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.

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.

Home Cooking With Amy Coleman features a collection of recipes drawn from some of today's hottest cookbook authors and food experts. A companion book to the public television series "Home Cooking", Amy Coleman showcases her guests' favorite recipes including starters, side dishes, soups, salads, small dishes, main dishes, and deserts. From Marinated Goat Cheese with Garlic Basil and Orange Zest, Tuscan Creamy Sweet Pepper Soup, and Butterflied Chicken Under Bricks, to Potatoes Baked in Milk and Cream, Grilled Peaches with Fresh Cherry Sauce, and Chocolate Malt Ice Cream, Home Cooking With Amy Coleman is a treat for the eye with its color photography throughout and a welcome, culinarily diverse addition to any personal cookbook collection.

Prelude to a Holocaust

The Nuremberg Laws Institutionalized Anti-Semitism by Amy Newman

San Diego-based writer Amy Newman has written a chillingly lucid and terrifying yet factual textbook for teenagers about Nazi Germany's anti-Jewish Nuremberg Laws of the mid-1930s. Don't be fooled by the cover photograph of the well-known post-war Nuremberg Trials, which is not the subject of her book. The lesser-known Nuremberg Laws were a direct precursor to one of this century's greatest catastrophes: the Shoah, the cold-blooded mass killing of European Jewry.

Newman's book is part of a series of textbooks published by Lucent called "Words That Changed History." Other volumes in the series include The Declaration of Independence, The Emancipation Proclamation and The U.S. Constitution. Strangely, The Nuremberg Laws offers an antithesis to those immortal documents, each of which was created to uplift the spirit and dignity of man. In fact, these pitiless, racist laws had the exact opposite intention: to degrade the spirit and dignity of the Jews. But of course their effect was far more destructive than even their drafters could have anticipated, leading directly to the Holocaust, and ultimately to the utter defeat of Hitler's Third Reich.

In a handful of spare and elegantly written pages, Newman leads the reader through the long history of the Jews in Europe, as well as the dark and evil story of the vicious anti-semitism that has followed and threatened them for 17 centuries. Reading her clear description of the sequence of events that led inexorably to the Holocaust, Newman's audience will agree with her thesis that intolerance is at the core of the great convulsions of history. In particular, judging by these laws and their effect, Newman believes that racism, a common mental illness still far from eradicated, is the engine of genocide. It is impossible to disagree.

Strangely, I read this book in the aftermath of the carnage in Littleton, Colorado, and kept seeing parallels to the murders there. I couldn't help thinking that, had this little gem of a book been required reading at Columbine High, then perhaps that horror might have been averted. You should read this book and judge for yourself.

As one of the poets featured in Will Work for Peace, one might expect me to be a bit biased, but nothing could be farther from the truth. Most poets work in a virtual vacuum, only tenuously connected to each other by the occasional workshop or shared membership in a 'poetry society'. When Brett Axel first approached me for a submission to an anthology he was considering, the names Marge Piercy, Lyn Lifshin, Moshe Bennaroch and so many others were abstractions to me as a fledgling poet. I knew these tremendous writers were 'out there' somewhere, beating down doors with their words and keeping a struggling artform alive. But to think that someday I would ever share a credit with these dynamic modern poets would be a pipe dream at best. It is through the sincere efforts of Brett Axel that many newer voices like mine have an extraordinary opportunity to appear with Pulitzer Prize winners and other poetic heavyweights. By way of an honest review, however, I will say this- not everything in this book will be to your particular liking. I myself came across some works that did not move me in the way the author may have intended. Some imagery can be raw and visceral, using shock value in place of craft at times. But to ignore those voices would be an even more shocking turn of events, so praise be to the editor for not sacrificing his vision to a senseless conformity. As Pete Seeger so aptly put it in his quote, trying to read all these poems at one time would be like trying 'to swallow Manhattan whole'. I say to you- buy this book, read this book, but understand that it's what you do after reading this book that will ultimately define who you could be. Poetry is alive and well, and lives in the blunt pages of Will Work for Peace.

Just amazing start to finish! I like the disregard for fame used in putting the book together. That great poems got in even if they were writtenby nobodys. Look at Roger Bonair-Agard's poem on page 74. Shortly after Will Work For Peace came out he won Slam Nationals, becoming Slam Champion of 1999, which will be getting him lots of offers. But Zeropanik Press didn't need to be told he was good by an award. They could tell by his writing! Good for them and good for all of us because Will Work For Peace is a literary milestone. It's a new standard for all future anthology editors to try to live up to. Thumbs up to Brett Axel and Thumbs up to Zeropanik Press for their guts and integrty.

Brett Axel visited my Church and I bought a copy of Will Work For Peace from him, not for poetry, but because I care about working for peace. I started reading through it thinking It'd just go on my shelf and that'd be the end of it, but the book grabbed me and kept me rivited. If I had known that poetry was this alive I'd have been into poetry. I've been reading some of the poems to my friends who also didn't think poetry was important and they are saying the same thing. Fantastic! There's no way to get through this book without having your old mindsets challenged. It's funny, powerful, sad, and uplifting. A book that deserves to be read by everyone. A book that really can make the world a better place!

The information presented is fairly easy to understand, interesting, and seems to be thorough. So what's the problem? I have to say, I would absolutely love the textbook and its corresponding workbook if it wasn't for one truely frustrating aspect - there are way too many errors. It's incredible! Here's an example - a question regarding roman numeral conversions (pg 38 wkbk)- what is 14 in roman numerals? well, anybody who's gone through grade school could tell you it's XIV - the answer key tells you it's CIV (104!!). How about this one (pg 85 txt) - convert 1mg to g: ok, i'm thinking - DUH - .001g - correct answer, according to the answer key is .011g -- Now, this is not quite a big deal when it's very easy to tell the book is wrong (yet, again) - but then, when you get into more difficult calculations and you can't trust the answer key, it becomes very frustrating. When you take into account the fact that you've spent over $60 for the text and workbook and you can't count on the information to be correct it becomes enraging. There are also a plethora of idiotic typos to furthur insult you for sending these people your money. Example (pg 108 txt) convert 120 mcg to mg - answer according to the key: 120 mcg = 0.12 mcg - that's 0.12 MCG not MG. Or, how about his - convert 50% to a decimal. Answer according to the key: 50/100. Now, the last time I checked that was something called a fraction - a decimal looked more like this: .50 - This isn't even the tip of the iceberg. I just have one question for Morton Publishing Co...Do you guys happen to employ anyone there called an EDITOR? I just hope to God you all don't have anything to do with the answer keys the PTCB is holding in their possession. If you do, I quit now.

If you have never worked in a pharmacy before and want to pass the pharmacy technnician certification exam, then you need more than just a certification review book. You will also need a textbook that explains comprehensively pharmacy laws and the operating procedures of a typical pharmacy. Because it isn't a certification review, be aware that it doesn't have enough practice problems. Overall, it is an excellent textbook to use with a workbook.

This wonderful book combines text and visuals to provide the most complete Pharmacy Technician book ever written. The authors of this book have done an outstanding job in bringing us an easy to read, easy to understand book on this subject. Take it from me a Pharmacy Technician student if you buy only one book BUY THIS ONE !!

All you get is a three page article being the first one an introduction and the rest a poorly explained example too specific to be usefull.