My accounting professor was awful and it was this book that saved my grade in the class. It provides very detailed explanations and summaries of each concept it covers throughout the chapter, not just at the end of the section. The accompanying working papers and study guide were also very informative and helpful.

Best book so far for teahing accounting. This is the book for learning accounting.

This book can be used in the international trade component of a two-semester ug course in international trade and finance (as the editorial review points).

The book uses - at least for me - an extremely useful approach to studying the rudiments of trade theory: after reviewing the standard concepts from consumer and producer theory, it provides a set of sufficient conditions that jointly determine the no-trade world. The core of the text then relaxes each of the mentioned conditions while keeping the others valid, showing why trade arises and at the same time providing a very clear overall picture. All models are discussed in a non-technical way but still with a fair amount of rigour, clearly stating the assumptions and proving the propositions.

The idea of using the revealed preference to show the existence of gains from trade in various settings is defenitely sth worth examining.

The trade policy part offers a chapter on strategic trade policy to shake the validity of the standard "trade barriers are harmful" belief from a perpective that is usually not presented by competitive texts.

Still, two elements could be improved: the part on the link between trade and economic growth is not very readable. Maybe the authors could do sth more about it by using algebra. Secondly, although the concept of intra-industry trade is discussed on many occasions, the authors could consider devoting an additional chapter to it just to summarise the already mentioned ideas.

To conclude: I consider the book as being better than, say, Krugman's or Salvatore's probably more popular texts.

We used this as a textbook for a one semester course in international trade relations. The writing is clear and the book is well-organized, making it very readable. It has very few errors, perhaps that's why a new edition hasn't come out lately. Most of the analyses of the models are done graphically and using only algebra, so it is suited for beginners of international trade theory/international economics. The questions at the end of each chapter vary from very easy to difficult, but the difficult ones can be answered after reading the text about two or three times and digesting its contents. This book is aimed primarily for undergraduates but first year graduate students can use this book as a review for more advanced texts in international trade such as "Lectures in International Trade",(1998) by Bhagwati et al. This textbook is highly-recommended and could be a better alternative than Krugman and Obstfeld's popular text ("International Economics: Theory and Policy").

At long last,a book about Johnny Ace,rock&roll's first great tragedy.(He preceeded Buddy Holly's plane crash by a good 5 years.)Indeed,they had barely begun calling it "rock & roll"when Johnny killed himself playing russian roulette on Dec.25,1954.(Not Christmas eve,as is usually reported.)This fine book dispells many myths about that fateful night,and is also a welcome addition to the rock'n roll literature.A must read about the early days of rock music.

A biography that has been long overdue,"The Late Great Johnny Ace.." is a marvelous journey to the backsteps of an long overlooked persona. Ace is just as much a legend as James Dean or Elvis Presley, but has been for years sidelined to a mere footnote in rock history. Ace's sensational russian roulette death on Christmas Day 1954, has unfairly eclipsed his musical merits, and is usually the first open topic in a discussion about him. This book is an excellent read simply because it offers more information about Ace and his music than anything previously published. Salem not only takes the reader for a slow cruise through Ace's short life but he builds an incredible atmosphere of life as a musician in Memphis. Here we not only learn more of Johnny Ace the man, but of his world and the collision course fame put him on. Ace's tragic death is explored in grave detail dispelling many myths and half truths. A must-read for any music historian. Now if they could just turn this into a movie.

Campbell's collection is unique. He attempts to -- and does -- capture the the aura of M.R. James' horror work. He has collected pieces from before James, contemporary to James, and since James. Most of them are entertaining and well-written, but they do inspire terror in the reader. If you are looking for a collection of quaint ghost stories, you have found it. If you are looking for horror, look elsewhere.

Knowledgeably compiled and ably edited by Ramsey Campbell, Meddling With Ghosts is an outstanding anthology of memorable short stories by a variety of talented authors, all of whom deliberately offer sumptuous and bone-chilling tales of supernatural horror in the literary tradition of M. R. James. From J. Sheridan Le Fanu's "The Familiar" (1872) to Terry Lamsley's "Two Returns" (1993), this compendium of spooky tales set in bygone decades ranges from the 1870's to the 1990's and make Meddling With Ghosts a spiritually transcendent literary journey through time as well as through the occult planes of the mind-chilling, spine-tingling unknown.

This book is essential for the library of every scholar of American constitutionalism. For those who have studied the subject, the superb selection of essays on different aspects of American political thought is enlightening. Those who are simply interested in America's founding may however be at a loss and overwhelmed by the wide range of arguments put forward in the different essays even if Gary L.Gregg did an excellent job in the introduction giving an overview to the reader of what he should expect in each essay. Thus, since all and even the American constituiton and its origins is a matter of perspective, this book can only be enjoyed after a thorough study of American political thought. For constitution freaks however it is not only useful to have, it is a real joy to browse through the essays.

There is a palpable fear that America has lost its way, and perhaps even been untrue to itself. Examples of this loss abound, from school violence to a youth culture nihilism. "Vital Remnants," a collection of essays by some of America's top scholars in history, philosophy, political science, and law, shows, with remarkable clarity, the ways in which contemporary American society has radically altered the course upon which it was originally set. To be sure, our century looks at America with a different set of assumptions than that of our ancestors. "Vital Remnants" gives us clues by which we might stay the course for the benefit of generations to come.

We don't need to see the Little Mermaid's nipples.
(I can never understand why the people who cry out that the nudity is "JUST art!" don't notice that it is never underdressed males, but little girls that we have to look at.)

Amazon.com rates this book for ages 4 - 8, but the text is difficult and violent, and the admittedly lovely art is appropriate for graphic novels in the _Sandman_ vein, not for kids.

Yes, it is a lovely story, yes, it was dark to begin with, and no it is not a children's book.

Good translation, pretty (aside from the gratuitousness) illustrations earn 2 stars.

Sulamith Wulfing's art is gorgeous! Unfortunately, most of the reviews I see here are NOT for her book! They are reviews of the version Rachel Isadora illustrated (see the "nipples" and violence comments); or even for Disney's Little Golden Book adapted from the cartoon. I don't understand why reviews for other versions are displayed here; it's very misleading! If you like Sulamith Wulfing's art, you'll probably like this book.

The Little Mermaid. Illustrated by Sulamith Wulfing; text by Hans Christian Andersen. Translated from the German by Petra Michel.

Sulamith Wulfing is a fantastic artist whose work has been sold as books of plates, calendars, and even decks of cards. This book is special because it is one of the few times that her works illustrate a story. Each page has black and white line drawings and there are ten full page color plates. The color plates are the type of work for which the artist is most known and the ten in this book have been reprinted in her calendars and other collected works. The color is vibrant and the themes of each are sublime. The cover illustration is also the last illustration in the text and shows the mermaid transformed into The Immortal Soul.

An epilog called "The Sacrifice" written by the artist's son, Otto Schulze, states that a new translation of Andersen's story was used and that "parts of the story have been summarized." While staying true to Andersen's original plot, incidents and characters have been left out and parts of the story have been changed. These changes raise the story above being a children's fairy tale and highlight its allegorical theme about the role of love in the quest for immortality. The modified text and the mystical art go together excellently to make this the best rendering of this story I have ever seen. Originally published in German in 1953, this work is as vibrant today as when it was first conceived 50 years ago.

At the end of the book is a brief one page biography of the author with an early photograph of her and a self portrait painted in 1953.

I have read the customer reviews ofGrant's Atlas and Netter's Atlas of Anatomy and have noted that the reviewers of Netter's Atlas have often denigrated Grant's Atlas. This is an improper comparison. These two atlases, although they overlap, serve, and are intended to serve, different purposes. Netter's is a general atlas, more encyclopedic in scope than Grant's. Grant's atlas is aimed more at the beginning surgeon (there are much more detailed works on specific surgical anatomy) and the gross anatomy prosector, such as a first year medical student. In the anatomy laboratory, I think many students would find Grant more useful than Netter, particularly in its description of variants of normal. There were also. I believe, some unfair comparisons to Gray's Anatomy. Gray is not primarily an atlas (although the illustrations are usually excellent). It is a texbook, and of value because of its unsurpassed descriptions of anatomy. Most of my physician colleagues have all three. These three works do not compete with, but complement one another.

I'm a student of second year BMMD. Anatomy is one of the difficult subject but Grant's atlas of anatomy helps me learn and understand. This book shows clearly illustration.

Comparisons are often made between Netter's Atlas and Grant's. Both are highly useful in the laboratory and for at home study. However, Grant's is clearly superior in the completeness of its treatment of what is really useful knowledge for the professional student. This is quite evident in the treatment of the head and neck where views that make learning of these two regions well are present in Grant's but absent in Netter's. For example, the posterior pharyngeal region in Netter is very incompletely represented. Further, the inclusion of various radiological modalities, comprehensive treatment of all regions, presentation of anomalies and structe from several different views, and descriptions accompanying the figures in Grant's Atlas are superior virtually absent in Netter's Atlas. Although Netter's illustrations are as accurate as are Grant's, and are all works of art, they are often overlabeled and, above all, do not represent well what the student is going to see in cadaver dissection as does Grants. I think that another competitor of Grant's Atlas, the Rohen and Yokochi atlas, is also a good atlas, provided you don't suffer from astigmatism and have to deal with the white labels used in this atlas to identify structures. Like Grants, however, this atlas shows the cadaver as it really is in the laboratory.

Beware! If you love James or desire to discover him, this new edition of OUP's anthology is not the way to go. A previous and superb OUP edition was edited and annotated by Michael Cox. His fascinating comments are cued by asterisks that are liberally sprinkled throughout the text. In the current version, all the annotations are gone--but the asterisks remain! One can imagine how many readers must be scratching their heads over them. In place of Cox's excellent work, there is an innane introduction by the fashionable novelist Michael Chabon, who tells nothing of James's publications and incredibly little of his life (not even his dates), and explores only one of the stories, persistently misidentifying the protagonist, Parkins, as Parkes. You can't make this stuff up. What was OUP thinking? Why fix something that not only wasn't broken, but was something to be admired? I bought this volume as a gift--it's a handsome hardback--but plan on asking for a refund.

First, about M.R. James:

He is excellent! He is one of the best, most underappreciated voices in horror. Lovecraft admired him. His stories, though old, are quite scary. Also, they are very well written. As Chabon points out in his intro, Poe and Lovecraft weren't the best literary stylists. Most people cite "Oh, Whistle..." as James's best story, but I think I'll vote for "Count Magnus." Certainly all of them are good. More than that, they are REQUIRED reading for anyone who wants to have a basic understanding of horror literature. It is also a hell of a good read.

Second, this edition:

I was greatful to a previous reviewer for explaining the asterisks. There are asterisks without footnotes all over this book, as well as other Oxford University Press books (The Monk). Now we know that these are residue from a previous edition that HAD footnotes. Perhaps you might want to get that version.

However, I take great issue with the disparaging of Michael Chabon's essay on M.R. James. If you don't get the edition with his introduction, I recommend going to the bookstore and reading through it anyway. His comments are very illuminating on James and ghost stories in general.

The art of Dr. James is by no means haphazard, and in the preface to one of his collections he has formulated three very sound rules for
macabre composition. A ghost story, he believes, should have a familiar setting in the modern period, in order to approach closely the
reader's sphere of experience. Its spectral phenomena, moreover, should be malevolent rather than beneficent; since fear is the emotion
primarily to be excited. And finally, the technical patois of 'occultism' or pseudo-science ought carefully to be avoided; lest the charm of
casual verisimilitude be smothered in unconvincing pedantry.
-H.P. Lovecraft

Though less well remembered today than some other authors of Gothic ghost stories--like J. S. [John Sheridan] LeFanu, whose work he
edited, Bram Stoker, and Henry James (no relation), or their successors H.P. Lovecraft, Algernon Blackwood, and the like--M. R. James is
one of the great early horror writers. This story, which concerns a mysterious and unpleasant Mr. Karswell, who takes creepy exception to a
negative review of his book, The Truth of Alchemy, shows off James's talents to good effect, combining genuine scares with a droll wit.
But what makes this edition particularly appealing are the 12 splendid black-and-white drawings by Jeff White--an artist with whom I am not
familiar and about whom I could find nearly nothing on the Web--that accompany the text. This slender volume seems certain to get any
reader looking for more stories by Mr. James and more books illustrated by the estimable Mr. White

GRADE : A

Having lost a sister to breast cancer, and met Susan Moss at a book expo, I got the book and read it. I realize there is tremendous conflict surrounding this dreaded disease. Much of Susan's writing is from her experience and needs to be heard. She urges anyone to look at certain things, and to question their beliefs about cancer. I have always seen that people are either self-motivated and creative -- like an artist -- or receptive to current belief systems. If you cannot figure your way through, as Susan Moss did, the myriad of treatments out there, using her own common sense and experimentation, you are going to become a victim. She faced the foe, learned a lot from her experience and kicked cancer.
If people don't associate emotions with cellular health it is due to ignorance. All the latest research shows a direct correlation with emotional frequencies and physical well-being. Some of those who dislike this book seem to write with a lot of anger, even rage. I hope they lighten up.

This is the book I've been yearning for. As a holistic nurse practitioner, I am a strong advocate for keeping all body parts intact. Healing disease through change is such a gift to yourself. I've watched clients succumb to the fear driven medical profession with disastrous results. No breasts, no hair and no life. I have also witnessed women who decide to change with beautiful results. It is simply a change of mind, which as Susan Moss so eloquently writes, is never easy but oh so powerful. Thank you thank you and more thanks for the documentation of your journey to health. Love and respect, Patricia Kramer R.N.

I was diagnosed with breast cancer in my right breast in August 2002. Then I went to the Cancer Control Society's annual convention and met Susan Moss and got her book Keep your breasts. It and her motivated me to cancel a scheduled lumpectomy and take the alternative route. Now I am so glad I did, as the tumor is half the size and Dr. Privitera says it can very well only be a fibroid tumor at this point, as it is in the nature of cancer to grow and not shrink. If I had chosen the allopathic route I would be sitting here with a big dent in my chest and no hair or immune system to speak of, and instead I feel better and more alive than ever. If you have cancer, don't you want to do everything to support your body in the fight against it rather than tear it down until it eventually gives up? Please read this book!