when I hard the songs my hart was beting very fast becous I thout it was amazing and it's calld a bug's life sing along.And I relly whant it so much.

If Charles Olson was an archaeologist of morning, then Amy Newman is an epistemologist of morning: she wants to know where the knowledge starts. She is Wallace Stevens's inheritor in the depth and precision of her investigations of the interrelation of mind and world, the imbrication of perception and conception. Her poem "Travel Diary" speaks of "An apprehension in the ascending lid,/deciding proportion, engraving./The eye knows plainly inside, outside." Much of her work hinges on the double sense of the word 'apprehend', to grasp, which is both to take hold of a thing and to understand a thing. In Amy Newman's work we see (and sight is a vital sense in her work, both essential and fully alive) that to know something we must touch it, feel it in both senses of the word, and to touch something we must know it, know of it. All of her work "proposes/to engage the physical world" ("Realism"), and knows that such engagement is always propositional if not suppositional: it is contingent, an aspiration, a "desire for the real world" ("Flesh"). In this sense, apprehension is the anxiousness to get the world as right as one can. In the words of "A Note on the Type," Amy Newman's is "The calculus of symbol/and the move to the real."

For Amy Newman, ideas are always embodied: all her ideas are in things and all things are bright with idea. This embodiment is not only in the images but in the words of her poems, which have a body and substance felt on the tongue and in the ear: "I promise you something/you'd shape a sound on,/white as a page but full," and the promise is kept. Her poems are not simply comments on the world of things but additions to that world: as she writes in "Darwin's Unfinished Notes to Emma," "The world this morning is wide as this sea,/and full of potential." Amy Newman's poems realize some of that potential for us all.

What can I say? This textbook is strikingly well-written. Really, a monumental achievement. The writing is incisive, interesting, even fascinating. For those who thought periodontics was basically scaling and root planing, an odyssey through this book's 1,000 pages shows otherwise. The illustrations are well-chosen and informative, and the quality of scholarship is consistently excellent throughout its 77 chapters. It exhausts every topic related to periodontology, from flap surgery to the microbiology of the inflammatory response, to basic s/rp therapy, to the logic of hand instrumentation, and is very up-to-date. Probably the best textbook on the subject. The accompanying CD-Rom was not too useful, mostly pretty pictures and captions, but it's the text that counts. Revelations stud the pages and the book presents a solid overal paradigm of modern periodontics.

Once again Michele! Artfully done. A wonderful children's book that is not only fun to read, but (gasp) you learn something too.
Michele is an author you want your children to read. I've placed her on my Amazon notification list for each new published novel.

Amy Newman has written a thrilling account of how a small alternative art magazine, first published in the back room of a San Francisco art gallery in the early 1960s, developed into the "Bible" of the contemporary art world. Told compellingly in the words of the participants themselves, this oral history is a must read for people interested in contemporary art and an important introduction for those who want to know more. Ms. Newman adds important chapter and section introductions that move the story along and explain the interplay of personalities, ideas and events that influenced the art world. Important and surprising gems appear in endnotes, which reveal a depth of scholarship and insight that gives both the knowledgeable reader and the novice a further appreciation of the dramatic changes occurring in the art market and art criticism during the crucial decades of the 1960s and early 1970s. You meet not only the significant writers and editors of the time, but also the gallery owners, artists, collectors and others who shaped opinions and battled among themselves to create and mold the world of contemporary art into what is now a worldwide industry worth many hundreds of millions of dollars annually. This is a story told by men and women with deeply held views, strong personal and professional attachments, intense friendships and breakups--all committed to influencing how the world looked at, reacted to and evaluated the exploding contemporary art scene. They tell you about their battles, their triumphs and their defeats. They discuss issues that still resonate strongly throughout the art world. As the story develops, it becomes a drama that can't be put down.

this books give by me intristing news a chemistry of terpenes

This book covers the most up to date information in the field of human computer interaction, also known as human factors engineering. It is a collection of papers from industry experts and discusses works in progress.

The book is extremely well organized since it has not only an index of terms but an index of authors and a table of contents that groups papers by topic.

The topics cover the most technical issues of virtual reality, software programming tools and techniques to the most human centered issues of the learning processes, keyboard styles and narrative techniques.

This book provides important information for any person that designs, develops, delivers or trains people in the field of automation.

In spite of all the "advances" we've made as humanity continues, one of the greatest tragedies of all time continues to thrive in twenty-first century Earth. This book brings to light this tender subject and reveals its profound effect on us.

Robert Newman not only leads up to his highly praised history of the Owen Lattimore story and the influence of the "China Lobby" with this account, but gives much denied credit as well to the history of the left which had been censored, denied, and castigated... Included is a little-known quote from Lillian Hellman in her opening remarks to the Waldorf Peace Conference in 1949, which she co-organized. The Waldorf Conference was a credit to the post-WWII anticolonialist peace movement fueled by the activism of the radicalism of the 30s. This social/political/cultural movement included among others Hellman and W.E.B. DuBois, who founded the Peace Information Center in 1950 and circulated the Stockholm Peace Petition at a time when the Soviet Union was allegedly running a "peace offensive" and at a time when anyone who promoted peace or who criticized U.S. policy must therefore be viewed as being an agent of a foreign govt. in the McCarthy hysteria. Not only was anyone associated with those promoting peace at risk of suspicion, but also anyone who showed any independent thinking regarding foreign policy, no matter how extensive the institutional experience (as in Melby's case) or how well-founded the logic. This was the case with John Melby, chief editor of the China White Paper which acknowledged the inevitable failure of the KMT and the subsequent "loss of China." Just as anyone associated with the Waldorf Conference was eventually brought before HUAC and/or blacklisted, so anyone associated with authorship of the China White Paper was subjected to loyalty security board hearings and their careers ruined, but for different cause. The irony of this book is that it illustrates how the relationship of Melby and Hellman resulted in a collision of these two very different worlds of thought, intellectual culture, career, and experience.