English Books

After watching the adults use the classroom, full-sized SEE Dictionary, the students started doing it to look up words they didn't know in their leisure-reading books (they figured out how to do it all by themselves). We gave the books to them in their end-of-year gift bags and the books were a HUGE hit. They are perfect little mini-versions of the full-sized book. LOVE them!

If you're looking to learn SEE (Signing Exact English) then go no further. This book really has it all. A better way of signing then ASL in my own opinion because this teaches all the proper uses of the language, and in turn shows in writing and such. Good sized images for each of the signs.

i loved the book very conveient i would recomend this book to the big one any day.....

This book is extremely helpful and very well made. It definitely helps out those who are trying to learn sign language but need a little extra something. I strongly recommend it for beginners or anyone who needs a quick resource from time to time. Definitely worth the money

This is a great signing book for adults. some of the actions are a little tough even for me to be sure on. But gives you pretty much everything you need.

Such a warm and delightful book, and our toddler loves to have it read again and again. Fortunately, it's not a boring book to read out loud and it goes quickly. Text has a great sing-song flow, and it's fun to do the character's voices. Can't explain every reason why I love it, but I give it at lots of baby showers and birthday parties.

A must have.

We bought this book several months ago and have read it nearly every day since. I have 3 & 5 year old girls. They both listen intently to this book even after hearing it 100's of times at this point. This book has such a sweet message. The main character is lovable and relatable. Nothing to complain about! Great illustrations. This is a must have in your child's library. Great gift!

I received this book as a gift from my mom for one of my baby showers. It is one of the best books we have and our son loves hearing it over and over. He often grabs this book off the shelf when it's time to read a story. We've been reading it to him since he was months old and we will never be tired of it. We're glad we know the secret too!

This is now our all-time favorite children's book. My three-year-old son loves this book. He laughs so hard he runs out of breath, and when Sid's dad begins to fly at the end of the book, he is so relieved and absolutely elated. Not only is this an excellent book, but the looks on my son's face are absolutely priceless and one of my happiest memories.

I love everything about this book: the vivid illustrations, the engaging flow of the rhyme, the uplifting, but not preachy, message. Sometimes I long to skip lines or pages in books when reading to my kids, but never in this book.

I saw 2 of Chekhov's plays in college and I honestly don't remember them. Glenn Close appeared in one I remember, but beyond that I was obviously distracted. Nothing could have prepared me for the perfection of these stories. I have never read a collection that had such an impact. Chekhov's clear-eyed world view peers at tiny physical details in the lives of the characters to see into their souls. They are tragic heroes in common clothes.

Chekhov looks on without judgment. His attitude is humane and liberal. No matter how foolish his subjects, his attitude is never condescending.

I hadn't realized it until I finished Pevear's forward, but Chekhov begins to slip subtly into stream of consciousness in several stories. This and many other innovations make Chekhov a pivotal figure in fiction writing. He is certainly under appreciated at present.

(I can't compare it, of course, but the P&V translation is another gift.)

Anton Chekhov is largely known for his plays (The Cherry Orchard, Uncle Vanya), but he is also widely regarded as a master of the short story. However to fully appreciate these stories the reader should be somewhat familiar with the state of fiction in Russia during the last half of the 19th century as well as social and political conditions in the country at that time. Some knowledge of Chekhov's personal history and his philosophy of life is also helpful. Lacking these insights one is likely to find these stories to be excessively negative and depressing.

One difficulty in reading this book of his best short stories is that the first few (50 pages or so) are unrelentingly depressing; death and unrequited love being the main themes and they are told in Chekhov's spare style. A Boring Story is a longer and more interesting piece. It includes some aspects of Chekhov's philosophy, and while it ends on another depressing note, there is still an element of hope present. Ward No. 6 is perhaps the best of these stories, as well as the longest. It tells of a hospital in Siberia with a ward for mental patients. The story centers around a doctor (Andrei Yefichmych), a decent and compassionate man who gradually descends to the depths of the place. Along the way he has an interesting exchange with a mental patient, Ivan Dmitrich. The doctor suggests that one can be happy anywhere, even trapped in a prison, and cites the example of the Greek philosopher Diogenes who so distained material things that he lived in a barrel. The patient disagrees strongly, shouting, "I love life, I love it passionately!" He adds, tellingly, that maybe Diogenes would not have been so happy if he had had to live in a barrel in the wintry cold of Siberia!

The other stories in the book treat of a variety of people and situations from all walks of Russian life. While despair and a sense of hopeless fatalism remains the main thrust of many of these stories, there is also an element of hope present. Chekov keeps coming back to the idea that the future will be better. Some stories, such as Anna on the Neck, even have an element of humor. The last story, The Fiancée, perhaps sums up Chekhov's view of Russian life. In this tale a young woman living in a small town becomes engaged to a local man. A guest from the city, Sasha, starts to talk with her about how empty her life will be if she marries this man. Gradually she begins to come to this realization and in the end leaves to move to St. Petersburg to have "a new, expansive, spacious life, and that life, still unclear, full of mysteries, lured and beckoned to her."

I have given Chekov a rating of 4 stars, rather than 5, because, compared to Guy de Maupassant and O. Henry, his stories do not sufficiently express the full range of human emotions. Both of the latter masters of the short story infuse their work with humor and even broad satire and this is the stuff of life as well as the dreary world that Chekov inhabits. Yet maybe Chekov is reflecting the reality of Russia in his time. In any case these stories are well worth reading.

A true master of the form of the short story, this collection of stories illustrates the full depth of Chekov's range of subjects and characters: serfs, bishops, doctors, merchants, coroners, in the country, city, and in between. There seems to have been no area of Russia where Chekov did not have an intimate, exhaustive knowledge. Every story is finely crafted, concise yet exacting, detailed yet brisk. Chekov manages to juggle these mutually exclusive elements of the art of short story, giving most of the stories the feel of longer, fully treated works in a very tight space. Simply put, Chekov well deserves his designation as one of the great masters of the short story.

This is the first series of works that I have read by Chekhov. I wanted to read some of his shorter works before beginning reading his novels. Now that I realize how much I enjoy his stlye, which I think other people will like as well, I am looking forward to reading his larger works. I very much liked the insight into the Russian culture.

Chekhov simply astonishes. "The Lady with the Little Dog," one of his most famous stories, is rendered splendidly by Pevar and Volokhonsky. I don't know of any other writer who captures the confusion, fear and excitement of romantic love as well as Chekhov does here. The last line is perfect.

When I decided to buy this book I wasn't sure about it's content Now I do recomend it to one intends to study theology or use it as a catechesis meterial. It contents is well done e very usefull.

As others have clarified, this review is for the English-only version of Aland's synopsis. I just went through this book for a seminary class on the Gospels, and it is truly an amazing resource.

Aland aligns the four gospels in parallel with each other, so that every time the reader encounters a particular story from one Gospel account, the analogous portion of the same story from any of the other Gospels appears alongside it in another column. And if a story is unique to one Gospel, then the other three columns are blank.

My study of this book has shed amazing light on the life of Jesus, as I have previously only read about Him from one Gospel or another. But reading these stories in parallel with each other provides a fullness to our understanding that is simply impossible when read in isolation.

My only critique is that some of the formatting seemed unnecessarily cumbersome. The footnotes are so prominent as to be almost overwhelming, and some of the spacing was strangely irregular.

Of course, when used for its presumed purpose as a reference book, those logistical issues become less problematic. Ultimately, this is not written to provide devotional readings, and I would not recommend anyone to simply sit down and plow through this entire book. However, for anyone with the task of preaching and teaching from the Gospels or for anyone who simply wants to understand the life of Jesus more fully, I cannot imagine a book that would provide a better way to compare the four Gospels than this.

This book was recommended by someone who already completed their theology studies. They indicated that this is the best synopsis available, and I'd have to agree. While it may not have the original Greek text, the price is right, and it's a great resource to have for study.

If you're in need to see how ALL of the Gospels tie together, this is a MUST. GREAT for Study Groups!!!

Excellent book for anyone who wishes to study the bible and get a better understanding

This is a practical straight forward guide to Architecture for the non-architect. Also of use to those interested in building design and architectual history.

Vision is better than a thousand words. This graphic book makes you very easy to understand the architectural vocabulary. Not only good for student but also good for architectural practicer.

My husband bought this book for me when I decided to go back to school to study architecture, and it has turned out to be sooooo helpful. I have used it in every course I've taken; it makes studying for tests so much easier. It has a fabulous index so you can find what you are looking for right away, and the illustrations and page layouts are great. This book is a must for any architecture student. I really can't recommend it highly enough.

As with other materials by Francis D.K.Ching, the illustrations are not only clear and precise but aesthetically pleasing. It is a pleasure to read through the material for a comprehensive understanding of architectural concepts, presented in an historical perspective which clarifies the how and why of modern day building technology. The Visual Dictionary of Architecture
is an invaluable reference for the student and architectural practicioner as well.

This book is really good for architecture students. I do not use the book every day, but when I need it, it proves very usefull. All books from this author that I purchased are really good so far. This one has a lot of details drawings which are great.

I was hesitant to read this book despite the recommendation of a friend and despite the accolades written here. How foolish. Reading this book was like sinking into a great mattress. I was near hypnotized by the beauty of the text which simply flowed. At times I was so overcome that I had to put the book down, the sadness of it all is wrenching. But never is the book depressing or is it hateful while describing the hate that people so easily engender. This is an extraordinary work.

This book was a gift to me from someone who knows my love of the Irish and of writers from that country. I began it hesitantly, not sure of the country I was entering, until I got perhaps ten pages into the book. The protagonist was describing how his mother sliced bread:

"..She did it in a trice. In the sewing of a wren's mitten."

I never looked back. His writing is brilliant, evocative, heartbreaking.

The Irish have always been known as great storytellers, but now they're all turning into great writers as well, and it seems they're coming out of the woodwork. Sebastian Barry's The Whereabouts of Eneas McNulty places the protagonist in the small village of Sligo where he is an innocent among angry partisans. When he chooses to alleviate his problems of employment by taking a job with the Royal Irish Constabulary, the British-led police force, he irrevocably alters his life - as you might imagine! With beautiful language and ethereal descriptive passages, Barry allows readers to follow Eneas' travels and travails - all of us hoping for a happy ending.

So good that after I had read a library copy, I purchased my own so I could read it all over. This novel takes on indirectly (as in his more recent "A Long, Long Way From Home") Barry's own family's experience as Irish divided between serving the British and aiding those who rebelled against the King. The other reviewers here cover much of the plot, but I might add that a touch of magic realism near the explosive climax makes for a nice touch, and the tension between truth-telling and perceived loyalty moves the story of the modern-day Aeneas along his wanderings efficiently and poignantly.

Barry, also a poet and best known--at least before this novel--as a playwright, brings to his fictional characters a narrative style somewhat at odds with what one might expect. He's not Joyce, that is, striving for a correlative voice to match his character's interior musings. Rather, he takes the rich legacy of Joyce and makes it impel his own telling of the interior life of those that Barry finds empathy with, and whose inner as well as outer itineraries this author feels, you sense, he must tell. This impelling of a writer to find release through his creations makes for a very effective novel, indeed.

...and sure, Mark Twain would likely love the hero of this wonderful book. Eneas is truly an innocent - he never shies from hard work, he loves his family dearly, and (his gift and his damnation) he has no neither mind nor care at all, at all for the politicks. He's not really a simpleton, merely a simple man. Born in 1900, he comes of age with the Irish struggle for independence so vividly painted by events such as the Easter uprising of 1916. When his mates - especially his best boyhood friend, Jonno Lynch - are enlisting in the fight to throw off the British oppression, Eneas, finding it difficult to locate gainful employment, enlists first in the British Merchant Navy (which in itself might have been forgiven by those who deemed themselves his judges later), then in the Royal Irish Constabulary. The RIC being mainly a police force, Eneas couldn't see the harm in lending a hand in that quarter - but as the fight for independence grew more fierce and factional, the RIC was tied too closely in the eyes of some to the hated Tans, who were responsible for some right bloody work. Eneas, finding himself on a blacklist kept by those calling themselves patriots, is given a choice - get close to and kill the much-hated and feared Reprisal Man of the Tans, or suffer the consequences of a death sentence. Our hero cannot bring himself to kill a man, so he refuses - and when he sees that those who have threatened him with extinction mean just what they say, sees no other choice than to flee his beloved Sligo and his native Ireland altogether.

Thus his adventures and travels begin. He signs on with a merchant vessel and winds up in Galveston, Texas. He enlists with the British Army for World War II in order to save France (a country for whom he bears a great love, of unknown origins) from Hitler. After being shell-shocked on the beach at Dunkirk and lodging with a French farmer for a growing and harvesting season, he makes his way back to England, pays a quick visit to Ireland, then winds up in Nigeria, digging a canal for a British company. He finds the best friend of his life in the person of Harcourt, a Nigerian national he first meets on a boat heading to Ireland, then again in Nigeria. Harcourt's friendship becomes one of the true treasures of Eneas' life - and a lifelong friendship it is.

Barry's language and prose capture his characters, the setting and their story perfectly. The reader can't help but feel a great empathy for Eneas, and for others in the book as well. Through the story of one man - and a very believable story it is indeed - Barry lays bare the pain through which Ireland has passed in its journey to find itself. There's a lot of sadness to be found here - but there's a lot of joy as well, so.

Read this book - and read Barry's novel ANNIE DUNNE as well (even better, I think, but that's me...).

I teach several writing teleclasses and teleseminars and workshops and I am always on the look out for writing books which will both serve me as a writer and as a facilitator AND will serve my students.

"Writing Alone and With Others" by Pat Schneider does that and more.

Schneider's tone is a perfect blend of the business of writing and the sacredness of writing and the individuality of each writer.

She writes of genius within each writer - and she goes further to say "Genius needs a lifetime of dedicated practice." In this book one would certainly find a companion to nurture that dedicated practice with such a wide variety of writing exercises that anyone and everyone would find gold.

My favorite chapters include: Chapter 3: Toward a Disciplined Writing Life and Chapter 7: Growing as a Writer. I had really looked forward to hearing Schneider's take in Chapter 9: The Ethical Questions: Spirituality, Privacy and Politics. I wasn't sure why or how Spirituality fit into that equation, and I still don't after reading the chapter.

In re-reading it, I see how Schneider speaks of "ethical questions in writing will of necessity touch our most primal spiritual orientation" so seeing that, perhaps the chapter would have been better titled differently. Even so, it doesn't detract from the content of the book, it is simply a moment of saying "Hmmm. That is interesting. I wonder what is up with that?"

I can not recommend this book highly enough for all writers at all stages of creative growth. It is expansive and expanding, intriguing and evocative. It is bound to become a classic - if the writers of the future are especially blessed..

If you have toyed with the idea of someday becoming a writer, this book will encourage you to pursue it. Many of us doubt that we can write; Pat Schneider convinces you that you already are a writer. Whether for pleasure or for publication anyone can write. This does not, however, diminish those with extensive formal educations in writing. She means to say that anyone with the ability to take pen in hand can relay information from their heads to the paper. She does not promise a career in publishing or that others with enjoy your writing; she merely strengthens your confidence in your ability to articulate your thoughts in a physical form.
This book is the text for a my college-level writing class. The encouragement in the first chapters has everyone in the class excited about writing and anxious to get started on our projects. Some of my classmates and I have even spoke of planning a trip to Pat Schneider's home town to attend one of her workshops.
I would recommend it, however, for anyone with an interest in expressing themselves in written form. Whether you want to document your family oral history or someday publish a novel, you will find something here to help you along the way.

I'm 50+, with education in creative writing. I've written privately and with others most of my life. Pat is the teacher for whom I've been waiting. Her voice and style are empowering. Her ability to cast light on creativity and how we teeter between fiction and non, is among the clearest I've read - balancing craft with magic. Her practical advice is just what I was looking for in leading writing groups - she is honest and approachable.

If you are a writer, a prospective writing group leader, or are interested in joining a writing group, do yourself the kindness of buying and reading this book by the founder of the AWA method. I have read many books on writing over the last couple of years, including all of Natalie Goldberg's and If You Want to Write by Brenda Ueland, and have found Schneider to be an unparalelled treasure trove of wisdom, gentleness, and practical advice. She speaks from many years worth of experience with writing, leading writing groups, and helping underpriveleged people find their voices in writing. She is inspirational and is the most trustworthy teacher of writing I've come across so far. She is also a excellent writer and poet herself.
In the first section of this wonderful book she gives advice to the writer writing alone, including lucid chapters on dealing with fear and maintaining discipline, and practical advice about exactly how to start and keep on writing-- what to do when you put your pen to the page-- that other books rarely give. In the second section she deals with writing groups, and the ethics of maintaining safety within those groups. Even if you are a solitary writer, this section is enlightening and moving, and if you are a writing group leader, or hope to be one, or are thinking of joining a writing group, this section is invaluable. She also discusses at length writing groups focused on empowering the underpriveleged; I found this information eye-opening and incredibly moving. In the final section she offers scores of writing practice exercises developed through countless writing group sessions. These are exercises relevant to all levels of experience in writing, which can be used for the solitary writer or in a writing group.
This book is a must-have for any dedicated writer, and Pat Schneider joins Julia Cameron, Natalie Goldberg, Brenda Ueland, Anne Lamott, Susan G. Wooldridge, Annie Dillard, and Virginia Woolf as an essential and luminous writing guide.

It was only two or three pages into the introduction of this book before I realized that Pat Schneider had given me the one book on writing I had looked for my entire life.

The great barrier between each of us and our own unique genius is fear. Writing -- at least deep, personal writing -- results from a direct confrontation with that fear. Some writers abandon their genius for fear of the pain of introspection. Others develop the courage to face themselves and move forward. Genius can flourish within an incubator of safety, self-confidence, focus, and practice. A nurturing environment allows some the freedom to take greater risks and plumb greater depths of personal understanding than those trapped within the cycle of their own fears.

By perfectly articulating the unspoken dread that many writers face when they seat themselves before the empty page, Schneider puts a face on the unseen enemy -- the writer him- or herself -- and allows one to move forward and deal with issues that otherwise may remain unidentified. Schneider demonstrates how to confront these scenarios not only to the solitary writer, but within the group workshop experience as well. As someone who has participated in workshops AND faced the terror of "alone," I can attest that her book can touch in a single sitting what sometimes years of therapy fails to unmask.

As theraputic as the book may be for one's writing, it may or may not be a therapy for the writer. As Schneider says in her book, "Whether or not writing heals the writer is irrelevant. What matters is the power of the work itself." This book is about writing and resolution, not about self-healing, though often the two go hand-in-hand.

This book should become a staple for all high school or university creative writing classes or for any writing class -- fiction or no -- that aims to put the writer in touch with his inner voice. In the beginning each of us brings so much unnecessary baggage to the pen or to the keyboard. And there is so much to regret for the needless time we lose in learning to know ourselves. Let's get on with it.

I looked at many writing books for my child. A school teacher recommended this one to me. After we used it as the primary writing guide, my child's writing took off. It's so effective that his writing has jumped from average to outstanding in his class. Now the book is one of our two MUST-DOs every week (the other is Beestar online ELA and vocabulary exercises, a wonderful web site www.beestar.org). Writing is a life-long skill. We will continue use this guide to improve writing for a long time.

English teachers have it tough -- no matter how hard they try, they cannot avoid a degree of subjectivity when it comes to grading papers. This book, 6+1 TRAITS OF WRITING, will not make the process a totally objective one, but it will provide a definite structure that will be invaluable to both new and experienced teachers alike. In workmanlike fashion, Ruth Culham devotes chapters to the traits (ideas, word choice, sentence fluency, voice, organization, and conventions) PLUS one (presentation) with a series of indicators for teachers to assess each one.

It's a great primer in the technique, and the chapters all follow a similar pattern with definitions of the traits, a list of reasons on why students struggle with that trait, steps on how to assess the trait, and sample papers to practice assessing using the 6 + 1 method. Each sample paper is followed by the scores the author gave it, along with their reasoning. Finally, the chapters are nicely rounded out with a series of practical ideas on how you can TEACH each trait. Teachers trying to get a handle on grading papers will appreciate the practicality and the structure.

The caveats I have with the book are minor. First, the sample papers range from Grades 3 to 9, and it's often difficult to assess sample papers because elementary teachers may not know how far along a secondary student should be and secondary teachers may have no clue about what's expected from third-grade writers. The wide range in ages, in other words, creates a bit of extra confusion for teachers who are well-versed in their own age-group of students. Also, the extra batch of "practice papers" to assess at the back of the book are directly followed by the author's scores, meaning the papers and their scores often share the same page. It would have been more helpful to separate them so as to avoid accidentally seeing a score while trying to finish the paper.

Culham's book is a great start, but a lot more practice assessing will probably be necessary to successfully implement the program. Also, I found that I had many questions about judgment calls while assessing some of the indicators and, in a workshop type setting, could have used further explanation from an experienced hand. Alas, the book cannot provide anything like that, but still, it's a start -- and a good one. Recommended.

I really enjoyed reading this book and I am excited about starting to use this method when school starts again. Teaching writing can be difficult, but how to give constructive feedback is even harder. I am optimistic that the ideas in this book will make it a whole lot easier to help my children.

I originally had to buy this book for a graduate level pedagogy course. I ended up using this book constantly to help teach 4th graders how to write. Ruth Culham explains each trait well and includes a handful of awesome lesson plan ideas for students to practice the trait. I'd recommend it as a resource for any writing teacher (Grades 3-12).

As a classroom teacher and workshop leader, I have found this book very useful. It includes sample student papers that can be used by teachers and students to hone their assessment skills. The ideas for teaching each of the traits are concrete ones that students enjoy. When I've read forty papers and have run out of new responses to give my students, there are even lists of responses for me to use. I recommend this book to both new and experienced teachers of writing.

Maya Angelou's poetry is so phenomenal. And the power of her voice reading her own words, is really moving.

Maya Angelou's reading of poetry is moving to the point ot tears and laughter. I highly recommend it.

This audiobook arrived in about a week and was in the condition advertised. Overall, I was satisfied with the transaction and would purchase from this seller again.

...Invictus is by William E. Henley......I do not like much poetry.....but 'Still I Rise', is one of the most moving and powerful pieces of literature of our day. You can feel the rumblings of motivation rising within you as you read it---it summons the power of our ancestors as you read it... YOU FEEL this poem with all your heart--or I fear you have no heart and you remember that feeling for years after you have read it!
It is a magnificent poem that the author not only wrote, but earned through her own life.
This book would make excellent Christmas gifts of inspiration.

This book is filled with wonderful, powerful poetry that really awakened me to the troubles of African Americans in that time of history. Diego Rivera's paintings in the book are staggering and breathtaking. This is a must-see for any ameteur or lover of poetry.

Once when teaching a science lesson about plants I said to my class,
"let's see if anyone has a green thumb." I believe all thirty four
kids looked at their thumbs. Now grown-up foreign students aren't
likely to do that, but most of them will think about it and wonder
what the speaker is talking about. Body Idioms is the perfect book to
help with these kinds of idioms.

I believe the book succeeds on three levels: as an aid for young ESL
learners, as a great reference for adult students of ESL, and as
enjoyment for rest of us.

During my time as a classroom teacher in a large city, I never had a
class filled with one hundred per cent native English speakers.
They were from Armenia, Bulgaria, Mexico, El Salvador, China, you name
it, and although the school district had many excellent texts and other
aids I wish this book had been available to me at that time. It can
be made fun and interesting for the young learner.

After retiring from teaching I moved abroad, and before I knew it I was
teaching again, only this time to adults. As I became acquainted with
people they would often ask me for help with English to make their
jobs easier or to get better jobs or sometimes just to be able to
communicate more effectively with people from other countries. Every
time I struggled with slang and idioms. In the beginning I
unconciously used idioms in my conversation and would have to stop
everything and try and explain what I meant. Eventually I tried to
avoid the use of idioms altogether. Then I discovered this book and
took a whole different approach; I began using idioms all the time on
purpose and had a copy of Body Idiom with me for use as a reference.
The students liked it a lot. I think we all love to learn and have fun at
the same time.

Finally the book works as just plain interesting reading. I only use
textbooks for reference or to teach, not to read as one might read a
novel. But you can do that with this book. It's fun to pick it up
and just open it and read some of it. I actually had many occasions to
use it as a reference myself because it not only includes American
idioms but British as well. Most of the foreign countries in which I
have lived and visited have some English language publications and
guess what, they are often written in British English. This book has
helped me many times unearth the meaning of Brit idioms.

I definitely recommend Body Idioms for foreign speakers of English and
for teachers of ESL.

As a teacher of students whose first language is not English, and as one who is married to an English learner, I have had the occasion to use and recommend many books on American English idioms. This is by far the best! Not only is the list of idioms exhaustive, but the explanations and examples are clear, concise and often fun! Ms. Pare has made a real contribution the field of language learners with this book. I would also recommend it to all parents looking for clear ways to explain idioms to their native English speaking children.

Because the author is an English learner herself, she knows what kind of problems we have in learning English idioms. Knowing our weakness in the areas of English articles and singular/plural forms, she brings to our attention that one would say 'give the cold shoulder'vs.'turn a cold shoulder'; or 'win by a nose';or there's a difference in meanings between 'have a heart' and 'have the heart'. Also, it's 'catch someone's eye' (no -s). She sometimes points out what some expressions would mean in one's native language vs. in English, e.g. 'thick skin','thin skin'. I really appreciate things like this. It helps me remember the idioms in question better as well as learn to use them properly.
I highly recommend this book to English learners at any level-beginning or advanced.

I browsed this book with curiosity but the more I read, the
more interested I became. As an English speaking person some of the idioms we use are almost second nature. Then I realized that this is the only book I ever read that gives definitions to something we use in everyday language.What a great idea! It even had definitions to idioms that I didn't know. What an inovated idea!

A fantastic book to browse. As you go, you learn more about English language and the way it makes use of every part of the human body to express feelings, attitudes, behaviours. To my mind, this is the best way to grasp the essence of a language : with authentic examples rather than abstract explanations. Let's hope there will be a follow up !