Great way to teach children about different foods. My 2 year-old loves this book as well as the complete series. We read these books a lot.

This is a really fun book that helps young children become familiar with a variety of foods. Both author and artist are very creative and clever in capturing the attention of young ones and encouraging interaction and learning. Some food items are familiar, some are not so familiar - both encourage curiosity and create a fun environment for young minds. My 2 1/2 year-old granddaughter will point things out in the grocery store that she has learned from reading the book. I would recommend this book to anyone searching for a positive, creative and fun way to teach young children.

An absolutely wonderful and useful guide. Would highly recommend to anyone looking into philanthropy. How anyone can not have this is beyond me.

This is an invaluable reference work for anyone looking for information on the philanthropic world. However, there is 1 glaring omission: My brother, David G. Jacobs, is the Editor of this book, and is credited as such on the inside front cover. I don't know who this Jeffrey Falkenstein is, or why he is listed as "compiler". I felt I had to set the record straight on this item.

Great way to teach children about other kids. My 2 year-old loves all the kids and all the Magic Box books. They are all favorites and get read a lot.

A wonderful little book for small children that helps them discover friends of all kinds. It shows a variety of children engaged in various activities that pre-schoolers can relate to. The book helps children understand that we are all different and can do different things and that we can all be friends. My granddaughter just loves Andrew "who likes to watch ants." The "Jacob books" as she refers to the series are all favorites and are read many times each week. I would definitely recommend this book along with the entire series to anyone interested in encouraging small children to learn and explore.

I think this "We Both Read" series is great. Whatever mood my boy is in when bedtime rolls around - whether he's working with me or against me - this concept works. I read the (difficult) left page in each two page spread, and the child reads the (easy) right. Teamwork. And even though these make no mention of Power Rangers or Batman Beyond, these are my boy's favorites. Along with some math books from Singapore(sgbox.com), and a learn-to-read series called "Now I'm Reading" by Nora Gaydos, these books are a great experience for your child. After your child has finished reading and they climb in bed, give your child something to strive for... turn on your booklight, turn off the room lights, and read your child a chapter or two from a more advanced book. Treasure Island, Harry Potter, anything by Roald Dahl... That's what works for my boys and I.

This series of readers really works. I've been running through them at bedtime with my six-year-old, who adores taking it in turns with me to read her page after I've read mine. It turns reading into a collaborative game, with plenty of play-acting (doing the different voices of the characters) thrown in. At my daughter's stage of reading, a short book can be a long haul, when she has to do it all by herself. The "We Both Read" books break up the text into manageable segments, and give her time-out while I do my share of the work. I'd like to see more and more titles quickly added to the series. I am baffled as to why Amazon should inflict a $1.35 surcharge on the publisher's recommended price--it seems to run entirely counter to the Amazon way of doing things. But the books themselves are splendid.

Having read and used fund raising books and materials for over twenty (20) years, I am very impressed with this book. It is excellent, very thorough, and covers all major areas for an organization's fund raising program. I highly recommend that every non profit organization own a copy and use as a reference guide on a regular basis. Its truly solid and complete.

The following describes the Second Edition of Fundraising Basics: A Complete Guide published in April 2001 by Aspen Publishers, Inc. in Gaithersburg, MD

"The second edition of this best-selling book provides new and updated information that every beginning fund raiser or board member needs. Case studies and real-life examples provide practical guidance and an overview of the field while giving board members and development staff, managers, and directors a platform from which to operate their fund raising programs. This primer remains a "must-have" for anyone entering the fund raising arena or studying for the CFRE exam.

The new edition updates and strenghens: 1) Giving trends; 2) Computer hardware and software available in the fund raising field; 3) Cost estimates and workflow timetables; 4) Use of the Internet in fund raising; 5) Relationships between associations and their foundations regarding fund raising; and 6) New and successful case studies that relate fund raising theory to practice.

Practical advice and valuable insights from two savvy pros with more than 45 years of combined fund-raising experience."

truly captures the era and times. Makes me realize all that my forefathers' sacrificed and why we should fight to preserve the confederate flag so that they are not forgotten. Our heritage has been swept aside by so many who want to rewrite history, and we should not let that happen. This book is many true stories of a brave southern army who fought like no other before or since. southern army who fought against all odds.

I found this book to be the most informative about what it meant to be a cavalryman. The stories tell of hardship, devotion to their country, and gives a sense of being there where the action takes place.

Parents hoping to introduce their children to modern American art could do worse than to buy this edition reproducing 60 paintings by Jacob Lawrence (1917-2000), one of the finest African American artists in U.S. history.

First published for children in a 1993 limited edition, with a poem by Walter Dean Myers, this volume reproduces the Great Migration series that Lawrence created in 1940 and 1941 to tell the story of the African American migration north, from the plantations and cotton fields of the antebellum era.

Begun within a year after Lawrence completed a magnificent Harriet Tubman series, these tempura colored, poster paint works made Jacob Lawrence's career. It's easy to see why. Bold and unforgiving, these vibrant works grew from Lawrence's own childhood migration--from Atlantic City, New Jersey to Easton, Pennsylvania, to Philadelphia and finally, at 13, to Harlem--his exposure to African-American culture and his intensive training in the Utopia Children's House and New Deal-sponsored Harlem Art Workshop of the 1930s.

At that time, the WPA was still funding public art murals, but Lawrence was too young to gain a commission. Instead, he determined to show the African-American struggle for freedom in real-life stories that would tie the past to the present.

From 1938 to 1941, he used the New York public library for research, creating in swift succession five series of paintings telling the stories of Toussaint L'Ouverture, Tubman, Frederick Douglass, John Brown, and The Migration of the Negro.

In the last of these, Lawrence hoped to speak artistically of a mass escape from the rural, discriminatory and unjust South--a region of poverty and illiteracy--into an anxious era of hope and expectation in the North. The paintings depicted passage, with railways, train cars, suitcases, and hordes of people constantly in motion. Their visages and body language spoke in terms of expectation and fear. Lawrence wove bold colors and themes throughout the series, thereby joining the paintings into a unit.

In a documentary shown in a museum tour of Lawrence's work, the artist said he "didn't think in terms of history in that series. ...It was like I was doing a portrait of something." Portraits were "a portrait of myself, a portrait of my family, a portrait of my peers."

Lawrence's extraordinary talent was recognized when he was only 24, with the 1941 exhibition of these paintings in the downtown gallery of art dealer Edith Halpert, who had beforehand exclusively shown the work of white artists. So breathtaking were the paintings (as they remain), they instantly transported Lawrence across the U.S. racial divide of that era, making him deservedly famous. The Philips Gallery in Washington D.C. purchased the odd-numbered paintings; the Museum of Modern Art in New York took the even ones.

Treat your kids to this triumph of the human spirit, and to the fine accompanying Myers poem. These paintings make children into art-lovers, for life. Alyssa A. Lappen

I checked this book out from the library over a year ago and knew from the illustration that Jacob Lawrence was a special person. I was drawn to the illustration because it is soothing. His illustration style is flat, yet there is a world of depth. It is the kind of art that I could have on my wall and never tire of. I remember more the art than the story. The art told a story. This book is as much for adults as it is for children. Since hearing that Jacob Lawrence died...I instantly felt the need to get one of his books for my home library.

It's hard to say something about this wonderful book without sounding pompous. Generally, I try to avoid terms like 'classic' and 'essential', but they keep coming to mind.

The original was written in the mid 1930s. As Klein writes in this version's preface, "This study was originally written and published in Germany during rather turbulent times."

The late Jacob Klein spent his post war years teaching Platonic philosophy at St. John's College. There, he was known as something of a lovable elitist. Professors tell a story about Klein being partial to the number 12. He claimed that there were an exclusive 12 philosophers, 7 Greek and 5 German. The word got out and he soon received a letter from 4,000 American philosophers begging to differ with his opinion.

While many might call this book 'philosophy of math,' I doubt Dr. Klein would agree. The book is without much in the way of serious math. It is more concerned with the symbols of math and how they are used. Quoting from the first paragraph of the introduction:

"Creation of a formal mathematical language was of decisive significance for the constitution of modern mathematical physics. If the mathematical presentation is regarded as a mere device, preferred only because the insights of natural science can be expressed by "symbols" in the simplest and most exact manner possible, the meaning of the symbolism as well as of the special methods of the physical disciplines in general will be misunderstood. True, in the seventeenth and eighteenth century it was still possible to' express and communicate discoveries concerning the "natural" relations of objects in non mathematical terms, yet even then -or, rather, particularly then - it was precisely the mathematical form, the mos geometricus, which secured their dependability and trustworthiness. After three centuries of intensive development, it has finally become impossible to separate the content of mathematical physics from its form. The fact that elementary presentations of physical science which are to a certain degree nonmathematical and appear quite free of presuppositions in their derivations of fundamental concepts (having recourse, throughout, to immediate "Intuition") are still in vogue should not deceive us about the fact that it is impossible, and has always been impossible, to grasp the meaning of what we nowadays call physics independently of its mathematical form. Thence arise the insurmountable difficulties in which discussions of modern physical theories become entangled as soon as physicist or nonphysicists attempt to disregard the mathematical apparatus and to present the results of scientific research in popular form. The intimate connection of the formal mathematical language with the content of mathematical physics stems from the special kind of conceptualization which is a concomitant of modern science and which was of fundamental importance in its formation."

While this iconoclastic promise is a bit difficult to extract from the somewhat professional philosophic prose, there is a wonderful essay in "Biographies of Scientific Objects," edited by Lorraine Daston that serves as an excellent commentary. The essay called "Mathematical Entities in Scientific Discourse" credits Klein with a new perspective from which to interpret the transition of ancient and medieval traditions to the new mathematical physics of the seventeenth century. His was the seemingly narrow-but only deceptively so-perspective of the ancient concept of "arithmos", compared to the concept of number in its modern, symbolic sense. In Klein's own words, the underlying thematics of the book never loses sight of the "general transformation, closely connected with the symbolic understanding of number, of the scientific consciousness of later centuries."

Although the Greek conceptualization of mathematical objects was indeed based upon the notion of arithmos, this notion should not be thought of as a concept of "general magnitude." It never means anything other than "a definite number of definite objects," or an "assemblage of things counted". Likewise, geometric figures and curves, commensurable and incommensurable magnitudes, ratios, have their own special ontology which directs mathematical inquiry and its methods.

In contradistinction to Greek parlance, "general magnitude," according to Klein, is clearly a modern concept. Proving this case is the project of both books.

I think you will find reading this material an interesting journey.

Klein's work examines the generally unsuspected foundations of modern algebraic mathematics. He charts the development of a new kind of intentionality which lies at the heart of modern mathematical practice, with an explicit affirmation that this mode of intentionality is exemplary for all of modern thought. Beginning from the classical foundations of mathematics, he follows the subject carefully through every turn of ideation until he has completed his thesis. On the basis of this thorough-going evaluation and exegesis of mathematical thought, he identifies Francois Viete as the true founder of this modern symbolic intentionality. But he does not rest with this, proceeding to show how Descartes, Stevin, and Wallis each draw out of this foundation conclusions which are familiar to the modern thinker. This reader knows of no other work of this kind that has so deeply penetrated the foundations of what we call modernity.

An incredible accomplishment. Middleton interweaves 3 stories: Jacob Grimm at the end of his life, key moments throughout Grimm's life, and a stylized version (related to Grimm's life) of the fairy tale, Briar Rose. All three stories are richly interwoven and overlapped, so you are never quite sure which is influencing the other. Middleton uses wonderful pacing, beautiful language and a "well-spun" yarn to keep the reader thoroughly engaged. As a history buff, I appreciated Middleton's ability to include historical and cultural background to help explain the purpose behind Grimm's actions. I would highly recommend this book to anyone interested in the history of fairy tales, German development during the early 19th century, the life and times of the Grimm's Brothers, or simply a well-told story.

Middleton's Grimm ranks with Angela Carter's bejeweled fairytale rewrites in BURNING MY BOATS. He weaves three plots into one story. First he tells of the life of Jacob Grimm in his last year as he takes a sentimental journey across Germany to an early home he shared with his brother during Wilhelm's marriage. He tells of Jacob and Wilhelm's youth and their mother's stories that burst with blood and suicide, and how these stories later lead into the the brothers collecting horrific children's tales. He tells of Jacob's tie to his late brother's daughter, who falls in love with their mysterious manservant, Kummel. And he tells the story of Sleeping Beauty as it has never been told before and which parallels Jacob's own life. All these stories are suffused with marvelous description and surreal imagery that at once rubs shoulders with gripping realism and such rich epithets as "Her face would split a pitcher." For me, this is a stunning invention and modern classic that follows the German soul into its darkest subterranean windings that lead later into jackboots on cobblestones. Do yourself a huge favor and dip in.

The story of Joseph is well known. What is not well understood is how God was directing Joseph in every circumstance of his life. The way Alistair presents the story of Joseph, will let you see in your own life how God is also in control of ALL of your life's circumstances too.

You will see your life and your future from a more relax perspective once you realize and understand that God is in control making the decisions that are best suited for you. I truly recommend this book for anyone interested in finding God's providence in his/her life.

To be honest, when our assistant pastor announced that our study group was going to use this book, I didn't think that the book had much to offer me. I was VERY wrong! Alistair Begg does a wonderful job of telling the story of Joseph, Jacob's favorite son. (Anyone thinking that today's families are all mixed up should see how Jacob's family beats anything we hear about in our day.) Many of us have been through hard times, but I doubt any of us have experienced the hardships that Joseph dealt with. Every chapter is full of lessons for our lives, no matter what problems we are struggling with. Begg's writing is clear and easy to read, yet very convicting. Highly recommended!