I discovered this author when she was writing as Sabrina Jeffries and this story is probably the closest to that style of any of her Deborah Martins. It's light, humorous, and sexy, and Barbara Crampton's narration only adds to the story's delights. I'd recommend the package to anyone.

She watched through teary eyes, past the flowers, and beyond the coffin. What am I to do without him to help me, she thought. The words of the minister were hollow and echoed past her ears. She prayed, "Oh God, please help me just to take my next breath."

"How awful," they said, "to be left with four little boys. Surely she will remarry."

I can't remarry. I love only him. I must do this thing that has been placed upon my shoulders.

The above story, was my mother's story. She raised me, and my three older brothers, alone. She had no mate to help her. I have admired and will forever admire her strength and courage.

As I have read "Trailblazing American Women, First in Their Field," I have come to an admiration for the great women in American history. I admire their compassion and better wisdom. Such accomplishments as Jane Addam's, Hull-House, and Jeannette Rankin's, iron clad stance against war, have caused me to reflect, and in some cases even weep. I weep, for their's was the greater insight and they were not recognized for it, until, after many trials and hardships.

Barbara Kramer, has given us a treasure with her book "Trailblazing American Women." Whether you are an adult or a young person, this book will teach and bring you to a remembrance of those wonderful women who gladly carried our burdens upon their shoulders.

Marv

This book does a wonderful job of providing activies that stimulate child learning and development. It provides means for teachers to transition children from one activity to another. This is also good for all parents who need ideas for keeping their kids busy! The authors should be commended for putting into print their experience so we can all benefit.

katie skates pairs with her twin brother. all is going well until
she starts dating a guy who is also one of her strongest competitors. frictions really heat up when katie discovers that
her boyfriend has stolen a section of their long program. her
brother is ready to hit the roof because he thinks that it will
ruin their chances to win nationals and go on to the world
championships. what is our poor heroine supposed to do?

This book gives simple yet complete explanations of how archaeological "detectives" investigate the past by using scientific clues and techniques. Land and sea exploration is covered and sections are devoted to looking for evidence; pottery; bodies; animal and plant remains; and buildings.

Various dating methods are explained: radioactive dating, carbon 14, tree rings, potassium,argon dating, fission track dating, and thermoluminesence.

Also included are sections about detecting fakes (by dating tests, X-rays, and chemical tests) and about how we can preserve our past . Conservation methods for wood, leather, and metal are covered as well as how archaeologists put ancient broken items back together.

The authors explain how archaeologists put together their evidence and research to come to logical conclusions.

As usual with all Usborne books for this age group, the wonderfully simple drawings fully illustrate the concepts presented.

For those involved in the "front-lines" of foster care, particularly foster parents, there is the on-going commitment to care for a child's basic needs, health, emotional needs and their physical needs. As professionals, we must actively participate in ensuring that children have the best possible intervention and care that will enable them to become healthy, functioning adults. It is our responsibility to the children in "the system" to work together in continuing to educate ourselves, our community and other professionals on ways to improve "the system".

The focus is always on what is "in the best interest of the child". Unfortunately, there are many "decision-makers" who are not educated enough, or up-to-date on what really is the best interest of the young welfare child of today. In fact, more often than not there is a tendency to not be "on the same page," (or in some cases, even the same book!). Young Children and Foster Care is a definite step in the right direction to get every one on the same page! It is must read for all professionals involved in caring for young children. This well written book takes a collection of materials from a variety of child development specialists and child advocates which then provides an opportunity for other professionals to better meet the needs of children within the child welfare system. The important and expert advice on developmental disabilities, concerns of health and medical care, emotional development and attachment issues, along with advocacy issues, is designed to educate other professionals in the realm of caring for children. It really does take a village to raise a child. We must all work together to ensure their future - - - we must do it for our love of children.

This Book is about a young Grizzlys adventure through life. very Realistic. I would recomend this book to anyone

I loved the book and have been trying to get my hands on a copy of it for many years. I read a friend's copy and have been looking for my own copy since. I do believe, if the book were to be presented again, with the great women's books out now, it would be a real hit

First off, I must admit that I thoroughly enjoyed Part I and absolutely adored Henry V. Having said that, I found Part II to be enjoyable, yet perhaps leaving something to be desired - like more action. Falstaff and Prince Hal both come off as somewhat disingenuous and calculating Machiavellian individuals. Disappointingly, Falstaff speaks poorly of Prince Hal while unwittingly in his midst. Conversely, The Prince of Wales prematurely takes the crown before his King Henry IV's death as well as disassociating himself with Falstaff after he is crowned King. These instances, along with others throughout the play, show the self-serving tendencies of both characters.

However, we can proudly witness the maturation of the young King from wild & dissolute young Prince Hal into one of the most revered monarchs in English history, King Henry V. Part II remains an intriguing play due to its paradoxical nature, yet unfortunately rarely acted out today. Now that I have read Henry IV(I&II) for the first time, I gladly move on to one of my personal favorites, Henry V. I recommend both parts(Folger editions) for all Shakespeare enthusiasts - they have given me greater insight into the young Henry V - when he was more concerned with downing a pint of ale rather than downing the French at Agincourt.

2 Magnificent Quotes from Henry IV Part II -
"Uneasy lies the head that wears a crown." - King Henry IV
"He hath eaten me out of house and home." - Mistress Quickly

henry iv is misnamed since the play isn't really about king henry but about his son, prince hal, and his enemies, especially henry percy (aka 'hotspur') who is a rival to hal. hotspur is one of the leaders of the rebellion against the king and, at a tender age, is already an accomplished soldier. his story provides the drama of the play. hal, on the other hand, has fallen out of favor with the king, and is whiling away his days in the company of dissolute company, led by sir john falstaff, one of shakespeare's great characters. his adventures with sir john provide the comic relief. fortunately for the king, hal sheds his prodigal ways in time to save his father and his crown in the battle at shrewsbury, where, coincidentally, hal meets and slays his rival, hotspur.

this is one of shakespeare's best plays. the story of the rebellion is intriguing, and the adventures of hal and falstaff are laugh-out-loud hilarious. the culmination of the two stories in the final battle scene is wonderful. this is a fitting sequel to richard ii.

note that there are some historical inaccuracies and even outright inventions in this play. foremost is the character of falstaff who is pure invention (and genius). the story of hal's adventures stems from his reputation, enhanced by legend, as a playboy. falstaff was the perfect foil for a carousing prince. the biggest inaccuracy is hotspur's age. he was actually of the generation of henry iv, and not as young as he's depicted in the play. shakespeare made him younger to enhance, maybe even create, the rivalry with hal. there are other inaccuracies here, but better for the reader to consult 'shakespeare's kings', an excellent book by saccio that explains the history of the period and the discrepancies in the play.

The lengthy title for the 1598 printing was "The History of Henrie the Fourth, With the Battell at Shrewsburie, between the King and Lord Henry Percy, surnamed Henrie Hotspur of the North, with the humorous conceits of Sir John Falstaffe".

Surprisingly, Hal, Prince of Wales, (later Henry V) was not even mentioned in this verbose title although many would consider him to be the central character. This play is clearly the dramatization of a struggle for a kingdom, but it is equally the story of Hal's wild and reckless youthful adventures with Falstaff and other disreputable companions.

Shakespeare did not write his plays about English kings in chronological order, but these plays do have a historical unity. It is helpful (but not essential) to read the tetralogy Richard II, Henry IV Part 1 and 2, and Henry V in chronological order. Whatever route you take, I highly recommend buying a companion copy of Peter Saccio's "Shakespeare's English Kings", an engaging look at how Shakespeare revised history to achieve dramatic effect.

A wide selection of Henry IV editions are available, including older editions in used bookstores. I am familiar with a few and have personal favorites:

The New Folger Library Shakespeare is my first choice among the inexpensive editions of Henry IV. "New" replaces the prior version in use for 35 years. It uses "facing page" format with scene summaries, explanations for rare and archaic words and expressions, and Elizabethan drawings located on the left page; the Henry IV text is on the right. I particularly liked the section on "Reading Shakespeare's Language in Henry IV" and Alexander Legget's literary analysis (save this until you have read the play). The fascinating article "Historical Background: Sir John Falstaff and Sir John Oldcastle" adds a religious dimension to the play that I had not previously noted.

The Bedford Shakespeare Series provides an excellent study text (edited by Barbara Hodgdon) titled "The First Part of King Henry the Fourth". It is a little more expensive, is about 400 pages, and provides a broad range of source and context documentation. It would be excellent for an upper level course in Shakespeare. The context documentation is fascinating and informative; it ranges from the Holinshed Chronicles to Elizabethan writing on Civic Order to detailed cultural studies of London's diverse populous. Other chapters address the OldCastle controversy and the "Education of a Prince".

I also like the Norton Critical edition (edited by James Sanderson), "Henry the Fourth, Part 1", particularly for its extensive collection of literary criticism. The essays are divided into two parts: 1) the theme, characters, structure, and style of the play and 2) a wide variety of interpretation directed toward that roguish character, Sir John Falstaff.

Shakespeare's Othello is an interesting and dramatic tragedy. If you like imagery and irony, you will like Othello. Shakespeare uses the power of imagery skillfully to develop themes throughout the play. For example, recurring animal imagery is used to sharpen the contrast between people and beasts, showing how Iago and Othello begin to act more like beasts than human beings. Irony also adds much to the plot of Othello to make it interesting and exciting for the reader. Much of the irony used is dramatic irony because the reader knows of Iago's plot, while the characters in the play have no idea what is about to unfold. The relationship between men and women in Othello is another aspect of the play that makes it interesting to read. Iago's wife Emilia, for example, is very cynical towards men, probably from years of living with Iago. Othello and Desdemona's relationship is also intriguing. In the beginning of the play, Othello and Desdemona are seemingly deeply in love with each other. Othello, however, is rather easily convinced that his wife is cheating on him and becomes angry to the point where he cannot forgive Desdemona. He decides to kill her. As she is being murdered, Desdemona tries to protect her husband's innocence in her own murder. Another interesting aspect of the play which makes it stand out from other Shakespearean plays is the race of the main character. Othello is black and a Moor, or Muslim. This fact brings up issues to be explored in the play. Shakespeare shows the characters being separated not only by status and rank but also by their place of origin and their religion. Overall, Shakespeare's Othello is dramatic, well-written, and thoroughly explores how evil a human being can become.

Othello relects the true meaning of a tragedy both in its content and its structure.Tragedy is 'a story of exceptional calamity produced by human actions, leading to the death of a man in high estate.'The downfall of Othello is caused by his own actions, rather than by his character, or rather the two work in unison to create the stage for his downfall.
This is what captured my attention when I read this play.It is very profound to realize the fact that Shakespeare uses Iago to set this stage on which Othello is a mere player.
I love the character of Iago. His total confidence, the superiority that he feels when psychoanalysing human nature, his rational thinking and intellectualism sways the reader to think: 'Wow, this is a compelling and sophisticated man we're dealing with here!'
However, my admiration of Iago does not in anyway undermine my love of Othello. His poetic and calm demeanor makes the reader feel the pity and terror for him when he falls from grace (catharsis). Yet, we are made to understand that the reason why he is made to appear a gullible and ignorant fool to some readers is that he does not have any knowledge of a delicate, domesticated life. Venetian women were foreign to him. This tragic flaw in Othello added to the circumstances used by Iago to destroy him.
The meaning, and hence the tragedy of the play is conveyed through the use of Shakespeare's language, style, literary devices and imagery. Without these dramatic effects, readers would never be able to enjoy the play as much, although the dialogue is at times difficult to decipher.
I thoroughly enjoyed Othello and it is my hope that more people find it enticing as I have. I would be delighted to contribute more of my reviews to that effect.

As a play, "Othello" encompasses many things but more than anything else it is a study of pure evil. Although Othello is an accomplished professional soldier and a hero of sorts, he is also a minority and an outcast in many ways. As a Black man and a Moor (which means he's a Moslem), Othello has at least two qualities, which make him stand out in the Elizabethan world. He is also married to a Caucasian woman named Desdemona, which creates an undercurrent of hostility as evidenced by the derogatory remark "the ram hath topped the ewe".

Othello's problems begin when he promotes one of his soldiers, Michael Cassio as his lieutenant. This arouses the jealousy and hatred of one of his other soldiers, Iago who hatches a plot to destroy Othello and Michael Cassio. When Cassio injures an opponent in a fight he is rebuked, punished, and subsequently ignored by Othello who must discipline him and teach him a lesson. Iago convinces Desdemona to intervene on Cassio's behalf and then begins to convince Othello that Desdemona is in love with Cassio.

This is actually one of the most difficult Shakespeare plays to watch because the audience sees the plot begin to unfold and is tormented by Othello's gradual decent into Iago's trap. As with other Shakespeare plays, the critical components of this one are revealed by language. When Othello is eventually convinced of Cassio's treachery, he condemns him and promotes Iago in his place. When Othello tells Iago that he has made him his lieutenant, Iago responds with the chilling line, "I am thine forever". To Othello this is a simple affirmation of loyalty, but to the audience, this phrase contains a double meaning. With these words, Iago indicates that the promotion does not provide him with sufficient satisfaction and that he will continue to torment and destroy Othello. It is his murderous intentions, not his loyal service that will be with Othello forever.

Iago's promotion provides him with closer proximity to Othello and provides him with more of his victim's trust. From here Iago is easily able to persuade Othello of Desdemona's purported infidelity. Soon Othello begins to confront Desdemona who naturally protests her innocence. In another revealing statement, Othello demands that Desdemona give him "the ocular proof". Like Iago's earlier statement, this one contains a double meaning that is not apparent to the recipient but that is very clear to the audience who understands the true origin of Othello's jealousy. Othello's jealousy is an invisible enemy and it is also based on events that never took place. How can Desdemona give Othello visual evidence of her innocence if her guilt is predicated on accusations that have no true shape or form? She can't. Othello is asking Desdemona to do the impossible, which means that her subsequent murder is only a matter of course.

I know that to a lot of young people this play must seem dreadfully boring and meaningless. One thing you can keep in mind is that the audience in Shakespeare's time did not have the benefit of cool things such as movies, and videos. The downside of this is that Shakespeare's plays are not visually stimulating to an audience accustomed to today's entertainment media. But the upside is that since Shakespeare had to tell a complex story with simple tools, he relied heavily on an imaginative use of language and symbols. Think of what it meant to an all White audience in a very prejudiced time to have a Black man at the center of a play. That character really stood out-almost like an island. He was vulnerable and exposed to attitudes that he could not perceive directly but which he must have sensed in some way.

Shakespeare set this play in two locations, Italy and Cypress. To an Elizabethan audience, Italy represented an exotic place that was the crossroads of many different civilizations. It was the one place where a Black man could conceivably hold a position of authority. Remember that Othello is a mercenary leader. He doesn't command a standing army and doesn't belong to any country. He is referred to as "the Moor" which means he could be from any part of the Arab world from Southern Spain to Indonesia. He has no institutional or national identity but is almost referred to as a phenomenon. (For all the criticism he has received in this department, Shakespeare was extrordinarlily attuned to racism and in this sense he was well ahead of his time.) Othello's subsequent commission as the Military Governor of Cypress dispatches him to an even more remote and isolated location. The man who stands out like an island is sent to an island. His exposure and vulnerability are doubled just as a jealous and murderous psychopath decides to destroy him.

Iago is probably the only one of Shakespeare's villains who is evil in a clinical sense rather than a human one. In Kind Lear, Edmund the bastard hatches a murderous plot out of jealousy that is similar to Iago's. But unlike Iago, he expresses remorse and attempts some form of restitution at the end of the play. In the Histories, characters like Richard III behave in a murderous fashion, but within the extreme, political environment in which they operate, we can understand their motives even if we don't agree with them. Iago, however, is a different animal. His motives are understandable up to the point in which he destroys Michael Cassio but then they spin off into an inexplicable orbit of their own. Some have suggested that Iago is sexually attracted to Othello, which (if its true) adds another meaning to the phrase "I am thine forever". But even if we buy the argument that Iago is a murderous homosexual, this still doesn't explain why he must destroy Othello. Oscar Wilde once wrote very beautifully of the destructive impact a person can willfully or unwittingly have on a lover ("for each man kills the things he loves") but this is not born out in the play. Instead, Shakespeare introduces us to a new literary character-a person motivated by inexplicable evil that is an entity in itself. One of the great ironies of this play is that Othello is a character of tragically visible proportions while Iago is one with lethally invisible ones.