Andrea Thompson Books
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DUMPED - EXCELLENT!Review Date: 2008-07-16
Sally was following me around!Review Date: 2004-04-17
Uncanny!Review Date: 2000-09-08
Thanks for your helpReview Date: 2000-07-26
Superficial and UselessReview Date: 2000-06-12

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A Structured Approach to Empowering WomenReview Date: 2004-04-17
A Special Resource for WomenReview Date: 2004-06-28

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Read this book!Review Date: 2008-07-02
Paul speaks truthfully about his story in a real way that gives those with the illness and their loved ones the ability to understand the journey ahead. I appreciate his honestly and giving people the ability to laugh and find the humor in having or loving someone with a mental illness.
I truly believe this book saved my boyfriends life, and our relationship in so many ways.
an amazing bookReview Date: 2008-05-22

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TERRIFIC!Review Date: 2005-08-31

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Indispensable for Communicating with Your TeenReview Date: 2005-02-28

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Must have for teachersReview Date: 2004-02-29

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Very Detailed plan of ExercisesReview Date: 2008-05-15
Good exercises, but major time commitmentReview Date: 2007-12-30
Great InformationReview Date: 2008-05-20
Great Maternity Fitness Book!Review Date: 2008-04-18
I've also been doing her maternal fitness workout (takes longer - about an hour +) and it's a tough workout that you can do at your own pace - with just a few things, at home. (Need some light weights and a resistance band).
I love that she offers pages you can photocopy to have on hand with you - makes it easy to follow once you know the routine or if you have to travel like me.
Very HelpfulReview Date: 2007-06-26

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Cats rule okay?Review Date: 2008-02-22
my 2¢ worthReview Date: 2001-02-22
my 2¢ worthReview Date: 2001-02-22
Cute, and confusing.Review Date: 2000-04-21
Tenth book juggles complicated plot expertly!Review Date: 2000-03-06

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lifesaverReview Date: 2001-03-15
Starts out great; doesn't deliver on its promisesReview Date: 2004-02-03
This is good stuff; we are off to a good start. But, in my opinion, the book does not deliver on its promises. Instead, we find that the author, who is a practicing psychologist, builds her book like a therapist who is trying to help someone solve a personal problem, in this case the prospect or experience of an unfulfilling retirement phase of life. This theme is exposed when she tells us, "Many people who have entered the after-the-job stage of their lives find themselves asking if there isn't supposed to be more to it....many such people come to my office for counseling."
So, the author presents four men and four women, "who sketched their journeys for me." My problem with what happens next is that the next 120 pages dwell on the childhood, educational, personal and vocational phases of these people's lives. Five of the eight still work, one retired one year ago, another two years back, and the other 12 years ago. So, a basic problem can be seen here: only one of those profiled has much of any experience with and in retirement!
I'm a firm believer that life, for the most part, only makes sense when you look at it in reverse. The variables along the way are endless: who we end up with as a spouse, what career we end up with, where we end up living, whether we are "successful" or not, etc. I also believe that the variables in the retirement phase can be endless, and, for the most part, are not controllable any more than the variables in our earlier phases were. The point here is that, for me, this lengthy exercise to learn who these working people are now and who they were earlier in their lives does little for me as a guide to my personal success in retirement. I just don't see these people as having much to say that is knowledgeable about the subject of retirement.
What I think the author may be on to is to open the door to the area of specialized retirement counseling for those who might need some "special" help. Folks who enter retirement with histories of having problems making decisions, following through on things, and being comfortable with themselves outside of their jobs might, indeed, need to look at their past to better understand who they can become in retirement. But I firmly believe that most folks do not need to go to the psychologist's couch as an essential step into retirement. So, in that sense, the essence of this book, in my opinion, is not valuable to most pre-retirees or those in their early transition.
Surely there are those who could use such help finding themselves in retirement. Willie Lowman, the central character in "Death of a Salesman" might be a candidate. After his death, one of his sons says of his salesman father, "He never knew who he was." Another candidate would be Mr. Schmidt of the "About Schmidt" movie fame. Talk about a guy that is ill-prepared for retirement! He came into it a mess, and he makes an early mess of it. He didn't know who he was, what he was supposed to be doing, or where he was headed. If someone is a mess before retirement, how could he or she not be expected to be a mess in retirement. And surely some people find success in the workplace in ways that will be difficult to find outside of the workplace. These folks could use some help.
Back to the book, the last 30 or so pages have some tidbits that are worthwhile, like breaking the transition into retirement into three phases: honeymooning, testing new waters, and the second wind. And on the final pages, she says, "Life keeps happening, and transitions are part of it....After all, growing up is never done." Sounds like good advice, but doesn't that mean that we've come full-circle in the book? At the end she tells us that we never grow up? If so, what was the point of the book?
In the end, I found the eight people profiled to be too few and with too little to say about the realities of successful retirement. As for advice about what one might want to do with extra leisure time in retirement, I'd point readers to the Activity Tree in "The Joy of Not Working," by Ernie Zelinski, as a much more practical way to build and to "pull" meaningful activity ideas for an individual retiree.
LIKE PLANTING AND TENDING A GARDEN!Review Date: 2001-05-09
In this book, the author points out the positive ways of dealing with change and how to plan and approach this new period in the lifecycle. Anyone approaching mid-life can certainly benefit from this book; it is never to soon to plan for the future. If you are already into your retirement years, this book may be just the inspiration you need if the years are not as challenging and fulfilling as you anticipated. The author has a lot to say on the subject and it is a great book based on sound advice.
Hits the Nail on the HeadReview Date: 2001-04-21
A primer for those "in the desert"Review Date: 2005-04-17
Dorothy Cantor shares her twenty-five years of experience as a psychologist working with those who are seeking "what to do next" with key questions and real-life stories. While some, like me, may find the stories of little use, the questions she raises are the guts of the book and make this an excellent purchase. Some of these include:
What will I be doing when I am no longer spending most of my time at the work I am doing now?
What are the fifteen good things (besides money) that I get from job now?
What was it that I first longed to be when I grew up?
What are my obsession and reigning passions?
Who are my heroes, my favorite or most unforgettable people?
These and a host of other questions she raises will get one to think about their lives, their dreams, their gifts, their passions, and, ultimately, their direction. This is not a book to read quickly as this book requires the hard work of reflection and introspection to maximize its value.
Cantor has authored a very readable and useful book in helping those who are searching to start the next chapter in their lives - possibly the most fruitful and meaningful

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Insight into renaissance painting techniqueReview Date: 2007-04-04
A MasterpieceReview Date: 2007-04-04
Cennino's Handbook, Still IlluminatingReview Date: 2005-10-25
Art, genuine art, is a pleasure not only in the thrill of color and line but in its procedure and materials. In fifteenth-century Florence, an artist named Cennino d'Andrea Cennini compiled a handbook for contemporary and future painters to consult in their drawing and painting from the beginning, in choosing their ingredients, mixing their paints and preparing their paper or cloth for painting on.
Unlike the making of sausage, the elements of creating art are a delight. Here are some how-to's excerpted from this wonderful little book (translated by Daniel V. Thompson, Jr., 1933, reprinted numerous times by Dover), still vibrant five hundred years after it was composed. The details also unwittingly reveal something of contemporary everyday life, where the art came from.
To paint on a panel, you start with a little boxwood panel nine inches square, washed with clear water and rubbed and smoothed down. "And when this little panel is thoroughly dry, take enough bone, ground diligently for two hours, to serve . . . take less than half a bean of this bone, or even less. And stir this bone up with saliva. Spread it all over the little panel with your fingers; and, before it gets dry, hold the little panel in your left hand, and tap over the panel with the finger tip of your right hand [presumably Cennino was right-handed] until you see that it is quite dry. And it will get coated with bone as evenly in one place as in another."
Wondering where to find the bone? "You must know what bone is good. Take bone from the second joints and wings of fowls, or of a capon; and the older they are the better. Just as you find them under the dining-table, put them into the fire; and when you see that they have turned whiter than ashes, draw them out, and grind them well on the porphyry."
Parchment comes from sheep or goats; to draw on sheep parchment, the artist lightly inscribes the background of bone with a sharp point. "On the parchment you may draw or sketch with this [stylus] of yours if you first put some of that bone . . . all over the parchment . . . dusting it off with a hare's foot." To add ink, "shade the folds with washes of ink; that is, as much water as a nutshell would hold, with two drops of ink in it; and shade with a brush made of minever tails . . ."
"And if you ever make a slip, so that you want to remove some stroke made by this little lead, take a bit of the crumb of some bread, and rub it over the paper, and you will remove whatever you wish."
The artist gives equally clear and detailed instructions for whittling goose quills to get a sharp point for ink drawing, to tempering paper with several coats of glue (tempera), to making clear tracing paper by scraping kid parchment and treating it with linseed oil. White lead is a basic ingredient, so is saliva. (Saliva combined with lead poses a health hazard; painters often died young.) Colors come largely from minerals, and the author explains how to pulverize and mix minerals to produce the paints desired.
Cennino explains every procedure in gessoing, stamping on gold, working on cloth, painting on velvet (yes, it goes way back), gilding saints' haloes, designing brocades, and embellishing with gold or tin. Much of a loss for art history, his instructions for mosaics are regrettably long since gone.
The author also makes some opening remarks designed to put art in context in creation. Much as he loves art, Cennino subordinates it to thinking, and he never loses sight of the fact that it is work. After the fall, "Man . . . pursued many useful occupations, differing from each other," some "more theoretical than others; they could not all be alike, since theory is the most worthy." Art is a "labor of love," but it is still labor.
Still, his praise for art, being genuine, is as strong as any I have ever read: "Close to [theory], man pursued . . . an occupation known as painting, which calls for imagination, and skill of hand, in order to discover things not seen, hiding themselves under the shadow of natural objects, and to fix them with the hand, presenting to plain sight what does not actually exist. And it justly deserves to be enthroned next to theory, and to be crowned with poetry."
instruction manual for historic paintingReview Date: 2007-03-10
Please be aware! many techniques, pigments, and methods used in history were hazardous. many pigments in use in proffessional art workshops today are hazardous as well, but the Medeival artist did not have OSHA regulations and disclaimers. Please investigate the safety of ANY procedure or pigment before use.
This book is referenced by many other authors and webpages for their instructions, and can be used as Primary Documentation for most living history groups
After reading this,one can truly appreciate some of the perks of being an artist in 21 century... Review Date: 2007-02-26
It is a completely unrefined(even quite raw to some tastes)step by step manual on the nitty-gritty of paint and medium preparation which can generally attract two types of readers - the professional painter who has heard of this little collection(and its mysterious "painting secrets") from word of mouth; or else, the seeker of bizzare and obscure literature of times past - in both cases you will go through this book alternating between bouts of disbelief and hysterical laughter...
Great entertainment, and perhaps even a thing or two to learn about how renaissance artists saw themselves and their work.
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Susan Varian, Longwood, Florida