Illustration Books

When I was diagnosed with malignant cancerous tumors, my outlook wasn't great. My biggest fear was that God was going to take me away from my beautiful boy, a gift he had only given me just about five years earlier. I needed a way to tell my son, without scaring, without hurting, with a gentle hand of love that he's always known. I read this story to him twice in a row.

He sat very quiet and asked me if I was going to leave him and live in heaven, I told him no, that mommy would fight and fight to be here with him and well, twelve years later, I am. Partly because of the courage I gained and the attitude I gained after reading this book to the most important gift I ever received. My son...and to this day, he remembers me sick and my hair falling out and he says he's proud that I am a survivor. HE'S PROUD OF ME...imagine that. I'm just as proud of him if not more.

If you're looking for a gentle book, an informative book, a book they'll understand about a disease that even sometimes we don't, this is the book. I believe in it so much that I donated two copies to my son's school library in his name for children and parents alike going through the same situation. I didn't know where to turn. Maybe that helped them know and maybe my review will help you too. Thank you from "survivor" in a lavendar bow...

When I was diagnosed with breast cancer last June, my biggest concerns revolved around telling my two year old about what was happening. Sammy's Mommy Has Cancer turned out to be the perfect tool for helping a toddler to understand, and for offering a great place to start. When we first told our daughter that I had cancer, we said, "We have a book about a little boy whose mommy has cancer. Would you like to read it?" and she said "Yes." Our daughter barely moved as we read it through to her, and then she said, "Read it again," to us several times as she used it to process information. The book has a positive tone and offers lots of optimism, even as it explores difficult topics such as surgery, fatigue, chemotherapy, and hair loss. Over the course of a few months, our daughter has pulled the book out again and again as we've faced different aspects of cancer together; for example, before I went to chemotherapy she spent a long time looking at the page with pictures of Sammy's mommy in the chemo chair, asking questions about the medicine in the bag. In short, this book has been incredibly helpful to us, and it's been instrumental in helping our young daughter to understand what is happening with her mom. (Like Sammy's mommy, I intend on a full recovery!) I think this book is an absolute necessity for any parent who has been diagnosed with cancer and needs to explain it to a very young child.

I was concerned that my 3 year old would not understand what was happening to his grandma who is now undergoing treatment for cancer a 2nd time. The book mirrors our lifestyle and my son could relate to the parents and Sammy. While I do not have cancer, he connected when I told him that grandma has cancer. He recognizes that she goes to the doctor to get better. He recognizes that sometimes she's not feeling well enough to play.

While we are extremely optomistic, as anyone should be, treatment does not always yield positive outcomes. This books has a happy ending appropriate for younger kids. It also allows him to reiterate to grandma that she will get better!!!

This was my favorite of the first 3 books I got for my 6 year old daughter when her mom was diagnosed with breast cancer. (It is appropriate for young toddlers all the way through very early elementary school aged kids.) It VERY BASICALLY shows what happens when a little boy and his parents find out his mom has cancer. Easy to read and easy to understand. Wonderful for a child who doesn't know what cancer is, nor what to expect. My daughter really identifiies with Sammy. I would recommend this to anyone who has cancer and a young child.

I was recently diagnosed with breast cancer and was trying to find an easy way to explain what was going on to my 2 and 5 year old sons. This book was a great help. It explained the entire process in easy to understand language and opened the doors for great discussions from my 5 year old. I would highly recommend it!

When I first picked up SHAKESPEARE CATS by the British artist Susan Herbert, I was struck by the cute and colorful illustrations showing cats, my favorite animals, as Shakespearean characters. I bought the book, and as I went through it page by page I found it educational, too. Herbert has accompanied each one of her drawings -- works of art in themselves -- with a short synopsis and the relevant quotation from the play. The trouble with cats, however, is that it is not always possible to do much more than suggest emotions in their faces, which are fairly "blank." This poses a problem with the more extreme emotions in Shakespeare: Herbert's Othello (a black cat) does not look enraged nor her Macbeth (a red-orange tabby) particularly horrified. Additionally, Herbert depicts mostly tabby (striped) cats, which will probably disappoint readers who like other kinds of cats. But if these are drawbacks, they are minor ones; Herbert is a gifted artist. Her scene-composition and her bright color-choices make each illustration a feast for the eyes. There are some subtly clever facial expressions, too, like Malvolio's (TWELFTH NIGHT) self-satisfied grin or Jacques (AS YOU LIKE IT) cynical smirk. And art enthusiasts will see Herbert's drawings of Romeo leaving Juliet's balcony or the sleeping princes from RICHARD III as homages to celebrated paintings by the nineteenth century artists Dicksee and Northcote; her crazed Ophelia (with tongue hanging out) might stand beside the famous depictions of that heroine by Waterhouse or Millais! I am happy to have discovered SHAKESPEARE CATS and Herbert and will seek out more of her books.

I hoped this was a story, but I will find a way to use the pretty pictures. The book isn't constructed in a way that I can encourage its use as a picture book for young children. I do like the fact that there is a passage beside each picture. That will be of some use.

I love this book, it's so adorable and beautiful, Susan Herbert is a great artist, I admire her a lot. You see wonderful pictures of cats playing roles of some of Shakespeare plays. It's a great book for kids and also for adult too.:) If you love cats your going to love this book.

Shakespeare people also tend to be cat people: why is that? In this case, Susan Herbert has created a beautiful book for cat fans and Bard fans alike. I have all of Herbert's books, and "Shakespeare Cats" is definitely my favorite. It depicts famous moments from many of Shakespeare's plays with intricate detail, and the cats look like they're in the most natural settings in the world! It's hard to pick out my favorite illustrations, but the "Midsummer Night's Dream" picture stands out, as does the humorous painting from "The Taming of the Shrew." All of the paintings are wonderful, and this is an adorable book that you will treasure forever.

Susan Herbert is, first and foremost, a truly gifted artist. Her style, talent, color choices, all show a mastery of skill. Aside from that, though, she's also an imaginative woman who tryle appreciates the feline, as evidenced by her series of wonderful illustrated cat books.

This book, "Shakespeare Cats", functions firstly as simply an enjoyable coffee-table book for frequent perusal. On another level, though, Herbert has cleverly illustrated 32 of Shakespeare's works, and with detail. The setting of each piece, the costumes, the detail of scene-setting -- all of this shows that in addition to being a cat-lover and an artist, Herbert is also not too shabby as a Shakespearean scholar as well.

Only Norman Rockwell is in the same league with Frank Frazetta. He is the most talented fantasy illustrator of his generation, no one else comes close. His work easily qualitfies as Fine Art. His draftsmanship is so good it seems beyond human, like Michaelangelo. His sense of drama is so assured, each image is like something out of a classic movie or great legend. But everyone falls all over themselves praising Frazetta. This is the third book of his work, and is more for hardcore fans and collectors. Icon and Legacy contain his most famous works, but I love this one for the insights it gives into his techniques, and for the many sensitive and exquisite watercolor nudes he gave his wife on birthdays and anniversaries. I've seen the guy in person twice in my life, but I never said a word to him. Still, Frazetta has made me a better artist.

frank frazetta is an outstanding artist. i own this book and the entire death dealer series by james silke, whose cover is frazetta's death dealer. he is one of two of my favorite artist (the other is none other than todd lockwood). his life story is also amazing. this is a must have book for any beginners in art or just to pick up and thumb through. definitely buy this book

Frank Frazetta is not only the master of Fantasy art but one of the true fathers of todays artist (Vallejo, Mcfarlane, Hildebrant) his body of work has ranged from the early comic strips of the 50's , to the great interpretation of Fantasy heroes greatest, Tarzan, Conan, Kane and many others, but he has also created some of the most memorable images of the 20th century Sci-Fi and Fantsy art(Deathdealer and so on). This bookk ends a wonderful trilogy that started with Icon, and was followed by Legacy, those previous volumes introduced many to the great worlds depicted in Frazetta's paintings, this book is a treasure chest of less known but just as great works. True longtime fans of this great master will relish this additions to the already establish body of work. I urge all fans of the master to also visit his museum in Stroudsburg PA to view the original paintins in all their greatness.

This is a beautiful book, but the more famous Frazetta works are to be found in the two previous books of this trilogy. So this book is great for serious Frazetta fans, but "Icon" and "Legacy" are better books for showing the most famous of his works.

This book, "Testament," is good for showing more of his unpublished stuff. It has many Playboy-type girlie paintings and drawings, some western themes, and his paintings for TV Guide, for the "Battlestar Galactica" show, (which look nothing like the actual TV program, but stand as terrific space fantasy works). The personal photos are also a very nice insight into his life.

All three books in this trilogy cover work from his whole life, and explain his career moves, with slight variations and different guest commentary. The printing is nicely done, so you can enjoy studying the paintings on glossy, quality paper. These three books are very nice additions to your personal bookshelf library.

If you're new to Frazetta's work, I would just suggest that you start in order, with "Icon," and then "Legacy," where the more popular works are printed, to be able to appreciate and understand Frazetta's work and influence in proper perspective. "Testament" is more for the confirmed Frazetta fans.

Only Norman Rockwell is in the same league with Frank Frazetta. He is the most talented fantasy illustrator of his generation, no one else comes close. His work easily qualitfies as Fine Art. His draftsmanship is so good it seems beyond human, like Michaelangelo. His sense of drama is so assured, each image is like something out of a classic movie or great legend. But everyone falls all over themselves praising Frazetta. This is the third book of his work, and is more for hardcore fans and collectors. Icon and Legacy contain his most famous works, but I love this one for the insights it gives into his techniques, and for the many sensitive and exquisite watercolor nudes he gave his wife on birthdays and anniversaries. I've seen the guy in person twice in my life, but I never said a word to him. Still, Frazetta has made me a better artist.

The book I read was given to me by a dear friend. I have read it many times over. It is deep, thoughtful and meaningful - yet uplifting. It truly enriches my life each time I read it.

Unfortunately, the book I ordered over a month ago, has never arrived. I wanted to give it as a gift to someone for the same reasons I just stated. I cannot even get a reasonable ship date from Amazon so I don't even know if it will EVER arrive. I am a very, very unhappy customer of Amazon at this time, but that does not reflect on this wonderful book. Maybe you should order it elsewhere.

Warning: the art in this book will inspire you! If you have never seen the art of John August Swanson, this is a grand introduction. I also recommend "The Story of Ruth: Twelve Moments in Every Woman's Life," another collaboration between Chittister and Swanson.

This is a life changing book. Joan Chittister is a little extreme in her feminist position for me but everything else in her book truly touched my soul and made me rethink some long-held opinions.

This is a beautifully written and illustrated book that makes us see the world in a new light. The author explains issues such as intolerance, war and lonelines as immature reactions that can be understood and overcome by spiritual growth and reverence to the soul and to the natural world.

The book consists of 20 short essays, each pondering one of the seasons in the Book of Ecclesiastes, a time to be born and a time to die, a time to love and a time to hate,a time to plant and a time to sow, etc. and guiding us to meditate and to see life in a fuller and more gentle context.

This is a beatifully illustrated book that can be used as a special gift. I have read and re-read it, which I seldom do, because it always helps me focus on the real virtues of life. I have given it to my ( young adult) children who are now entering the time in their lives where living meaningfully will impact all that they do.

The simplicity of the style and the poetry of the images makes this a delightful book to be turn to time and again. Few authors can say so much in such few words.

I highly recommend this wonderful jewel as Christmas gift for those you most love, for those passing through trial and bafflement, and sadness, for those filled with great joy.

I had not noticed the large and generous size of this book, so favorably available herer on the amazon, before ordering it, and wondered at the large package in my mailbox. It was Sister Joan, speaking large, praying with me with an embrace as wide as all outdoors.

Perhaps we have heard the old song sung by the great American folksinger Pete Seeger, and by others including the Byrds. This book nevertheless brings our understanding, appreciation and entry into this Scriptural verse to a new level. Truly this book serves as lectio divina as Benedictine Sister Joan, winner of the 1992 US Catholic Award for her holy and wonderful work of ministry, meditates carefully on each phrase of this famous Holy Scripture: Ecclesiastes 3:1-8. Each brief phrase of a few words length Talmudically receives pages of commentary of great wisdom and holiness and strength, like a guided meditation.

In fact, this great book can edifyingly find use as a prayer meeting, sitting quietly in chapel, hearing its consoling words. BUt be aware in this context that you might only read a fifth of each chapter at a sitting. Each phrase truly receives many pages of text in this coffee table book sized volume, and each chapter is thick with wisdom and truth, and much to meditate. The chapter on war in particular, published in 1995 someight years before our current situation, breathes a prophetic prescience which speaks deeply to or hearts today. The chapter on restraining from embracing supports not only the mystery of celibacy but also examines the unrestrained consumerism His Holiness now condemns. Each chapter has so much to say; the more slowly you read it the more you receive.

A great gift for the RCIA candidate; a great introduction to the prolific and profound spiritual writings of Sister Joan, a great way to return to the careful contemplation of Holy Scripture in lectio divina.

As if this were not enough we have here the wonderful painting of John August Swanson, with whom Sister Joan also collaborated in The Story of Ruth: Twelve Moments in Every Woman's Life. HIs beautifully detailed painting resembles the ancient medieval illuminations in the Books of Hours, as well as the beautiful Mexican folk art retablos. In a powerful way these iconic images bring home to our hearts the meaning of these verses.

A great gift for yourself. A great gift for everyone on your list, so favorably and readily available here upon the amazon.

If you get just one book on voice development, it certainly should be this one. As a phonetics teacher, I don't agree with every single detail in the book. But as someone who has taught English pronunciation and oral skills to ESL learners for decades, and also as a radio broadcaster, I feel a strong resonance with Lessac's approach. Differing in the details doesn't really matter, since the core of Lessac training is heightened sensitivity and slightly understated but focused control rather than specifics.

Lessac uses orchestral instruments as analogies to teach better articulation of each English consonant, e.g. the "N-violin" and the "T-snare drum drumbeat". Though impressionistic in approach, it does helps the student have an optimal quality in mind to aim for, and to pay closer attention to each internal physical event and the effect it produces.

Lessac has a fondness for coining his own jargon, like "NRG" ('energy'), "esthetic" (not "aesthetic"; 'anything that promotes sensitivity and induces awareness of sensation and perception in the body'), "kinesensic" ('intrinsic "self-to-self" sensation'), and of course the famous "Y-Buzz". The new terms are however well justified, since each figures importantly in the framework he teaches. The glossary in the back of the book can help keep everything straight. I also flipped to the index several times when trying to sort out the differences between terms like "tonal NRG" and "structural NRG" in the context of the book.

This is a solid course book, not casual reading, so take the chapters one at a time, mindfully, to reap maximum benefit from the book.

This edition is attractive and carefully edited; I found not a single typo in the whole book. My one criticism is the price. The outstanding content makes it definitely worth the cover price, but I don't see why a paperback needs to be so expensive. Like with Peter Ladefoged's A Course in Phonetics (with CD-ROM), I guess it is because it is a popular university textbook that commands a captive audience. About a third of the cover price would bring it more in line with similar editions. But that's not the author's fault, I assume, and doesn't merit taking off a star. And speaking of Ladefoged's book, it would be helpful to readers if this book included a CD-ROM as well.

As a voice teacher for many years, I am always being complimented on my speaking voice. Arthur Lessac's book was not my speaking coach, my operatic training was - but the technique is the same. Lessac has done a masterful job explaining the "old" Italian, bel canto/good singing technique that's been around since the 1600's - but he's done it for the speaking voice. Singers need to use the same technique for both speaking and singing, and this is the best book I've found on speaking technique.

Now everyone can understand logically how to improve their speaking and singing voice, and perhaps operatic voices will be better understood as not being something elitist or unnatural. Using the power of your instrument to produce quality sound is amazingly natural - it ain't magic. The "magic" is being given the vocal chords of an angel, inspiration from God, the constitution of a horse, the luck of (all) the Irish, and the intelligence of an Einstein to develop that voice into a Pavarotti, a Sutherland, etc.

This is probably the best technique out there for freeing and developing a strong vocal instrument for speech and singing. This is the only voice text (and I've read and studied them all: Linklater, Skinner, Berry, Rosenburgh)which gives a spicific structural breakdown for the production of healthy and tonal sound. Most other texts are just exercises, but Lessac's System gives exact physical placement for each vowel, consonant, and dipthong sound as well as extensive tonal work. Especially good for the dancer due to the strong physical emphasis of placement of the tongue, lips, jaw etc. His work on Consonant action is quite inovative, drawing on the actors imagination and assining each consonant sound to an instrument in the orchestra, thereby allowing the actor to more quickly understand the musical quality of speech. Here is a basic overview of what is covered in the text; anatomy of the vocal instrument, the alignment of the body and the economical use of muscular effort to produce sound, the use of optimum pitch to discover and develop the presence of tonality and broaden pitch and range, the use of melody and the onomatopoetic nature of language to communicate ideas, and the application of these skills to a text.

This is everything anybody (actors, speakers and liars) will ever need to know about discovering, developing and using with confidence the voice as a tool to communicate. Westerners especially, I believe, have trained and maimed their voices to suit ideals (The average woman speaks about 6 tones higher than her natural voice prescribes). This book, a trusted training manual in many theatre and opera schools, teaches practically and without pretence, the real abilities of the voice. This is all one needs to acquire/rediscover, with practise, how the voice can be an (extemely flexible) extension of oneself in a physical world. A wholistic adventure which necessarilly encompasses correct breathing and posture, which will eventually be effortless, simply because it is natural. From an acting perspective the Arthur Lessac voice system becomes a perfect partner to the Stanislavskyan system of acting (associated with 'The Method' in USA). The practice of the Lessac system can easily be taught to a child and has proven successful in overcoming a stutter. This probably because the learner is made aware of the manoeuvre-ability of sound and how it is created, and not only on voice as a carrier of language. The book contains many excercises, each making one discover and realise the immense power of (self-generated) sound. Living in Africa one often wonders at the vocal powers of its people. Westerners can also feel at one with their true voices. The Lessac system would be the first (and last) step on the route to rediscovery. This is a popular book (I had two copies stolen from me when it was out of print) amongst performers and all those who believe their bodies are instruments.

I first became acquainted with Arthur Lessac's work in the 1970's when I was in Graduate School. Since then, his Approach to Voice and Body Training has been the mainstay of my professional and personal life. His new book (the third version) has been written in such a way that complements the older version, yet takes us on a training journey that is wholistically and organically fresh and new. I enjoy teaching from this book, and my students enjoy learning from it!
--Nancy Krebs, Lessac Master Teacher

We saw the exhibit in September and I bought the book as a reminder of the awe and joy I felt looking at the originals. The book lives up to the exhibit. A feast for the eyes, the book captures well the power and talent of Pyle and the Wyeths.

For many years it has been the practice of critics and art aficionados to relegate "popular artists" the likes of Norman Rockwell and the Wyeth clan to the bin of kitsch. Time heals and alters and distance is kind as the current resurgence of appreciation of these and other artists of the land testifies. Norman Rockwell now is considered an important American artist, sensitive to basic issues of what makes America the land of the common man's dream. With this beautifully designed and written tome the same adulation should follow for the Wyeth clan. The authors (Betsy Wyeth among them) had the good idea to show the seeds of the very familiar Wyeth imagery in the work of Howard Pyle, an artist known primarily as an illustrator along the lines of over the edge fantasy adventure books. His pupil N.C. Wyeth took up the torch, primarily emulating Pyle's style but taking it to a new level. His works of isolation, thwarted desire, and simple American traditions are absorbed by his son Andrew Wyeth who won favor among collectors of realist art during the time the country was running after Modernism, Expresionism, Abstraction. And finally Jaime Wyeth, son of Andrew, has been a constant presence with his quasi-surreal take on many of the same subjects as his progenitors. The circle comes round with Pyle and Jaime Wyeth embracing the more perverse subjects - an interesting century wheel turning round and round.

The color reproductions are generous and well selected. Many of the well know Wyeth images are excluded, but in their place we are treated to images we have never seen. This is a beautiful volume and a tender one, a memento of what our childhood in the 20th Century was like before the madness currently painted hit.

For the non-art initiated, the book is a feast for the imagination as well as the eyes. I bought the book because I come from the mid-coast of Maine, like the Wyeths. But when I took the time to look at the book on a night we lost power due to a snow storm, I found the views conjured stories up in my mind to match the Wondrously Strange images. I've driven by the Wyeth Center a thousand times, but made a point to visit to see for my self. I'm also fortunate to have a copy signed by Jamie Wyeth, and hope to keep as a treasure for a long time.

This book is a collection of the paintings included in an exhibit which will be at the Delaware Art Museum in December -- works by Howard Pyle, N.C. Wyeth, Andrew Wyeth, & Jamie Wyeth, chosen particularly because of their "wondrous" and "strange" way of looking at the world. A glossy, colorful, and exciting book featuring the progression of artistic technique from generation to generation! Something of interest for everyone.

The images floor me. If a picture is worth a thousand words.... then this collection speaks incalculable volumes.

This is a great book. Very well put together. The little unexpected tidbits of an off the wall comment here and some all but hidden messages in the the fine print there make it not your everyday, ordinary book. This one is fun in all respects. The Monsters are all distinct personalities and the stories accent their lives. I love it!!

My friend would go to the blog site and she would make up stories about the picture's. Not being as artistic as she is I thought oh well. But once I started to get into Stefan Bucher's method's and thought process I realized how great it was to read the book. Thank You Stefan Bucher. ( please look for
Sequena/Annie Nordmark in the book my friend writes great stories for the pictures )Thanks

This book was just a neat thing to check out everyday. Still. It gives me a smile every time he starts with just one blot of ink and spreads it, from there it becomes a living, personified, under the bed madness!, type creature that lurks off every new page. Its grand, most definitely worth checking out!!!

We all have demons and Mr. Bucher's managed to escape, first into his blog and then onto the pages of this great little book. Watch out, they are also infectious, many lovely people have been already afflicted with monster mania. From cover to cover this book is a monster of a success when it comes to creativity.

Of course, I'm one of the contributors, so my view may be a little biased. However, if you begin at the beginning and just read it like you would any other book, you begin to get a real feeling for these little monsters Stefan has drawn. The book itself is very high quality, as is the DVD that comes with it.

Many hours of enjoyment for a great price.

A wonderful book for childeren to enjoy. They all know these characters so they will love learning the ABC's this way

The House of Mouse finally meets a master movable book artist and the results are more dazzling than the Electric Parade along Main Street -- or even more spectacular than a synchronized fireworks display in the Orlando, Florida skies. What could have been a run-of-the-mill volume if executed by someone else, Robert Sabuda's latest masterpiece celebrates over 60 years of movie magic with paper, paint and a passion for cutting and folding. Instead of simply replicating the characters and making them move, Mr. Sabuda infuses them with his unique style and sense of humor. (See Pinocchio get cross-eyed as he watches his own nose grow longer! Gepetto would have been proud.) Julie Taymor (surprisingly with the blessings of the formula-bound Disney folks) impressed the critics and the crowds with "The Lion King" on Broadway. Now, Mr. Sabuda likewise has proven to our pop-up publishing planet that creativity and commerce need not be exclusive of each other. Bravo, Robert! (But where is Sebastian? I can't wait for the sequel. A is for Aladdin, B is for Belle, C is for Chip...) Note: This review has been published in the Movable Book Society's newsletter, Movable Stationery Vol. 7 No. 1 February 1999

Adults will love this book both because it will remind them of the many characters with whom they grew up, and for the incredible science of Robert Sabuda's "paper engineering".Children will delight in the wonder of the "pop up". Not only do they love the recent and classic Disney characters, but thrill to know that they can identify the first letters of those characters' names!

Once you open this book, you will fall in love with the clever paper animations, which bring the characters to life almost as well as the movies do!! Some stretches and one or two obscure characters, but this is a must-have for any Disney collector or book lover!!

This book captures the personality of the Disney Characters. You feel as if you are watching a movie with the way these pop-ups come to life.

This edition stands perfectly well on its own in either language for simple enjoyment of the story and prose. It is also a useful learning resource for the intermediate to advanced student of the language. I suggest that you listen to Il Narratore audiolibro tape or CD while you read the text in Italian and then in English. The side by side page format is perfect for this technique. I am on my second iteration and I think I am actually learning. Do not let the 1883 date of original publication bother you. The language seems contemporary and the idioms are thoroughly footnoted. Be ready for a lot of passato remoto in the first and third person singular(this is after all a literary tense) and many very colorful verbs. Forget about Disney or any English language kids' editions. This is real literary fiction. The tranlator's opening essay provides social,linguistic and historical context if you're interested.

Pinocchio is a wooden pupet that wants to be a real boy.He tells everyone that he is real,but he nows that he's not real. Every time he lies his nose grows bigger and bigger.Just as his nose gets bigger a fairy god mother comes and grants his wish about being a real boy. This book is a fiction book and is out standing. Carlo Collodi makes this book a outstanding and wonderful to read. Children should love this book. I've loved this book since I was 4 years old. My parents read it to me all the time.
This book was set in a little town on a hill.Gippito is the carver of pinocchio.I truly think he did I good job at designing him. I LOVE THIS BOOK!!

Since another reviewer has already stated why this edition/transation is the best one to buy, my review will focus on the story, which is a charming allegory for children, no matter what language is used to tell it.

Children identify with Pinocchio because of all his troubles. They understand what it is like to want to and mean to do well, only to fail miserably. They are also very capable of matching his extremes of emotion. Childhood is so full of humiliations that they don't think, "Oh, what an idiot not to have gotten it by now" or "He's overreacting terribly." (In fact, these are things said about _them_.) Instead, they cheer Pinocchio, who commits blunder after blunder--and is rewarded at the end of the book, for finally getting it right.

Also endearing are the puppet's "parents," old woodcarver Geppetto and the "fairy with blue hair." Despite their scapegrace's repeated failures, they forgive him again and again, giving him countless chances to redeem himself. As for the villains who prey on Pinocchio's naivete, they are perfect representations of what children find threatening. Some characters resemble playground bullies; others are more like the monsters under the bed. The talking animals are a little exasperating, but very nice.

"The Adventures of Pinocchio" is as whimsy as Lewis Carroll's "Alice's Adventures in Wonderland": in both novels, anything goes. Unlike Carroll, however, Collodi injected moral lessons into the storyline. Pinocchio does not get into one humiliating episode after another just to amuse young readers; with every mistake he makes, he learns a moral lesson.

The plot structure is "poor"--which works to the book's advantage. This is what-happens-next kind of reading. Children care foremost about what new agonies a protagonist can propel himself into, and so will like the pace.

Accept no abridgements or adaptations. There are wonderful details that are often cut out for economy--or rewritten for somebody's idea of style. For the real Pinocchio, read this book.

Professor Perella's landmark translation is a must for students of Italian. For those who have studied the language in school or on their own it is a wonderful introduction to reading original material as the translation is both literate and rather literal. It is nothing less than a masterpiece. Anyone will benefit from reading it.

The translator, the editor, the designer, everyone involved in this project deserves the highest praise... oh, and the author, of course! Of particularly worthwhile note is Perella's lengthy introduction, an essay on the story in context of Italian culture, and also noteworthy & insightful are his endnotes on his translation. This is so much more than a childrens' story (and SO much more than Disney's version) -- it is a story for all ages, all levels of students of Italian language and culture (a great aid to improve reading skills, incidentally) and all those in love with things Italian. Thank you, Nicolas Perella, for your great effort in bringing this landmark story of Italy to the English reader, in clearest, most straightforward style -- if I could give you an award, I would.

Grew up reading this series. Now I have a permanent copy of my own. Good price and great product for comics junkies.

How sweet it is to sit down and read these comics from the 1950's- it's like a miniature journey back into the past where sexism, politcal correctness and all the sociological baggage we lug around today did not exist. It's like opening a window and letting in a fresh breeze that tickles your lungs and makes you laugh!

Lil Abner always had a strong fan club that allowed the reprinting of the daily strips by Kitchen Sink press for about 25 volumes, which if there was no fan base, only one or two volumes would have been published.

In addition,we are very lucky that Frazetta's reputation and fan club would allow the printing of a comic strip that John Steinbeck once stated, its author, Al Capp, should be given the Putszler (excuse the spelling) prize.

Al Capp was a master satirist and storyteller, who would have one acclaim like Mark Twain or O'Henry if not for the snob attitude toward comic strips.

This is shown here. The 50-year-old color strips are re-printed in a fine manner with expert commentary about the period they were written in by Denis Kitchen.

This is the only full color page spread of Marylin Monroe in Lil Abner.

Beware, they feature "politically incorrect" well-endowed women, and one main character, Daisy Mae, as mostly submissive, which would not be allowed in comic strips today as it would raise the ire of feminists and other "progressive" people.

On the other hand, it features the two main male characters, Abner and Pappy, as idiots or wimps, Abner and his brother Tiny as "hunks", and the one of the main women characters, Mammy as the leader of the Yokum clan, who occassionally beats Pappy, which are allowed in comic strips today as the "Progressives" seem to have no problem with this.

Remember, vintage comic strip reprints do not generate big bucks, some even lose money. They are produced out of great admiration for the strips, and we should be grateful for the publishers for doing so.

By the way, why does Amazon include a 'NO' in 'was this review helpful to you?'. People are only human and don't like opinions that differ from themselves. With some who are less mature, this the 'NO' makes it too easy express such displeasure.

Are they trying to discourage negative reviews, hence not purchase the CD. Such reviews only help a person in not being dissatisfied a product that received positive reviews

This is the second volume of Li'l Abner Sunday strips drawn by future king of fantasy art Frank Frazetta. I have be honest and admit that in my opinion Li'l Abner is the greatest American comic strip of all time. So, my opinion is not exactly unbiased. Naturally, I loved this book. Many people have the opinion that the strip went downhill after Li'l Abner and Daisy Mae got married. That may be true, but it was a slow descent down that hill, and the strip was still great in the mid 1950s. The scripts are hilarious and the Frazetta art is beautiful (although drawn in the style of Al Capp, not his own style). I highly recommend this book to anyone interested in classic American comic strips.

Finally! Although one may quibble over some technical details ( the strips might have been printed a bit larger, and the color is a bit muddy in spots, ) there's no denying that publisher Denis Kitchen is performing a service to mankind by making these historic strips available again - for the first time in almost 50 years.

Al Capp was at a creative peak in the 1950's, the heyday of his uber cool American satiric masterpiece: LI'L ABNER, and these classic Sunday page sequences don't disappoint. For many people, this was their first exposure to Frank Frazetta's work, and he managed to capture Capp's idiosyncratic style with the greatest of ease, adding many brilliant, characteristic nuances of his own along the way.

With the demise of the late, lamented Kitchen Sink Press a few years back, I despaired of ever seeing this classic material back in print again - but here it is! It's impossible for gen X-ers weaned on tripe like Dilbert and Foxtrot to even begin to imagine what a rich source of art and humor the American comic strip used to be in the 30's, 40's and 50's.

For anyone interested in re-visiting a Golden Age of this uniquely American art form, you couldn't ask for a better place to start than this. Hopefully the series will be continued before and beyond the Frazetta years - into the forties and sixties. And while we're at it, how about a color POGO Sundays collection, Mr. Kitchen?