Reading Instruction Books

As a private pilot, I have purchased video tapes etc. from one of the more popular pilot supply houses where Mr. Collins hosts the many video titles under the vendor's name. In them he shares his long experience on the different phases of flight such as Descent and Landing, Takeoff and Initial Climb, Enroute Climb and Cruise, Other titles and topics, Multi Engine, Emergencies, High Performance Singles, Night Flying and more. This book covers the same richness of experience shared on those videos for alot less expense. The videos sell for over twenty dollars each. This book covers the same (sometimes the same verbage) material for less than the cost of one of those videos. For those who want to save a bundle of cash, benefit from the wisdom of Mr. Collins; buy this book.

The Trinity Apocalypse is the most detailed study of the Trinity Apocalypse manuscript to date. Written and illustrated in England in the mid-thirteenth century, with text in French, the original manuscript was a work of art as well as faith, depicting detailed images of the dream of John alongside the text of the Book of Revelation. Color plates as well as black-and-white photographs allow for close examination of the stunningly beautiful medieval artwork, and the text spares no details in its examination of the nuances in the manuscript's words and art. An accompanying CD-ROM (PDF file, requires Adobe Acrobat Reader) contains the whole manuscript text, with English translation. A striking and multi-layered analysis of a beautiful and haunting ancient work.

I've been fortunate to have Roger Essley come several times to our school to present to our 4th grade students (and staff) this decade. The children write better and with more detail after learning his methods of Storyboard and TellingBoard writing, with especially good gains for special needs students. We have had those "wow" moments when a child who is shy or doesn't like to write keeps an audience spellbound with his/her story, using TellingBoards in the class conferences. Included in the book are formats for using storyboards not only for narrative, but also for using with non-fiction. His ideas truly will help with reaching all learners in your class! I know it's a cliche to say something is a "must-have", but from learing from Essley and using his methods successfully, the book Visual Tools IS a must-have for teachers of writing, reading, and problem solving.

Also: try to get his picture book "Reunion", a great book for boys.

This book is easy to read and loaded with practical, easy- to- use ideas to support instruction of comprehension, fluency, vocabulary and phonics. The BEST part are pages 10-18, which is an "If/Then" chart related to reading behaviors. For example, "IF a child reads orally, but struggles to comprehend, THEN.... try say something ( one of several strategies listed on the chart)!! Even better; if you are unfamiliar with the listed strategy, it is explained in the chapter relating to that area in the book. This is a teacher's book... you can reflect on your student's observed reading behaviors today, read a chapter of the book tonight and use the instructional strategy tomorrow. EXCELLENT!! I have used this book with three teacher book clubs/study groups and have not found a teacher that didn't appreciate the practical, easy, ideas to use.

Unger has done a magnificent job and knows his stuff like no other type designer on the planet.

It's great that you can get this much wisdon for 74 cents. This book beats the reader over the head with a seemingly unending variety of ways people talk that guarantee no communication will take place. After going through about 37 of them, you will scream "Ok, I get it." The world is chock full of egospeakers and you know thousands of them yourself. After you learn to recognize the pattern, you will see the rampant insecurity that leads a person down this unrewarding path. It's an old book, but its relevance is timeless. If you find yourself egospeaking after reading this (and you will), you will mend your ways.

My daughter has showed signs of reading readiness so I bought this book with the Bob Books to get her started. I must say, as a parent and a teacher this is a nice fit. The lessons are managable for everyone. They are easy to follow, repitious enough but not too much and the perfect length of time. My daughter didn't get bored and actually was asking for more - exactly what I wanted. One the same day she started I noticed her pointed out "M" and "S" and saying the sounds presented. Therefore, it showed me she had internalized what she had been introduced to. This book with the Bob Books in combination make a nice package.

I have just finished with my 4 1/2 year old and I am blown away by his success. My son was pretty advanced already and knew all of his sounds, and even so, this was a struggle for him. Around lesson 70 it finally clicked and he zoomed through the rest of the book. If your child isn't ready, wait a while.

I have been trying to teach my daughter to read since last year but I don't know where to start and how to do it. I tried something that obviously didn't work out and its frustrating for my child and myself until I bought this book making my life easy. My daughter is always excited and is always looking forward for this reading lessons and for only few lessons that we started she is already reading. Really amazing and I'm so glad I found this book which is so helpful. I just wished I bought this book earlier.

My five year old daughter is learning sounds, how to read words and comprehending sentences. She actually requests this book everyday. There is some frustration at times, but she has more successful moments than frustrations.

Very good for my frustrated little reader. He was having a hard time putting the sounds in his words together, this helps a lot.

There just was not enough plot to carry my interest through this book. The continuous exploration of the history, construction and care of pianos was of some interest, but not enough to carry an entire book for me.

with so many rave reviews, but I found the book a little slow moving and light on substance. I liked it well enough and don't want to be too critical -- it's the author's first book -- but it would have been a lot better at half the length.

There's not much to the story, and almost nothing to let you know it takes place in Paris if the author didn't keep reminding you. Some unforgettable characters could have easily offset these weaknesses, but in 300 pages you'll meet very few Parisians, none of them all that interesting or particularly French. (Carhart admits having trouble getting to know the French.) And even for an American ex-pat, he's unnaturally fond of the bygone, of the quaint and picturesque.

There's also plenty of veneration of great names, of both piano makers and composers, and readers with a taste for that, or those who like to poke around inside old pianos, should probably add another star.

If your piano interests are farther ranging, however, you're going to be disappointed. There's little in the book to indicate anything has happened since the 19th Century or that France of the 1990s could have Carrefour "hypermarkets," TV, McDonalds, and Disneyland -- as well as be-bop, blues and jazz.

For further history of the piano, its mechanics, innovations and cultural impact, I can highly recommend James Parakilas' "Piano Roles."

I came across an excerpt from this book in a magazine some time ago and decided I needed to read the whole story! I just love this book. From the time I was a very small girl, I have loved pianos, especially grand pianos. My dad taught in a small college when I was a teenager, and in their chapel was a magnificent old Steinway that must have been built in the late 1800's. How I loved to slip into the chapel when no one was around, and "commune" with that piano.

And today my very own precious antique baby grand, an anniversary gift from my husband, stands in my living room...........

Thad Carhart's story struck a very "strong chord" for me. His stories of the various pianos that he met while visiting Luc in the piano shop revealed how each was almost like a living breathing individual to him. I learned so much about these gracious, tuneful instruments from his book: how they are constructed, and the fact that different pianos lend themselves to different types of music, etc. His descriptions of Paris draw me to that city! The way he wove his family life into the story and his dips into his past piano experiences when he was a boy make for a joyous reading experience.

From one piano lover to another, thank you, Mr. Carhart, for writing this book!

Don't try to read this book unless you have a passion for the piano, for pianos, and for the wonderful sound they provide. But if that is the case you will love this book loaded with serendipidy finds and beautiful sound. The setting is Paris, the once in a time center for high art and music. The book will inform about pianos and about listening to perfect pitches.

I've had this book for ages but didn't get around to reading it until recently -- and was able to read it straight through in a single sitting. Wonderful story, very educational -- I enjoyed learning about the different makes of pianos, particularly the Faziolis and the French Pleyels and Erards, enjoyed reading about the author's experience at a master class, enjoyed meeting the quirky characters he encounters -- the tuner who drinks too much (Jos) and the other piano lovers. Although I enjoyed Perri Kinze's Grand Obsession (which I would also recommend), I liked this a bit better; both books are educational as well as entertaining. At one point, the author was describing an occasion when he overheard someone playing Beethoven's Diabelli variations -- which he compared to Bach's Goldberg variations. I was not familiar with the Diabelli variations, so I turned to the back inside cover of the book to make a note to myself -- I was delighted to see that a previous owner of the book (I purchased it used) had already made that note there -- obviously, the book spoke to both of us in a similar way. Overall, I would highly recommend this book to anyone interested in learning more about pianos, Paris, or music in general.

Valerie Kirschenbaum sent me this book about a year ago to review, but when I saw it, I knew I just couldn't. The book was so different from anything I'd ever seen that I was at a loss for words. I didn't know if I liked it or not. Some of the fonts were hard to read and they were not printed on a white background. Plus there really wasn't a story or thread I could follow. This is not a book to be read cover to cover.

So, not wanting to give a bad review of something I didn't really understand, I chose not to review it at all. However, for the last year this book has mostly been living on my coffee table. Scores of my friends have leafed through it, all liking it. I've picked it up more times than I can count, opened it to a random page and found myself enjoying it for ten or fifteen minutes.

Then just tonight it hit me, like a bolt out of the blue, I like this book. I've gotten hours of pleasure out of it and will probably get hours more. Many of my friends reach for it as soon as they sit on my sofa. They've been through it again and again, but they can't seem to get enough. A great conversation piece, this book is. Will it revolutionize printing or modernize books, I don't know. But I do know now that I'm glad I have it and I am glad that I finally got around to giving it the five star review it deserves.

If you are reading this Ms. Kirschenbaum, I am sorry it took me so long to pen this, but I have now and I sincerely hope that my little missive helps you sell some copies of this wonderful book that will feel right at home on any coffee table.

Reviewed (finally) by Vesta Irene

The author-slash-huckster's talent for assaulting the eye is perhaps only exceeded by a knack for self-promotion that even Ron Popeil would be proud of.

From the first page--nay, the dustjacket--"Goodbye, Gutenberg..." promises to be a stroll down Self-congratulation Lane, followed by a long saunter along Arrogance Avenue. Just as we should be wary of Franklin Mint trinkets touted by the manufacturer as valuable, limited edition collectibles, we should be cautious about a book so heavily praised by its own author. The blurb inside of the back, imploring the browser to buy this, one of only 4700 first editions (of course, she does promise many more printings), makes me wonder if Ms Kirschenbaum is trying to launch a writer's revolution or line her pockets.

Similar books, she confides, sell for as much as $100 or more. But you can get your copy of "Goodbye Gutenberg..." for the low, low price of only $47.95! I am only surprised she didn't promise to include an individually numbered certificate of authenticity and a handsome, mahogany-finish display cabinet. Or that she didn't tell us to wait, there's more! If you act now, you can receive a second copy at no additional cost! And if you order within the next ten minutes, she'll throw in an amazing instant meat defroster for free, so you'll never have to wait three hours for your chicken to thaw out again! That's a total retail value of over $125, but only if you order today! (Sorry, no C. O. D.'s.)

The blatantly commercial aspects of the work aside, "Goodbye Gutenberg..." is a visual nightmare. For countless years, writers have worked alone or in collaboration with designers to produce works that, through a combination of good writing and engaging graphic design, strengthen the reader's comprehension of the information therein. The key of these works' success seems to be that the reader synthesizes the text and graphics without being more aware of one or the other, allowing each to enhance the value of the other. Unfortunately, "Goodbye..." slaps the reader with its distracting and confusing computer-generated visuals and then whispers its information with a soft and easily missed sans serif font (a neo-Comic Sans MS affair designed by (who else?) the author).

I saw this work in a bookstore and tried to give it a chance, but found it to be an astonishingly taxing read. While I don't claim that minimalism is the only way to go, there is certainly a lot to be said for elegance and knowing what it means to be "over the top."

I strongly suspect this is the first published work of its kind for one of two reasons: 1) no other person alive has had enough free time to see such an unwieldy, pointless project to fruition; 2) such works exist, but no publishing house has previously dared print them.

Incidentally, unless Ms Kirschenbaum is trying to revolutionize the act of printing, I am not sure why she bids farewell to Gutenberg, who pioneered the printing press, not the aesthetics of books.

With Gutenberg's printing press, the invention of movable type, the concept of the mass production of books eventually led to what we have today: 90% of our books are black type on white paper and completely uninteresting from a visual perspective. In other words, while various authors may sound different, both in subject matter and style, they generally look the same on paper. This is very odd and curiously limiting since books are primarily a visual rather than an auditory medium. When books were hand printed, and thus generally full of imaginative and inspirational illustrations (e.g., medieval illuminated manuscripts), there was a liveliness and energy that engaged the reader on more levels than the purely mental. Our current books are supposed to mentally engage us with the stories they tell, and perhaps with the images that those stories help paint in our mental imaginations. But the incredible popularity of visual storytelling in such media as theater, television, and movies shows that people hunger for something different. Many adults spend the bulk of their free time watching TV, and reading continues to decline even as technology brings us more books than ever before.

Valerie Kirschenbaum, a teacher in the Bronx, was at a loss as to how to reach her bored and completely distracted students until a day in 1998 when one of her students asked why our books are no longer generally in color as they used to be. This started Kirschenbaum on an odyssey that would change her life and that of her students. She discovered that by simply putting the words of one of Shakespeare's sonnets into various colors, she captured her students' excitement and imagination in an overwhelming and completely surprising way. Kirschenbaum embarked on a quest to study imaginative illustration with a depth and fervor that allowed her to devour hundreds of books on various cultures' hieroglyphics, calligraphy, scrolls, and illuminated manuscripts. Realizing the power of these visual symbols to capture the heart and imagination, Kirschenbaum developed an unprecendented visual vocabulary that produced her stunning first book, Goodbye Gutenberg, which ushers in a new genre Kirschenbaum calls "designer writing."

Goodbye Gutenberg is truly a one of a kind book. With an incredibly eclectic variety of typefaces (including the original font Kirschenbaum invented for the bulk of the text), traditional hieroglyphics and calligraphy, old and new symbolic designs, drawings, photos, and paintings--all in a wealth of colors and with endlessly differing page set-ups and borders--Kirschenbaum enlivens our senses, inspires our hearts, and awakens our imaginative sense of play while she thereby very effectively tells the story of the evolution of books and illustrations in various cultures, especially the fascinating history of Western (popular) culture and its gifts to us: opportunities for our creative imaginations to truly flower. Goodbye Gutenberg is in essence a demonstration of how radically ideas can change depending on how they are presented visually. It is in this sense a call to socio-political action through the freeing of the imagination.

Therefore, while Goodbye Gutenberg is currently one of a kind, Kirschenbaum hopes to spark a revolution with its publication in which many more books like hers will follow, "a new flowering of the verbal and the visual arts," feeding the senses and imagination of future readers of any subject on multiple levels. Perhaps ironically, the logical extension (the computer) of the very technology (printing) that stripped books of their imaginative beauty to make mass printing possible is what now makes it possible to easily and affordably add that illustrative beauty back in exciting and endlessly new, even wild, ways. Anyone who loves books--and especially those who don't--will be fascinated, even stunned, by Goodbye Gutenberg. Kirschenbaum has created a truly must-see book for everyone!

Ms. Kirschenbaum, a school teacher, has set out to change the face of book-making and books for the future by proving how easy it is, using modern computer technology and easily-obtained software, to produce books that are not only informative, but works of art. By appealing to the visual learner in all readers, these new books just might transform reluctant readers into individuals who, while they might still not relish reading the written word, will at least be pulled into the text through other means. As a visual learner myself, I found this book to be one delight after another. However, her premise that this idea is revolutionary is perhaps over the top, since many publications already employ many of the ideas used in the book.


I do agree with some reviewers that the text is repetitive and that at times, the visuals and color seem excessive and actually hijack the reader's attention. Some of the fonts are also less readable and tend to be distracting. Less sometimes is more, and more sometimes is too much. However, I don't think that was the author's intent to present this book as what each book should look like. She is simply setting examples before the reader. As to the charges of shameless self-promotion, I take it that the reviewer who wrote that has never attempted to publish a book that is outside the mainstream of the rather bland fare that publishers tend to focus on---medical detective thrillers, Da Vinci code rip-offs, and Sci/Fi fantasy appropriations of Narnia and Lord of the Rings. Those with new ideas are forced to take drastic measures to get them heard. I applaud the author's efforts. If you don't like the book, fine, but don't assault the marketing method.

I do wonder how much a classroom set of such highly colored, high quality books would cost. As a teacher in a poorer state, I am well aware of the constraints on textbook purchasing because of money. Still, if the technology allows these books to be produced in mass and at low cost, this is a positive step in the history of book publishing.

Kirschenbaum's computer-generated tome is certainly a visually arresting work, and it comes with a provocative if dubious proposition: if love of learning and reading is to be dissemenated to the rising generation, it must be done so in non-traditional ways. The old venues to knowledge and pleasure provided by books are archaic. This is a brand new world. We must either adapt all our vocations and aspirations to the new ways or risk losing them altogether.

I am not sure I buy the idea. Perhaps it is the old Ludditte in me which loves the perfection of the book and automatically rejects any innovation. Wonderful as laptops and such are, there is no way to have the same sort of symbiotic relationship with them that one can have with a book. Nevertheless, mossbacks like myself may have no say in the ultimate path of knowledge.

Kirschenbaum has certainly provided an attractive and interesting parry in this debate.

Worth a look.

Altered Books Workshop by Bev Brazelton is a wonderful collage of techniques and ideas that can be used for altering books. The book is a beautiful collection of work, with each page looking like a work of art. It is an easy book to read that is lots of fun to look at. The techniques are explained in simple format with photos to lead you through each step.

The basic techniques section covers collaging, stitching, cutting doors, cutting windows, adding tags, folding pages, and adding inserts. Rubber stamping on tags is one of the many wonderful samples used in this section. These are so much fun and add so much character to the page! Pages are filled with variations and tips, and the art work on each page deserves the time to be studied.

The intermediate techniques include cutting shadowboxes, glazing, adding texture, collaging covers, and cutting covers. Cutting shadowboxes and covers was fascinating to learn. The easy to follow directions with photos makes the procedure sound easy enough for anyone to succeed doing, but the final results look like an experienced artist was involved. Brazelton suggests gluing your pages together before you begin cutting out the shadowbox. When the glue dries, you use a craft knife and change blades often to achieve the cut out that you are looking for. She recommends that you cut the whole area and not worry about how clean your edges are until you are done. Then you can go back and clean up the pages. You can then fill your cut out area with little trinkets to create 3-D collaged art.

This book achieved its goal. Not only did I enjoy reading and looking over each page, but it made me want to alter a book immediately.

I really like this book a lot! It covers everything for the beginner: what is an altered book, choosing a book, supplies and tools, developing a theme, and then there are some great step by step photos of the whole process of starting the book and doing a double spread. Then is covers 18 different techniques. Some of the basic ones are collaging, stitching, cutting doors, windows, adding tags, folding pages, and adding inserts, all with wonderful examples and photos. Next, are intermediate techniques: cutting shadowboxes, glazing and adding texture, and working with your book cover. Lastly, there are the techniques that Bev calls "creative". They are designing with words, adding a drawer, hanging embellishments, adding fibers and beads, transferring images, and adding pop-ups. All of these subjects in one book is wonderful. That is why I highly recommend this book for a beginner.

For under five dollars, this book is a great investment for beginners or even those who are just intrigued by altered books. As the author explains, her focus is not to teach her specific style, but rather, some techniques for altering books. For example, she discusses different uses for various glues, how to fold and cut pages, and how to insert shadowboxes. The step-by-step photos and tips are very helpful. For more of an eye-candy, awe-inspiring book, try Terry Taylor's Altered Art. For detailed how-to's and encouragement, Bev Brazelton's book is valuable introduction.

I'd been wanting to purchase this book for awhile before finally buying it - and I'm so glad I did! This is a fabulous book to add to any artist's collection - whether you are into altered books or your focus lies in creating different mixed media/altered art projects. The author (herself a well-known altered book artist) takes the reader from very basic ideas and explanations, to much more advanced information. She accomplishes this in such a way that the reader - independent of skill level - never feels talked down to, or is left trying to figure out what she's talking about. The examples in the book are glorious eye candy, and it's easy to forget you're looking at the flat page of a book - her texture seems to jump off the page. This is a great reference tool to use during those times your Muse has taken a vacation, or you're looking to try a process you don't normally incorporate into your work. I really appreciate the way the book is laid out - the photography is scrumptious and the writing is concise.

Altered Books Workshop is a book that will stay on the front section of my bookcase, where I keep my favorite "go to" books. This book is definitely money well spent!

This book is filled with inspirational ideas and all the techniques needed to complete projects. Excellent for someone new to the craft.