This is an excellent book for children, both artistically and as a story. The story is about a little girl that is a member of a circus and her quest to discover what "average" people do in their everyday lives. The artwork reminds one of Piccasso's earlier drawings and has the iconographic quality that speaks to one's innermost thoughts. I suspect that there are many adults who would love this book as much as their child would.

This is a fabulous book! For those of us who revel in collecting ephemera (printed paper of all sorts), this book provides a feast of information and visual overviews. The author covers the following subjects (among others): collecting ephemera; sources and values; conservation and display; the various printing processes; various categories (such as tradecards, letterheads, handbills, poster stamps, playing card stationery, book labels, valentines, and rewards of merit); a variety of themes (such as travel, funeralia, crime and punishment, rural life, cigar packaging, education, and entertainment); and includes a wonderful glossary, reference of papers and watermarks, and a good bibliography.

All in all a must-have for the serious collector of ephemera (you know who you are!), and well worth the price to special order. Don't hestitate, buy it!

I descovered this book on a shelf in antique shop and have been very impressed with it. As well as being clear and concise; it is also alot of fun to go thrue. This book (puplished in 1961) has never heard of R.E.I, R.V's, or even a dome tent, but it will show you how to make one! I spent a whole afternoon just learning knot's.
The book was made during the (sort of) golden age of camping and is a no frill's, real deal guid. From trip planing to selecting chois spots, conoe handling to wilderness survivel or any thing else you can hope to imagin (except run on sentences)is all in there. Pick this book up and impress you're girl and/or buddies with your abillity to tie a horse hitch knot or tell the derections with your watch. I don't imagin any souls will seek this old book out but it deserves one good review...so dare to leave your house, see the light thrue the trees, here the traffic of a lapping lake shore and breath deep the air of your new found abilities...it worked for me.

.......... This book is the best book for 2nd and 3rd year students who are interacting with patients for the first time. the hardest part about taking a history is knowing what questions to ask. this book TELLS YOU. It's organized by system and by Chief complaint, each section includes a well thought out DDx, and a list of questions you should ask and what it mean if the patient says yes. it also tells you what physical signs to look for and what lab tests to order. Your presentations and H&Ps will through and you will understand why you ask all those silly questions in the first place.

Well...to read Bacchylides (in Robert Fagles'
translation) after having read Pindar (in C.M. Bowra's
translation--Penguin Classics) is to read (for me)
shorter, fresher, clearer poetry.
Yet, strangely, in his "Introduction" Fagles finds
it necessary to defend Bacchylides against the greater
fame and tradition of admiration for Pindar -- but
Fagles does a very good job of making his case for
Bacchylides (and, of course, the poetry speaks
in translation in favor of Bacchylides as well).
Interestingly, Bowra has written the "Foreword" for
Fagles' edition of Bacchylides. Bowra says that
Bacchylides is hard to translate -- but the advantage
for Fagles is that Bacchylides has had few translations,
since the remains of his poetry were not known to
modern times until 1896. Bowra says that since Fagles
is not hampered by so many previous earlier versions
of translations, he makes almost a fresh start, and
with unusual courage, judgment, and creative insight

has produced a work which is both a faithful translation
of Bacchylides as well as a work of art in its own right.
That is high praise indeed, from one classical translator
to another.
In his "Introduction," Fagles admits early on that
the usual perception of Bacchylides has been that he
was considered "a dull and slight, or, a sweet and
sometimes charming practitioner of the kind of poetry
which Pindar created with profundity and magnificence."
But Fagles won't let that unfair judgment go...so
Pindar is by far the greater poet, is he? --well,
Bacchylides handles the genre differently, with his
own distinct virtues, and he is interested in different
things from Pindar. Fagles says that Bacchylides does
not consider himself to be a prophet as Pindar did.
Bacchylides stands back from his work and "prefers to
consider himself a craftsman." The element of
narrative (as in Homer) is more important to Bacchylides
than in Pindar. Fagles says, "Bacchylides lacks the
inwardness of Pindar...He is cooler, brighter, more
objective." Fagles says that in narrative grace and
crisp elegance, Bacchylides is the superior to Pindar.
This volume is divided into sections of different
types of poems: Epinician Odes [14] (to honor victorious
athletes in the various games held in ancient Greece--
Isthmian Odes, Olympian Odes, Pythian Odes, Nemean Odes);
Dithyrambs [15-27] (concerning various mythic figures--
The Sons of Antenor, Heracles, Theseus [2 poems], Io,
Idas, Cassandra, Pasiphae, Chiron) -- Fragments, Fragments
of Uncertain Genre, and Doubtful Pieces.
There is also a section of "Notes" in the back to
explain some aspects of the poems.
Though Bacchyides' sentences tend to be a bit more
complete, to me personally, I get the same freshness
from reading Fagles' renderings of these poems in
their short, clear impact after reading the rather
turgid Pindar (in translation), as I get when
I read Emily Dickinson after having had enough
of a dose of bombastic, droning, tedious
Walt Whitman in his longer, "prophetic"
pieces. Walt can be glorious, mystic, intimate,
delicate -- but he can also be tiresome.
Try Bacchylides for a refreshing easement.
_______________
Men can maneuver no hold
Over wealth or stubborn war
Or the feuds that rock a state --
But raking her clouds from land to land,
Destiny -- that Pandora -- ranges.
-- Bacchylides.
* * * * * * * * *

This book separates the key events in history from all the noise and hype. After Fred Brooks book The Mythical Man-Month, this is the best brief survey of the subject from one who helped to create it.

This book documents the importance of herbs on the continent of Africa. In addition, the author details the scientific terminology and the medicinal usages within short and succint paragraghs in an effort for quick study and reference. The significance of tropical plants goes back for thousands of years to the present. These herbs are used with Pharmaceutical medicines and natural usages. Without such herbs, the world would be at a loss for healing. Plants supply humans with oxygen and medicines. Handbook of African Medicinal Plants gives you the best look at the world of herbs.

Arlene Croce wrote a review of "Still/Here", a dance choreographed by Bill T. Jones and published it in the New Yorker. She had not seen the work but wrote the review to protest Jones' use of terminally ill persons in his work, men with AIDS. As might be expected, Croce's article provoked a storm of protest. "The Crisis of Criticism" grew out of the controversy over Croce's article. The book is a collection of essays about criticism itself and addresses the questions of the critic's role in modern culture. Berger reprints Croce's article and a long rebuttal by Joyce Carol Oates. But the best two essays are by Michael Brenson (Resisting the Dangerous Journey: the Crisis of Journalistic Criticsm), and Sarah Rothenberg (Measuring the Immeasurable). The Brenson piece focuses on the critics that most of us read (in The New Yorker, the NY Times, the LA Times, the Washington Post, the Wall Street Journal) and castigates them for failing to deal with the major issues of contemporary art. Interestingly, Brenson finds them all deficient in even acknowledging the controversy over the NEA funding which he thinks is "the intersection for almost every major artistic cultural issue..." The essay by Sarah Rothenberg is a wonderful description of the role of the critic and, by extension, the role of "high culture" in civilized society. She rejects the absolute evaluation of artistic creativity by the marketplace, i.e. financial success and fame as the business of artistic promotion and self-promotion, and asks that art "define itself by values of its own." The role of the critic is to be apart from the marketplace: "critical commentary in terms that are idealistic rather than utilitarian". Croce's original article, by reviewing a performance that the critic had not seen, led to a reevaluation of the role of the critic - something she really asked for anyway.

My father used to tell us children about the "old" radio days and how the family would gather around and listen to the radio shows. He would speak of his love for those old radios. I , like everyone else I suppose, have seen old radios in antique stores. However, I don't recall having ever seen a Crystal Radio. I happened to be at an antique show and saw a copy of the book. I decided to buy it for my father. When I got home I started going through the pages and was amazed by the information in the book and the amount of crystal sets there had been. The author has done so much research and I feel the wiser for it. I am glad that I happened upon this book. I have learned from it and know that my father will enjoy it whenever I finally decide to give it to him. He is bound to have many more stories to tell me about "the old radio days" but somehow I think I am going to enjoy listening to them even more.

it helped me write a paper for cystic fibrosis for school