This was one of the first Martin Waddell books that we got and we still read it over and over. It shows true to life family dynamics--and beleive me it happens that you think one or the other is watching the little one in a big family!

It was Sammy's day for minding John Joe but he got bored so he ran of down Cow Lane to his friend Willie Brennan he was meant to take John Joe but he took Splinter the dog instead.Mary was very mad as it was not her day for minding John Joe.she went down to brennan's house to find Sammy but he was down at the river.Mary couldn't go because John Joe was too small so then John Joe offered to mind himself while Mary looked for Sammy.After Mary left the brennans big hen came up to John Joe and John Joe was very frightened. He called for help but no one could hear him so he ran away from the hen. he jumped up on the wall and the hen followed etc. When Mary and Sammy returned they couldn't find John Joe so Sammy sent Splinter to look for John Joe.They eventually found him asleep in the corn. All ended well and mammy said there was no way she was ever going to loose her John Joe. The story is excellently illustrated every child I have read it to enjoyed it thoroughly

Finally, a book about His Holiness that is full of pictures, but also full of Papal info. If you're a Roman Catholic or a fan of the Supreme Pontiff, this is a must buy.

I loved this book about John Paul II (the Pope of Hope)!!! The authors gave us a little of everything, not an easy task for a man with so much history behind him. This is the first book where I have gone over pages more than once, twice. I wanted to absorb every word, every picture. The side stories were also a special treat. I respect and admire the pope even more. I now feel well prepared to read George Weigel's recently published autobiography on JPII, Witness to Hope. Thank you Monsignor Virgilio Levi and Christine Allison for giving us something so inspiring.

This is the definitive bio on J. P. Sousa. The author has lovingly researched his topic, gathering in all sorts of details about the legendary March King. It is sad that most Americans are only familiar with a handful of the great mans works. What this book reveals about Sousa is the great variety of music that he composed. Besides 136 excellent marches, he composed operettas, humouresques, and many other kinds of works. Without a doubt Sousa is our most prolific composer, the sheer volume and qaulity of his works far surpassing all other American composers. Yet the vast majortiy of his music is little heard these days. It is true that Sousa's music appealed to an America of a different time. His marches have all the power of an emerging young United States, just entering into the realm of international politics and industrial might at the turn of the century. In these political correct times Sousa's music might be perceived as being too chauvanistically patriotic in outlook. Hopefully in the post 9/11 world that we live in there is room for a revival of his music to bring back some of the nations pride in itself. Mr. Bierley considers the Sousa band is the greatest of its kind in the world. There is more than a little typical American tendency for overstatement here. Certianly in the States in the latter part of the 19th century there were few rivals for Sousa's band. But in Europe many fine military bands already existed and Sousa, though well received on his numerous tours abraod, faced much more critical acclaim. As director of the US Marine Band, Sousa certainly transformed that musical organization into the top-notch band that it is today. In fact, Sousa probably modelled his own band on the Garde Republicanne of Paris, but also any of the British or Prussian Guards bands could have served as inspiration as well. Mr. Bierley has brought together a number of fine photos of Sousa and his band, and highlights the many well known and famous musicians that served within the Sousa Band during its 40 year life-span. The music of J P Sousa evokes a bygone era in the United States. He was instrumental in both introducing and uplifting the music that was performed in this country. We could certainly use his like again as current music standards and tastes have fallen fall below what they were even in Sousa's day. Let us hope for a healthy re-birth of music and someone like Sousa to inspire us musically once more.

This book is by far and away THE book for the life of John Philip Sousa. Mr. Bierly has researched his subject in depth from help with the Sousa family former sousa Band Members and material in the Library of Congress, Masrine Band Archives, Univ. of Illinois and others. If you want to know Sousa, this is the book Joe L. Norcross

This is another one of the American Girls Short Stories series about Josefina Montoya, a nine-year-old girl living in the New Mexico of 1824. In this book, when Josefina and her father journey up to the mountains to visit one of the rancho's shepherds and his grandson, they discover a recent illness has left him blind. In spite of Josefina's pleading, her father decides to retire the shepherd. But, on their way home, Josefina and her father are caught in a sudden storm, and he is injured. Can Josefina save the day?

The final chapter of this book looks at shepherding in 1824, and gives directions for making a mini rug (it looks quite fun and easy, and my daughter and I are going to make one). As always, Jean-Paul Tibbles has produced some excellent illustrations that add a great deal to this already excellent book. My daughter and I both highly enjoyed this book, and we recommend it to you.

"Josefina's Song" is the third Josefina short story that was published, but it is set just before the book "Josefina Saves the Day". In "Josefina's Song", Josefina is allowed to join her Papa on a trip to the local mountains. They are going to visit the shepherd and his son who spend most of the year with the herd of sheep on the more abundant grazing land found in the mountains. When they arrive at their camp, they realize that the shepherd has become blind from a fever, and his nine year old son watches the sheep. Even though the shepherd proves himself capable around the camp, Papa is still worried for his safety. Papa offers to house them comfortably in town, but Josefina boldly speaks up for them, jeopardizing her own trip to Santa Fe that same summer. On their way home, a summer storm hits and Papa is injured when his frightened horse rears at lightning and bolts. Brave Josefina leads her Papa on her own horse back to the shepards camp, until men from home discover the runaway horse and rescue them in the morning. During the night, Josefina sings in her beautiful voice to the shepherd's flute playing. When she runs out of songs she knows, she sings her feelings about her journey, her outspokenness, the storm, Papa's accident and about the care the shepherd gives them. The next day, the abilities of the shepherd and his son are re-evaluated.

Josefina's Theater Kit contains the ingredients to create a short play about Josefina. The play is titled "Josefina's Gift". Each of the five acts in the play are based on the book "Happy Birthday, Josefina!" Josefina believes that she may want to be a healer like her Tia Magdalena until she accidently breaks one of Tia Magdalena's priceless jars while cleaning, and then runs home. Tia Dolores helps Josefina take responsibility for her actions, and get a second chance to have Tia Magdalena teach her about being a healer. Her lesson on herbs with Tia Magdalena, and her confidence in herself give her the chance to save her friend, Marianna, from a snake bite.

The play is for six characters (five females, one male role for Papa). It comes with four script booklets, a directors guide, and a poster to announce your performance. The scripts contain stage directions: an excellent practice for reading materials written in different formats. The directors guide contains information about the directors job, stage directions, costuming, stage sets, and how to put on the play. All of the materials are detailed and user friendly. Motivated actors could make this into a production worthy of inviting the neighborhood over, or even a talent show entry.

This is a fun-to-preform play, with scripts, tips, and more!

It's nice to be reminded that there have been, and hopefully will be again, presidential candidates who are more driven by the passion to serve than a vague and often misguided ambition to merely hold office. Senator Tsongas' work more than serves that purpose as it outlines his reasons for running in 1992 as well as his blueprint for a party that promises to effectively serve the compassionate core of America. What's most refreshing is that Tsongas is fair and reasoned in his approach and, whenever necessary, critical of his own party in his attempt to stear it in bold new directions. Whether you embrace Tsongas' political leanings or not, this is one of those works that should be considered essential reading nevertheless.

This is, simply put, one of the better works I have read. The late, great American, Paul Tsongas, did a wonderful job in articulating his belief that we are a socially progressive yet fiscally responsible nation. In doing so, the former Senator and Democratic Presidential Candidate does not forsake his Democratic roots but instead embraces the New Democratic theory on government, which seeks to have both a fiscal and morally responsible government which empowers citizens.

Mind you, I do not agree 100% with the late Senator's beliefs. Yet, overall, this one's a sure winner. I highly recommend this one.

After a brief overview of the "oldest art in the world" and a discussion of the caveats associated with the term 'art' as applied to extinct cultures Bahn describes the problem of taphonomy where knowledge of another older culture is shaped by the survival of artifacts. He also discusses the problem of controlled and limited access to ancient sites, as well as the use of modern photography to capture and transmit information about these sites to a larger audience.

Next, Bahn discusses different kinds of ice age art, which he categorizes as: 1) parietal art which takes the form of wall paintings and sculptures, floor tiles, and other large relatively immovable blocks of stone on which "signs" have been worked. Wall art can be incised, sculpted (additive or subtractive), or painted. 2) portable art which takes the form of figurines, musical instruments, tools, weapons, pottery, and other items that could be easily carried. Surviving portable items are generally made of ivory, bone, or ceramic clay or some other relatively durable inorganic substance.

Bahn then describes how analysts attempt to date ice age material. At one time, scientists believed ice age art could not be dated because it was either inorganic or the methods available for dating organic material were clumsy and destructive. Recent improvements in dating techniques have changed that. For example, charcoal (an organic substance) was frequently used by ice age artists to create the black outlines seen in many wall paintings. For years, scientists thought the black paint was manganese dioxide, an inorganic substance. Since only a pinprick of paint is now required for radio carbon analysis, scientists have been able to test the black paint, discover it was carbon based, and date it.

The book is filled with wonderful technical material as well as plenty of stylistic and other material of interest to art historians. I most appreciated the section that reviewed the various theories about "Why" ice age art was created. Was it art for art's sake? Was it the work of hunters practicing sympathetic magic? Was it a fertility ritual? Bahn pretty much dismisses these theories with practical observations about their shortcomings. What he does not dismiss is the creation of the ice age art for mythical purposes associated with healing rituals. Parietal ice age art is located inside dark passages near water. Often this water derives from warm springs. Sometimes the water flows from dark passages into the daylight. Often, mysterious markings that correspond to the seasons and the moon can be found at the entryways to cave chambers. Does this circumstantial evidence point to ritual undertakings that involved a Mother Goddess?

As an artist whose work is inspired by the cave paintings of Lascaux, I am always on the lookout for new books about the prehistoric cave art of Europe. This book is a delightful addition to my collection. I should caution that I approach books like this strictly from a layman's and artist's point of view, as I have a limited background in archeology.

Before I read this book, I'd always considered the cave art of Lascaux as the "birthplace of human art" (which was how it was presented in most of my art history courses at school.) Now I realize that the artists of that period are actually almost exactly halfway, timewise, between the earliest evidence of prehistoric art, and the art of today. Each new discovery of prehistoric cave art seems to push back the "birthdate" of human art a few tens of thousands of years.

Rather than focusing on a single cave site, this book is a more comprehensive treatment of Ice age art, discussing caves across Europe, with references to caves in Russia and China. It presents a more complete treatment of all aspects of these caves, discussing anthropological characteristics of the people who created the art, similarities and differences in the artwork, theories about their signicance(mostly debunked here), forgeries, history of the caves' discovery, etc. The photographs are excellent, and many are of paintings and objects I've never seen before. The writing, though comprehensive, is also entertaining and engaging, a good read. I enjoyed this book immensely.

This book is unique to me for several reasons. First, the wonderful photographs not only feature the more widely known paintings inside the caves (referred to in the book as "parietal art" or wall art), but also the artifacts found in conjunction with the paintings--"portable art". I found more photographs of such objects than in any other book I've read. Many are of artifacts I've never read about before.

Also, almost every possible theory ever presented to explain these paintings and artifacts is examined--and most of them debunked. Somehow, this is reassuring to me as an artist--although it would be exciting to understand more about the purpose of the art, it is also satisfying to realize that there is still no encompassing theory about why these amazing paintings and artifacts were created. Their mystery is still profound, intact and untouched. The various theories and conjecture throughout the years about these caves, argues the author, clearly reveals more about US, as modern people, than it does about the cultures that created the cave art. We overlay our desires, prejudices and blind spots onto the art, and for the last 150 years, observers have tended to "find" what they are looking for in the paintings.

There is a whole chapter devoted to fakes and forgeries of Ice Age art, a subject I find fascinating. My favorite phrase in this chapter is a caption of a photograph (p. 81)"...the dot and plantlike sign near the dreadful hand stencil appeared after the first photographs were taken."

In summary, I would recommend this book to anyone interested in archeology, cave paintings, art history, and art.

Produced by the collaborative efforts of art experts Neal Benezra, Olga M. Viso, Michael Brenson, and Paul Schimmel, Juan Munoz is an astounding companion to the exhibition of Munoz's remarkable, three-dimensional art on exhibition at the Hirshhorn Museum and Sculpture Garden of the Smithsonian Institution. Black-and-white and color photographs abound in this lavish work, featuring extensive and informative essays that look deep into the heart and soul of the sculptures, figures, and prints. Juan Munoz is highly recommended as a rare treat for the both the eyes and the artistic intellect.

Juan Munoz is not only a catalog accompanying the first major survey of Munoz's work in this country, but the most comprehensive study of his work in print. Color illustrations of all the works in the exhibition accompany essays and an interview with the late artist; all of which reveal facets of his techniques and intentions. The lavish display of his art introduces readers to the range of his abilities.

"Jump Back, Honey: The Poems of Paul Laurence Dunbar" combines several poems from this beloved African-American poet with illustrations from several different artists: Ashley Bryan, Faith Ringgold, and more. Dunbar (1872-1906) was an expert at writing poems in both a formal "literary" English and in a style that evoked African-American vernacular speech (this second type of poem was known as a "dialect" poem). This book includes excellent examples of both modes. A sample from a "dialect" poem: "Fiddlin' man jes' stop his fiddlin', / Lay his fiddle on de she'f."

I liked how several different visual artists contributed to this book; this gives the book a nice sense of variety. My favorite illustrations include Jerry Pinkney's pictures, which are vibrant with color and energy, and Carole Byard's delicate picture that accompanies "The Sparrow."

These are poems about nature, African-American culture, and the joys of love and family life. This book is an excellent choice for a multicultural children's book collection.

A versatile group of illustrators add flair to Paul Laurence Dunbar's poetry. Faith Ringgold's portrait of Frederick Douglass gives additional power to "Douglass". Jerry Pinkney's illustrations capture the playfulness and sass of "A Negro Love Song"; and "The Colored Band". Both Carole Byard's and Jan Spivey Gilchrist's illustrations add contemporary color and meaning to this anthology. The notes list brief biographical information on Dunbar and some background data on the title of this book. Some facts about the illustrators are also included in this collection of poems. This book can be used for school and church performances and plays.

I have loved this book since I read it to a group of children for a high school project! The characters experience every day problems...in a jungle sort of way...with hilarious outcomes and practical applications. You MUST buy this book if you have children who are learning their way around this jungle we live in!

I grew up with the Jungle Doctor Fables. My father read them to us as we were growing up and I in turn read them to my childern. The lessons portrayed using simple jungle animals, especially the monkeys, were easy to grasp and retain by young childern. My children are now grown and they fondly remember the stories and how they helped shape their decisions while growing up.