This CD + workbook is a TERRIFIC learning/teaching tool for any chemistry class. Tons of great animations that show dangerous little experiments, molecular and atomic level reactions and more. I use it to teach with and am getting a set for the class for self study. Phenomenal tool for such little money!

Dr. McShea's book is an excellent review of the field and is a very good resource for students and graduate level literature discussion classes. I highly recommend it for anyone working in population biology or conservation ecology.

William Hazlitt, though not much read today, remains one of the greatest prose stylists of the language, and with Dequincey, one of the two best of the romantic age. A must!

This play is a collection of the most hilarious monologues I have ever heard - all tied together by one thing: Senior Square! I have performed one of these monologues for an audition, and it gets laughs everytime! Buy this book - even if just to read it! It's worth it!

As someone who helped playtest this module I just have to say it really adds something back to the Ravenloft setting that some of the recent modules have been lacking. DMs looking for an excellent challenge for mid to high level parties need to get this adventure and do mean things to good people!

"Shakespeare and Joyce" will open your eyes! Did you know that "riverrun" is the first Shakespeare reference in "Finnegans Wake"? You'll know this and hundreds of other choyce titbits after reading this excellent, fun, and well-written book on the author who most impressed Joyce (Dante was second to the Englishman).

John Jones has previously written on Keats (and Embarrassment) on Wordsworth (The Egotistical Sublime) and on Dostoyevsky (Dostoyevsky). He is probably one of the two or three best critics writing in English at present. At one stage of his career he worked in naval intelligence, at another in the law: traces of both disciplines lurk in his approach. He specialises in a kind of poetic-cum-forensic close-reading of text which stays with you long after you have closed the book. All of his books fall into the category of: "If you only read one book on X, read this."

Shakespeare is big game for Jones, the biggest. Most critics give up when they get to Shakespeare. Borges famously suggested Shakespeare in some crucial sense lacked identity. "I am not what I am," as he makes Iago say. It was the Argentinian's explanation for the mystery of how one person could create so many characters. As they used to say about Clapton, Shakespeare was God.

Jones doesn't cop out so easily. He tracks Shakespeare by his spoor, so to speak. The highlight of the book is the chapter where he looks at "Hand D" - a crowd scene in the fragmentary manuscript play "The Boke of Thomas More", echoes the convincing argument that it is by Shakespeare and persuades the reader that it is in many senses deeply revelatory of who Shakespeare was, or at least, how he worked (hence the title). The passage about "watery parsnips" is a gem. It's the most useful work about Shakespeare to be published in many years.

The price is prohibitive, I know, but get your library to order it!

As an academic, I could resent the sometimes acerbic references to academics in John Southworth's Shakespeare the Player, but as an academic I learned more from this non-academic book than I have learned from many academic books on Shakeespeare. The book is written by aprofessional theater person, an actor/director, who has a thorough knowledge of Shakespeare's plays and of the interactions among casts and playwrights and stages and plays and performances. From this background, he proposes and credibly supports four lines of argument: a) that there cannot be any lost years in Shakespeare's biography: to do what he did, Shakespeare had to have had an extensive apprenticeship in the theater, and Southworth adds evidence in support of the theory that this was Leceister's company; b) that there is no credible evidence that Shakespeare ever retired from the theater, and much circumstantial evidence from theater lives to suggest that he did no such thing; c) that Shakespeare was primarily an actor/director in his own plays, and not primarily a playwright, in his own eyes and the eyes of his colleagues; and d) that the roles he chose for himself, roles like Iago in "Othello," were characterized by being somewhat detached from the action, frequency of appearance on stage even when not speaking, and often a kind of controlling relationship with the other characters. The style is clear, unpretentions and very readable, the presentation direct, knowledgeable and carefully argued with detailed and credible evidence. I found the book to be the most helpful single book in illuminating Shakespeare and his plays that I've read in the last ten years.

Meagher's approach to analyzing seven of Shakespeare's plays (he claims this is the introduction to a larger work he is planning that will examine the entire canon) is a terrific new way of examining Shakespeare. In much the same way as a theatrical director would, Meagher searches the text for clues as to the original performance, explaining many of the inconsistencies and editorial confusions that have abounded since the 17th century. Quite readably, this book examines Shakespeare's treatment of place and time, his approach to his sources, and most interestingly - his use of the common theatrical practice of role-doubling to have fewer actors play many parts. Reading this book with a good facsimile of Shakespeare's First Folio (the first collected works of Shakespeare, published in 1623) is helpful, but not necessary. I highly recommend this to any student or teacher who thinks they understand Shakespeare.

Shell of wonder opened new doors for me. It was exciting and beautifully written. It was very imaginative and and was illsutrated quite well.