This is the long awaited basic textbook for osteopathic medicine. It is surprisingly complete, covering philosophy, history, research, and manipulative techniques. The beginning osteopathic student may find it most useful for its practical discussion on the techniques--high velocity, myofascial release, etc. I believe it is also helpful in standardizing our terminology, which will make it easier when taking board exams or talking with colleagues from other osteopathic schools. It includes contributors well known within the osteopathic community, including Michael and William Kuchera, Melicien Tettambel, Eileen DiGiovanna, and many others. As a family practice resident I frequently turn to this textbook first when I want to know more about how to treat a patient or when preparing lectures for students and housestaff.

This text is actually required reading for most if not all osteopathic medical students. It is a 'textbook', however, and hence completely (sometimes exhaustively!) comprehensive. But it is easy to read so that anyone with an interest in OMT will get a methodic how-to for myriad techniques, also a thorough history of osteopathic medicine to boot! One of my OMT professors at the University of Health Sciences College of Osteopathic Medicine wrote or co-wrote a few of the chapters so of course, I think those are the best! If you are looking for an educational approach to learning manipulation and the reasons behind it, this is a valuable resouce.

Harriers are a rare breed in the US, this book gives you lots of information about the dogs and contains some beautiful photographs! It covers what the breed's history is, what they are like to live with, how to care for them, and demonstrates the dog's abilities with information about harrier packs, agility, obedience, and therapy work. There is also information about the harrier's health concerns and what to look for when you purchase a harrier puppy. If you are thinking about a harrier, you NEED this book!

John Jones has previously written on Keats (and Embarrassment) on Wordsworth (The Egotistical Sublime) and on Dostoyevsky (Dostoyevsky). He is probably one of the two or three best critics writing in English at present. At one stage of his career he worked in naval intelligence, at another in the law: traces of both disciplines lurk in his approach. He specialises in a kind of poetic-cum-forensic close-reading of text which stays with you long after you have closed the book. All of his books fall into the category of: "If you only read one book on X, read this."

Shakespeare is big game for Jones, the biggest. Most critics give up when they get to Shakespeare. Borges famously suggested Shakespeare in some crucial sense lacked identity. "I am not what I am," as he makes Iago say. It was the Argentinian's explanation for the mystery of how one person could create so many characters. As they used to say about Clapton, Shakespeare was God.

Jones doesn't cop out so easily. He tracks Shakespeare by his spoor, so to speak. The highlight of the book is the chapter where he looks at "Hand D" - a crowd scene in the fragmentary manuscript play "The Boke of Thomas More", echoes the convincing argument that it is by Shakespeare and persuades the reader that it is in many senses deeply revelatory of who Shakespeare was, or at least, how he worked (hence the title). The passage about "watery parsnips" is a gem. It's the most useful work about Shakespeare to be published in many years.

The price is prohibitive, I know, but get your library to order it!

This is a wonderful collection of poetry readings by some of the best actors in the world. If you allow yourself only one tape of poetry, I would recommend this one. The rendition of Lawrence's "The Snake" is spellbining, and the reading of Macneil's "A Death in the Family" is quietlly gut-wrenching. And you will be surprised how well Bill Shatner recites about whales. Buy this tape, and you will listen to it again and again.

Biographical essays of well-known as well as fairly obscure musicians and industry types. Escott has made a career out of telling outrageous, sometimes salacious, tales -- he gets to the rawer, visceral side of the story pretty quickly, which is relatively easy when you're talking to folks who worked in the scraggly, scruffy early years of country, rock and blues. He's an engaging, consersational writer, and this latest collection is a delight. Includes essays on artists such as Dale Hawkins, Don Everly, Johnny Horton, Tim Hardin and a particularly cruel skewering of Pat Boone. In one of the most fascinating sections, Escott profiles the founders of record labels such as Decca, King, Starday and Hi -- a fascinating and very illuminating appoach to presenting the history of popular music. Beautifully laid out, well written and highly recommended.

This groundbreaking work offers the reader insight to the world of Stax in the sixties and seventies. It allows the reader to understand the forces behind the ascension and eventual decline of one of the greatest recording labels in the history of modern music. In the course of absorbing this wonderful book, the humble reader is able to gain an understanding of the societal, cultural, and racial catalysts for the music produced. In the latter part of the book, the reader sees the painful decline of Stax from their pinnacle to their nadir in the course of only a few short years.

Extremely highly recommended -- the best musical history book I have read.

Also recommended: The Complete Stax/Volt Singles, Volumes I, II, and III (box sets with excellent liner notes by Rob Bowman)

Also -- It Came from Memphis' for a good background on the lesser known, but nonetheless important musicians who originated in Memphis.

This Book was all that.Staxx is as Important as Motown.It's a Incredible Story.especially when A Black Label Blows up Down South in the 60's.you only ever here about Sun Records &Sam Phillips and his discovery of Elvis Presley.so this is Very Important on a Social Front.The Many Great Artists on Staxx.this Book is strong from start to Finish.

Shakespeare's play, "Othello" is usually recognized as one of his "great" tragedy's (with Hamlet, King Lear, and Macbeth). It certainly has a quite exciting plot and great poetry. If you have not yet had an oportunity to read this great work, I recomend it strongly. It is still an intelligent treatment of race, family and civic duty, and sex. It also has one of the most interesting bad guys around - Iago.

I read it in the Arden edition, edited by Honigmann. Honigmann argues that Othello has a strong claim at being Shakespeare's greatest tragedy and makes a strong case for the work. He has a good introduction that gives a quite balanced and clear overview on many topics regarding this play, from the "double" time method Shakespeare uses, overviews of the various characters, as well as a the stage history. Amazingly, he can be remarkably balanced, even when he is talking about his own views. While he is a decent writer, Shakespeare is better... In the text itself, he gives quite ample footnotes to help explain the language, why he picked particular readings, as well as where themes came from...

Like all scholarly Shakespeare editions, the notes are in danger of overloading the text. This reader, however, recognizes the distance between myself and Shakespeare and so I find it comforting to be able to look at the notes when I have questions. At times his "longer notes" were awkward, but there is no easy way to handle this amount of material.

Othello relects the true meaning of a tragedy both in its content and its structure.Tragedy is 'a story of exceptional calamity produced by human actions, leading to the death of a man in high estate.'The downfall of Othello is caused by his own actions, rather than by his character, or rather the two work in unison to create the stage for his downfall.
This is what captured my attention when I read this play.It is very profound to realize the fact that Shakespeare uses Iago to set this stage on which Othello is a mere player.
I love the character of Iago. His total confidence, the superiority that he feels when psychoanalysing human nature, his rational thinking and intellectualism sways the reader to think: 'Wow, this is a compelling and sophisticated man we're dealing with here!'
However, my admiration of Iago does not in anyway undermine my love of Othello. His poetic and calm demeanor makes the reader feel the pity and terror for him when he falls from grace (catharsis). Yet, we are made to understand that the reason why he is made to appear a gullible and ignorant fool to some readers is that he does not have any knowledge of a delicate, domesticated life. Venetian women were foreign to him. This tragic flaw in Othello added to the circumstances used by Iago to destroy him.
The meaning, and hence the tragedy of the play is conveyed through the use of Shakespeare's language, style, literary devices and imagery. Without these dramatic effects, readers would never be able to enjoy the play as much, although the dialogue is at times difficult to decipher.
I thoroughly enjoyed Othello and it is my hope that more people find it enticing as I have. I would be delighted to contribute more of my reviews to that effect.

As a play, "Othello" encompasses many things but more than anything else it is a study of pure evil. Although Othello is an accomplished professional soldier and a hero of sorts, he is also a minority and an outcast in many ways. As a Black man and a Moor (which means he's a Moslem), Othello has at least two qualities, which make him stand out in the Elizabethan world. He is also married to a Caucasian woman named Desdemona, which creates an undercurrent of hostility as evidenced by the derogatory remark "the ram hath topped the ewe".

Othello's problems begin when he promotes one of his soldiers, Michael Cassio as his lieutenant. This arouses the jealousy and hatred of one of his other soldiers, Iago who hatches a plot to destroy Othello and Michael Cassio. When Cassio injures an opponent in a fight he is rebuked, punished, and subsequently ignored by Othello who must discipline him and teach him a lesson. Iago convinces Desdemona to intervene on Cassio's behalf and then begins to convince Othello that Desdemona is in love with Cassio.

This is actually one of the most difficult Shakespeare plays to watch because the audience sees the plot begin to unfold and is tormented by Othello's gradual decent into Iago's trap. As with other Shakespeare plays, the critical components of this one are revealed by language. When Othello is eventually convinced of Cassio's treachery, he condemns him and promotes Iago in his place. When Othello tells Iago that he has made him his lieutenant, Iago responds with the chilling line, "I am thine forever". To Othello this is a simple affirmation of loyalty, but to the audience, this phrase contains a double meaning. With these words, Iago indicates that the promotion does not provide him with sufficient satisfaction and that he will continue to torment and destroy Othello. It is his murderous intentions, not his loyal service that will be with Othello forever.

Iago's promotion provides him with closer proximity to Othello and provides him with more of his victim's trust. From here Iago is easily able to persuade Othello of Desdemona's purported infidelity. Soon Othello begins to confront Desdemona who naturally protests her innocence. In another revealing statement, Othello demands that Desdemona give him "the ocular proof". Like Iago's earlier statement, this one contains a double meaning that is not apparent to the recipient but that is very clear to the audience who understands the true origin of Othello's jealousy. Othello's jealousy is an invisible enemy and it is also based on events that never took place. How can Desdemona give Othello visual evidence of her innocence if her guilt is predicated on accusations that have no true shape or form? She can't. Othello is asking Desdemona to do the impossible, which means that her subsequent murder is only a matter of course.

I know that to a lot of young people this play must seem dreadfully boring and meaningless. One thing you can keep in mind is that the audience in Shakespeare's time did not have the benefit of cool things such as movies, and videos. The downside of this is that Shakespeare's plays are not visually stimulating to an audience accustomed to today's entertainment media. But the upside is that since Shakespeare had to tell a complex story with simple tools, he relied heavily on an imaginative use of language and symbols. Think of what it meant to an all White audience in a very prejudiced time to have a Black man at the center of a play. That character really stood out-almost like an island. He was vulnerable and exposed to attitudes that he could not perceive directly but which he must have sensed in some way.

Shakespeare set this play in two locations, Italy and Cypress. To an Elizabethan audience, Italy represented an exotic place that was the crossroads of many different civilizations. It was the one place where a Black man could conceivably hold a position of authority. Remember that Othello is a mercenary leader. He doesn't command a standing army and doesn't belong to any country. He is referred to as "the Moor" which means he could be from any part of the Arab world from Southern Spain to Indonesia. He has no institutional or national identity but is almost referred to as a phenomenon. (For all the criticism he has received in this department, Shakespeare was extrordinarlily attuned to racism and in this sense he was well ahead of his time.) Othello's subsequent commission as the Military Governor of Cypress dispatches him to an even more remote and isolated location. The man who stands out like an island is sent to an island. His exposure and vulnerability are doubled just as a jealous and murderous psychopath decides to destroy him.

Iago is probably the only one of Shakespeare's villains who is evil in a clinical sense rather than a human one. In Kind Lear, Edmund the bastard hatches a murderous plot out of jealousy that is similar to Iago's. But unlike Iago, he expresses remorse and attempts some form of restitution at the end of the play. In the Histories, characters like Richard III behave in a murderous fashion, but within the extreme, political environment in which they operate, we can understand their motives even if we don't agree with them. Iago, however, is a different animal. His motives are understandable up to the point in which he destroys Michael Cassio but then they spin off into an inexplicable orbit of their own. Some have suggested that Iago is sexually attracted to Othello, which (if its true) adds another meaning to the phrase "I am thine forever". But even if we buy the argument that Iago is a murderous homosexual, this still doesn't explain why he must destroy Othello. Oscar Wilde once wrote very beautifully of the destructive impact a person can willfully or unwittingly have on a lover ("for each man kills the things he loves") but this is not born out in the play. Instead, Shakespeare introduces us to a new literary character-a person motivated by inexplicable evil that is an entity in itself. One of the great ironies of this play is that Othello is a character of tragically visible proportions while Iago is one with lethally invisible ones.

I first read this book some seven years ago as a text for a class intended to help graduating students prepare themselves for the world of work. Interestingly one of those graduates was intending to work in a start up business with digital cameras which he believed would emerge as the dominant force in the picture business. Probably telling the future is not a good business to be in.

Here in Northern New Jersey everyone knew, and still knows, all about downsizing and organizational flattening and outsourcing. Since the collapse of the tech-bubble, many of those independent contractors are now looking for work and escaping the computer field alltogether in the face of falling wage rates, excess supply and new entrants from college who expect a lot less!

Revisiting this book gives one the opportunity to rexamine it's claims and, not surprisingly, finds them lacking. To be fair, much of what the originator describes has come to pass but not in the way that he suggests.

The main lesson that I come away with from this book is that markets are so powerful that the competitive environment determines the shape of the organization. Obviously, some would say but this is only half of the story. Combine the power of markets which is, after all, only the result of individuals exercising choices, with a proactive government and you get a pretty unstoppable force. If the dollar is high then imports are [inexpensive] as compared to domestic goods which puts intense competitive pressure on companies who then must cut costs. Add to the mix a policy of a free trade area as NAFTA and a competitive labor market and there is even more pressure on costs. Finally have a boyant stock market and increased wealth and you have lots of venture capital looking for profit. The result, falling unemployment with little inflation and downward intense pressure on costs leading to more business. The picture is muddied somewhat by rising benefits costs but they become a force against rising costs too,

What I am describing is the pressure on business to focus on their core activities and float off internal activities which can be done by service companies contracted for the purpose. Wage bill too high - make workers contractors who then have to pay for their own benefits or better still get the states to introduce basic minimum health care schemes.

This nirvana of the dejobbed economy never really existed. Sure there are more small businesses and self-employed, sure there is more flexibility among the workforce but there is also compulsion, workfare, for the unemployed as well as the requirement for many families to work two, three or more jobs to make ends meet.

Hayek the Nobel prizewinner foresaw the person described in this book many years ago as did his mentor Mises. To be successful they argued the individual must market themselves as a self-entrepreneur. Very true.

This book is an excellent description of a possible future in the light of developments in business at the time. The author is to be commended for the clarity of his thought and exposition. However, he ignores the bigger picture and the implications of a global economy and powerful, interventionist governments. Perhaps he would like to write an update to this book in the light of the events of the last seven years.

The book argues that fewer people have jobs and more people are working in less traditional arrangements such as temporary work, consulting, and micro businesses. The book recommends that you assess your desires, abilities, temperament, and assests, and it suggests managing your self like a company.

This review was written as part of the Annotated Bibliography of Learning A Living; A Guide to Planning Your Career and Finding a Job for People with Learning Disabilities, Attention Deficit Disorder, and Dyslexia

In the era of downsizing and mergers, one hears far too many people bewailing what we've "lost": job security, well-defined career paths, companies that feel responsible for the people who work for them, employee loyalty. Bridges offers a more positive perspective: "work" as we conceive of it was an artifact of the Industrial Revolution, with its view of workers as cogs in a machine; and, as that rigid structure gradually disappears, so will our present concept of "jobs" and "careers."
This was one of the first ripples in what has become a massive wave of books on the changing business world, including recent examples like "Blur" -- but it's refreshing, easy to read, and can change your whole view of what "work" entails. I think it's especially important for young people still in school to read it: don't waste your efforts preparing for a traditional "career" that may not be there five years after you graduate; focus on developing your talents, your skills, and your entrepreneurial spirit instead, because those are what will be worth the most to you in the future.

This book is the single most thorough anesthesia book available for veterinary medicine. It covers specifics for almost every single species, including exotics and zoo species. It is quite wordy and not a brief reference if you just want a "quick fix" answer, but the explanations are excellent and this is THE resource to reach for with anesthesia questions...

Too detailed for the lay reader or the clinician looking for quick recommendations.

Excellent review coverage of pain, analgesia, monitoring, and anesthesia in general.

Detailed coverage of agent classes and anesthetic considerations by species.

I have many anesthesia books (both veterinary and human) on my shelf - but none better.

I GOT A LOT OUT OF THIS BOOK

This text provides a quick, concise review of the pimary topics covered on emergency medicine exams. I found it to be a good way to prepare for inservice exams and the written boards.