In life Amon G Carter was all for getting the American plane industry off the ground. In fact, he flew the first airplane to Ft Worth, Texas, in 1911. With his death, in 1955, he hoped to open up the arts to all. So, by his will, a museum was set up to house as many works as possible by Frederic Remington and Charles M Russell.

His museum more than meets that goal. Its catalogue shows it to be the place to go for the art of both American frontier artists. For example, the museum has A dash for the timber. This oil on canvas made Remington a major painter, in 1889. The museum also has The fall of the cowboy. Two cowboys with their horses about to pass through gate rails, under a gray sky, in a wintry landscape, are painted so close in tones that you know a way of life's in its twilight years. Also, the museum has The outlaw. The bronze freezes in time the realistic folds in the rider's hat and his shifting weight against his pitching horse.

The catalogue also shows the museum to be the place to go for American drawings, paintings, photographs, prints, sculptures and watercolors. The staff sees as landmark additions American Indian symbols by painter Marsden Hartley and Barber shop, Bass rocks #2, Blips and ifs, Chinatown, and Egg beater #2 by lithographer and painter Stuart Davis. John Singer Sargent's portrait of Alice Vanderbilt Shepard, too, is seen as a catch. It contrasts the girl's carefully worked face with the thinly painted rest. Who can forget the brilliant white with blue and pink in her jacket and folds of her blouse?

Pride of ownership also goes out to sculptures by Alexander Calder and David Smith. There's Lunar landscape by Louise Nevelson, on painted wood. It goes out also to photographs. In fact, the museum's photography collection now swells at over 250,000 objects. For example, there's Berthoud by Robert Adams. There's Great gallery, Horseshoe Canyon, Utah, by Linda Connor. There's Music - a sequence of 10 cloud photographs by Alfred Stieglitz.

There are even daguerreotypes by Josiah Hawes and Albert Southworth. Two women posed with a chair has quite a range of clear tones, because of an extra layer of silver having been electroplated to copper plate. The smallest detail in their lace collars is caught. The light from the ceiling skylight also catches both women, in a Rembrandt-like highlighting.

Patricia Junker et al have come up with nicely arranged illustrations and clearly thought out write-ups for each item in the exhibition. AN AMERICAN COLLECTION's a keeper. It works well, too, with Junker's JOHN STEUART CURRY: INVENTING THE MIDDLE WEST and WINSLOW HOMER: ARTIST AND ANGLER.

This books was very helpful in my study of the Cranial Nerves. Not ony did it show the nerves in 3-D, but it also gave clincal applications of each cranial nerve. It was tremendously helpful because it gives the nerve components which makes clinical applications relevant. The detail of this book is sufficient and meets the needs of a medical school student. It is a "must-have" for medical school and the boards.

Cranial Nerves is great for helping medical and graduate students understand some of the spatial relationships with cranial nerves. It gives a clear and concise review of each cranial nerve and then adds some valuable clinical aspects. The use of color coding throughout the book helps the student to follow a cranial nerve or component throughout the various diagrams in a logical fashion. Most of my class has or has borrowed this book even though it is not even listed on the required or recommended readings for the Neuroscience class! All in all a wonderful book.

I use this book with my Spanish level one class to give them some supplemental material. The students really enjoy it.

If you want your grammar and writing lessons sane, sober, serious, skip this book because the jokes, plays on words and plain old fun will drive you crazy.

But if you need light, useful advice about writing in cyberspace, or quick reminders about using numbers correctly, office etiquette, or brush-ups on grammar and writing, and have a laugh in the process, this book is for you. I highly recommend it.

O'Conner's books (Woe Is I, Words Fail Me, and now, You Send Me) remind me of an editor I work with who is a pun a minute. She can't stop herself and every conversation with her takes such twists and turns that the less articulate are left several sentences behind. If I didn't know that editor, I'd think that O'Conner and Kellerman had to have spent hours creating her more painful plays on words for some of their chapter and section titles:
Grammar a la Modem
Lurk Before You Leap
Go Configure
Clone Rangers
Myth Information
A Click and a Promise
Help for the Whomless

And on and on and on. I suspect it just spills out of them, fed by their obvious exuberance for their work.

But all of these little plays are wrapped around very helpful bits of logical suggestions and advice delivered in a conversational style. While ostensibly meant to deal with the horrific onslaught of wretched writing that shows up in
our e-mail, much of the book's advice can be applied to other writing. The team also reminds us of the need for accuracy in numbers and other facts, pointing out the difficulties so many people have with noticing what should be obvious exaggerations or faulty understanding of numbers.

O'Conner and her husband-coauthor divide this book into three sections:

The Virtual Mensch, which examines protocol issues--when to use e-mail, the need for subject lines, choice of e-mail names, keeping the reader in mind and more.

Alpha Mail, which focuses more closely on better writing (with such advice as divide long sentences into shorter ones, break the message into paragraphs); eliminating cliches, which includes a list of cliches followed by an authors' comment, e.g., acid test (Give it an F), diamond in the rough (cubic zirconium),
draw a blank (so fill it in), easier said than done (Then say it); the need for the writer to re-read an e-mail before sending it, and other topics.
Words of Passage, which takes the authors right back to their real issue,
language. Among other topics, they take us through easy lessons on it/its/it's/
and who/whom, subject-verb agreement and punctuation.

This book is a handy addition to the bookshelf of any editor or writer interested in how the language is or should be used.

A very cute story about a determined duck. The book's smallsize makes it easy to take along on travels but it makes it difficultto use as a coloring book.

I am the former assistant to Willis Green, Jr. who wrote the entire passage credited to him within this book. Dr. Vincent Lynch, who I collaborated with extensively during Mr. Green's illness, knowingly and purposely refused to grant any sort of credit to my input. Sadly, many of my words were taken from lyrics of George Michael music...isn't that silly?