This is an essential book for the supervising psychotherapist, be the supervisor a psychologist, a marriage and family therapist, a psychiatrist, a social worker or an analyst.

The authors succeed in conveying the subtleties and nuances of teaching psychodynamic psychotherapy and psychoanalysis in an easy to read and well-organized manner. The content is serious and clinically sophisticated. The authors' candor and many real life examples keep the reader riveted as specific supervisory encounters are presented along with clinically well thought out teaching strategies. Throughout the text suggested supervisory interventions are accompanied by clinical explanation.

This book lends a refreshing clinical depth to the chapters dedicated to the opening phase of supervision, supervisory interventions and termination. In my opinion, the chapters on Self-Esteem Issues for the Supervisee and The Supervisor's Role reach the core of the delicate balance of the supervisory relationship. Other chapter titles include: Inductive and Associative Modes of Thought, Affect and Professional Development and, How Personal Should Supervision Be?

In The Supervisory Encounter there is no dogmatic stance but instead the reader encounters an attitude that is tolerant of different individual styles of supervision and of learning. This attitude conveys compassion and respect for both the supervisee and the supervisor while maintaining the boundary and the distinction between psychotherapy and the teaching of psychotherapy.

As a VW lover, I always searched for books about the cars. Rather than a repair manual. I often refer to Bug Tales as Chicken Soup for the VW Lovers Soul. The stories are heartwarming, funny and oh-so true, VW lovers will read this book and relate. So many times you will nod your head in agreement, recalling all of the times you dealt with the same trials and tribulations with your VeeDub. Mr. Klebahn has perfectly captured the essence of the VW and their owners. And what a wonderful gift he has made for everyone who has ever owned or loved a Volkswagen.

I just received my copy of this great book! It's a great collection of humorous, touching, and a few unbelievable Bug tales! It's hard to put down if you have a great love for the VW Bug. You will definitely laugh out loud.

I learned 3 things after reading "Bug tales"; most people "name" their beloved Vw, everybody has a Vw story of some sort to tell and always take a throttle cable with you where ever you go! This has got to be one of the most interesting collections of Vw stories ever compiled. You never know what is going to happen next. I laughed, I cried and was always surprised at the things that can happen in, around and on top of a Beetle! What makes this book so nice is the author is a Vw fanatic like the rest of us and contributes a couple of pretty wild stories of his own. Like the time the throttle cable broke on his friends bug. Paul ended up sitting on the back bumper working the throttle while his buddy yelled "shift!" when he changed gears. Believe it or not they made it to the repair shop that way!

You'll love this book even if you don't own a Vw! "Four air cooled cylinders up" to the authors Paul Klebahn and Gabriella Jacob! END

This version of Rumpelstiltskin is based on the second edition of the Grimms' work in 1819, with some language from later versions and a few additions by Mr. Zelinsky. All of this is detailed in the author's note at the end of the book. The high points here are the matchless, detailed illustrations that mimic oil paintings in delicate, detailed pastels. These images create a majesty and power that add to the mystery of this most powerful story. This version will leave some unsatisfied for the apparent foolishness of the miller and the needless cruelty of the king.

The miller visits the king and brags that his daughter can spin straw into gold. The king sends for her, and bids her to do this overnight, or be killed the following morning. She is locked up with a spinning wheel and straw. She weeps in despair because she has no idea of how to do that . . . until a little man comes in and offers to help. She trades her necklace for his aid, and soon the straw becomes golden bobbins of thread. The king likes this and demands that she do it again the next night. The little man again offers to help. She trades her ring this time for his assistance. The king then comes and says she must do it a third time or die. If she succeeds, he will marry her. With nothing left to pay the little man, she has to agree to his request for her first born child. After the child is born, the little man returns for his reward. She persuades him to give her three days to guess his name. If she succeeds, she does not have to give up her child. A servant follows him into the woods and hears him say, "Rumpelstiltskin is my name." The queen "guesses" correctly and he rides off on a spoon never to be heard from again.

This story always bothered me when I was a child. Why were the men all so unreasonable? I still find myself feeling that way 50 years later. I avoided reading this story to my children when they were little. I didn't think it had the redeeming values of most folk talkes.

The reason for reading this book is to enjoy the illustrations, so I recommend that you get it for yourself (rather than for your child) if you liked the story as a youngster. If you didn't like the story, even the illustrations won't save it for you.

The book won a Caldecott Honor for its illustrations.

After you finish reading the book or thinking about the story (if you don't read it), I suggest you consider your own conduct to locate any places where you make promises or say things that create problems for others. Be sure you aren't acting like the miller.

Act honorably, and inspire that in others!

The Grimm Brothers wrote one of their most famous tales,"Rumpelstiltskin", over a century ago and others havetranslated and retold it many times since. Paul O. Zelinsky retold"Rumpelstiltskin" based on one of the Grimms' earliest versions of the story. He was also the illustrator. The illustrations in Zelinsky's version are oil paintings. This allows him to create an exceptional antique setting for the story, as well as striking characters. There is such detail in each illustration that there is almost an individual story with in each picture. The intense use of shadowing combined with a kaleidoscopic amount of colors also makes this story's pictures peculiarly realistic. Zelinsky clearly portrays a distinct and more exciting way of seeing the classic tale, "Rumpelstiltskin". The first thing that makes these illustrations so life-like was the individual characters combined with the ornate and detailed backgrounds. The expressions on the characters' faces are drawn in such detail that the reader can easily see what they are feeling at a glance. The reader can also predict whether a character is good or bad from the detail of his/her face. The queen's (miller's daughter) large, gentle eyes and delicate, ivory skin demand the reader's compassion, even though she broke her promise to Rumpelstiltskin that saved her life. Rumpelstiltskin's tiny body accented by his pointy nose and chin gives off a sinister aura. The little details with in each picture make them all unique. An example is when the king is walking into the room where the miller's daughter is with all the spools of gold. There are rays of sunlight coming throughout the window reflecting off the spools that it hits. The colors used makes the room look warmer and more comfortable than when she had entered into it the night before. You can see some of the gold thread unraveling off various spools. The wrinkles in the miller's daughter's clothes shows that she is not in a very comfortable position as she sleeps one of the piles of gold. These are all such minor details that you might not even notice in a photograph. The title page and end papers even include detailed artistry. They show a petite village that is surrounded by a range of mountains and an ocean. The narrow, dirt road winding down to the tiny community gives out the idea that the village is relatively secluded from the rest of the world. I think that the title page and the end papers are a great way to covey the setting and atmosphere to the reader right away. The component of Zelinsky's illustrations in, "Rumpelstiltskin", that made them seem so life-like was his use of shadowing. A good example of this is when the queen sent her servant into the woods to look for Rumpelstiltskin. In this picture the only light the reader can see is from the servant's lantern and the few feet it shines on around her. The reader can also see the moon's reflection in the ocean. This use of shadowing makes these illustrations look not only life-like, but like photographs too. In Zelinsky's version of "Rumpelstiltskin", the illustrations were very realistic, because of his use of shadowing, complex use of colors, and phenomenal detail. Zelinsky's pictures are so effective that the words are practically unnecessary to tell the classic tale of "Rumpelstiltskin".

Rumpelstiltskin is a classic fairy tale and this is a beautiful retelling. The illustrations are lush and full of detail that adds to the story. The retelling is easy to read but does not talk down to children.

My daughters who are five love this book and we have read it dozens of times. I highly recommend this for fairy tale lovers. I was attracted by the illustrations which are beautiful but stayed for the story.

"When I was a young girl, I had long braids, and always wanted to be Rapunzel," confided a colleague at a recent meeting. Paul Zelinsky's Caldecott award-winning retelling of this age-old tale of a mother-to-be's craving for the forbidden rapunzel, a possessive sorceress, a beautiful girl with an unending cascade of silky hair shut away in a remote tower, and a handsome prince just might reawaken those desires. In his informative "Note About Rapunzel ," Zelinsky relates how he drew on elements from the early French and Italian sources as well as from the better known Grimm version of this tale to create his own compelling version. Thus, some details of the story are less familiar. Rapunzel naively reveals that she has had a visitor in the tower when she asks the sorceress to help her with her dress for, "It is growing so tight around my waist, it doesn't want to fit me anymore." Other elements, retold in their familiar spare rhythm, such as "Rapunzel, Rapunzel, let down your hair!" retain ther original power. Zelinsky uses the formal beauty of Renaissance art to evoke both the physical beauty of the characters and the Italian landscape. His large oil paintings overflow with softly muted colors, billowing folds of finely detailed period costumes, ornate architecture, and majestic landscapes. His masterful use of glinting and filtering light illuminates every page. Zelinsky's Rapunzel is a book to be treasured by anyone who appreciates a timeless tale and delights in an object of visual beauty.

An excellent choice for many ages. This book is a beautiful and rich rendition of a traditional tale. Zelinsky has filled the pages with orderly, exquisitie details that are reminescent of Renaissance paintinings. The illustrations merit review closely and the reader will find new wonders each time they visit the work. Children of all ages will find enjoyment in these pages. Readers may particularly enjoy the intricate tower Rapunzel is locked in. The text has just enough suspense and evil and good strike a comfortable balance for chlidren.

This past weekend, our 3-1/2 year old daughter's grandparents came into town. Her Nonna told her a bedtime story about Rapunzel, a story she had not heard before. She was enchanted. Needless to say, Nonna went out the next day to buy a book and she came home with Paul Zelinsky's beautiful book.

I can't comment on the accuracy and literary side of the book - I'm not an expert on the original tale. However, the writing is wonderful; the story is an easy read with younger children. But clearly, the illustrations are what set this book apart. Many children's books use child-like pictures - but each page of this book is a new and different work of art. Detail and texturing worthy of an art gallery make this a pleasure to view as well as read. Highly recommended.

I've been looking for this book for many years, but since it is out of print I haven't had any luck finding it. I first read this book in Grade 7 (I'm in Grade 11 now)and at that time I was getting into the paranormal realm and horror genre. This novel was about a boy found by localers in a small town, by an area with scorch marks on the earth. At first he can not speak, and is ignorant on activities which we perform in everyday life. As the weeks progress however, it becomes evident that the child is highly intelligent. His siblings begin to question who he is and where he comes from as the story evolves. (see questions asking " was it alien, animal or angel?") I loved this book and give it 4 or 4.5 stars out of 5. This is one book that lets you decide what the truth of the child is, or rather, the truth of what exists.

Este libro es una obra de arte en cuanto a su ilustración se refiere. Paul O. Zelinsky nos ha brindado un libro para disfrutar a plenitud, no sólo por la belleza de la ilustración, sino además por lo bien que encaja con el texto. Los detalles son efímeros. La redacción española es sencilla y fluída, no necesita más, la ilustración da todo lo demás. Es un libro para el disfrute no sólo de los niños sino también de los adultos. Es un libro para guardar y adorar. Pero desafortunadamente, nada es perfecto. La versión española, al mantener el titulo de "El Enano Saltarín", como ha sido habitualmente conocido dicho cuento por las publicaciones españolas, falló al no utilizar el nombre de Rumpelstilzchen en el momento adecuado. Esta falla deteriora un tanto la trama del cuento, al eliminarse uno de los aspectos fundamentales: el extraño nombre del hombrecillo, difícil de adivinar.(Referido al libro publicado por Dutton Children's Book).

Those luminous yellow eyes watching me, that's what I remember most clearly about this fascinating dark little tale. I checked out The King of the Cats from the public library when I was eight years old and staying with my grandmother. I've never forgotten it. An old man walking home through the louisiana bayou night sees a ghostly funeral procession of cats comes home to his tarpaper shack and tells his old wife about it. Watch their big tomcat's eyes as he tells the story. In these days of the blatant scary fiction of R.L Stine and Goosebumps The King of the Cats is subtle, beautiful, and foreboding in a sort of mesmerizing way that is truly uncommon in children's literature. I don't know if it is, but is has the feel of an old oral folk tale, worn smooth to its most basic elements by years of telling. At eight, I loved it, at twenty four, I still love it.

This book is widely considered to be the original rapid prototyping text for the relatively young RP industry. Charles Hull, Dr. Jacobs, and the other authors do a good job taking the reader through the developmental stages of Stereolithography and give valuable insight into the system design and process development of the SLA system. Other highlights include an informative chapter on SLA part accuracy, specific case studies from early users of the technology, and decent coverage of competing technologies.(circa 1991)

Some of the information is outdated due to the developments in RP over the past nine years, but it is still a valuable reference tool for any student of the rapid prototyping industry.

After missing the first collection of essays on this brilliant recluse published soon after his death, I picked up the present version as soon as I was able. It did not disappoint.

The book is a collection of four lectures given in the subject's honor in 1995 on the tenth anniversary of his death. The final lecture and the latter part of the third are highly mathematical and technical and clearly intended for a professional audience.

But for me, the first lecture by Abraham Pais is worth the purchase price alone. Pais was not only a contemporary physicist, but also a close friend and as close to a confidant as was possible with such a reticent man.

Through Pais' eyes, we see a mathematician turned physicist who was very different from the man to whom Dirac is most frequently compared, Albert Einstein. Einstein was a physicist first, mathematician second. Dirac was exactly the opposite. Einstein became a social and political critic, Dirac never strayed far from his study. The two were similar in that both viewed mathematical beauty as primary and both hated the modern remake of quantum mechanics (after the initial theory) for very similar reasons. This last point was interesting as Dirac was the first one to combine all his contemporaries' work on this improved quantum physics into a formal mathematical structure. His resulting equation, called naturally the Dirac equation, is classic Dirac, short and sweet. It combined Einsteinian relativity with the new quantum theory and Dirac considered the result to govern most of physics and all of chemistry. Stephen Hawking, the renowned theoretical physicist, says in his introductory memorial address to the book, "If Dirac had patented the equation ... he would have become one of the richest men in the world. Every television set or computer would have paid him royalties." For this work, Dirac shared the 1933 Nobel Prize with German physicist Erwin Schroedinger. One unexpected consequence of this work was a mathematical conclusion that defined a "negative energy" matter (aka antimatter) solution. Simply put, he had discovered a universe noone had imagined. To this day, we see the effects of this discovery from medical necessities (PET scan imaging-Positron Emission Tomography) to science fiction (Star Trek).

The quotations and anecdotes Pais chooses are well placed and often very funny. They are also supported by the images of Dirac portrayed in the sketch on the cover and in the few photographs scattered through the first two lectures. They reveal his character well. He saw mathematical and physical realities so clearly that he simply could not understand why others did not see them as well. The photo of him "listening" to future Nobel Laureate Richard Feynman in Maurice Jacob's section is one of the most amusing of the collection.

In the second lecture, Jacob shows the path of discovery and effect on latter day experimental physics of antimatter. He goes too long in spots but is generally fine.

We were ourselves participating in the inauguration of the Paul Dirac memorial in Westminster Abbey. Especially the speeches of Stephan Hawking and Abraham Pais were very touching as they did not only touch Dirac's work but also his personality and life. He was a very complex person and a great physicist. This book reflects that more than others about him.

just to know about the books and its contents