This book has helped me more than any other book I have read related to recovery from childhood wounds. My addiction to books led me to read hundreds of books on recovery issues (especially when I was going through my own discovery phase of recovery from childhood physical, psychological, emotional and sexual wounds,including just about every book on shame ever written (I admire John Bradshaw's work as well). I highly recommend this book to all of the ladies that I sponsor in recovery and I have purchased a copy of it for my counselor who has a love of books as well. I have not seen anything like this book. Reading through the material related to each of the 12 "shaming messages" increased my awareness 10 fold and helped me to identify with the core beliefs that I held about myself for so long. God bless Dr. Wilson! Phenomenal book!

This is an excellent book. It is not just for academics. It is for everyone. This is a book that gives insight, understanding, and strength to it's readers. Read this book. Your worth it!

William Shakespeare: A Textual Companion

Though billed as a companion to "The Norton Shakespeare, Based on the Oxford Edition," "William Shakespeare: A Textual Companion" is a superb reference for any reader of Shakespeare's plays. The book gives the editorial principles and the explanations of editorial decisions made by the editors of the Oxford Shakespeare. The Textual Companion deals with the plays and poems is a systematic basis. This book will deepen anyone's appricaition for the Oxford editors' solutions to textual problems. The real value of this book goes is that it goes beyond just being an explanation of one edition. This book offers a comprehensive overview of the textual problem that any reader of Shakespeare should be aware of.

An example good editing comes from "The Merry Wives of Windsor" 1.4.88-9. The line appears "Ile doe yoe your/ Master what good I can:" in the 1623 folio. John Jowett who edited the play says that the "yoe" is suspicious and goes on the give his reasons. He belives it is a miscorrection. "Yoe" was intended for correction, but instead the compositor inserted "your" and left the "yoe" as is. The line printed in the Oxford edition is "I'll do your master what good/I can". I agree with Jowett's reasons and his correction.

Even though this book goes a long way in presenting textual problems and editorial solutions there are some editorial problems which have not been resolved. For example in "The Tempest" 4.1.123 we read this "So rare a wondered father and a wise". Tthe Oxford edition has "wise" but in the note to this line on page 616 they follow Jeanne Addison Roberts' 1978 article and say the word was "wife" in the first folio. Whether the word was "wife" or "wise" is not yet a settled question. Blayney in his introduction to the Norton Facsimile 2nd Edition (p. xxxi) takes issue with Roberts's conclusions, and for now this does remain an open question.

This book is one of the great books of Shakespearian scholarship. Though I do not agree in every detail, I can say that my appriciation and admiration for the Oxford edition of Shakespeare has increased because of this book. No critical reader of Shakespeare should go without this book.

This book accompanies the ground-breaking Oxford Complete Works of Shakespeare (1986) and explains the choices made by the editors in their selection of early printed texts and in their correction of errors in the earliest editions. Additionally, this provides the most recent thorough examination of the problems of editing Shakespeare, of establishing which plays he wrote and the order in which he wrote them, and the relation between the solitary reading experience and the social theatrical experience. If you need answers to questions like "how many quartos of Hamlet were published in Shakespeare's lifetime?" and "which one best represents the play as performed?", this book is the place to look for a thorough scholarly exploration of these topics. If you want criticism about Shakespeare's plays and their meaning, this book is not for you.

Any birder is familiar with the format that even the best guides use to convey the likelihood over time of finding a given species in a particular location. Because of the scope of those guides, they are limited to conveying the timing to seasons and the locations to regions.

This book tells the reader exactly when specific bird species are generally found in specific counties of the state. A field guide will tell you that a certain bird migrates through the state in the spring, but some birds migrate in March, and some in June. This book will also tell you how populous the bird is (ie. how rare it is). You can also see the general movements of resident birds in the state over seasons.

I live in Wisconsin, so I use this book all the time. I have been frustrated trying to find similar information for states that I visit regularly. It is an invaluable resource for concentrating observation and understanding the animals being studied.

This book is an ideal companion to a field guide to Eastern birds. Primarily designed as a reference guide (it contains no pictures, descriptions, or field marks) it contains a wealth of information on the likelihood of finding a particular species by county and time of year in Wisconsin. Based on at least 15 years of birding reports, the book is organized in standard order of species with one bird species per page. Each page contains the probability of spotting the species somewhere in the state in a given year, a map of the frequency of reports by county, a chart of the reporting frequency by week for the year, and a trend line by year of the total relative number of reports. I would recommend the guide primarily to the intermediate or advanced birder who is knowledgable about each bird species and their likely habitats already, but needs to know what is likely to be found in a given part of the state.

IMHO, this book is a template of how every state or regional guide should be designed.

This is the first book, in my opinion, to really focus on the effects of active tectonics in the fluvial system regime. Many books focus on tectonic geomorphology or fluvial geomorphology, but none has integrated both subject areas for a thorough discussion on the integration of the two.

I really appreciated that the authors concentrated on case studies rather than jargon. The two background chapters are sufficient to start the advanced reader on the extremely interesting case studies. I also appreciated the division of the case studies into forward and inverse modeling approaches.

The applicatons section was full of studies of modern approaches in engineering, stratigraphy, and neotectonic interpretation.

Overall, this book was the perfect synthesis of tectonics and fluvial systems. Stan Schumm is a master on river morphology. He and Holbrook and Dumont should be commended on their effort!

As a pastor (from a fundamentalist and Neo-orthodox background) who tries to keep up with what is going on in theology, I found this a fascinating read. Written from an evangelical point of view, it is a very sophisticated engagement with a wide range of theology, past and present. Each chapter has excellent historical background to introduce present theological engagements, as a prelude to the authors' own development of the topic. There is a stead critique of the failure of the Enlightment project and of foundationalisms, including evangelical foundationalisms regarded as inadequate in the post-modern context. The discussion of epistemology was very interesting, especially Reformed epistemology. (I have already ordered W. Jay Wood's Epistemology: Becoming Intellectually Virtuous; part of the value of the book to me is new leads to explore). There is also much dialogue with Pannenberg, about whom Grenz has written a great deal. The discussions of the Trinity and of the place of community are very well done. The book is well written and has helped bring me to date on what I think will be an ongoing area of theological work, (more especially by evangelicals?) It would be interesting to see these authors' evaluation of Milbank and Radical Orthodoxy. However I can imagine that a lot of evangelicals are a bit alarmed as to where all this is going.

The Franconia, New Hampshire, farm of the American poet Robert Frost was turned into a museum and center for poetry and the arts in 1976. From that time, "The Frost Place" has been annual event wherein an emerging poet has been invited to spend the summer living in the house where Frost once lived and wrote some of his greatest poetry. The Breath Of Parted Lips: Voices From The Robert Frost Place, Volume One is a remarkable anthology of twenty-four poets, each of whom won that honor of a summer's residency and document the success of the original concept as a means of generating outstanding poetry while nurturing the poet's muse in the rooms and views that were once the inspiration of the great Robert Frost. Poem At 40: Windwashed--as if standing next to the highway,/a truck long as the century sweeping by,/all things at last bent in the same direction./An opening, as if all/the clothes my ancestors ever wore/dry on lines in my body:/wind-whipped, parallel with the ground,/some sleeves sharing a single clothespin/so that they seem to clasp hands,/seem to hold on.//And now that I can see/up the old women's dresses,/there's nothing but a filtered light./And now that their men's smoky breath/has traversed the earth,/it has nothing to do with them./And now that awkward, fat tears of rain/slap the window screen,/now that I'm naked too,/cupping my genitals, tracing with a pencil/the blue vein between my collar bone and breast,/I'll go to sleep when I'm told.

This is a excellent book covering the fundamentals of linear algebra. Filled with well-documented examples, this book served as an excellent suppliment to my assigned linear algebra book.

This book - the 1633 revision of the 1597 "classic" - is truly THE benchmark for any herbal to follow. With almost 3000 listings and about 2700 illustrations, it is far closer to "complete" than any work I have yet seen under 1 cover! It lists under botanical, Latin, folk and English names. Obviously a life's work. A pleasure to behold, all 10 pounds of it!

Quite simply the best book/catalogue of it's type I have ever seen. The presentation of the book is good, as is the reproduction of the paintings. The short biographies of the artists are quite simply the brilliant, and contain more information than much longer articles. If you only have one book about late romantic art have this one.

This collection of pulp tales brilliantly shows just how different the meaning of a writer's work can differ between a fan and the writer. Editor John Stanley, host of the once popular San Francisco based late night horror movie television show Creature Features, put together many of Robert Bloch's 'famous' Lefty Feep stories. Each yarn involved a very contemporary (for the 1940's that is) con man named Lefty Feep who delighted in telling some long suffering schmuck in a coffee shop the wild tales about his failed get rich quick schemes. Written for the fantasy pulps of yore, each tale has a magical trapping of sorts (i.e. flying carpets, genie in a bottle, etc) that inevitably trip up our tireless, and quite clueless, fall guy of a hero. Not surprisingly Bloch barely remembered writing some of the stories (most were written at the request of the publisher and not out of any desire by Bloch to explore the character further) and this workmanlike attitude casts a humorous light on Stanley's obvious, and quite fanatical, love for the character in the interview segments with Bloch that bookend each story. The small press edition, from Stanley's own, and now defunct, Creatures at Large Press, was intended to be the first volume in a series, but none ever followed. Bloch, in his unauthorized autobiography, blamed the stories with his trademarked bemused self-deprecation. Highly recommended for both the silly stories and the probably unintended fan/writer insight.