what to do in their changing circumstances.

Sellars and Yeatman were two English scoolmasters in the 30's who set out to write a history book for Schoolboys and adults who should know better, for entertainment and fun which has become a minor classic. A basically accurate romp through English history, it also pokes fun at some venerable "English" historical stereotypes and misconceptions as well as satirising( very gently) the English exam system of the inter-war years.

" How big was the bosum of the Pope"- candidates may use protractors,- " England was now "top nation "-discuss", are typical extracts from the mock test questions that follow every chapter.

Typically eclectic , charming and witty, the book actually manages to teach a lot of History whilst correcting many a misunderstanding and shedding light on a number of quite unusual topics.

Read the bit about the Scots, Picts and finally, Irish ( once Scots but now Irish) and the Picts living in Scotland but really Irish, and the Scots, formerly Irish but now living in Scotland ( or living in brackets!). Great fun -charming book!

This book takes a comical look at the English Monarchy from the "beginning of time up until the early part of Elizabeth II's reign. The regular reader might at first be confused with what seems like huge contradictions in fact, but it is purely humorous. Much of the humor is very simplistic and easy to catch, but other parts may be missed by even the quickest witted historical proffesor. A good read! Smart, very Smart. Piece of advice, if you are taking a class on the history of England, read it once before taking the class and once after. Me thinks you will catch a bloody lot more the second time around.

As a student of history, with the aspiration of eventually becoming a teacher of the same, I find that 1066 And All That is a laudable work. In a captivating, easy-to-read manner it connects various dates in English history in such a way as to make sense out of the otherwise useless jumble of facts so often presented by teachers. I highly recommend that anyone planning on teaching history read this book for inspiration!

I bought this volume with the intent of studing old and obsolete british big bores from the "golden era" of africian hunting. I was a little disipointed with the completness of the section, but i realize at the same time that the author cannot realisticly cover every possible cartridge ever made in a rifle....All in all it is a title proud of the unofficial title given to it by those in the gun industry....."the cartridge bible". It also has many corrections in this volume that needed to be made because of past editions. The extra tidbits that the author makes in the different sections of the book about the history and the power of the cartridges make the book more than a reference book but makes it a great reading book also......i look forward to upcoming editions.....

Pretty much THE standard firearms reference text. For the beginner the task of choosing and recognising a cartridge can be a tad confusing at best ( A simple example will suffice- this round is a .22 rimfire. Is it a .22 short? a .22 Long? A .22 Long rifle? a .22 shot cartridge? a 5mm rem. Magnum? a .22 Win. Mag?- you get the idea. Lets not even start on .30 Cal. Magnums!)

This is the authortive guidelines on every cartridge ever produced, with short history, ballistics and so on. Handloaders, and collectors must have this- hunters might manage to live without.

There are some opinions scattered throughout the book, but nothing in those is particully worrying- there is certainly no opinion that I would consider dangerous or worrying. And even if there are opinions which you might disagree with, gentle reader, this is still the only book that I am aware of that goes into such depth on such a range of cartridges. Recommended.

Grade: A

A well written, comprehensive, and fun to read book. I have gleaned much information from this reference which goes beyond standard lineup of cartridges presently encountered by North American hunters and weekend warriors. Anyone interested in history of small arms ammunition (pistol and rifle) should do themselves a big favor and read this book.

Nabokov, in his Lectures on Russian Literature, suggested that Dostoevsky be knocked off the canon of Russian writers, especially in favor of Turgenev, whom Dostoevsky hated. The reason was that Nabokov was against the "novel of ideas" because, he would say, it managed to achieve neither.

Demons is, of Dostoevsky's novels, the most ideological, yet still it is masterfully pulled off. Let it be known, however, that at times, the plot suffers at the expense of ideology, just as one has to expect, BUT THE IDEAS!

This book, although in my opinion it has the nuance of neither, is a perfect bridge between Notes From the Underground and The Brothers Karamazov. The intelligentsia, you suspect, are trying to build the positivistic paradise that the Underground man railed against, but as the novel progresses, you realize that the idealist vision has already been lost by Stepan Trofimovich, that all that remains is his desire to feel alive, even if that means inflicting every sort of pain. This is the same type of monster that Ivan warns against, and identifies himself with--if he were to act--in the Grand Inquisitor.

Also, please note, I tried once to read it in an older translation, and gave up somewhere in the 100s. This one I plunged through with little trouble.

Dostoevsky's tackling political novel is given new life in this fresh translation. This work has been unilaterally been praised for capturing Dostoevsky's power and subtlety. This story is about the political and philosophical ideas that swept Russia in the second half of the 19th century. These demons, then, are ideas, that legion of -isms that came to Russia from the West: idealism, rationalism, empiricism, materialism, utilitarianism, positivism, socialism, anarchism, nihilism, and, underlying them all, atheism.'' Dostoevsky, taking as his starting point the political chaos around him at the time, constructs an elaborate morality tale in which the people of a provincial town turn against one another because they are convinced of the infallibility of their ideas. Stepan Trofimovich, an affable thinker who does little to turn his liberal ideas into action, creates a monster in his student, Nikolai Stavrogin, who takes his spiritual father's teaching to heart, joining a circle of other nihilists who will justify any and all violent excesses for the sake of their ideas. Stavrogin aims for a systematic corrupting of society and all its principles so that out of the resulting destruction he may raise the banner of rebellion. A chilling foreshadowing of Stalinist years. This is a work of art in literature!

Dostoevsky, as the great historian of Russia Richard Pipes notes, hated Socialism and Socialists more than all else under the sun. This is a continuation of his bombardment of collectivists and utopianists that began with "Notes from Underground" and continued with "Crime and Punishment." Dostoevsky, a Christian and a Russian patriot (in the best -- Roger Scrutonian -- sense of the word) -- rejected anything and everything that would make men and women into mere social ciphers, cogs in the machine of history, into "means" rather than "ends" (to use the terminology of Kant).

Dostoevsky's primary inspiration for this novel came from an absolutely horrid novel by one Nikolai Cherneshevsky called "Chto Eto", or "What is to be Done?" An early bit of Russian utopianism, it was a precursor of the vicious theories Lenin/Stalin would deploy to "drag" Russia into the 20th century (indeed it was Lenin's favorite novel). The fact that some 66 million would be killed on the grand march to utopia was irrelevant (as the lunatic Shigalyov states in Dostoevsky's novel, "from unlimited freedom, I ended with unlimited despotism. . ." the solution] to the problems of mankind is to grant absolutely freedom to one-tenth and turn the remaining nine-tenths into a herd).

This echoes, of course, the magisterial "dialogue" between Christ and the Grand Inquisitor on the nature of human freedom in The Brothers Karamazov. But this novel is relevant for more than its attack on socialism and communism -- both of which, outside of Cuba, China, and a couple of bookstores in New York City and maybe California -- have collapsed precisely because they could do no more than create misery and murder. What makes The Demons -- indeed, the entire Dostoevsky corpus -- particularly relevant in this first decade of the 21st century is his take on the Russian intelligentsia/liberals of the 1840s -- a group characterized by out and out hatred for their country, which created the conditions for the rise of nihilism, terrorism, and bolshevism in the 1860s-1890s. Those 1840s intellectuals, like the "intelligentsia" of today's America, adopted a "blame Russia first" attitude toward all internal and external problems -- glorying in Russia's humiliations, and cursing her victories. It's not a far leap from Dostoevsky's Stepan Verkhovensky to the likes of Lapham, Vidal, and Moore. The real threat to one's community, Dostoevsky argues, is not the farmer or the factory worker who attends church, votes Republican, and drinks his beer in a tavern, whose sons and daughters march to war because they believe it their duty to the country that bore and sustained them, but those who, cloaking themselves in the false-prophet mantle of "dissent," spit and sneer at the foundations of community, or what Russians would call sobernost -- the things that makes Russia Russia, the things that make America America. Dostoevsky's work is both warning and antidote. It's no wonder he was banned by Lenin; one doubts he is discussed around the smart parties of Manhattan today.

This is a good story about a bear who wants to give the moon a birthday present. He goes all over trying to find a spot where the moon can hear him. Finally he reaches some mountains. When he yells out at the moon he thinks the moon replies back but really it's just his echo. So when Bear yells out that he wants a hat for his birthday, it echos back and Bear thinks that is what the moon wants too. Bear goes out and buys the hat and sets it on the top of the tree. The next morning Bear finds the hat which was blown down from the tree on his doorstep and thinks that the moon got it for him for his birthday. I think this book is a really cute book for kids to read or even parents to read to there kids. It will teach them about friendships and giving. In the end the hat blows away and Bear cannot find it. He tells the moon and the moon of course says the same thing back. Bear then tells the moon that he still loves him , which the moon then says to Bear. So another thing that the story shows is that it's not about the gift that they got each other but the thought of it.

Happy Birthay, Moon is a great book. I loved the illustrations and the way the author descibes his character.
The main character, the bear, is a great and cute little guy. He has this thing about talking to the moon. Unfortunately the moon doesn't answer him, so he tries harder for the moon to hear him. When he was in the mountains the bear's voice echoed back to him, and he thought the moon was the one talking to him.
This book is wonderful in its descriptions. You will have to read it for youself to find out why they call it "Happy Birthday, Moon."

If all books could leave you with such a "warm and fuzzy" feeling in your heart! I'd like to comment on "Happy Birthday, Moon" by Frank Asch. A little bear wants to give the moon a birthday present, but before he does, he needs to find out what the moon wants. He then makes the journey across the river, hikes through the woods, and up into the mountains. The little bear feels that the closer he is to the moon, the better the moon can hear him. The little bear begins to talk with the moon by interpreting the moon's response through his own echo. Eventually, he buys the moon a hat, because that's what the little bear said he wanted...(so of course, that's what the moon wanted too!) This adorable children's fantasy is beautifully illustrated using simple illustrations with soft, rounded edges. The illustrations are accurate and correspond nicely with the content of the story. The calm mood of the night time is warmly displayed throughout the story. This book enhances the characterizations and avoids stereotypes of race and sex. I think this book should be read to children of all ages because it's theme is appealing and extremely worthwhile. It shows you about friendship, sharing, caring, forgiveness, and how making an effort to make someone else happy, can make you just as happy! I feel the author's style is very appropriate for children aged from zero to ...well...thirty-two! I'm still a kid a heart and absolutely loved it! I'm also a future teacher and love the content of this heartfelt story. This book fulfills a beautiful harmony of text, illustration, format and typography. I'm sure anyone would truly enjoy this wonderful little book about friendship, selflessness and love.

NOTE: This is not the edition of the book I would have liked to review. I just didn't see it anywhere. This review is based on the Del Rey edition.

The Emerald City of Oz is about how Dorothy, Aunt Em, and Uncle Henry go to live in Oz because of financial problems. Also, the Nome King is plotting to conquer the Emerald City along with many other dreadful creatures. To find out what happens, read The Emerald City of Oz. It's very exciting!

Though I loved the original Wizard of Oz, and have enjoyed all the Oz books for more than 20 years (back to when my mother first read them to me), Emerald City ranks as my all-time favorite. It's full of adventure, suspense and humor. Who could forget the ridiculous roly-poly Nomes and their quixotic plan to conquer Oz with the help of some rather bizarre allies? Or the village where every house and fence (not to mention every inhabitant) was edible? As I write this, my week-old son sleeps in my lap. I can't wait to read him this book when he's old enough to appreciate it.

This Oz book is one of the more disjointed ones, more a sort of package tour of Ozma's magic kingdom than a quest. But the vignettes are charming and stick with you. The "Rigamaroles" have become part of this family's culture, with my 12 yo son and I occasionally getting into rigamarole competitions, where we go on and on without saying anything. Bunbury and Bunnybury also stuck with me during the six years between reading this to my first son and my second; utensia is ... punny; and the cuttenclips, the fuddles, and the flutterbudgets are all cute and endearing. A great read aloud for the 5 to 10 set.

Onr thing, though: The famed metallic ink in the Books Of Wonder edition is just sort of glittery. Nice, but not really any big deal. I don't think that this is the best looking BoW Oz book.

This book will redefine your concepts of biography, of philology and of intellect. However critically James Boswell is rated as a writer, the fact remains that his biography of Johnson remains the standard by which all others are judged, and by which they ultimately fall--flat on their condescending faces.

Who was Samuel Johnson? He was, in one sense, the first literary celebrity. His fabled dictionary of the English language was, a few years down the road, superceded and greatly improved upon by the dictionary written by Noah Webster. His tour of Scotland and the book that ensued from it hardly rank with the other literary giants of English. And his essays, indisputably brilliant, remain sadly that: forms of literature seldom read, and lacking the artistic force of the play, the novel, the poem.

What Boswell shows us about Johnson is that he was the sharpest conversationalist of his time in a society that cultivated the very finest of witty speakers. Living off the beneficence of friends, off a royally-provided pension, and leading what he readily acknowledged to be a life of idleness, Johnson was a sought-after personality invigorated by one of the brightest literary minds ever.

Boswell introduces the genius, his pathos, his melancholy, his piety, his warmth, and most of all his stinging wit. That he loved and respected Johnson, and sought to honor his memory, can only be doubted by an utter cynic or someone serving a lifetime of durance in academia.

"All intellectual improvement arises from leisure..." "You shall retain your superiority by my not knowing it." "Sir, they [Americans] are a parcel of convicts and ought to be thankful for anything we allow them short of hanging." "He was dull in a new way, and that made people think him great." "...it is our duty to maintain the subordination of civilized society..." "It is wonderful, when a calculation is made, how little the mind is actually employed in the discharge of any profession." Boswell: "...you are an idle set of people." Johnson: "Sir, we are a city of philosophers." "We should knock him down first, and pity him afterwards."

And best of all, and immortal to boot, is this: "No man but a blockhead writes, except for money."

Buy this book. Read it. It's humanity at its wittiest and most complex.

I chose the 1,000 or so page Wordsworth Classics paperback edition of The Life Of Johnson (ISBN 1 85326 797 x) and was very pleased I did. The book had a nice heft to it, and the print was large enough for a comfortable read. My only major beef with this edition is that Boswell's text is replete with quotations from a variety of languages including Latin, Greek, French, Italian and others, and very few of them are translated into English. Whether the editor assumed that the average modern reader is a polyglot, or was unable to provide the translations for some other reason, I feel deprived at not having had access to this portion of the book's material, particularly as the quotes are most often used to gild the lily of one of Johnson's witticisms. Nevertheless, the book rewards the diligent reader with a wealth of intellectual stimulation, and offers a fascinating look into the England of the period including: polite London society, Oxford University, and jaunts around the British and Scottish countryside. Johnson's somewhat eccentric life and personal habits are lovingly and affectionately relayed by his close friend Boswell, who somehow managed to preserve a vast amount of Johnson's conversation without the aid of a tape recorder. With everyday life as a backdrop, we see how Johnson, a self-described lazy man, managed to produce such an abundant literary legacy, not the least of which was his groundbreaking dictionary. I recommend this book highly to people with an interest in 18th century England, the literary society of the period, or who simply love a great biography.

Surely this is "The Biography" in the same sense that to the Scholastic thinkers, Aristotle was "The Philosopher."

More to the point, it is an endlessly fascinating book, one of those rare works that can be opened at random with consistently rewarding results. Johnson, of course, is one of those rare characters who demonstrates that life is not necessarily less rich than fiction, and Boswell is an entertaining (and amusingly exasperating) chronicler. The "Journal of a Tour to the Hebrides" is also well worth reading and randomly revisiting.

However, I'm somewhat alarmed by the comments below about the accuracy of this version. I bought this because it was a decent-looking hardback version--I had actually read a library copy (some long out-of-print edition). Could some reviewer please explain the deviations? My skimming and minor re-reading hasn't revealed anything glaring yet, but it's been a while since my original reading, and I haven't sat down for a long Boswell read in a few years.

Three stories about the effects of the holocaust on three German (non-Jewish) families: The first two are from the point of view of children and young people who are witness to war and brutality, not entirely cognizant of their meaning, who endure their own suffering, albeit never suggested by the author to be the equivalent of what the Nazis inflicted. The first is about a handicapped young photographer, who stumbles with his camera on violent scenes and mass exoduses at a train station and who also survives the Berlin bombing. The second story is about a family of five children, left to make their hazardous way across Germany at the end of the war through four occupation zones until they can reach their grandmother in Hamburg. The third and longest story, which encompasses almost the entire second half of the book, takes a different approach with a probing theme. This story takes place in the present day and the narrator, Micha, is an adult who is trying to find out if his grandfather killed Jews when he was an SS officer in the Ukraine during the war. Although the writing, particularly the dialogue in this story, is a little awkward at times and the speakers hard to keep straight, overall it succeeds with its message. Most questions and thoughts that might go through anyone's mind are examined here. Without giving away what happens, I think it would be safe to say, that Micha finds out that there can never be a satisfactory answer to why evil takes place. I highly recommend the vision of this book and the treatment of a volatile subject in a subtle, emotionally complex, and sensitive manner with a different viewpoint.

Ms. Seiffert's book, "The Dark Room", is notable as not only an auspicious debut for this young writer, but additionally for her remarkable talent in relating a feel for human events that took place decades before she was born. None of these three stories is based on Historical Fact, what she wrote she created. That the stories probably did occur in some manner, takes nothing away from the writing she offers readers.

The book contains three stories or novellas that are not dependent upon one another, and while not all carried the same impact, the three are consistently well written. The Author writes in an understated manner, this is not a series of stories that shock by atrocity alone. The book is replete with human suffering both inflicted and endured, but it is delivered with a subtle pen. Ms. Seiffert also has taken a less familiar perspective in this book. The book does have a camp survivor as a pivotal player in the final story, however generally we see the other victims of the crimes of this war. The events that forever damage these people are explored both as they happened and as they are uncovered generations later.

The final story is, "Micha", and I found it to be the strongest. Those who were affected by being present during the war and its aftermath generally struggle with grief or rage that is more familiar; they are the immediate victims of the conflict. The final story painfully demonstrates that certain conduct has ramifications that never subside, as they literally inhabit the generations that follow. Time does not in fact heal many things.

I look forward to more of what this woman will offer as she has a manner of writing that that slowly invades the mind's eye, and in this case encompasses it with its horror and crimes. It is a powerful method of delivering themes that are all fundamentally appalling, without any added emphasis. She presents her stories without flourish and without preaching. A very talented young Author.

...The Dark Room concerns itself with events in Germany before, during and after the Second World War. There is Helmut (who reads like an echo of The Tin Drum's Oscar Matzerath), a boy born without a pectoral muscle who, as a result, cannot fight alongside his friends and neighbours in the war. Already quiet and withdrawn, Helmut withdraws from his family into the dark room where he works developing photographs of Berlin and surreptitiously noting the numbers of people leaving the city not to return. Lore comes next. She is a fourteen year old girl forced by circumstance (her parents are imprisoned by the Americans in the first days of defeat) to travel across country with her sister and three brothers, confronting death and national shame in the revelation of the Holocaust (they are American actors those people, yes, the people in the large graves covered in lime?). Micha figures last (and figuratively acts as Sieffert's retelling of Schlink's The Reader), attempting to understand the role played by his grandfather in the war (that perennial question, did you kill, did you kill, did you kill?).

All of which makes for a thoughtful and compelling read. Sieffert has a remarkable talent for saying something complex simply. Her sentences are short. The words she selects do their job better than you would ever expect simple words to do. Stray details (tree blossom, cloud, shoe leather, straw) conjure wider space. A world falls into place without you noticing.

And yet there is a problem with Rachel Sieffert's debut novel. The problem is this: this is not a novel. What you have here are two novellas and a short story. Two novellas and a short story that are connected by the fact that they are all set in Germany and revolve around events that took place during the Second World War. Because you read expecting a novel, you strain your eyes looking for what connects the characters within each section but, of course, nothing (other than historical context) connects these characters. Each tale is distinct. The Dark Room (like David Mitchell's Ghostwritten, another collection of pieces masquerading as a novel) is very, very, very good. But it is not a novel.

Basically, it's turning your message into a commerical since the average person can only hold their attention for 30 seconds thanks to (M)TV. It's useful in getting a message across to individuals who either don't want to talk to you or are too busy quicky. It can be seen as "brute honesty" if it's news the individual doen't like to hear, especially, regarding personal performance.Could be very useful in sales and retail. The book uses the 3 Ks (KKK). Unfortunately, it's not a good (PC) memory aid. I perfer the 3 Cs. "Catch Em", "Ceep Em", "Convince Em". I love the saying "Talking to many is the same as talking to one."
Worth a look at about 110 pages. You can finish it in one sitting.

One of the most practical and helpful books I have read. I bought it on a whim because of the title. The author soon drew me into his topic and convinced me that if we have something worth saying, we must make sure that people hear it. Concise speach and writing helps that happen. As part of my job, I teach communication, especially public speaking and writing, to future missionaries. This book helped shape my teaching notes AND my delivery. I always recommend it to my trainees. None of them has ever been disappointed. Thank you, Milo O. Frank.

Milo O. Frank shows step-by step how you can improve your communications skills by using a 30-second message. While we all often gab for minutes or hours, you should be able to get your point across within 30 seconds. The rest is simply preparation or follow-through. The techniques of crafting a 30-second message will help you focus your thinking, writing and speaking. Using these techniques, you can also be more effective in conducting meetings or speaking to groups. This skill will give you better all-around results in business. The technique has three main steps: identify your objective, know your listener and find the right approach. The author shows how to build the most effective message and then tells you how to present it to an audience. The last chapter shows how the 30-second message can be used in other forms of communication, from business letters to sales pitches and press conferences. We [...] recommend this clear, concise book for business people or professionals who want to get their ideas across more effectively, particularly in public speaking.

Endorsement as it appears on Delano's book jacket back cover: "Frank Delano is smart and to the point, I enjoy his thoughts immensely." -- Bijan, Designer for Men, Beverly Hills, New York, and London

Frank Delano is unquestionably America's #1 Brand Specialist. He has proven it with his new book, "The OmniPowerful Brand". If you want to create a great brand name for your product, service or business venture, this book is a must read. But Delano doesn't stop there, and that is what makes this book the value of gold. Delano goes on to tell you how to turn a great brand name into the "Omnipowerful Brand" via advertising, brand slogans, and the internet. This book also reveals insights into the next dimension of brand marketing for the twenty-first century. If you are in marketing, product management, advertising, public relations, engineering, or market research, you have got to read this book. Delano's client stories will amaze you - they are fascinating and better than sex.

According to Delano, "...the first half of this book is focused on the seven proven principles and a proven process to find a great brand name -- a brand name that launches the product, service, or business venture into the world's marketplace or replaces one that has proven to be a marketing dud....The book's second half is devoted to what it takes to build a great brand name into the omnipowerful brand -- a brand that transcends the very product that put it on the map."

Delano delivers on this promise.

The "omnipowerful brand" is that which has the most appropriate name, that which transcends what it is and does, and that which (in effect) takes on a life of its own. It has its own distinctive personality. Some names become generic: "Xeroxing" can be accomplished on several different brands of photocopiers. Some names have a permanent association with their company: "AAdvantage" with American Airlines. (What are the names of the other major airlines' frequent flier programs?) Names are important. For Delano, the naming of any product or service is critically important. However, great names are essentially worthless if they are misnomers: failing to be and/or do what they explicitly or implicitly promise.

In the final chapter, Delano observes: "America's best-run companies...pay close attention to all the key elements that affect the health and vigor of their most prized asset -- the brand....The best news of all is that the omnipowerful brand is within reach of every company regardless of its size or business sector." Even companies with little (if any) money to spend on advertising can still derive substantial benefit from The Omnipowerful Brand. It will help them to answer such basic questions as these: We know who we are and what we sell but what is our brand? What makes it unique? How can we nourish and strengthen it? How can we leverage it? The answers to these questions will help any company as continues to orbit in a perilous galaxy.