I share the thoughts of the previous reviewers regarding this beautiful book regarding a remarkable boy and his parents. I would recommend this book to anyone, regardless whether their immediate family has been touched by CP or not. The book appears to be written in a simple style to make it easy for the reader to get the most out of it in the least amount of time. I am CEO of a multi-county social services organization and my staff and I loved this book....

I just could not put this book down--a comment that's become almost a cliché but is so absolutely true in this instance. My feelings, on reading this book, just about ran amuck--sharing sadness, joy, expectation, release. I particularly love the way the author, while giving information for other parents finding themselves in the same position, has written a book of general interest. And that's mighty difficult, in most instances impossible, to do. My congratulations and thanks to Marie Kennedy!

Marie Kennedy's story of her son's coping with Cerebral Palsy is one of hope, strength, love, encouragement and most certainly courage. I couldn't help but feel connected as I read the book. I was deeply touched by each and every triumph they went through that most of us take for granted. I would recommend this book for anyone whether or not they have children who have similar situations. Anyone who does read this story will come away a stronger person for having done so.

This book is a wonderful story. It tells the tale of a brave rescue and an everlasting friendship.
The friendship is between two unlikely companions, between a large brave newfoundland dog and a tiny abandoned white kitten. It is the time they spend together living in a deserted cottage through all kinds of weather conditions The pictures depict the fondness,the two had for each other.

I bought "Newf" for my kids, (and because we are Newfie owners) and kept it after they outgrew it. The only characters in the story are the huge gentle dog which arrives mysteriously from the sea, and the orphan kitten it finds and adopts. "Newf" is an engaging tale of how the dog watches over the kitten, and rescues it when it gets onto danger. Appealing illustrations, and a warm, reassuring story, especially for younger children.

The author's choice of words paints a picture as beautiful as the illustrator does with paint. This is a wonderful example for children on how to use discriptive words to paint a picture for the reader. The story stands alone with its characters and plot, but with the illustrations it becomes a treasure to cherish.

I own a pretty good collection of Napoleonic uniform books including Eltings, Lachouque, Bucquoy, and Funckens just to name a few. Some of these volumes are hundreds of dollars. Andre Jouneau and Jean-Marie Mongin have come up with tremendous uniform books at an extremely low cost. ...It has hundreds of images of the Old Guard, Young Guard, Grenadiers, Chasseurs, and all the major units of The Imperial Guard. It has good color detail and is a great book for people interested in this period. Although I am not a miniature painter I do not think that you could find a better book to illustrate detail in order to paint miniatures. The images in this book are computer generated which can have its pluses and minuses. On the minus side this means that the faces on the images are all pretty much the same and the poses are nearly identical. On the plus side you get numerous images with detail. Overall I enjoy these books more than any other series including Osprey simply becasue of the huge variety of uniforms included. I hope they continue with this series as anticipated. Future works are supposed to be 2 volumes on Napoleonic Hussars. I would pick them up as well. If you have any interest in Napoleonic uniforms do not hesitate to buy these books.

Here's a book that shows practically all aspects of the uniforms of the Guard (foot). Examples of service stripes, NCO rank, shako/bearskin cords, flags, and other accouterments/regalia are clearly illustrated. This is a pure reference book for the "uniformologist." That's why I am very well pleased with it. Easily worth it's price several times over. Can't wait to get the Guard Cavalry one. Also, this is one of the few books I've seen with easy to follow organization charts that help explain the Guard units' composition, history, etc.

This is an excellent introduction to the troupes a pied of Napoleon's Imperial Guard. It is not meant as a definitive study, but it does cover the foot troops (infantry, artillery, supporting services, pupilles) of the Guard quite thoroughly. Using computer generated graphics that appear in the books of FG Hourtoulle and produced by Histoire et Collections, it is an astonishing achievement in the presentation of the myriad regiments that made up the Guard at its height.

It has a few minor errors on the first go round, such as not giving the Fusiliers-Grenadiers queue's like the Old Guard infantry, which the regiment earned for valiant service. however, the overall impact of the volume more than makes up for it.

The references used include Rousselot, Rigo, and Michel Petard, all quite reliable and the booklet is logically laid out. I thoroughly enjoyed this volume and will use it often as a quick reference. I bought it sight unseen, taking a gamble and this time came out on the winning end. This volume is highly recommended and it is also recommended that it be used with John Elting's superb Napoleonic Uniforms, Volume II, as well as any and all Rousselot plates you can get your hands on. This booklet will be especially useful for wargamers and figure painters and it is highly recommended.

There will be a second volume on mounted troops.

Even though it lacks the details of bigger books such as Udi Levy's "The Lost Civilization of Petra" (a hardback book), it doesn't mean it lacks details altogether! I found this book to be a great source of information while I was travelling since it is small and stocked full of info on Petra, the Nabateans, and more.

This book is loaded with colorful well-photographed pictures and lithographs, and lively-written text which makes reading it a breeze. I fit this book in my back pocket while in Petra and pulled it out to get details on things like the great cisterns and the waterway through the main siq. The section at the end of the book on modern plans to try and preserve Petra's vulnerable sandstone is very interesting... Electophoresis?!?! Wow!

The book wraps up everything with a chronology at the end and a list of Nabataea's kings. A very enjoyable and informative read considering its small size... Big things do come in small packages!

Semitic name, Reqem or Raqmu, is said to mean 'striped,' or 'multicolored,' a reference to the extraodinary range of colors of its sandstone. Monuments carved into living rock may seem indesructible, yet the site is threatened by natural erosion nd by the neglect of centuries. Today, remedies are being explored to halt this deterioration."(Page 114). What a way to complete the most detailed history of Petra, by indicating the preservation needed to protect Petra for posterity.
Putting the "cart before the horse" I just have to marvel (before I neglect to mention) that this book includes a helpful chronology of events at the very back of the book.
"Petra...the name is said to come from the Greek word for stone, or rock, since the city itself was hollowed out of the rock. But it may just as well have come from the Arabic batara, meaning to cut or hew, since the city was actually carved from rock... perhaps this is even the better etymology, since this was a place cut off from the rest of the world. --Nabil Naoum, Le Chateau de la princesse (The Castle of the Princes), from Petra: Le Dit des pierres (Petra: The Stones Speak), edited by Phillippe Cardinal, 1993."(Page 96.)
The book begins with Petra emerging from obscurity with the first archaeological missions. The book comprises the history of Petras peoples; lengthy revelations of The Nabataeans (and their other cities, too); "location, location, location!"; part of the caravan route and its participation in international trade; nomadic to stationary living; city planning; housing; temples, sanctuaries; and anatomy of forms of architecture. "It is Petra's funerary architecture, most famous in its rock-hewn form, that best reflects this dual cultural identity, Eastern and Hellenistic. Interest has focused on the facades that mark the entry to a funerary chamber excavated directly into the rock. These can be understood as a monumental form of the nefesh, an erect stele that indicates the presence of a deceased, just as a baetyl indicates the presence of a divinity. The facade shows the importance of the deceased and of his or her family..."(Page 84). Such rich architectural fetes are revealed to us within the framework of this work! Do take time to study the water system of Petra.
"...due to a series of earthquakes, especially one in the 8th century, construction seems to have come to a halt there earlier than it did in regions farther to the north. We know little about Petra between the 7th and 10th centuries. By the Middle Ages, it may have been virtually deserted. We know that in the 12th century, one of the Crusader kings of Jerusalem, Baldwin I or II, built a castle at al-Wu'eira, in the Valley of Moses. Few medieval documents refer to the city, but a confused memory of its ancient rank as the capital of a far-reaching kingdom livd on. Oddly, traces of its old Aramaic and Babataean name, Arken or Reqem, meaning 'the Multi-colored,' survived. In 1217, a German pilgrim named Thetmar passed very close to a place he called 'Archim, formerly the metropolis of the Arabs.' The Arab chronicler Numeiri (1279-1332) gives a short description of the site as it was when the Mamluk Sultan Baybars I of Egypt and Syria saw it is 1276. He mentions the tomb of Aaron, the ruins of a fort, and the 'marvelous' ornate houses cut into the cliffs, but he does not name it. Neither writer says anything of its inhabitants. The Nabataeans themselves, and the Greco-Latin name Petra, remained lost until the rediscovery of the city by the first Western travelers of the 19th century. The enthusiasm aroused by this discovery has not faded, and the work of exploration and recovery is nowhere near to being finished. Nearly two hundred years of research, in fact, have raised more questions than answers. New avenues of investigation emerge daily. Most of the city still remains to be excavated and the civilization of Nabatea finally revealed." (Page 94-95).
Thank goodness the Jordanian people have someone like Queen Noor who can appreciate the importance of Petra, who as a patron of architecture, thanks to her background in this field, is a proponent to its preservation.
The staff of The Harry N. Abrams, Inc., publishing house have created a masterpiece in "Petra: lost city of the ancient world." The many books I have read with regard to Biblical architecture/archaeology, have seriously been lacking good arial photography, and the people at Abrams certainly satisfied my ravenousness desire for pictures of Petra!

This book has been done in a style similar to a National Geographic magazine. It combines a history of the city and its excavations with exquisite photographs and drawings. This book was well researched and does an excellent job describing the ancient city which was carved entirely out of the cliffs which make Petra unique. I reccomend this book to anyone who has an interest in the history of the Fertile Crescent, Jordan, archaelogy, or the 7 wonders of the ancient world (This book asserts that Petra is considered to be an eighth wonder).

Some said that PIETER BRUEGEL THE ELDER, who started as a landscape painter, swallowed and then spat the Alps onto canvases and panels calling up Italian mountainous landscape masters Giulio Campagnola and Titian. In fact, he played out about 80 real "Children's games" in the Italian city view style of Piero della Francesca and of the woodcut-illustrated works of Sebastiano Serlio. But earlier Netherlandish school influences were in Flemish landscape painter Joachim Patinir-type bird's-eye detailed never-never land mapping of "Landscape with Christ appearing to the apostles at the sea of Tiberias," "The flight into Egypt," and "The parable of the sower"; and later in Herri met de Bles-type "Procession of Calvary," as his largest picture, "Sermon of St John the Baptist," and "Suicide of Saul" in all its Albrecht Altdorfer-type impressionistic brilliance, as forerunners along with the brilliantly yellow "Harvesters" and the three "Haymaking" women to Peter Paul Rubens. "The adoration of the kings," as his first large-figure and only upright-formatted picture, was one of two Italian-influenced paintings, with altarpiece-type proportions, Masaccio-type Moor, late Quattrocento-type bending and kneeling kings, and Michelangelo-type upper body for the Christ Child against balanced interweaving of strong and subdued reds, pink, green, dun, chamois, and black. The other was the one work that he kept with him until death, his small picture of Christ with Raphael-type pivotally placed adulteress, as one of his most copied paintings along with "Winter landscape with a bird trap," in a mature, rare grisaille with brown touchings and gray shades, and with his favorite theme of humility and tolerance. His only mythological "Landscape with the fall of Icarus" had its ploughman doing business as usual, thereby acting out the German proverb of no plough stopping for the sake of a dying man. Elsewhere, subtly color-schemed figures and spaces pioneered applying Hugo van der Goes-type stupid staring to bug-eyed, senselessly frenzied human automatons in "Parable of the blind" and bringing together in one artwork about 100 "Proverbs." He foreran Michelangelo Merisi da Caravaggio and Rembrandt in daringly artificial light effects for great spiritual depth with the brightly illuminated head of St John the Evangelist asleep and the supernaturally lighted Virgin Mary dying uncustomarily surrounded by patriarchs, martyrs, holy virgins, and confessors. The later bareboned getting across attitudes and moods by key body language, as in "The big fish eating the little fish," and by untraditional symbols, as in gluttonously round bulks of bellies and trees in "The land of Cockaigne," took the place of his earliest image- and motif-crowded works, as in the Botticelli-type Calumny with the King and his advisors, Ignorance and Suspicion, for his print series on "Vices" and in the Hieronymus Bosch-type grotesque animal and human combinations of fantasies running wild, with the "Christ in limbo" and "Last judgment" drawings and with the many-hued, -shaded, -textured, and -tinted "Fall of the rebel angels," "Mad Meg," and "Triumph of death" paintings. Throughout, his art drew on a mastery of color, from the wintry crisp, subdued black, brown, gray and white "Hunters in the snow" to the delicately dun, gray, mauve and subdued green "Misanthrope" and the pointillistically fresh-leafed "Landscape with the magpie on the gallows." So author Wolfgang Stechow leaves readers on good terms with the 16th-century Flemish artist's hugely productive career and scantily documented life. His clearly written and helpfully illustrated book works well with HIERONYMUS BOSCH by Jos Koldeweij et al, SEBASTIANO SERLIO ON ARCHITECTURE, SERLIO ON DOMESTIC ARCHITECTURE, and ALBRECHT ALTDORFER AND THE ORIGINS OF LANDSCAPE by Christopher S Wood.

Pieter Bruegel The Elder must have been a very interesting fellow. I would have liked to have known him. This lovely book lets you enter the strange world of Bruegel, overflowing with the reality of the 16th century Netherlands mixed (in the same painting) with biblical and classical scenes! To the modern eye and mind these are very disconcerting combinations! You have the Tower Of Babel being constructed next to a waterway which contains European sailing ships, while off in the distance you can see the houses of Antwerp. You have Icarus falling into the sea while a 16th century farmer walks by with his ox and while another man fishes nearby, both seemingly oblivious to the fate of the poor man. Bruegel's paintings, most of which were done on wood panel, are full of many different people doing many different things. You get a sense of hustle and bustle and life. Oftimes the people are odd-looking and have strange physiques. Children are indistinguishable from adults. Visual puns abound. Men at a wedding dance have outrageously bulging codpieces; bare buttocks are sometimes visible through windows. Other paintings contain moral lessons and are full of horrible demons or skeletons rampaging through the countryside like some awful supernatural army, raping and murdering. Still other paintings are of idyllic scenes, such as maidens walking through the countryside at harvest time or children playing games on the ice during winter. Bruegel was a master of color and the harvest scenes glow with golden yellow and the winter scenes chill you with whites and subtle greys and leaden skies. Taschen has done it again with another fine book with excellent commentary and high quality reproductions. The paintings of Bruegel are full of humor and horror and beauty and ugliness and sometimes so much is going on you can't digest it all at one time. The paintings of Bruegel are full of life.

TASCHEN Basic Series has done it again. Don't judge a book by its softcover: this stunning, simple but expertly designed book is one of the best buys you will ever get a kick out of. I love the way the book gives us a full reproduction then zoom in on the details with paragraphs of text discussing it. It has none of DK Art Book Series' awkward box-and-lines overcrowding the pages. Unlike the skimpy-on-text Phaidon Colour Library series, Taschen proves you can strike a great balance between text and visuals. The double-page spread of THE SUICIDE OF SAUL and THE FALL OF THE REBEL ANGELS are especially astounding in their details. There is a nifty 2-page pictorial guide to THE NETHERLANDS PROVERBS identifying 118 proverbs, and 4 detail panels for the amazing THE TOWER OF BABEL. Handsomely produced and extremely affordable, this Taschen book is a great introductory package all around.

Jeanne Marie Beaumont's Placebo Effects is one of the best books of poems I have read in recent years. Beaumont's work is intelligent, experimental, playful, and always satisfying. She is a poet to watch. I predict that we'll be hearing much more about her in the future.

It is rare to come upon a contemporary collection of poetry, let alone a first book, that is as intelligent, exquisitely crafted, and profoundly moving as Placebo Effects. Any reader who loves poetry and is disappointed by the proliferation of ordinary writing will be thrilled with this splendid book and will instantly become a fan of Jeanne Marie Beaumont. Highly recommended.

Ms. Beaumont has risen to the challenge of documenting the postmodern of our everyday lives in this intelligent and profound book. The poems in Placebo Effects will reverberate through the centuries. Buy this book and be blessed with a unique inspiration!

This is a wonderful book! As the author organizes her poems in the simile of a river and ponders whether the river is moving to somewhere or perhaps from somewhere, the reader is indeed taken on a journey of life. The joys, sorrows, wonder, and many other feelings are brought forth when one reads these superbly crafted poems. Some are simple and the message is easily found. Others take reading again and again to reveal the subtleties of the obscure nuances of real life. Her keen sensitivity of nature and all that is about us and how it can untangle our often complicated lives is evident throught the book. Her compassion for family, friends and love embraces the reader throughout the poems. I urge you to take the time to explore this work. Savor the delicacies of these words of wisdon, pain, wonderment and love. This is one of those books you will pick up and find comfort, understanding and hope time and time again. There is something for everyone. You'll want to have this book handy. I do! I look forward to future works of Rhodora Marie.

Rhodora Marie's first book, "Poetically Said! 'Pathways of the Heart'" is nothing less than a treasure for those lucky enough to discover it. Inside its pages one will find poignant reflections on nearly every human emotion. A love of humanity comes through as well as her appreciation for the mysterious and intangible qualities of life. She has an elaborate sense of wonder and romance as well as the wisdom of one who sees and understands sorrow and pain through eyes that have not lost their twinkle. Some of her work brings to mind the writing of J.R.R. Tolkien. I can easily imagine the Hobbit Bilbo Baggins reclining wistfully on a river bank reciting "Take Me to the Place" as he contemplates his next adventure. I defy anyone with half a heart to remain unaffected after reading "Grandma Doesn't Know Me." There is a quiet spirituality in her words.
Rhodora Marie is a poet in every sense of the word. Those fortunate enough to explore this book will be richly rewarded with a stimulated mind and a warmed heart. It is this readers hope that we will see more from her in the future.

I have read the book and am delighted with every poem or words of love. Obviously the Author has great wisdom when it come to love, and makes it very clear to the reader that her intentions were to share these gorgeous words with the public. While reading the book, I feel we all experience the feeling these words represent one time or another. Great Book!!! Thought the highest rating is a 5....I give it 10!!

Tim Burton

This is a special Thank you to the authors of this book. My 6 yr. old daughter and I have tremendesly enjoyed this book together. She is a great artist and loves to read. The drawing lessons both help to improve on her reading ability, while giving her great tools for drawing the beautiful and fun pictures displyed. We are both looking forward to more great "Draw Write Now" books.

My son (eight years old) (very good artist) ate this book up. He copied every page in just three days then he was mixing scenes. His drawings took on a superb quality that he had not reached before. The bonus is, he practices his handwriting while learning interesting facts that are good to know. We'll be buying each edition for Christmas for him.

This book is brightly illustrated and well priced for the high quality. It is a wonderful resourse for parents as well as children. The subject matter covers a broad range of interesting information. Bravo!

It's really hard to know how a nihilistic movement such as post-modernism can have anything other than a renunciatory effect upon science of any kind. That notwithstanding, Rosenau distinguishes two main strands within PoMo, which may otherwise cause confusion. The skeptical strand comprises the purists who brook no compromise with their anti-foundational findings. On the other hand, are what Rosenau calls the"affirmatives". They comprise the compromisers within the broader PoMo camp, and are prepared to somehow accomodate modernist precepts within a broader PoMo framework. Whether these affirmatives compose anything more than an unworkable eclecticism, is left wisely unresolved. Even so, Rosenau believes their sensitivity to openess has the capacity to force modernism into major revisions. In any event, it is the purists, the other major strand, who define the movement itself.

If the affirmative's problem is trying to eclectically blend unblendables, the skeptics tend to refute themselves, the usual outcome of extreme abeyance. In an excellent concluding section, the author summarizes the endemic paradoxes of this position. For example, PoMo's use of theory to disavow theory; deconstruction's use of the very tools it deconstructs, viz. reason and logic; moreover, in raising the marginal at the expense of the center, a value judgement takes place even when such judgements are programmatically condemned.

Boiled down to basics, purist PoMo ends in its own version of solipsism: millions of unsynthesizable personal narratives. Small wonder that only the narrowest, most localized results are sanctioned in a prospective post-modern social science. In Rosenau's account, the possibility that such a science can emerge focuses on individuals instead of subjects or personalities. Since reason, structure, and other modes of synthesis are impossible, how such idiosyncratic accounts can even approach a threshold of science seems inexplicable to me even after reading the book.

But since PoMo is the fashion of the day, it's to the author's credit to have crystallized these topical questions in clearly understood terms.

As a graduate student I encountered this book on several levels over the years. I first bought it in India while doing anthropological fieldwork to catch up on theory. The applications on social inquiry to the "Third world" were very helpful, especially the section on views of the west in the post-Marxist era. More recenty I have read it with an interest in public policy, and found relevant insights on the nature of the public sphere. The glossary is unique in its throroughness. This book serves as a classic--elegantly written, comprehensively researched- and more importantly a useful guide to postmodern ideas for the working academic and student alike.

Through my years in graduate school I have encountered this book on several levels- I first used it in India while working as an antrhopologist to review the basics and get "caught up" with some theroy. The book proved to be especially useful in applying postmodern ideologies to the "Thrid World". More recently I have re-read it with a focus on public policy, and again was not disappointed. Dr. Rosenau's research is impeccable and comprehensive. The book is useful for both experienced academicians as well as beginners.

My parents bought me the book and I took it to my 4-H meeting. All my friends wanted to look at it. I ended up telling them to get there own because this one was mine!

I have 3 granddaughters who all all crazy about horses. Since they live in different states, this made a perfect birthday gift I could mail. I almost wish I had bought one for myself!

I really liked this book because I got to learn so much about horses. My friends thought the book was neat and wanted one of their own, so they could do the puzzles and mazes themselves.