Language Arts Books

I bought all 3 German Pimsleurs when I moved to Germany a year ago. Within 6 months I was prattling away in Germans and people here didn't believe I didn't speak a word of it before I moved here.

Now I'm dating an Italian and have picked up this first Italian with every intention of going through the series. This is the best way to get a basic grasp of a language. Comfortably, in a way that makes you feel that you can speak and add vocabulary, rather than merely reciting set phrases like a trained monkey.

Would I do this if I was only a tourist? Don't know. My boyfriend is now using my German one (with me translating the commands into Italian from English) and he's thrilled that he's learning to understand and speak German. For me, Italian is my 6th language, but German is his first foreign language. It works. If you follow it, it works. It won't teach you everything, but it will teach you the framework you need for understanding how to parse and manipulate a language you are learning. I spent 5 years with French, 5 years with Russian and 2 years with Arabic in classrooms and NEVER ever felt as comfortable with those languages having only classroom grammar drills. Let's face it, you didn't learn your mother tongue in a grammar book, filling in worksheets. You learned it by people saying things to you and making you interact with them.

Pimsleur is more like teaching a man how to fish than feeding him a fish dinner... it all depends on what you want then, doesn't it?

The bottom line is, when you're trying to use the language in a foreign country, you need to have a a few dozen words and phrases on the tip of your tongue at all times (e.g. dove, abito, che cosa, Quale la strada per Roma etc.) Pimsleur is the best at doing this.

The Pimsleur Method is excellent in that it beats these basic phrases into your head by introducing them to you, making you say it multiple times, then asking you to repeat it again 10 minutes later. You're asked to recall a phrase sometimes when you least expect it--forcing you to truly know your comprehension.

Most language tapes I've used just get too overwhelming--they pack dozens of words and phrases onto an hour cassette. The Pimsleur tapes take the same material and stretch it out over several tapes and build in the repetition exercises. There's an English speaking narrator which is essential when you're getting started. Eventually there's less and less English, but always enough so you know what's going on.

You do need a grammar book to supplement your learning as there is a dearth of written material that I haven't found helpful as other reviewers have mentioned. Often times you hear a word and don't know if it's Che or K--seeing it written was extremely helpful.

I used Italian I last fall before going to Italy and it worked wonders. I'm on to Italian II now where you get into past tense--which wasn't covered at all in all 30 tapes of Level 1.

Finally, check with your local library if the cost is prohibitive; it's worked well for me.

I just completed Pimsleur Italian I and I'm very pleased with it. I am now beginning Pimsleur Italian II.
The course is not perfect but it is far superior to all of the other audio courses I have tried or examined. As somone familiar with earning theory, I absolutely agree that Pimsleur duplicates the same language acquistion method we use to acquire language as children. I have, however, some suggestions for gaining the most from the course.
1. Get a good dictionary, a verb conjugation book and look up words in the lessons so that you can write them down. Aural learning is great but accompanying visual learning it is even better.
2. After listening to each lesson a few times, write them out, in sequence, on 3x5 cards and use them as "drill flash cards" (I put the English on the front and the Italian on the back and fill each card up with as many phrases as would fit). This is a bit of work but also extremely helpful for forming a Gestalt. My wife and I drill each other using the cards and it is a nice change from the CD's.
3. Since Pimsleur does not systematically or comprehensively offer those specific phrases and nouns that tourists need (e.g., helpful travel phrases, helpful in-hotel phrases and objects like "pillow," "soap," etc.), as you go, put such phrases together on "Extra" 3x5 cards and commit them to memory. This is easy within the context of the Pimsleur method because you will already be learning how to put sentences together--one of Pimsleur's strengths.
4. Each lesson starts with a dialogue. After a few listenings, be sure to write the dialogue down in sequence so that you can read aloud along with the CD. This combination of aural and visual learning greatly enhances your ability to cope with the speed with which the speakers on the CD speak the language. I found at times that ther speed was so confusing it sounded like they were using words that had not yet been introduced or included in the lesson under consideration. However, once I figured out and wrote the dialogue down (using the forward/back buttons on my CD player to re-listen multiple times) it all came very clear and my ear improved dramatically.
5. Don't expect to learn each lesson after two or three listenings. We listen to the lessons at least 10 or 15 times each. We also, for the first few times through a new lesson, hit the pause button after being asked to translate a phrase from English into Italian in order to avoid the pressure resulting from the short space of time they give you to come up with the answer-translation. We found that we could, after a few listenings, dispense with the longer pause as we learned the phrases.
6. Finally, I suggest that you wait until you've learned all the lessons before bothering with the reading practice. You can do the reading at the end because the reading is not connected in any meaningful way to the lesson that precedes it. The reading is useful however, because it helps you to read and pronounce more accurately.
In summary, I'm very pleased with the Pimsleur approach and plan to buy and study Pimsleur II and III.
Incidentally, I called Pimsleur and asked them if they sold an addendum transcript booklet of the disks but was told that such a transcript flew in the face of their theoretical belief about how one should learn a language. While I don't agree, I admire their integrity. They could sell a ton of such transcript booklets if they so chose.

From an Italian teacher's perspective, I highly recommend the Pimsleur series. If you're serious about learning Italian, I do think they're the best. And the reason is because they get you to repeat the phrases over and over and over again. Learning a language takes time, but if you need some essential expressions before your trip, they also offer an Instant Conversation series, which is a lot shorter than this one.

The important thing in learning a language is repetition, and you'll get plenty of it with these CDs, as well as learning correct pronunciation.

Remember the first time you hear a song? It takes time to learn it, doesn't it? Well, imagine learning a song in Italian.. it takes even longer, but with some patience, you too will be singing the language of love!

As far as books go, you may end up using a combination, but I do like the Living Language Beginner's book a lot.

Definitely join a course in your area - there's no better practice than to practice in a group! Perhaps you can ask if a community college has it as a continuing education program - although you won't have big problems with the language in the bigger cities, Italians do appreciate if you know at least a little bit.

If instead, you're planning on visiting Southern Italy, or the countryside, you definitely want to know some Italian (if you want a vacation, and not an adventure, that is!).
I hope this helps! Grazie & arrivederci!
[...]

Pimsleur Italian I is the most effortless language program I've ever encountered. The program introduces new material at such a gradual pace that it's barely perceptible. I was astounded, however, at how much I had learned by the end of the program. Before starting Pimsleur I read a few pages from an Italian grammar book and was completely overwhelmed. After finishing Italian I, I reread the grammar material and, although Pimsleur rarely presents grammatical rules explicitly, I was able to infer them to such a degree that not only did the grammar seem manageable, but it felt more like review.

Once you get past the strange layout (described in other sections), this is a great edition of Henry V. It is easy and fun to read and offers valuable insights (not just for students either). Well worth a flutter.

This play is best known for the St. Crispian's Day "Band of Brothers" speech given by King Henry just before the battle at Agincourt. It is a powerful speech that rallies people at all times and everywhere. Sir Lawrence Olivier made a film version in 1944 during WWII and Kenneth Branagh made another as recently as 1989. You can count on there being more versions. Epecially so when computers can help them make spectacular battle scenes (that aren't really in the play) with less expense.

Audiences love this play and they should. There is a lot to like and enjoy. I think upon repeated readings Henry becomes a more equivocal character than he seems at first. And readers of the King Henry IV plays will know him before he became King Henry and know something deeper about his personality.

And of course there is the whole bit about the drive to France being sponsored by the Church to avoid confiscation of property by the Crown. Moreover, there is the slaughtering of the French prisoners, and his treatment of Falstaff (who dies offstage in this play). This isn't revisionist stuff, it is right there in the play, but it is easy to miss the first time you are trying to take in the play.

In any case, this Arden edition is the one to buy and read from. Why? Because it has the most authoritative text, but that is only the beginning. It also shows variants between the early sources. The notes at the bottom of each page of the play are simply fabulous. The editor includes not only helpful notes explaining what might be obscure in the text of the play, he provides sources Shakespeare probably used such as Holinshed and makes for some very interesting study. There are also some helpful notes on how various scenes have been performed over time.

And to make this sound more like an infomercial, you get more! The introduction provides great background material on the play, its sources, and how it has been performed throughout history. After the play, there is a photo reproduction of the first Quarto from 1600 and it is fairly readable. There are also a couple of maps showing the path of the English Army from Harfleur through other towns on its way to Calais and makes clear how they had to pass through Agincourt.

There is also a helpful genealogical table so you can see the confusing claims used by Henry and the French nobility to make their claims. And there is a doubling chart so you can see how theater companies can perform all the roles with fewer actors.

This is a great edition as are all the plays published by the Arden Shakespeare. The amount of work collected in these volumes is stunning and they will enrich your experience of the plays tremendously. I can't recommend them enough.

This play more than any others in the histories glorifies Englishmen and England. His characters in this one are larger than life, but each has their own limitations and flaws. The play covers the time of the Battle of Agincourt when the French King Charles was so sure of victory that he sent a messenger to Henry to ask him to give up and to pay a ransom before the battle. On the eve of the Battle of Agincourt, the English were outnumbered five to one, Henry's troops were on foreign soil and riddled with disease. The scenes where Henry dons a disguise and goes out amongst his troops to bolster their confidence are great. The English managed to triumph in this battle where all was stacked against them mostly because of Henry's leadership. This is such a sweeping story that it is hard to condense in a few words, the plot of the play, but it is a wonderful example of Shakespeare's skills as a writer.

'We few, we happy few, we band of brothers.' What more need I say? Henry V is an imortal classic of western literature. And this edition is complete and accurate. See the film if you want, but be sure to read the words at least once. They are inspiring.

"Now, if these men do not die well, it will be a black matter for the King that led them to it."

Particularly poignant poetry in these times of pompous presidential sabre rattling and wars based on questionable facts.

This book has it all when it comes to grammar. It teaches the parts of sentences and how to put them together to write a report, what is and isn't good grammar, and how to sound like you're not an illiterate; and, on top of all that, it offers exercises. I showed this to my boss who said she would buy several copies for the office so that staffers didn't make grammar mistakes. The author put this all together in one thin but rewarding book...worth every little penny you pay.

For years I wondered about when to say "good" and "well," or how to avoid double negatives, and a whole slew of other problem areas in grammar. Well, this book made it easy and simple. I highly recommend it. Nice job, Professor Hayes.

Whether you're in elementary or high school, being homeschooled, or run a business, this is the best supplemental text on grammar to have on hand. I learned so much from it in such a short period of time. It focused on all the grammatical problems we have when presenting or writing. I own a Ford dealership and have copies of this book all around the showroom and in each of my sales associates' office for use as a quick reference. I want my staff to sound educated and act with class. Speaking poor grammatically isn't the answer. Buy this book. I don't usually review or recommend books but I'm making an exception in this case.

Troublesome Grammar is one of the most helpful books I have come across to point how errors are unknowingly made in speaking and writing. This author hit right on the problems we all have, such as when to use well or better, which verbs to use for past tense, how to use hyphens and so on. This is worth the few bucks it costs.

I'm from Scotland studying here in the States. I saw a student on campus using this book to do an English report. I asked him to let me look at it, and, wow!, was I every surprised that someone was smart enough to wrap up all the grammar problems we face in one easy to read book. Thanks, Dr. Hayes. You made my work here at college easier. I hope everyone gets as lucky as me and finds this book.

I have got the book on my hands before i was expecting.( outside USA)
In this case i knew the book.
I had bad experience buying books through other book Sellers and after had bought them i was informed that they were not available . I've got really disappointed.
When i buy a book i wanna make sure the book seller has it available.

If you are looking for a concise and practical guide to business writing, then you've found the right book. It is organized well allowing you to zoom in on the specific advise you are looking for (e.g., memos, letters, emails, reports). The chapters are easy to scan so you can readily zoom into areas that you feel would be most useful to you. The book provides specific examples that well illustrate the principles touted in the book. This was one of the main books used in a Business Communication class at NYU's Stern School of Business. I also found the Guide to Managerial Communication (7th Edition) helpful.

Concise, simple and straight froward advice.
It give you advices of how to write good memo, report, e-amail,....

Writing that Works, by Kenneth Roman, is a great, great, book on how to improve your writing on the job. Even if the only writing on your job is to reply to an occasional e-mail, this book will improve your writing immensely. This is one of the top three writing for the job guides I've read (out of dozens), right up there with "Plain English at Work", and "The Elements of Style".

This expanded version of an earlier edition of two seasoned advertising executive' original writing guide is something like Elements of Style, but aimed squarely at someone writing for business purposes (e.g., one of the ten chapters is "Asking for Money". There is a useful afterword describing a dozen more books to help you write better. Recommended as a good starting point for any business person wanting to write more effectively.

If you are a writer, or an aspiring one, you NEED this book. 90+% of publishers don't take unagented material. This book will help you to find an agent, and help you to get that manuscript you've worked so hard on published.

I found the information in this guide to be extremely helpful in targeting and securing the right agent. The details that are provided, such as what percent of new authors the agency represents, the types of books the agency represents, and quotes which detail advice from the agents insured I sent my information to those who would be most interested. And it worked!!

You know you need an agent to shop your work, negotiate your contracts and get your manuscript into doors closed to unrepresented authors. Your next step is to add the "2003 Guide to Literary Agents" to your writer's toolbox.

Articles from industry professionals address the most common issues writers face: do you need an agent, how do you find the right agent and how to avoid bad agents. But these articles also walk you through the entire process of getting an agent - from what to do before you begin your search, all the way to knowing your rights before you sign a contract.

The heart of this book lies within the agent listings. Every year contact information, current needs, submission guidelines and contract details are 100 percent updated.

Besides agents who represent fiction and nonfiction work, you'll also find sections on script agents, independent production companies and independent publicists. Most agent listings also specify which writing conferences the agents attend so be sure to look in the writing conferences section to find the details on a variety of writers' conferences in the U.S. and Canada.

Your search for an agent is crippled without this guide in your arsenal. If you're serious about getting an agent to represent your work, the yearly "Guide to Literary Agents" is an absolute must.

I'm telling you, these Writer's Digest people really do it right. If you're looking for a literary agent, this is the place to look.

The book starts with articles about getting and working with an agent and interviews with reputable agents and editors. Do you need a New York agent? Should your agent suggest rewrites? Do editors like agents, or is their relationship combative? How can you tell a good agent from a bad agent? Do you even need an agent?

All of these questions and more are answered. You'll even find examples of successful query letters, synopses, and outlines. You'll learn the components of a nonfiction book proposal. All of the basics are covered.

Then comes the actual agent listings, divided into two sections: nonfee-charging literary agents, and script agents (both nonfee and fee-charging). Listings include contact information (including e-mail addresses), professional memberships (like AAR or WGA), what they did prior to becoming agents, number of clients, percentage of new authors, percentage of novels versus nonfiction books, genres they represent, preferred method of contact, recent sales, conferences they attend, terms of representation, and tips. There is also a key to let you know how open the agency is to new writers.

New in this year's edition is a listing of independent production companies and screenwriting contests. And nonfiction authors and novelists may enjoy the listings of publicists.

More than 600 agencies are listed. I've begun querying, and have already found several agents who responded positively to my e-mail queries.

The agents listed in this book are pre-screened and deemed to be legitimate, reputable agents. No more surfing the Internet and trying to guess who's legit and who's a shyster. If you find an agent through these listings, the book can pay for itself a hundredfold. It's a very worthwhile investment in your career.

If you are a writer, or an aspiring one, you NEED this book. 90+% of publishers don't take unagented material. This book will help you to find an agent, and help you to get that manuscript you've worked so hard on published.

The Bedford Handbook
I was satisfied with my order, and was delivered as it said

i ordered it and got it in a very good condition and in time. customer service is awesome. my blessings. keep up the good work.

this book is good for when you're writing essays and you can't remember a certain format or something and you can flip through the book real quick for examples of essays, outlines and thesis statements, although I wish i had the cd version of it so i can always have it with me instead of toting around the book. they could have made the format of the book better.

for instance i remember seeing a book called "A Writers reference" both are MLA format and one came from my community college and just the way its put together is better over all than this one.

The Bedford Handbook is an excellent guide for anyone enrolled in a college English course. The book gives details on correct grammar usage, as well as descriptions of different essay styles. The book is very helpful to me with my English class.

Diana Hacker has an English comp book for any possible usage, she grinds them out every few years. My college requires me to use this book as a handbook. That is unfortunate.

Of course, this book provides a basic explanation of English composition, grammar, documentation, and document design and critical reading. However, the attempt in this case is to present something that is lighter than Rules for Writers, a full scale manual that is sufficient to use as the only text for a college composition course or as a full writers reference, and her Writers Reference, which is a good handy handbook that is inadequate as a full course book, but is great as a rule book to be used by students taking a course using another text.

Usuing this book, I have had to create supplements from web material for issues that I expect to be covered fully in a college handbook such as the requirements of formal writing.

To be sure there are interesting illustrations and graphics and like her other books, the text is intimately linked with the enormous online network that Hacker and her publishers have created. It is not an awful book to use, but I would prefer Rules for Writers, Jane E. Aaron's Litte Brown Handbook, or Writer's reference.

This is a useful, complete and wonderful book, which person interested in language should have. It's topics are simply great!!

Olga Ocaña

Everything that you could ever have wanted to know about the way language works is in here (along with many other things that you probably had never even thought of). From the minds ability to comprehend certain sights and sounds as forms of communication and how it deciphers them to writing styles, changes and progression in languages and grammatical structures and nuances in voice level and tone used to alter understanding of a particular syllable, this book's got it all. I have to confess to being overawed when I first opened the book and then marvelling at the detail contained therein. Be warned though, this book is not for beginners in any field of study. Those with a strong interest in linguistics though should definitely invest in this treasure. There's so much in here it's staggering.

This book is a linguaphile and language lover's delight, to read or just to browse like a coffee table book. It covers just about every major topic in the study of language you can think of, from traditional classical and comparative philology and linguistics to modern developmental and neurological studies of language.

The book is comprised of 11 major sections and 65 smaller sections, with 8 appendices devoted to various topics, and there is an extensive glossary of linguistic terms as well as a table giving essential information about almost 1000 of the world's languages. Although a scholarly book, it's well written and Crystal never gets overly pedantic or dry. This is no doubt one of the most comprehensive and detailed compendia of information for the general reader about the subject of language ever written.

After reading this, you'll be more than ready to tackle a formal or more technical introductory text in linguistics, if you want to continue your studies. If you do, I highly recommend David Lyons's classic, Introduction to Theoretical Linguistics, now out of print but worth getting if you can find a used copy. If you can't find that there are several other recent texts that are quite good. But if you decide to stick with this book, you'll still have learned a lot. Whichever way you decide, good luck and happy reading.

David Crystal's Encylcopedia of Language is an excellent and readable book for lay-people like myself. I often come to it for information on a particular language-related question, or else I'll just open it up at random and see where I land.

There are plenty of diagrams and coloured pictures throughout, as well and quite a few interesting stories placed in vignettes.

As other reveiwers have pointed out, a huge range of topics are included here. I'm yet to find an aspect of language that hasn't been covered in some way.

Indeed ,David Crystal is a great and famous linguist of this century .His books about language are very important for students and common readers .His book "What is linguistics "is a good book for students ,but this book is important and informative for all people with scholars .There are several useful mapes and tables which guide a reader to understand the different family of languages.

I am siraiki speaking person .It was natural for me to read about my language,but Crystal is not aware about Siraiki language .He wrote its very old name Lahnda .I hope he will correct it in next edition

Elia Kazan was arguably one of the most influential people that theatre has ever produced. He had an amazing life through his art, and outside of it.

Here, at the age of 77, past the point of modesty, conceit and pride, he tells his remarkable story of learning his craft, harnessing his incredible God-given talent, and channelling his drive into success.

We learn about his trysts and liasons with other icons, his marriages, his faults and missteps.

He owns up to many things that have not made him proud, including naming names during the deplorable McCarthy communist witch hunts of the 1950's.

He talks openly of his failures as a parent and a husband, his infidelity, and his loss of faith.

He also recounts his many astounding successes in film and theatre, including the many great actors and actresses he worked with.

His honest self-assessment is a breath of resh air.

This is one of the greatest autobiographies I have ever read.

This is the best show-biz biography I have ever read. Poor, Greek immigrant, Kazan fought his way up the entertainment ladder to direct my favorite movie (On The Waterfront) and my favorite play (Death of A Salesman). Along the way to these achievements he was an original member of the Group Theater; he relates his experiences there including an in-depth retelling of his relationship with Lee Strasburg. He met prectically everyone in the business from an aspiring Marylin Monroe, Marlon Brando, James Dean, Arthur Miller and what seems thousands of others in the theater and movie world. His antecdotes are fresh and revealing, even those that may be common knowledge. Of particular note are the chapters devoted to the making of Streetcar Named Desire and On the Waterfront. His work with Brando, who was seldom better than when he worked with Kazan, is discussed. Along with his great movies and plays, Kazan tells his side of the House On Unamerican Affairs controversy that swirled about him until his death. While the book is massive at 864 pages, it is over too soon. It is a rare, literate portrait of the man Kazan, who changed American movies and theater forever-- and for the better.

One of the most honest, compelling, brilliant, wise, stunning books I've ever read. Kazan's life was awe-inspring, and to have it retold with such lucidness and unflattering candour is a gift for the ages. Not only was he one of the greatest theatre directors and film directors of the 20th Century, he writes like a blessed demon. This was a spellbinding, page-turning read. Immersed in its pages, I learnt so much about life, America, directing, theatre/cinema history, and myself. I also learnt more than I've ever known about how men think (wish I'd read this years ago).

It's such a pity Kazan's life has become simplistically defined by one act, and his artistry overshadowed - ironic, too, considering he made films with a deep, compassionate, liberal humanity. You can look at his life through through the prism of that one act, or read this for a much richer, fuller, deeper understanding of Kazan - the good, the bad, the ugly. And the genius.

This book made me want to live my life more fully, view myself less vainly, and create my work more honestly. Can't ask for more than that.

I was truly surprised by this book when I read it some years ago. I was surprised by how engrossing and powerful it was , all the way through. This man lived a tremendously interesting life, rich in great creative challenges and triumphs, rich in meetings and experience with remarkable people, rich in sexual adventures and complex human relationships. The story of how the child of Greek immigrants came to become the director of two of the classics of the American Theatre "Death of a Salesman" and a 'Streetcar Named Desire" and of two of the great American movies, "On the Waterfront" and " East of Eden" is told with remarkable frankness and perceptiveness.
Kazan does not come across in this work as a saint, but rather as a truly strong person who took what he wanted from life, even if this meant hurting others. His personal and inner torments however too make up an interesting part of this story.
One more point. His writing follows the rule of Henry James and is always interesting. This is a work whose richness in anecdote and event are so great that it fits into the 'couldn't put it down' category.

With a former Supreme Court Justice warning the USA today (March 10, 2006) about starting down the road toward a dictatorship, it seemes fitting to re-visit the House Un-American Activities Committee (HUAC) in the 1950s when the right-wing was trying to scare our citizens into giving the government supreme power, just as neocons are trying now.

Elia Kazan defends his decision to name names during the Hollywood Hearings of the 1950s, saying that his ideas toward the Communist Party had changed and he thought the higher ups (maybe from Russia) were dictating policies to the American communists in the movie business.

Maybe so, but he also admits the Hearings already had all the communists' names and admits they were only showing their power to control people here in Hollywood,using intimidation to instigate the blacklist. In real life, the USA government was the bully, not the old, tired communists of the 1930s.

If so, then why did he ever think the movie he directed, "On The Waterfront," was a good analogy for what he faced? The USA government caused the black list and precipated suicides and family break-ups in their Hollywood investigation.

It was the mob who caused the deaths and intimidation in "On The Waterfront." Is Kazan saying that Congress behaved like the mob? Or that the mob behaved like Congress?

Granted, Kazan was a great director, brilliant at times. But to him the bottom line was the bottom line, and to keep his position as an all-star director, he had to name names. While he tries to seem noble, the reader can see his 'reel' motivation was money and his career. So what if he named names! He was working.

Today, we see the right wing using similar tactics in the Bush administration: questioning people's patriotism, using smears and mud-slinging against opponents, trying to get people fired if they disagree with neocon policies, keeping a blacklist of university professors who oppose them, and most recently, equating the AARP group of loving gays instead of our troops.

After reading Kazan's book, I did gain a firm insight into right-wing politics, and these politicians use juxtaposition of images to label their opponents. Right-wingers still don't care if they distort the record. To them, winning is everything.

We've all had the experience of reading a book the way one savors a fabulous meal. We savor every word, each surprising turn and revelation, and the last thing we want is for the experience to come to an end.

That's how I ended up reading Fingerpainting on the Moon. The deeper I got into the book, the slower I read--not because it was difficult. I slowed down because the experience was so delicious and I did not want it to end. In this way I passed two wonderful months keeping company with Peter Levitt's generous, talented mind and spirit, and I emerged changed.

Levitt is a born teacher, an advanced spiritual being, and a fine poet. His profound insights into the craft of writing as a spiritual vessel are many, and they all serve to deepen anyone's committed spiritual practice.

This is a book to share with friends and loved ones, and to pass out to strangers on the street! It should be required reading in all creative courses from beginners to graduate students.

Peter Levitt knows exactly where poetry and the spirit live, and he's a magician at showing us how to gain access to both.

Thank you, Peter Levitt, and bless you!

--Robert McDowell, The Poetry Mentor [...]is the author of POETRY AS SPIRITUAL PRACTICE (July 15th, 2008) from Free Press.

Peter Levitt was one of my teachers in graduate school. I'd been waiting for this book for several years, and I was not disappointed. I think this book takes the reader (participant) deep into their own psyches -- it is very meaty and dense -- in that these are not "fluff" exercises and concepts. I will be able to use many of these exercises with my students, as well as with my own creative process. This is a wonderful investment in your creative life.

I make a habit of reading one book on the craft of writing at all times, so over the years I have read a good deal on the subject--from Henry Miller to Mary Oliver, I've covered some territory. I love this book. It is full of surprises. I thought I'd heard it all and I am delightfully mistaken.

This book was chosen for a Spirituality and Health Award in Creativity as one of the Best Spiritual Books of 2003 - and I can see why. Levitt's teachings took me to the root of my own creativity as a writer in a way that helped me to discover sources of my own spirituality I didn't even know existed. He is a great story teller, a great teacher, a great writer, and his method of drawing the reader down to where it really counts is phenomenal and profound. I'm already working this book from cover to cover for the second time this year!
If you're reading this review, you've probably read the books by his peers - Goldberg and Cameron. Without fail, Levitt's approach will take you even further on the path of creativity and awareness than ever before. This was certainly true for me as a writer, but a few painter friends have used this book and they agree. One last thing - Levitt's voice is so affirming, he seems so in love with life and, honestly, with his reader, that he guides past all obstacles to the depths with a compassionate and gentle hand!

Reading this volume summons an almost meditative state, as the wise teacher encourages the reader, as student, to go deeper within for answers, and most importantly, for questions.
While this book might be an instruction manual for writing deeper material I find it also a soothing voice, affirming the powers of creation and individuality within the wilderness of wires, noise and clutter that engulf much of life in the 21st century.
Especially valued are Peter Levitt's examples from a variety of literary and spiritual traditions.
Caution: studying this book might free your imagination, awaken your life.

My children all grew up on this one, by not only learning animals, but being proud of who you are. I have been reading it every night to my 18 month old for a year. He wont go tho bed without it, and he has alredy learned how to recognize all the animals in the book.

I love this book. I read this book to my neice everytime she comes to visit. It has a wonderful moral to the story and kids are sure to really be engaged in the story everytime you read it!

My toddler son received this book as a gift for his first birthday. It came highly recommended from a teen friend who had treasured it as a childhood favorite. We weren't disappointed. I am not sure if it is the language, simple illustrations, or the premise but he never tires of It's Not Easy Being a Bunny. Not only do we recommend this book, we have already purchased it for other first birthday gifts. We give it an unequivocal A+ rating.

My little guy doesn't have any patience for books except for this one and "Put Me in the Zoo". We have to read this to him almost 4 times a day, and he can finish the ends of the sentences. It's so fun to see him enjoy books, and hopefully it will introduce him to other books too. I highly recommend this one. It's fun, helps with animal recognition, etc..

Now it's my daughter's (3 years old) favorite book.
I don't know how long it's going to last, but it's been at least 3 weeks that we read this book a couple of time every day.
She knows every word in it. And she loves the fun sounds I make( for Moose and to show the expression of P.J. when he tried to live with the skunks)
I don't know how deep she can understand it right now, but it's fun to read and our whole family enjoys it, bacause at least once a day my daughter asks everyone to listen to it.
I'm sure that it will be a nice book for early readers, because of the repetitive words.