Studios Books

I bought this set on tape for my son's 6th birthday so we could listen to them in the car while travelling. The stories are well-done and made him use his imagination. We enjoyed trying guessing what dinosaurs were being described and he wondered if the kids could see the moon and stars while they were in the castle. Even my 3-year-old had a good time listening. They can't wait to go on another trip to hear more of the stories.

I AM A GRANDMOTHER OF A 7 YR OLD BOY. I WISHED THAT I COULD
DEVELOP A LOVE OF BOOKS IN HIM LIKE I HAVE. THE TREE HOUSE SERIES HAVE DONE JUST THAT. MY GRANDSON AND I TAKE TURNS READING EACH CHAPTER. I AM NOT SURE WHO ENJOYS THE STORIES MORE ME OR HIM. WE CAN'T WAIT FOR THE WEEKENDS SO WE CAN READ TOGETHER.

How would you like to ride on a pteranodon? Now you can! You could ride a pteranodon when you read magic tree house dinosaurs before dark. Annie's brother Jack did. Jack and Annie were also chased by a Tea-rex, and Annie tried to make friend with a duckbilled Dinosaur she was trying to talk to the Dinosaur. Jack kept taking notes. Jack and Annie now there is a magical witch or wizard because Jack found something that had an M on it.

Dinosaurs Before Dark

The Knight At Dawn

Mummies In The Morning

Pirates Past Noon

THESE BOOKS ARE THE BOMB BECAUSE I LIKE JACK AND ANNIE. THE ADVENTURES START IN THE TREE HOUSE. THE TREE HOUSE WAS FILLED WITH BOOKS. THE BOOKS TAKE THEM ON ADVENTURES.

The Magic Treehouse books are good for kids who have missed out on some reading skills. It is also good for 1st, 2nd and 3rd graders. Jack and Annie, the stars of the book, get into a lot of adventures and it is fun to read them. Mary Pope Osborne reads the books on the tape. She makes it so you really hear Jack and Annie's voices. I think kids will like this tape and grown-ups would like to hear the stories with their children. -- Munroe Woodward, Age 8

This book is a really good one to use for teaching sculpture. The mouse in the story creates a tiny sculpture and is rewarded for it. I usually read this book to my students and discuss sculptures and its characteristics. Then we create a sculpture out of wires and various items. (can also use pipe cleaners) Cute story!

This book is a visual and literary play on the ever-inspiring animal name of dormouse. These are a kind of rodent that in some ways resemble a squirrel. Every humor writer who has ever seen that name has wanted to have fun with it. The wonderful Don Freeman (of Corduroy fame) takes that artistic license one step further by building a Horatio Alger story around his door mouse and doing his own renditions of paintings and sculptures in this beautiful volume. Puns and fun abound, so keep an eye out for them!

Norman is clearly a door mouse, he even has a door mouse's uniform (just like those you see on Park Avenue in New York). His door is around the back of the Majestic Museum of Art. It is well hidden, and he brings in small creatures that way for tours of the art works in the museum's basement. In addition to his docent duties, he has established a studio in the helmet of some old armor, using the visor as a skylight. From there, he paints and sculpts. Life does present challenges though, because the sharp-eyed upstairs guard is always setting traps with cheese. Norman is able to disable them, and brings the spare parts to his home.

The story develops when one day Norman notices that there is a sculpture competition going on. Using mouse trap parts, he makes his own sculpture and names it punnily trapeese (trap and cheese being the sources) because it appears to be a mouse doing acrobatics holding onto a high wire.

Norman drags his sculpture into the room where the competition is being held, without being seen. Then the fun begins!

The story ends with one final pun. "Good Knight."

The plot is a very rewarding one, creating the sort of inspiration that books about "little engines that could" do. I have always been impressed with friends who could make a lot out of a little. It's a gift I do not have. This book is a worthy example of that principle. You can extend the lesson by discussing with your child how she or he might create something wonderful out of something else, including "junk."

Art lovers will find the illustrations to be a great treat. Mr. Freeman has created wonderful reproductions of works by many major artists, which he sneaks into scenes of Norman in the museum. I was particularly impressed by one Miro, where even the signature is faithfully reproduced in pastels.

You can also use this story to suggest going to an art museum. You can even go around the base of the building to see if you can find any door mice, or holes where they might be hiding. This can help you find arts wherever you go!

However you decide to use this book, I encourage you to renew your artistic license so you can explore the world of created beauty with your children and grandchildren in museums!

Norman the door-mouse welcomes discriminating rodents to view the paintings and sculptures stored in the basement of the Majestic museum. In his spare time, Norman has his own studio in a knight's helmet, which is also a good hiding place from the security guard! He cleverly uses an old mousetrap to create his own wire sculpture of a mouse swinging on a mousetrap, and enters it into a museum competition. There's a lot of visual humor, and Freeman makes the whole tuxedo-ed affair look fun and interesting, and there's a suspenseful subplot involving the guard trying to find Norman. (No animals were injured in the writing of the book.) There's a nice warm simplicity to Freeman's soft but colorful pastel illustrations; they're drawn with such ease that both they and the story may stimulate your own creative energy. Another excellent book from Freeman!

As a children's librarian, I highly recommend this classic tale of kindness by Don Freeman. I purchased this book to send to a very kind and polite student at Brown University! Our world needs to be reminded that random acts of kindness and politeness, like holding a door make life more enjoyable for all. Hooray for all of the door holders throughout the world!

A story of art appreciation and how it's possible for even a little mouse to be an artist. Norman has an important job as the doorman to the Majestic Art Museum where he lets mice in and tours them around the basement of the Art museum where there are many treasures. He acts as security guard, curator and tour guide for his portion of the museum and he takes great care and pride in each artifact. The only thing that causes a stir in the basement is when the sharp-eyed guard from the main museum comes down to set traps for the mice. Norman is clever and he has figured a way to take the cheese from the traps and set them off without hurting a whisker. His home is in the knight's helmet where he has a very comfortable setup and he spends his free time creating artwork. One day he decides to make a sculpture from the old traps and picture hanging wire. When he has finished his creation he is delighted and proud. Early the next morning he see a sign announcing a sculpture contest. Norman is very excited. He runs back in and titles his sculpture "Trapeese". Then he painstakingly carries it up the steps, through the main floor of the museum and puts his sculpture with the others. Norman was proud of his efforts. Once he got back home he sewed some buttons on his jacket and went about the business of being a doorman. Upstairs in the main hall everyone is talking about his sculpture and who had entered it. The judges questioned the guards about who had brought in the sculpture but none of them knew. When the sharp-eyed guard looked closer he figured that one of his mousetraps had been used for the sculpture. Downstairs he went into the basement, where he found Norman's home. Norman was waiting at the door cold and hungry for a party of country mice who were due to arrive at any time. The guard spots Norman who dashes off but is enticed out by a piece of cheese. The guard catches and questions Norman about using his mousetraps for artistic purposes, Norman's response is that "It's just a hobby, just my hobby!". Norman was sure he was being taken to jail. He was very surprised to hear the crowds shouting "Hooray for Trapeese!" The guard too was amazed and rushed to the judges' platform so that Norman could receive his award. When asked what he wanted, Norman indicated seeing the upstairs part of the museum without getting caught would be a good reward. So he was taken on a grand tour of the entire art museum. When Norman returned to the basement, he found the country mice waiting for him and he shared the large piece of cheddar cheese that the kind-hearted guard had given to him. The story ends with Norman warm and snug in his helmet. I just loved this book!

Like all of Tim's book this is a keeper. What a great reference to have on hand. I had no prior background in casting and this covers it all from the very basic to the more advanced. A great buy.

Very good information put in easy to understand language and tips to cast on a budget.

Don't let the sub title Studio Reference throw a scare in you. With its lay flat binding and clear and concise steps, you will be using it in the studio as a ready reference book. As somebody who owns and have read over 25 books on casting and foundry work. This book was a light read compared to some it doesn't get bogged down in to much tech for tech sake. If you just want to find out about what it takes to do a little casting or jump in and go all the way this is the one book for you. I own it.

This book, like McCreight's other books on working metals, divides the subject into easily digestible portions and treats each topic separately (often on a separate page) with a short discussion. Line drawings help clarify important points. The focus is on the tools, materials, and techniques of lost wax casting, but also covers sand casting, the use of flexible molds, using the services of a foundry, and other topics of concern to the studio metalsmith. It's a great reference tool if you need to look up the proper sequence to use in a particular technique, or a formula for making your own crucibles. Learning to cast almost requires hands-on instruction, and this book alone cannot provide that. But if you're already familiar with casting, it's a wonderful reference.

Tim McCreight's books are always excellent, and PRACTICAL CASTING
is yet another gem. I especially appreciate it's easy to follow format and the author's generous "make-it-yourself" directions for tools and gadgets that can be easily put together by the jewelry crafter. These tips really come in handy and save having to buy yet another expensive doodad to complete a process.

When I first purchased this book, I was searching for material to shed light on the Win32 security model. After extracting what little information was available on the topic from this text, it made it's way to the book shelf.

Sometime later, I needed information on Code Access Security, and off the shelf it came. I later needed information on Assembly evidence, and down it came again. Next, was a need for .Net cryptographic and secure programing documentation -- it came down from the shelf and hasn't gone back again.

This is one of those books you need to live with for a time before you realize how great it is. I turn to it 2 or 3 times a week, and regularly carry it back and forth from the office. I've discovered embedded in it's pages are program perls, tips, and background information. It has become and invaluable refefence -- one I whole heartedly endorse.

Programming .NET Security does a great job of breaking down the various aspects of security in a well thought-out manner. In particular, they spend 7 chapters explaining how the .NET Framework has been built to provide a secure infrastructure and how applications can take advantage of this environment to become secured. This book provides one of the best examples I have seen to date covering Code Access Security (CAS). The inclusion of topics on both ASP.NET and Enterprise Services security make this book wholesome for any developer.

To follow, there are an additional 6 chapters that are devoted to cryptography, including sections on providing your own symmetric and asymmetric encryption algorithms. I would highly recommend this book to any developer working in the .NET Framework, regardless of skill; you will take something away from this book.

One of the best book that I will strogly recommend for any one who wants to understand .NET security subject. I was grappling with CAS for some time and how hard I would try, still I could not explain code group, permission and evidence and how they are interlinked. Not only authors have done a tremendous job at explaining CAS but cryptography is yet another section they have done great justice to. The diagrams in this chapter very clearly explains the key concepts of cryptography. A great book that will not disappoint you.

While there is a lot of talk about .NET security, relatively little can be found in terms of documentation, which is one reason why this book is so refreshing. In addition to discussing some of the reasons behind certain security schemes, the theory is explained as well as the C# implementation. While there are some .NET specific security issues discussed (e.g. configuring worker processes), the section on cryptography should be required reading for everyone in the computer industry.

I get really excited about a book when it contains a lot of good information and I am able to actually use it to solve real-world problems. After reading this book, I was able to help solve a really tricky (and politically challenging) security issue quite quickly. If you have anything to do with your company's security systems or write any .NET code, I think this book deserves a place in your reference section. This is certainly the best book on .NET security I have read thus far.

Some books are not going to be easy or approachable, one must already be familiar with either the C# and or Visual Basic language (the easy part) and the .NET programming enviornment to attempt this book. The authors are quick to jump from a discussion of the issues to meta code and sample code, but that is a feature, not a bug to the book's intended audience of very sharp, (as opposed to very basic), well educated coders. I would like to have seen more of an effort to discuss testing, validation and assessment, but at just under 700 pages this is a focused work and a serious coverage of the hooks that make it possible to secure .NET. (Of course that is assuming the underlying function calls are not riddled with buffer overflows and the like. Blaster on a .NET scale is a pretty scary prospect.)

The bottom line, we are awash in bad code and the vulnerabilities that result are the fundamental reason there are so many exploits. When you consider that in the scale of a federated system it is not a pretty thought. Someday there will be building codes for software, but in the meantime, if you are a responsible citizen of this planet and you are involved in .Net development, buy your coders this book. Invest the time to be able to quiz them and do so. Make sure they understand the issues, especially with Chapters 18 and 19, ASP.NET and COM+.

I am a student of Mr. McGuire's in Briarcliff New York. He is an extrodinary teacher, and his review book makes classes a lot easier than they would be otherwise.

As a teacher of NYS earth science, I feel this is the best resource for a teacher and student preparing for the Earth Science Regents. It takes each chapter and breaks it into little pieces, then follows each "lesson" with practice regents questions. Earth Science should be studied in short sessions frequently. This book accomodates this style of learning/studying, which is necessary for academic achievment in Earth Science. Buy this book before the other regents reviews out there. You wont regret it. I use it as my primary text through the school year.

As a student of Regents Earth Science, I highly reccomend this book for studying. This challenging subject is very well explained in this publication, and not only tells you the facts, but makes you understand them. For students who are taking the Regents, it gives sample questions from previous exams in order to help prepare the reader for the test. I think this is a really good book to study earth science from.

Mr. McGuire's REVIEW BOOK is useful in any Earth Science situation from Middle/Junior High School, through High School and through introductory courses in college. The topics included are well covered and the detail is accurate and useful. I have used this book (or earlier editions)with my students for more than 10 years and it is one they head for first when they need immediate answers or are just beginning to do research.

Reviewing Earth Science: The Physical Setting by Thomas McGuire is an excellent, comprehensive review book that helps students learn and understand the new New York State Earth Science Curriculum. I find it an invaluable resource to my students and myself. The units are well written and include recent scientific ideas. The graphics and illustrations are clear, insightful, and meaningful. The questions are asked in such a way as to reflect many different thinking levels (basic knowledge, application and interpreting). The extensive use of sample test items help students evaluate and show their comprehension. Mr. McGuire's several editions of this book provide excellent insights into New York's challenging and stimulating Regents Earth Science program. In fact, my school and others use this book as an expandable text. I have been using the older version of "Reviewing Earth Science" by Thomas McGuire for the last 10 years and find it an irreplaceable and essential book. This new review book correlates directly with the new New York State Physical Setting : Earth Science Curriculum. I think teachers embarking on this new adventure are advised to use this book as a key resource throughout the year.

It is one of the best books on SQL I have read. This is a good book not only for those who want to use SQL Anywhere but for all SQL Afficianodos. It is both comprehensive and compact. I found this book useful while trying to understand Mobilink. I recommend this book without any hesitation to anyone who wants to understand how everything works in SQL Anywhere.

In a word: Awesome! This is the definitive book on Sybase SQL Anywhere 9. If you use this at work, especially in a replicated environment, then you MUST have this on your shelf.

This is a down-to-earth, no-holds barred approach to dealing with the good/bad/indifferent aspects of SQL Anywhere Studio 9. I am a data architect for a company that manages over 4,600 remote databases and this book has single-handedly helped me solve issues we have been having for months.

The author, Breck Carter, is a man who has been in the trenches with "the rest of us" to solve some of the most vexing data management problems. The solutions are as simple as they are elegant.

Written in a "real-world" tone, this book gets to the nitty-gritty of 99% of problems. The chapter on Mobilink replication is worth the price of the book alone as it goes into extreme detail on the how/whens/whys of moving data around and how to best utilize this impressive feature.

Highly Recommend!

Some of the documentation in this book is included no were else besides Sybase official docs. Given that "official docs" have such a dry reputation, I was happy to find this book. Indeed it is much easier to read, and contains lots of important information for configuring and programming in your SQL environment.

This book is packed with pertinant, in-depth info. The author does not have an overly-wordy style, so there is no inflated page-count.

This book is simply a must-to-have for db-developers; it presents a complete and compact reference for experienced developers as well as it offers a comprehensive immersion in SQL Anywhere to beginners and less experienced ones.

If I had to use only one word to express my opinion about this book I would just say: RELIEF. Relief of not getting drowned again in hundred of pages of irrelevant topics, misleading information, decorative pictures and tools descriptions.

I highly recommend this book to application programmers, as myself, accustomed to flirting with different db-engines but still seeking a solid understanding relational db paradigms.

I started using Sybase SQL Anywhere before Sybase owned it--when it was called The "Watcom" Database Engine. "SQL Anywhere Studio 9 Developer's Guide" is an outstanding reference. The book was written by someone who obviously has a great deal of experience using SQL Anywhere Studio to build real-world software solutions. Highly recommended.

Written for teachers, librarians and yoga instructors, author/yoga instructor Sydney Solis details how yoga is beneficial for young children and how incorporating this ancient spiritual practice into storytelling can help to achieve a deeper level of understanding. The book gives excellent concrete examples of how to deal with real situations that might arise with children including how to maintain control of the class and how to set rules. A class curriculum is outlined including folk tales, their theme, country of origin along with corresponding yoga poses for each character or action. A chapter with black and white photographs and detailed explanations of how to do the various poses is also included.

This is one of the few good yoga books to help teach yoga to children of all ages. It has information on what should happen during the yoga class for different ages of children. It includes stories, songs, games, and ideas to get kids motivated. All my yoga students who are children love the stories and games that come from this book. It has encouraged me to be more free during a children's yoga class.

If you teach yoga to children this book is a great tool for you to have.
I got alot of ideas from reading this book. I have been teaching children yoga for about 2 years and was running out of new fun ways to keep the children excited about coming to class. Or maybe I was not getting excited about the classes anymore, this gave the children and myself new excitment exploring yoga through story.

If you teach children's yoga or want to begin yoga with your children at home then this book is the one to buy. I have structured my class using the recommendations that Sydney Solis gives in the book with warmups and centerings, etc... I have also used all the stories in the book and have went on to use other stories and folk tales I personally enjoy incorporating yoga as I tell the story. My yoga students and my own children thoroughly enjoy each class I teach and I appreciate Storytime Yoga in helping me get started.

I teach yoga to children and have found this book to be the most informative and full of the most creative ideas. Highly recommended.

Very funny fashion overview of the 70s fashion fiascos.

The 70s were a decade of flamboyant styles and fashion statements influenced by the hippie era, and 70S FASHION FIASCOS captures them all, with full-page color photos capturing styles accompanied by notes on designers, objectives, and culture. Any collection interested in contemporary fashion trends will love the attention to flashy detail of the 70s, offering plenty of whimsical, fun moments.

This is a fantastic, high quality book in full color (wouldn't get the effect if it was in black & white, that's for sure!). It brings back memories of when I was a kid in the 70's. It's like looking through the old photo albums and making fun of what mom and dad were wearing. The color pictures, the ads, the history, the little tidbits of info.. what fun! Sure to bring back memories for anyone who was around in the 70's, and some of the fashions will.. well.. make you cringe. :) The book even gives some shopping resources on where to find some of these vintage 70's fashions if you'd want to dress like that. Overall, a very fun book! I love it! I hope Maureen Valdes Marsh comes up with an 80's fashion book.

When first 70s Fashion Fiascos: Studio 54 to Saturday Night Fever by Maureen Valdes Marsh crossed my desk, I admit, I screamed in horror. The caftan on the book cover alone was enough to put me in a swoon. But a pleading letter came with it, begging me to give this book my imprimatur.

Look it up.

Little did I know that I would be swept up by its contents: a blend of American social history, wit, and truly hideous clothes! Ms. Marsh is a marvelous writer, with a knack for the mot juste. Of leisure suits, she writes, "Color became the key to individuality, and no shade was too effeminate for the 1970s man to wear."

Since the youth of today has taken a great interest in the clothing of the decade, Ms. Marsh has even provided an up-to-date Shopping Resource Guide in the back.

- excerpt from my review in my blog, "Diary of a Mad Fashionista" at blogspot dot com.
[...]

This book is much smaller than I expected it to be looking at it on the computer screen when I ordered it. However, it does have lots of great photos and resources and I'd say its worth getting for your collection or it would make a great gift. I wish it would have gone by year, rather than style. Also I hoped that by the name "fashion fiascos" we would see more extreme styles of platform boots and shoes and other stereotypically 70's styles. Don't get me wrong, there are some, but not nearly as many as I'd thought and most of the book focuses on the "Marsha Brady" era of clothes, more so than the later 70's when you had a totally different style that was more 80's than 60's. The style of hair worn by somebody like Pam Dawber on Mork and Mindy in 1979 was radically different than the hard, sculpted styles of the earlier 70's. Clothes changed as radically as music did in the 70's. Even the sound of disco between the early stuff like "That's the Way I like it" was radically different from the later Disco sounds, such as Donna Summer and that change took place within only 5 years. Perhaps the author would do a Fashion Fiascos Vol 2 to include the onset of Disco to the end of the 1970s. This book doesn't even feature a John Travolta white suit. Still, aside from everything, it is a nice book for my collection and reference for those who sew period clothing.

This is a very good book for gas turbine engine technology. It is helpful over the whole subject, but having detailed sections of individual engines (really the best sellers) was an extra bonus. It's in my work bookcase, one of only a few.

I found this book to be intensively desciptive when I was taking my gas turbine technician course and would recommend it to any one who wishes to understand the concepts of the gas turbine engines.

This volume is the best publication for aeronautical gas turbine technology. It is a powerful tool as a reference and as a didactic implement.

Theory. The development of theory is quite simple and straightforward. Being intended for technicians, the mathematical level is really easy, nevertheless the associated phenomenons are solidly explained. If the reader is looking for a more advanced maths dissection, he has to search a different book, conversely this treatment is the best complement to theoretical study: here concepts came alive and the mathematical set of solutions to equations are translated in real stuff.

Materials and technical evaluation. The edition copes with the advanced techniques introduced in more recent designs and products. The previous editions were full of excerpts from manufacturer pubblications or other technical papers, the current one is enriched by new illustrations and detailed explanations of advanced research. Drawings and graphs were the best facets of former editions and still they are, literally boosting reader's learning curve.

Engines. A wide selection of engines is avalable as examples, each one deeply dissected, showing typical arrangements and design solutions. This accurate study of construcion details and manufacturing techniques is explanatory since it shows the real article as designed, produced and maintained, focusing on each part functionality and it is real as it gets!

This book is what you need if you want to know HOW aircraft engines are made. Since it's thought for technicians, it doesn'cover (almost) at all thermodynamics, no math, just a few basic physical principles on aircraft gas turbines. This is the real point: more photos, shematics, diagrams then equations (rigor mortis).

You will learn how are Gas Turbines made, what kind of engine is currently being used in what kind of aircraft, how is the fuel system made, plus a much more.

Buy it without esitation.

This is an outstanding book by a knowledgeable author that provides the basic know-how and skills that a technician who maintains or just wants to learn or study aircraft gas turbine engines will find useful and helpful. The book is well written in a readable and easy to follow format that provides the reader with a comprehensive overview of jet propulsion. The author clearly presents the concepts and principles of modern gas turbine engines with no complicated formulas.

The reader will learn the various components of a gas turbine engine including the intake design, compressors, turbines, combustion chamber designs, and the jet pipe and how thrust is produced as well as the modern maintenance, repair and overhaul techniques and philosophies.

The book has great explanations, diagrams and figures that the reader will find useful and helpful. I recommend the book not only to technicians but also to beginning aeronautical and mechanical engineering students who need a basic but comprehensive understanding of gas turbine engines and how they are maintained.

birth == death. Heidegger is wading into eastern philosophical waters here. The impossibility of Being through the possibility of death of Being or as Being.

Dasein is not being towards death if death is non-relational and unrepresentable, and about those two points we seem to agree. Rather, dasein is death, it is not related to death. How else can one understand the equivalence birth=death? If that is the case, then the problem of the as such is not a problem, because dasein is not related to death, it is related to the nothing, and the nothing as such, the nihil absolutum, which opens up another big can of worms.Derrida does so much dancing around that he avoids the real problem.

The question of Dasein, for Heidegger always, questioning is a "way"... Heidegger does pronounce Dasein as being-towards-death, but Derrida's tiff is not with Dasein's non-relational to death; in fact he recognizes as such (not 'as such')-- the negativity of Dasein, its dying- or being-towards-death is always already before and beyond that which can be represented. So Derrida is revealing a problem with Heidegger's speaking of Dasein at all in this context (he is not objecting to 'as such' on the basis that Dasein is towards an end, rather the possibility -which is then, right then, an impossibility- that Heidegger can ever say 'as such' about that which can never be represented.

Is "death" a limit? For Derrida "death" is that which `involves a certain step / not ... pace' (il y va d'un certain pas) (p. 6). It is not a telos or a terma, a limit beyond which there is none, but rather a `step', a peras, a passage one traverses by penetrating. At the same time, it is the moment of a `not', of an impossibility. What is more, it is certain that one reaches this step as impossibility, as non-path at a certain pace.

And in bringing forth Heidegger and the Aristotelian notion of aporia in the sense of being stuck in-between, Derrida is wondering whether "death" can be conceptualized in non-vulgar terms without being stuck in an impasse.

To achieve this, he remarks that aporia is the border as limit, as oros, and at the same time as tracing, as gramme. Hence an `aporetology' (p. 15) as has been his key concern in numerous instances, when, what is at stake, is not the crossing of the border, but rather, the double concept of the border from which aporia comes to be determined. Thus the word "death" whose concept is `unassignable or unassigning' (p. 22). And to expand on this, Derrida explores two issues.

First the idea of aporia as the impossible (in § 1: Finis) along with Heidegger's definition of "death" as `the possibility of the pure and simple impossibility for Dasein' (p. 23). In using the Heideggerian distinction between "properly dying" (tod - eigentlich sterben) and "perishing" (verenden), Derrida emphasizes that the problem of "death" concerns Dasein or the mortal, `not man (sic), the human subject, but it is that in terms of which the humanity of man must be rethought' (p. 35). A possible answer lies in "demise" (ableben) in the sense of walking away from life, thus placing an emphasis on the "arrivant" with no name or identity i.e. Dasein proper - death proper. Such delimitations institute a three-pronged inquiry for Derrida in one single braid: the problematic closure (conceptualisation of limit), anthropological border (discourse on limit), and conceptual demarcation (logical redefinition).

Second the idea of aporia as the crossing of borders (in §2: Awaiting (at) the Arrival). To this purpose, to wonder what there is after death makes methodological sense if the ontological essence of death has been elaborated and existential analysis of death has been carried out. More importantly such decisions occur here, over this side (i.e. not after death): they concern Dasein in its essence of `the being-possible' (p. 63). With an emphasis on the possible, Derrida remarks that `death is the most proper possibility of this possibility' (i.e. being-possibility of Dasein): with death Dasein awaits itself, standing before the impending anachronism (contretemps) of death.

To conclude I want to go to the beginning where Derrida dedicates this text to Koitchi Toyosaki, apparently for two reasons: Toyosaki's death and his father's (p. x). It seems to me that in citing `Toyosaki' and given that `names matter' (p. 21), Derrida is echoing what Toyosaki says. Namely, `citing is a manner of translating since it is obliged to leave its milieu of origin to find another where it takes more or less a new meaning et more importantly that it enters with the words that surround it in a relation of reciprocal translation' (Les fins de l'homme p.246). Citing then is about crossing a limit between that which is original and another, this side and the other. And if death for Derrida is this limit, it is an aporia - that which prompts anyone to wonder, to interrogate ... death as a figure of difference.

A book you must have read - but keep Heidegger close by!

Derrida has Heidegger wrong. Supposedly Heidegger understands death as the possibility of impossibility as such, and hence Dasein is the sein-zum-TOd, or the being towards the possibility of impossibility as such. Derrida denies the as such and asks, how can dasein be towards such an 'as such'? Heidegger says no such thing however. Dasein is not sein zum Ende, rather Dasein, correctly understood, is Ende zu sein. It is not toward an end, it is an end. Notice the even humorous inversion of Aristotle. Death is non-relational, it is unbezuglich. One cannot adopt a relation to death because death is impossibility, and Dasein is possibility: Dasein is the possibility of impossibility. Death is not ahead of Dasein, rather death can occur at any moment, hence death never "stands before" (bevorstehende), it is rather "unbezuglich," non-relational. Derrida fails to understand, once again, that he misunderstands Heidegger by trying to jump ahead of him.