The best way to engage anyone's interest is to connect information to something that has attracted their attention. In this enjoyable book, Highlights for Children Science Editor, Jack Myers, takes on children's questions about the everyday world around us. Each question and answer take a half to a full page, and are accompanied by lively drawings to improve the reader's interest.

Unless you are a scientist, you're bound to pick up some useful information here. In my case, I didn't know that while aluminum oxidizes it forms a protective coating that stops the oxidation from continuing.

It's challenging to know how technical or how simple to make the answers. For the most part, Myers created a very nice balance.

Here are some of my favorite questions from the book:

"What makes popcorn pop?"

"Since salt is not hot, how does it melt ice and snow?"

"If heat makes things expand and cold makes them contract, why does water expand when you freeze it?"

"If we have two eyes, how come we don't see double?"

"I pushed my finger into a soap bubble but it didn't pop. Why not?"

"How come if you go into the bathroom to sing it sounds better than when you are in the bedroom or anywhere else?"

"If the world is round, wouldn't the people in the southern part be upside down?"

"I've always wondered how the shape of a rainbow is formed."

One of the strengths of this book is that a child can find out an answer for her- or himself, or they can seek out an adult for more explanation. Now with the Internet, either one can go on and find out even more. Having uncovered how much there is to know, it is likely that many will develop a greater interest in science. I wish science were taught this way in schools. Also, a child with a limited imagination may find these questions helpful in stimulating new thoughts.

Overcome your disbelief stalls and the misconception stalls of your children with this helpful book. Discover the irresistible appeal of imaginative questions and their fascinating answers!

Donald Mitchell

Coauthor of The Irresistible Growth Enterprise...

This is a darling, quick read--timeless in its appeal to cat lovers! The Western literary world was "discovering" the Orient in the 1930's, so this story is set in Japan, where Buddhism flourishes. A poor painter with an artistic soul invites a calico cat, whose coloring is considered lucky, to join his threadbare household. Can a cat really pray to a statue? And get results? However it happens, the artist receives a commission from the high priest to paint a horizontal silk mural for the temple, which would result in instant recognition and the end of his poverty.

After each short chapter the housekeeper gives a little poem summarizing the action. I just wish they were in Haiku format, to reenforce the Japanese flavor.
During the artist's exhaustive mental preparation, we learn many
details about the life of Buddha (but gently, not in a preachy style), as the artist ponders which animals he will include in his mural. Good Fortune is his silent partner in the creation process, but she seems sad that he refuses to include a cat. Does the artist dare risk professional failure by acknowledging his debt to this dainty feline? Will she reallly go to Heaven? I wish I had discovered this gem decades earlier! A delightful story for readers of all ages.

I must have read this book when I was less than 10 and I remembered it immediatly as I browsed the children's cat books.
My heart leapt with joy. This book was great. I remember I was so happy at the end. The message is, "Don't trust your preconcieved notions", which is a concept children can't start to understand early enough. The story is sweet and the cat is good and brave. Get this book. I guaruntee satisfaction.

A story for an older child - and a Newbury to boot. One of the most touching and unselfish books I have ever had the pleasure to read. It is a tear-jerker, though - in a totally non-manipulative way. A true classic that all children should read - not to mention all adults who love great literature. This book is a miracle of love.

Like _House of Mirth, Edith Wharton's 1917 short novel _Summer _ shows a relatively aware young woman being ground up by social convention. Wharton is so linked with Henry James that no one seems to have noticed the extent to which she was a late naturalist, chronicled inexorable destruction. An argument could be made that Charity is rescued from her hereditary fate up in the mountains (the Berkshires) and that the prime upholder of convention takes pity on her plight, but _Summer_ is close to _Ethan Frome_ in more than a New England location. More pragmatic than some of those confronted with destruction in other Wharton works, Charity makes the best of her very limited options, but happiness is more fleeting than a New England summer is.

The lack of female solidarity in _Summer_ is especially striking. Lily Bart had one devoted female friend. Charity has none, and the professional woman she turns to is far and away the most vicious character in the book.

Most of the book is about the blooming of a love crossing social boundaries that I find tedious. Others, including, I think Wharton herself, enjoyed chronicling Charity's first experience of love with an out-of-towner whose life and commitments are elsewhere, but for me it is the portrait of small-town busybodies and the eventual narrow corner into which Charity paints herself (with the help of social hypocrisy and her lack of education or any marketable skills ) that are interesting.

Susan Minot's introduction is helpful in placing the book within the course of Edith Wharton's life. A particularly important continuity across Wharton's work Minot observes is that "Wharton's heroines are not hapless victims; they understand their helplessness." I am not convinced that this enables them to keep their dignity, but the awareness of their plight and the unreasonability of social judgments heightens the tragedies (in contrast to Stephen Crane's _Maggie_ to take one example).

Leaving behind the world of New York high society that is the subject of many of her greatest novels (The House of Mirth , The Age of Innocence), Edith Wharton focuses her attention on an entirely different scene: a tiny, isolated New England village in early 20th century America. Her heroine, Charity Royall, is young, working class, ill-educated, rough-mannered - in short, about as different from Wharton herself as a character can be. And yet Wharton renders her and her world with remarkable sympathy.

As always, Wharton vividly delineates the painfully constricted circumstances of her heroine's world. And make no mistake: the community that Charity lives in is almost unimaginably narrow and isolated, in a way that no community with access to the internet, TV, etc. could possibly be now, in 21st century America.

Part of what makes this novel so acutely moving is Wharton's depiction of how Charity's whole world opens up as love and passion enter her life. It's touching to see Charity's underlying sensitivity and sensuality - and her curiosity about the world - blossom as her relationship with Harney progresses, and at the same time heartbreaking to realize that, beneath her bravado, she is utterly dependent on him - because her gender, and her lack of money, education, etc., leave her with so few options.

The pleasures of this novel are many; I will limit myself to mentioning a few. Among the features of this novel which makes it so powerful and evocative are the beautifully rendered descriptions of the seasons and the natural environment. The lush portrayals of the plants, flowers, and the natural landscape highlight the erotic tensions inherent in the story.

I also admired the wonderful way each of the places in the novel - the village of North Dormer, the town of Nettleton, the mysterious "Mountain" - take on a distinctive character, and how all of them, taken together, become a microcosm of the world. This symbolism adds a resonance that gives this seemingly "small" novel grandeur and heft. Best of all, the symbolism seems like a totally natural and organic part of the story, not at all forced or strained.

The 4th of July episode is a dazzling setpiece that not only gives the reader some delightful social history about what such celebrations were like in early 20th century America, but also serves to underscore the themes of desire (those sexually charged fireworks, and all those enticing, yet unavailable items in the store windows!) and of Charity's journey from village to the world, from innocence to experience.

This novel also contains some of Wharton's most accomplished characterizations. The complex, morally ambiguous Lawyer Royall is, I think, a masterpiece. (Though I'll admit I was less satisfied with the portrayal of Harney - I think Wharton lets him off the hook).

Finally, this is a book about female sexual desire, and as such it probably broke new ground in the Anglo-American novel (Kate Chopin's The Awakening is the only earlier novel I know that handles this theme with comparable frankness). What Wharton is really great at is dramatizing the paradoxes of desire: the way desire feeds itself and leaves you forever wanting more, and also how desire - the sighing, dreaming, longing - can become an exquisitely painful/deliciously pleasurable end in itself.

Ultimately, like so many of Wharton's novels, Summer is about women's choices, and it presents a remarkably clear-eyed view of a strong-willed young woman's pragmatic yet painful reckoning, as she struggles to make the best of the raw deal society has foist upon her. Charity's fate has the semi-tragic inevitability of so many other Wharton heroines, yet here the writing is suffused with a tenderness that rarely, if ever, appears in Wharton's other works. Long after I put this book down, it continued to haunt me.

Charity Royall is a girl from a small town who spends her days face down in the grass dreaming. Enter Lucius Harney, artistic, city guy who for a few months sweeps Charity off of her feet, rescuing her from small town life in North Dormer. Charity turns out to be little more than a side dish for Harney who goes on to marry Ms Balch; Charity is left depressed, pregnant and forced to marry the middle-age man who raised her, to save her name. I love all things Wharton so I may be a bit biased but I disagree that the ending was poor. It's pretty standard that Wharton's books do not have a happy ending; the characters have an amazing, brief love affair, but in the end, there is always some impediment, as in Ethan Frome and The Age of Innocence. For the realists out there, read this book; those who must have a happy ending, stick to fairytales!

Based on "thin threads" of truth, "I, Juan de Pareja" explores the relationship between famous 17th-century Spanish painter Diego Velazquez and his black slave, Juan de Pareja. Written in first person as if Juan is really telling his story, it is the chronicle of much of Juan's life and and his colorful experiences as apprentice to a master painter.

There are many excellent aspects of this book, yet I think that the "strength" of the character of Juan is the book's biggest asset. Many books that are simply first person narratives are dry and boring, yet one could never complain of boredom while reading "I, Juan de Pareja." Juan's intelligence shines through in every page and his intuitiveness fills the book with detail. Also, his struggle to paint (because Spanish slaves at the time were forbidden to practice the arts) is fascinating, suspenseful, and ultimately inspiring. This book would not be a 5-star read without a strong character like Juan.

Historical detail also adds great richness to the book. Author de Trevino has captured the mood of 17th century Spain perfectly, and her accounts of Juan's Italian travels fascinate the reader as well. Art facts and descriptions are well-placed, and the reader will find themselves interested in the rich history presented in the book, rather than bored by it.

Furthermore, supporting characters are excellent! The portrayal of Diego Velazquez was well-imagined by the author, and the master painter's comments ring with insight and truth. The nobles, the painter's family, the Spanish king, Dutch painter Ruebens...they all come to life in "I, Juan de Pareja."

Finally, the end of the book is triumphant and fitting. I can't say much more without spoiling the book, but trust me, it's one of the most well-done endings you could find. It is hard to find a single flaw in this book. Vibrant history, excellent characters...why aren't more people reading this book?

I read this book in the sixth grade, and I thought I should just read it because my teacher, Ms. Aperribay, had us and I didn't want to get a "F" for this work. So I read it, bored with it in the first chapter. Then... I thought it was wonderful! Juan de Pareja is a true story of a slave of the famous painter, Diego de Silva y Velazquez, and he studies, just by watching, the arts of true painting. Secretly, he does his own pieces, and they are beautiful! He wishes he could share it with someone, but if he tells, he will be sinned because slaves aren't supposed to paint! This book disserves a 100 thumbs up, but I guess there is no such thing. I read this in spanish, and even though I didn't understand it well, I loved it.

Putatively aimed at a younger audience, this book is in reality directed at a wider audience.

One of the deep pains of knowing something about art is the realization that paintings you know and love aren't a part of today's "Cultural Literacy." This makes books like *Girl with a Peal Earring* and *I, Juan de Pareja* a particular joy. Once you have read these books, the paintings will haunt (and enrich) your subconscious. I read first read *Juan de Pareja* as a child, during a recent trip to the Prado in Madrid, flashes of this book were still with me as I looked at Velasquez's masterworks.

This book, deservedly, has stayed in print through many, many editions, and I hope there will be more to come.

This is an exceptional album. "Ev'ry time we say Goodbye" is the absolute best rendition of this Cole Porter song that I have ever heard..worth the price for that song alone. But the other songs are almost as memorable. Including the albums only original song "Film Noir" which Carly co-wrote with Jimmy Webb. This is a wonderfully produced and arranged album and surely any Carly fan or lover of 40's music can't help but enjoy this. Booklet contains black and white photos of Carly, and a 3 page essay by Martin Scorcese.

Her third project of standards is also her strongest and most appealing. Focusing on songs from the classic "film noir" era of movies, Carly knows just when to make a song her own statement and when to play it straight. The dramatic "You Won't Forget Me" is given a traditional arrangement, but she takes Cole Porter's chestnut "Every Time We Say Goodbye," almost always performed as a ballad, and turns it into a 50's reminiscent, horn-laden gem with an insistent midtempo beat. "Spring Will Be a Little Late This Year," a duet with Jimmy Webb, is given a jolt to its piano and vocal arrangement with a surprising electric guitar solo. "Last Night When We Were Young" offers a perfect dose of sweet nostalgia, and Carly ingeniously weaves elements of her moody ballad "Haunting" (from her 1978 album "Boys in the Trees") into the intro for the ultimate mood piece, Johnny Mercer's "Laura." The project even inspired Carly to write her own classic song, the brilliant title track that gives new meaning to the escapism of the movies. In the wake of so many pop trends and gimmicks, it's refreshing to not only hear someone remember these classic songs, but to breath new and inventive artistic life into them as well.

When you play this CD,your World changes to Black/White.It takes you back to the post war days.When I get a new CD,I love to read the linner notes,and see who wrote the music and the words,also the musicians.I couldn't beleive Frank Sinatra co-wrote,"I'm a fool to want you." This song is fantastic.I have alot more respect for old blue eyes for writing such a wonderfull song. When you play"Lili Marlene, you will see Marlena Dietrich in your living room.The American's and the German's both cherished this song while the war was going on,and its my favorite cut from the CD."Don't smoke in bed," I wouldn't want to mess with this Women.The way Carly sings this,you'll never be able to fall asleep again. This song is so funny."Every time we say goodbye," was the single released from the record.I hear this song everytime I step into a Mall. What a great tune,and Carly's son Ben sings backup. He sounds alot like his Father JT. What a voice. John Travolta sounds nice on "Two Sleepy Peope," but the duet with Jimmy Webb,the co-producer of the record,"Spring will be alittle late this year," is a classic.You won't be dissapointed buying this CD.The third album of Standards from Carly.

EVA TROUT is perhaps the weakest of Bowen's novels and is certainly not the place to start your appreciation of her work. One of Bowen's characteristic devices is to describe not the terrible event, but the day after the terrible event, as people realize that they are nonetheless going to have to pick up the pieces and continue with their lives. EVA TROUT takes this device--which may strike you as a trick but is actually one of Bowen's great insights into life as it is lived--to the greatest extreme. Except for the ending, almost every major event in this book happens between the end of one chapter and the start of the next.

If you admire Bowen as I do, it's interesting to read her at her most Bowenesque. If you do not already admire Bowen, please don't start here--I've put off too many people by recommeding this book. Start instead with her short stories, some of which are widely anthologized.

I think that Eva trout is Elizabeth Bowen's strongest work. It completes the feeling started in the book Death of the Heart. Who could not relate to Eva and her childish heart. Much like Portia in Death of the Heart, Eva remains unchanged as the world around her closes her in, and forces others to "grow-up", thus killing all that they believed in when children. Eva so closes herself off from the world, that she has never cried, but one can feel the verge of tears from page one on. I wont ruin the book for you by saying anything else, but i STRONGLY suggest that you read this book.

Inchbald has a great talent with words. This books is insightful, provocative and dramatic. Inchbald talks about love with such candidness and frankness that while your reading you can't help but feel an overflowing of emotions toward the main characters. Very satisfying ending the tidies up all the problems throughout the book.

This is no "Gone With the Wind" -- everybody gets what they deserve, according to the strictest moral code, and some get it with interest.

However, Inchbald excels at characterization -- she unites vanity and passion in one character, and still has a believable personality to show the reader -- and she can show a character in change, without losing the character's integrity. Although the tragedy she creates has a moral "told you so" aspect hard for modern readers to take, it also has the pathetic grandeur of the great tragedies -- small, pointless faults and actions which lead to irreversible pain. The humanity of Inchbald's insight is what makes this book one of my favorites among the 18th century women writers.

A very interesting, well-written, and thorough analysis of sexual abuse, written from a feminist perspective. Elizabeth Ward calls sexual abuse/incest, "Father-Daughter Rape", to convey the serious and severe nature of sexual abuse committed against female children by men, who are in a position of power over them, and have long-term access to repeat the offense. This book is about abuse by fathers, stepfathers, brothers, grandfathers, uncles, etc. The word rape is used to define all sexual offenses. Elizabeth encourages taking action and speaking out to end rape. Particularly beautiful was the section on mothers and daughters bonding together in the fight to end rape. She did an exquisite job expressing the feelings of the survivors.

I recieved this book as a gift, and got a lot from it. It is dated, and based mostly on West-coast studio work, (2 things I am not), but there was still a great deal of information for me to continue my education in the Assistant Director department. I also found the UPM info a learn expearence, since that is not my speciality. I wish there were more AD books like it out there.

If you've reached the stage in your garden education where you're a Master Gardener or the self-taught equivalent, you will be ready for "A Garden of One's Own" by Elizabeth Lawrence (1904-85). Ms Lawrence was a landscape architect, botanist, horticulturist, and garden writer who lived and worked in North Carolina. The editors, Scott and Ward have compliled and distilled her writings from many sources (magazines, letters, plant society bulletins) into a useful resource.

Although "A Garden of One's Own" contains a section dedicated to gardeners in the Middle South as well as a nice essay on William Lanier Hunt, it is not just for those living in the Piedmont area of North Carolina. The book is filled with information Ms Lawrence exchanged with plant collectors and gardeners as far away as the northwest coast of the U.S. Many plants that grow well in the Piedmont area of North Carolina can also be viable futher north, in the upper South, and in various higher altitude areas on the Pacific coast. As Ms Lawrence says, the growing zones extend across the country.

I have always found Ms Lawrence's exchanges with folks in Ohio (colder), Missippi (hotter), and other parts of the country quite informative. I do believe she must have been one of the first writers to educate the lay public about the effects of climate and growing conditions on garden plants. As every frustrated rosarian knows, one simply cannot grow everything everywhere. Ms Lawrence informed her readers by sharing the thoughts, concerns, and experinces of her correspondants about some plant, say ground phlox, and well as her own thoughts and experiences concerning the same plant.

Because Ms Lawrence was a botanist, she preferred the Latin names of plants, and always used them in her writing. She included the local coloquial names too -- and on hearing them you understand why the Latin terminology is indespensible. I have find her approach extremely helpful because plants often have dozens of local names, but the Latin identification allows me to know exactly what she's discussing and find it in Hortus. Also, the editors have added footnotes where necessary to update the Latin terminology.

Ms Lawrence loved 'Rock Gardening' and I found the sections addressing this topic most illiminating. She contrasts the mountainous origins of plants growing on rocks, with the efforts of gardeners in the flatlands to build "mountain-like" gardens. You can build a rock garden anywhere, you just have to think about what you're doing, use flora that will survive in your microcosm, and select plants that will not overtake a bed or dwarf other plants with outsized proportions.

On a business trip a few years ago, I visited the Denver Botanical Garden--with the goal of viewing the Alpine Rock Gardens. It was April, the sky was blue and the weather unseasonably warm (70 degrees). Lilacs were in bloom along with hundreds of bulbs, but the thing I will remember the longest are the wonderful Alpine rock gardens. I spent the whole day wandering from plot to plot, and don't recall ever having felt any happier. There are little bits of heaven on earth and the Denver Botanical Garden is one of them.