This book is so wonderful! As a Kindermusik teacher and music therapist, I know the value and appeal this book has on children of all ages. Please consider re-printing it!

The illustrations for this classic song, help even the youngest little people sing along. It is our family favorite and I very much want to bring it to the hearts of all of my Kindermusik students as well. PLEASE PLEASE PLEASE consider reprinting this timeless book. I have been telling my classes about it and now..... THX!

It is a shame that this book is out of print; anyone who missed it really is unfortunate. The pictures are very vivid and expressive as well as pretty. The rhyming, familiar song will soon become a favorite of any person, young or old. Three years after seeing it, and I can't forget it. Please republish it so I can purchase several.

A wonderful book for discovering the true meaning of Christian love in our often difficult and painful world. I have used this book more than once in putting together mini retreats for adults. One cannot help soul searching after the experience. Viewing the film Romero with Raul Julia helps bring it all home. Don't let the title put you off - the book is all about love without violence.

Archbishop Romero, the asassinated bishop of El Salvador (1980) is considered by me and many to be a prophet to the church and world of our time. Faced with a situation in his country that saw 5 percent of his nation with 95 percent of the wealth and total power over the government and military which they used to oppress the 95 percent in poverty, Archbishop Romero was transformed from a conservative bookworm to the greatest orator for justice in the clergy since Martin Luther King, Jr. This book contains excerpts from his sermons arragned in chronological order during the three years of his episcopacy in San Salvador (1977-1980). These sermons were more than just spiritual messages, but rather nation-wide calls for social justice, for nonviolence, and for an end to poverty and pain. Drawing on readings from the bible, Romero the scholar and orator shine through, but so does the Romero of compassion and solidarity with the people who suffered so much. And in many ways what he said then is still applicable today, not only in El Salvador, but all over the world, wherever there is injustice and oppression. A must read for any person concerned for social justice for all grounded in a Christian perspective!

Romero's moving quotations, spoken from the altar, are presented in chronological order. Each day Romero spoke increasingly explicit "truth to power". As his message becomes more threatening to the powers that be, the reader can almost watch the gun sites come into focus on the heart of this martyr!

Want to learn how to play basketball or just improve on your skills now? Then pick-up a copy of Oscar Robertson's, "The Art of Basketball." Everything you need to begin playing basketball or being able to push your current skills to the next level of competition is in here. Oscar takes you from physical and mental conditioning to all of the skills necessary to play the game. Shooting, passing, rebounding, offensive and defensive tactics even a section on what to do when you are mismatched in a game. The book is excellent for coaches to use as a teaching manual and to recommend to their team as a guide for practicing on their own. Oscar mentions in the book that the best way to improve is to work on the fundamentals and he shows you how even if you have never touched a basketball. You can't go wrong learning from a true master of the game, and if you have any doubts just check out Oscar's stats in the back of the book.

The" Art of Basketball" by Oscar Robertson, and"They Call Me Coach" by John Wooden, are the two books all basketball students, players, and coaches should have. The" Art of Basketball" provides detailed explanations with photos, of fundamental techniques all players need to master. It is fantastic, the player who averaged triple double statistics over multiple NBA seasons, has documented his fundamentals for others to learn. I found Mr. Robertson's comments concerning the mental aspects of the game, such as developing confidence, to be particularly insightful. At its current price, this book is the best value for instructional basketball books, that is available today.

I highly recommend this book as a coaching tool. I found it to be very helpful in teaching young athletes the game of basketball. I especially like the way Oscar keeps fundamentals of basketball as the emphasis of this book. The review at the end of each chapter is very helpful along with the suggested workout programs. I had each girl on my team buy one and we have them read a chapter a week. At our practices we review what they read then we incorporate Oscar's program into our coaching program. I highly recommend this book to anyone who coaches youth basketball...it's a great tool. Every kid who plays basketball or who wants to improve their game should have a copy of this.

Yes, there IS a calendar version of this book but the calendar just scratches the surface of this collection.

I intitially borrowed this book while looking for reference images for a video project. It became obvious to me in a very short time that I would HAVE to purchase this book. Even though I am a professional photographer and filmmaker, there are very few photography books I am willing to spend my money on. There are many I like but few I wish to own. This book, like all of the photo books I've purchased, moved me in a powerful way. These are beautifully executed, intimate black and white portraits. Most of the photographs are spontaneous and shot during recording rehearsals. Several of the images graced the covers and sleeves of the records produced by the jazz record label, Blue Note.

Francis Wolff was not just Blue Note's primary photographer (and quite talented), he was also the label's co-founder. His already skillful eye was that much more in tune (no pun intended) with his subjects and sensitive to the working environment. He was able to capture subtle moments few likely could. Most images are illuminated by a single light source, spotlighting the artists and capturing them in moments of thought, exhilaration, playfulness and intensity.

Seeing greats like Wayne Shorter, John Coltrane, Dexter Gordon, Sonny Rollins, a young Herbie Hancock and Hank Mobley in these intimate moments early in their careers is powerful. The design is outstanding and the printing if these photographs is impressive. This is a must have book for the music lover, photographer, or photography lover. If you don't fit into one of the above catagories, don't sweat it. You will love this book simply because it is beautiful.

I must admit I am a little confused as to why the other reviews list this as a book.....

Good, insightfull text, great photographs, oustanding print quality: a must have for all lovers of jazz, jazz musicians and photography. The photographer's empathy for his subject(s) just oozes from the pages of this wonderful book. There's a picture there of a dreamy John Coltrane, that just totally catches the sensitivity, the intelligence, the emotionality of a great musician and a great human being! A must buy !

about ALL THE POLITICIANS IN THE WORLD !

manejan ( y perjudican ) nuestra vida económica y social, ES MUY SABROSO REÍRSE DE ELLOS...
Y estos chistes son EXCELENTES !

porque las burradas de los políticos se repiten, igual que la historia del mundo...Y hay veces que, por no llorar con sus consecuencias que sólo nosotros pagamos, PREFIERO REÍRME CON ESTE LIBRITO !
Si los oyes decir barbaridades, POR LO MENOS, RIETE DE ELLOS !
Es una DULCE Y ALEGRE VENGANZA !

In these tales, most of them being sad and even very sad, Oscar Wilde looks for a way to save one's soul in front of the misery of the world. Anyone in society who lives in the upper classes does not necessarily see the ugliness and suffering of the world when one looks at the lower classes. But in these tales the Happy Prince, or the Selfish Giant, or any other character will manage to get salvation out of their upper class blindness, by opening their eyes to misery and suffering and by doing what they can to repair these pains and evils because they will realise they have to feel responsible for the world, because they are more powerful and could easily impose their selfish rule. But the giant will discover nature, if not God, punishes him for his selfishness. The nightingale will try to redeem a young student by giving him a red rose in a season when read roses do not bloom. And yet the student will not get the love he wants because he is nothing but a non-entity for the girl he would like to be loved by. There is also a very sad note in A Devoted Friend and how friendship can become a mask for selfishness, a nice appearance for an ugly and egoistic attitude. Those tales are sad and at the same time they convey a moral full of hope. All is not lost if the Happy Prince can give away his happiness for those who suffer, even if later the powerful of his society will reject him when he does not look happy and beautiful any more

Dr Jacques COULARDEAU, University of Perpignan

As a child I didn't have the books of Oscar Wilde but rather the records. My imagination soared with his descriptions of life, and my eyes overflowed with tears at each story. The record of the Happy Prince was read by Bing Crosby and Orson Wells and each year at Christmas we still play that old scratched thing, just to hear it's wonderous love story and that of The Selfish Giant. Now I have to get the book so my nieces and nephews will share in my treasures of love!!!! What is this world if it isn't all about Love?

I remember this book from my childhood. I had my parents read each story to me over and over. When I learned how to read I read this book until the pages fell out. In short it is a great book that encourages youthful imaginations. And, it makes for great bedtime stories. A real classic. I bought it for my children.

Book Description: Magical realism has become almost synonymous with Latin American fiction, but this way of representing the layered and often contradictory reality of the topsy-turvy, late-capitalist, globalizing world finds equally vivid expression in U.S. multiethnic and British postcolonial literature and film. Writers and filmmakers such as Oscar "Zeta" Acosta, Ana Castillo, Julie Dash, Hanif Kureishi, and Salman Rushdie have made brilliant use of magical realism to articulate the trauma of dislocation and the legacies of colonialism that people of color experience in the postcolonial, multiethnic world. This book seeks to redeem and refine the theory of magical realism in U.S. multiethnic and British postcolonial literature and film. The author engages in theoretically sophisticated readings of Ana Castillo's So Far from God, Oscar "Zeta" Acost's Autobiography of a Brown Buffalo, Salman Rushdie's Midnight's Children, Shame, The Satanic Verses, and The Moor's Last Sigh, Julie Dash's Daughters of the Dust, and Stephen Frears and Hanif Kureishi's Sammy and Rosie Get Laid. Coining the term "magicorealism" to characterize these works, Aldama not only creates a postethnic critical methodology for enlarging the contact zone between the genres of novel, film, and autobiography, but also shatters the interpretive lens that traditionally confuses the transcription of the real world, where truth and falsity apply, with narrative modes governed by other criteria.

Reviews:
"In this exciting new book, Frederick Luis Aldama has done an outstanding job of remapping 'magical realism"--Werner Sollors, Henry B. and Anne M. Cabot Professor of English Literature and Professor of Afro-American Studies, Harvard University.

"Frederick Luis Aldama offers a vigorous revisionary perspective on postcolonial literature and, more specifically, on the much discussed phenomenon of magicorealism. He has a commanding knowledge of postcolonial theory, and he performs a welcome critical task in demonstrating how it tends to confuse the confines of the academy with the contours of the real world, textuality with ontology. Aldama himself is a political critic, but he sanely argues that the arena of any serious politics is the world of living people and not a text"--Robert Alter, Professor of Comparative Literature, University of California at Berkeley and author of Canon and Creativity.

"Providing a lucid and cogent critique of the tendency in contemporary criticism to ontologize "magical realism," a tendency that implicitly articulates a relatively simple mimetic relationship between "magical realism" and various postcolonial cultures, Frederick Aldama instead posits a theory of what he calls "rebellious mimetics" that introduces a complex aesthetic and political mediation in that relationship. In doing so, he weaves together a series of excellent analyses of novels and films by authors and artists as diverse as Salman Rushdie, Ana Castillio, Oscar Zeta Acosta, Julie Dash, and Hanif Kureishi. This is a very significant contribution to the study of this genre"--Abdul R. JanMohamed, Professor of English, University of California, Berkeley.

"In this insightful and forceful study of magical realism, Aldama successfully argues that a true postethnic and postcolonial criticism should not (con)fuse the world with the text. His commentaries on Castillo, Dash, Kureishi, Acosta, and Rushdie force the readers to see these artists' magicorealist works in a new light, thus revealing all of their splendid and contradictory complexities. Aldama's book is a must for anyone who wishes to understand the intricacies of magical realism and the vitality of this genre in contemporary European postcolonial and ethnic American literature and scholarship"--Emilio Bejel, Professor of Spanish American Literature, University of Colorado at Boulder and author of Gay Cuban Nation.

"Through a study of the playful narrative techniques of writers and film-makers such as Dash, Garcia Marquez, Rushdie and Kureishi, Frederick Luis Aldama offers a powerful critique of those who view magical realism as either a means toward postcolonial resistance or as a depiction of some exotic real world. Proposing a "postethnic" approach, Aldama argues convincingly that a reader's or viewer's understanding of the aesthetic dimensions of what he calls "magicorealism" can lead to greater political understanding than older, more ideologically oriented interpretations"--Herbert Lindenberger, Avalon Professor of Humanities, Emeritus, Stanford University.

"It is rare that we come across a truly great book, one in which fierce intelligence asserts itself in pages that truly matter. Such a book assigns us the task of reordering what we have taken as true on the promise of an understanding more profound. In such a book, we are guided by extraordinary vision, by an author with keen insight. In the rarest of occasions, we read words that are wise, words that make broad connection and interrogate a range of thought that afterwards we deem necessary. Postethnic Narrative Criticism is such a book; Frederick Aldama is such an author"--Alfred Arteaga, Associate Professor of Ethnic Studies, University of California, Berkeley.

This work offers a highly valuable rethinking of magical realism, one that assesses previous work in new ways, one that extends the historical reach of arguments about magical realism, and one that brings a new level of sophistication to arguments about it"--Carl Guitierrez-Jones, Professor and Chair, University of California, Santa Barbara.

Enfin! Postethnic Narrative Criticism is the first book in ethnic and postcolonial literary and film studies that cuts through Gordian knots that arise from confusing narrative fiction (a complexly organized aesthetic that uses point of view, style, and genre to engage readers) with the facts that make up our reality outside of the text.
This is a must read for any reader interested in moving away from studies--poststructrualist or otherwise--that lead to dead ends.
It is a must read for readers tired of jargon and fundamental misconceptions of what novels and films can do in the world at large.

Calling for active participation from knowledgeable and intelligent readers, Post-Ethnic Narrative Criticism serves as a well drawn out map for literary exploration through an innovative approach to understanding complicated literature and films. Thought his engagement as an author, Aldama speaks directly to his audience in a manner that is candid, forthright, and compelling. Although this is a difficult text- one that must not be taken lightly, this work acknowledges real dilemmas of real peoples, and offers up a critically and emotionally balanced understanding of the often-subtle dilemmas of contemporary narratology confronting such peoples.
As a result of my own time spent with this text I have walked away with a greater understanding of how narrative techniques inform textual spaces of those who are often placeless, and how this (dis)location functions both inside and out of the academy.

This book provides a well organised and carefully edited introduction to international law. Exerpts from relevant cases, international agreements and juristic writings are interwoven with insightful commentary and questions. Each topic is introduced and explained in the text. As an earlier reviewer noted, some aspects of the book are now outdated, and it is to be hoped that a revised edition will eventually be published. Also, the chapters on jurisdiction and immunity therefrom, concentrate, in large part though not entirely, on the legislation enacted in the United States, which may not be of interest to readers who reside elsewhere. I read this book while studying a basic course in international law, which covered the sources of international law, the law of treaties, the United Nations system, jurisdiction, immunity from jurisdiction, the use of force and state responsibility. I found that the level of detail presented in the book corresponded closely to that of the course itself. I also found the text to be an excellent starting point for research, although as I turned to more specific areas of international law it became necessary, as one would expect, to consult more specialized references. In conclusion, this book, though out of date in some respects, still provides an outstanding introduction to the subject which I would definitely recommend.

If Akerhurst's Modern Introduction to International Law can be said to be a quick overview for students beginning to study international law, Henkin's International Law is for those who already have some study behind them and are ready to delve more deeply into specific issues. At first the format of the book may seem confusing, for unlike introductory works like Akehurst in which the author writes the entire text in his own words, Henkin is filled with actual case judgements, tribunal decisions, articles of law, and the opionions of other journalists (although less so than Harris's International Law : Cases and Materials). At times, the actual text of the book seem little more than footnotes to the the above. However, unlike Akehurst, which tends to stick to one viewpoint, this vast amount of material enables Henkin to illuminate the areas of controversy in international law and helps the reader to build his own opinions. One problem with this book, however, is that the third edition came out in 1993 and is therefore rather dated, especially in terms of international economic law. For instance, it fails to take into account the WTO and EU. However, the traditional areas of international law are well documented, and even the dated parts of the book still have relevance to the issues important today. This is definitely a book to have at hand when making a study of international law in general or dealing with a specific issue that involves international law.

This is a wonderful children's version of "South Pacific". (Not the score of South Pacific as mentioned in the paperback reviews.) The illustrations in my first edition of 1992 are wonderful muted tones done in a charming old-fashioned style - not sepia as mentioned in the two professional reviews. A wonderful introduction to South Pacic, the literature of James Michner, or World War II history. Altogether highly recommended. (Refers to the Hardback version.)

If you're interested in this, then don't hesitate to get it! This Vocal Score contains all music from the show (from the Overture to bows and exit music).

Although "The Sound of Music" is their most popular collaboration, "South Pacific" is arguably Rodgers and Hamerstein's finest work. It is also the best scored. This is evidenced by the fact that when the film version was recorded, much of the scoring was kept as it was originally performed on Broadway. Unlike many conductor's scores, most of "South Pacific" is entirely playable on the piano. The occasional omission of a harp, woodwind, or string line from the reduction will not detract from rehearsal. For fans of musicals, conductors, arrangers, and singers, this is a "must-add" to your collection.

Wilde's fairy tales prepare you for the personality of the spoiled child, Salome, who seems cursed like a fairy tale princess, into falling in love with a raving maniac religious fanatic, John the Baptist. Yet it is Herod's bargaining with Salome to release him from the promise of beheading the Baptist that transforms the story beyond cautionary folk tale. Herod has a strong inclination that the death of the Baptist will bring about his own death. Thus he bargains with Salome to release him from his oath to give her anything she wishes if she will dance for him. As he describes endless beautiful cascades of riches, he becomes more and more lost and resigned to his fate. The riches of the world become flimsy and fragile through the hypnotic repetition and description and Herod becomes more convinced of their temporal value as he sees his fate laid out before him. The tale of the spoiled fairy tale princess and the everyman declining king are tied together by Wilde in the final sentence of the play where Salome pays for her destructive passions while Herod makes one last power stoke before he falls.

The Salome legend has its beginnings in the Gospels of Matthew (14:3-11) and Mark (6:17-28), which tells of the beheading of John the Baptist at the instigation of Herodias, wife of Herod. The queen was angered by John's denunciation of her marriage as incestuous (she had been married to Herod's brother). In both accounts, Herodias uses her daughter (unnamed in scripture but known to tradition, through Josephus, as Salome) as the instrument of the prophet's destruction by having her dance for Herod. The story of Salome was prominent in both literature and the visual arts until the end of the Renaissance, and was revived in the nineteenth century by Heinrich Herne, and explored by such divergent authors as Gustave Flaubert, Stephane Mallarme, Joris-Karil Huysmans, and Oscar Wilde.

Wilde wrote "Salome" in French in 1893 for the famous actress Sarah Bernhardt. The play was performed once in Paris in 1904, and today is much better known as the libretto for Richard Strauss' operetta. In large part Wilde ignores the idea that Heroidas is the prime mover behind John death, focusing instead on the eroticism of Salome's passions for the Baptist. In this version of the story, John rejects the princess who then dances the infamous Dance of the Seven Veils for Herod to achieve her revenge. Of course, fans of Wilde, or at least those who know the highlights of his life's story, will recognize the name of Lord Alfred Douglass, the translator of the play into English. However, whatever the merits of the play, the chief attraction of this volume remains the illustrations.

Aubrey Beardsley was an important artist in the Esoteric Art movement of the "fin du siecle" (end of the 19th-century). A close friend of Oscar Wilde, he did both the illustrations and stage designs for Wilde's play "Salome." Obviously Beardsley represents the "Art Nouveau" school, but he also showed an affinity with the Symbolists and Pre-Raphaelite schools as well, all of which explored the rich symbolism of Judeo-Christian and pre-Judeo-Christian Pagan mythos. In this context the story of Salome is ideal. However, Beardsley remains the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and the grotesque erotic themes which he explored in his later work. Beardsley was not interested in creation any illusion of reality, but like the Eastern artists he studied, was concerned with making a beautiful design within a given space. His work on "Salome" is considered some of his finest examples of decadent erotica. This volume has 20 such illustrations, including those originally suppressed when the book was first published in 1905.

This play takes a psychotic murderer from the bible who used her beauty and sex appeal to get her way...and turns her into a wholly sympathetic character. The star of this play is charged with life and vitality and a kind of beautiful, moving viciousness, and Oscar Wilde reminds us that Salome was not the [person] portrayed in the Bible and most Christian literature. She was an old-fashioned fairytale princess, albeit one capable of murder, and she had never truly loved a man before Iokanaan.

As for Iokanaan (the exotic Hebrew name given to John the Baptist), he is arrogant, vicious, and cold, and his emotional brutality toward Salome makes him literally impossible to like--an interesting portrayal of this so-called "Holy Man" and a reminder that John the Baptist was not a Christian, but an old-fashioned, "law of Moses", stone-casting Hebrew of the time.

Still, above and beyond the characters is the trademark beauty of Wilde's word-play, which in my opinion has never quite equaled this anywhere else. From the ironic wit of Herodias ("There are others who look too much at her"), to the sappy, empty-headed, yet still beautiful pomposity of Herod, to the pitiable misery of Narraboth, a young Syrian guard who loves Salome, to the religious rants and prophecies of Iokanaan (mostly re-written Bible verses), every word of the play is a treasure.

However, none of these things can equal Salome's adoring eloquence when describing Iokanaan's beauty. Every word of that speech is a treasure. The fact that she loves him is, in fact, the only thing that makes Iokanaan likeable to any degree. This play proves that Oscar Wilde can actually write serious literature as well as or better than he can write witty banter.

Of all the stage plays I have ever had the privilege of experiencing, this one is by far the most dear to me. You haven't lived until you have at least read it. Get this manuscript; it is the most precious you will ever buy.