Publications Books

...I read it! Kudos to Kathleen for caring so much about this very special breed. I was especially touched by the book's inscription, dedicated to certain canine friends: "It hurts so much when you leave".

outstanding pictures. Clear explaination of how to raise and train. Recommended reading for everyone interested in Siberians

Found this book to be extremely informative! Straight and to the point from one of the most knowledgable authorities on Siberian Huskies. Thank you Mrs. Kanzler for such a helpful book!

to a Siberian pet owner, this one is it! It covers basic care that all pet owners need to be aware of. I especially appreciate how Mrs. Kanzler conveys on what to expect in the Siberian's temperment. This book should be given to every new Siberian Husky puppy owner, and anyone considering this breed should read it! The price is definitely affordable. The author is a top breeder world-wide, and she certainly knows her subject.

I found this book most interesting and useful.I have read it over and over again and i love the pictures.I do not yet own a husky but will in the future so i bought your wonderful book in advance.I have done alot of research on siberian huskies and found your book to be the most helpful!Thank you!

This is like the handbook version of the Being and Doing book by the same author. Something like a fist-aid kit in case of an "emergency" on stage or during a take. Break glass before storming off the set in disgust.

This is one the of the best approached to acting. It makes everything clear.
Also an easy read.

I'll admit that at first glance Eric Morris's System can seem scary and misaligned. But I believe it to be a very misunderstood system.

I too was skeptical in the beginning, but after studying this technique (with Eric, but mostly with Anthony Vincent Bova in NYC, Eric's protégé), and after seeing the difference from "acting" and what this Work creates, there's no way I'd ever go back to the "acting" form.

Eric Morris teaches the actor how to react honestly and in the moment, including everything that's going on inside and out-the other actor, the props, the imagined objects that one might be working for-that impels you to "do" whatever the character is required to "do", but out of a real reaction, not just because you're doing it.

I've studied Adler, Strasberg, Meisner, and with Robert Lewis. I've hashed through the process of verbs, actions, objectives, obstacles, and onward; and they're all good and dandy for figuring out what's going on in a script, what the characters are doing and why; but other than that, these techniques never helped me figure out HOW to make it real to ME... How to get to a place where I'm actually functioning from a real, organic, truthful state ... How to get to the point where I am "doing" all the script tells me to do, fulfilling the "actions," out of an honest REACTION to what's going on.... Not just "playing" as if I am; how, in essence, creating the realities of the character....

No matter where you go, all the great teachers (and actors) say the same thing, "Acting is reacting." Even the most used and cherished word in the actor's language, LISTENING, is about focusing outside of yourself and REACTING to what is there. This Work trains the actor to create the stimuli that will fulfill the demands of the piece, specifically, wholly, and with Truth.

For the most part, plays and movies are imagined circumstances, and we as actors, have to create stimuli to react from, so we're not just faking, or indicating our performance. I'd rather watch two people have a relationship on film or on stage, than two actors reciting words, no matter how well they "act" it. If they don't believe it, I won't. This System trains you to create those stimuli and REACT to them honestly, fully and truthfully.

A crucial part of Eric's System is based on Instrumental Work, which is the process of identifying blocks and fears and tensions to expression and, one-by-one, through the use of hundreds of exercises, eliminating them. It's really about self-awareness-learning about yourself and how you function, so you can "get out of your way" and function truthfully on stage or film and get to where you need to get to in a scene. I think this is the aim of every method, but I feel that this System is the only one to address the issues of the actor on a personal level. If I'm tense and depressed (in real life; me the actor), I'm not going to be able to REACT truthfully in a scene where the character has just won the lottery and is jumping with joy. If I push for the emotion, I'll be faking and will "act" that I'm joyful. If this is enough for you, then Eric's work is definitely not your thing. But if you're looking for creating reality and REACTING with truth, nothing surpasses this Work.

I know that Meryl Streep, Brando, Ed Norton, Johnny Depp, Jack Nicholson, Al Pacino, Robert DeNiro, and a handful of other amazing actors don't fake it, don't just indicate the realities of the character and the circumstances. They create them. Be it imagined stimuli they are creating, or through the available stimulus around them, they open themselves up and REACT truthfully to everything -the other actors, the set, the space, the props, the object or person via Sense Memory, etc. I KNOW they do this for a fact! They've talked about it for years.

Eric helps you get to the place that they do-where you can function truthfully, where your instrument is accessible and available, where you are open and are willing to go where the character needs to go, emotionally, psychologically, and physically.

My advice is read Eric's books. If they pique any interest in you, if they strike a cord, study with Eric or Anthony, or at least contact them for further information about the system. I think you'll be quite surprised and utterly amazed at the tools this Work can provide you as an actor.

I am personally an Eric Morris actor. I live in Los Angeles and I attend his workshop weekly. Having actually experienced his Craft personally and by watching hundreds of others come and go, and succeed and fail: it has become strikingly obvious to me that his Work works. One of the elements of this uniquely personal Craft is that it can be very overwhelming and emotionally draining. Through my two plus years of experience in the Work, I have found that very few Eric Morris actors actually uses the Craft exactly as it is intended. I believe as do many of my contemporaries that the Craft provides the actor with a limitless supply of "acting" tools, which encourage the actor to experience truthfully. It is painfully obvious that "truth" or an organic expression of impulses and emotions is severely lacking in theatre, television and on screen. There is not one person who has come to class and gone on stage who has not gone through a substantial growth. Being a student of acting my entire life, on a constant pursuit of truth in my work, and having over 25 teachers since first grade: I have found the one teacher on the planet who can answer all of the difficult questions actors ask about the mysterious art of acting. If you have a thirst for truth in your acting and in how you live your life, you foolish to remain ignorant of Eric Morris.

I give this book a fairly high rating because all acting technique is personal. An actor's job in receiving training is to simply find the approach that works best for the individual. Method acting simply means to find one's own method. While responses to acting texts, approaches and classes are always subjective, one should always remain open for new ideas.

That said I reject Eric Morris' approach to acting on a personal and professional level.

As every actor knows (or at least should know), his/her job is "to do nothing more than to be believable while telling the best possible story that serves the script" (Bruce Morris). Or as Stanislavski defines acting: "Acting is living truthfully under imaginary circumstances". The root of an actor's technique must always be action. Again with Stanislavski: "while on stage, an actor must always be enacting something". Action verbs are the basis of all acting/storytelling craft. An audience does not pay precious money to watch an actor have an emotional moment, but rather to have the moment themselves.

All the great acting teachers, building upon the work of Stanislavski, have stressed the importance of finding and playing an action as opposed to an emotion. Robert Lewis, Sanford Meisner, Stella Adler, Uta Hagen, Michael Checkov and even Lee Strassberg (although he ventured too far into the emotional realm) all taught students to find the appropriate action and embrace that reality as the basis for their storytelling craft. Emotions are the by product of a person engaging in an action and either failing or succeeding in the quest to fulfill that action.

Eric Morris' approach, centers on "Being" exercises. He asks his students to simply get up in front of a group of people and simply "Be". As related in this book, he proceeds to grill them about their day and call them on the carpet for any false emotion as he dredges for some emotional moment. Morris' approach, at least to this reader, comes off as simply another example of acting teacher "power tripping" as well as pseudo-therapy hidden in the guise of acting. This approach simply leads to the teacher holding such power over his/her students as they become obsessed with pleasing the teacher as opposed to truly pleasing the audience.

This approach leads to emotionally crippling an actor. Actor's become obsessed with evaluating their acting on the basis of whether or not they "felt" the scene. If an actor finds they cannot reach the emotion, they immediately fill themselves with a great sense of guilt and personal disgust at their inability to produce an emotion. Acting should ultimately be a freeing experience as well as a fun and celebratory bit of life. Many acting teachers and actors, bowing under the weight of thousands of years of social stigma feel that they must deny the "fun" factor of acting and make it a painful and serious affair.

As any director or acting teacher can attest, when one simply asks an actor to "be" on stage, one will watch an actor squirm, blink and fold inside him/her self. Put an actor on stage and ask him/her to push a giant stone up a mountain, one will watch a fantastic story filled with all the emotional truth an audience could ever hope to find.

The key to acting is not "being" it is in fact "doing". Apparently Morris has a workbook that combines the two concepts. I will certainly read that as well- again the justification for the high rating. I am still learning my craft and I pray I will always continue to do so.

NO ACTING PLEASE is certainly worth reading and worth trying though so that one can form their own opinion. After trying Morris' approach, this review is simply my opinion. Proceed with caution.

i have not read any of these books but p dogg is my english teacher

I like potry. This book has great rime and meter. I remember when my Uncle Liam from Ireland came over, he brought me a huge bottle of wisky and a case of Mickeys Big Mouth, that Uncle Liam was always three sheets to the wind, I think it runs in the genes, after all, look at me, hck! Uncle Liam and me went to the woodshed with all that good stuff, we had a very pleasant time....

I was absolutely blown away by the caliber of this book. Brian Pinsker has a way with words that is truly brilliant. He can evoke many different portraits within the minds' eye with a simple twist of phrase. Jay Passer also is inspired, although his is a different, more harshly provocative style. I enjoyed this work thoroughly, and consider myself very fortunate to have been able to take a glimpse, through their written word, into both authors' thoughts.

The poetic pair of Pinsker and Passer pen yet another epic opus! Pinsker starts us out with some of the bizarrest metering I've ever read, expounding upon his adherence to the B'ahai Faith through his H. Rap Brown-inspired rhyme scheme. His Seattle street-style adaptation of the Cornish "Mmph -Kaph-Kaph-Hmm-Mmm" is one of the most sullenly beautiful pieces I've ever read. The second half consists of Passer's more conventional, yet equally beautiful Dickinsonian poetry. I hope that Passer brings back Jeremy Surbrook in the future -- he really lends a lot to Passer's poetry. All in all, a fine book.

Brian Pinsker's poetry dazzled and amazed and bemused me. This is a man who speaks and writes the language of the street. He blends and combines elements of H. Rap Brown, Public Enemy, Shakespeare, Rilke, Rumi, and the Pope. Totally cool!

Florence Nightingale greatly influenced modern nursing, to focus on the needs of the patient and establish nursing as a profession requiring assessment skills as well as caring presence. This brief, well-written & clearly understandable book is a must for the personal library of any nurse or nursing student. It is amazing to realize how advanced Nightingale's thinking was in her era; her lessons remain essential today and provide a basis for understanding why we do the things we do. A great read for anyone interested in nursing!

I received the book within a few days of the order and it was in perferct condition.

A book for true Nightingales! I enjoyed this book a great deal, some parts had me laughing out loud. It is an excellent gift book for nurses!

This makes a wonderful gift for a nursing student who is graduating, a nurse who is retiring or one who is being promoted. It is fascinating reading from a historical aspect will be relevant until the end of time.

Nursing is a vocation; not "just a job." Miss Nightingale knew this, and this book reflects this philosophy. Nursing-schools, many years ago, designed the curriculum--and educated the aspiring nurses--with this in mind. Sadly, many present-day nurses (and nursing-schools) have lost this ideal...and the state of affairs in nursing bears this out.

If you're seriously considering nursing--or are a nurse who is "burned out," read this book. It will enlighten and edify you.

Like a good box of chocolates, this book is best consumed one piece at a time, slowly, with time to ponder, cry, and hug your dogs between portions. In Daniel Pinkwater's perfectly crafted essay, the reader can actually feel the writer's love for his big old fur-friend. I'm crying just thinking about it. Anyone who has had to put down an adored dog, anyone who has lost an old pal to illness or accident, will love this book. But it should come with a warning -- may cause ceaseless sobbing. It's worth the tears.

I first read this book when my own dog died. The collection of stories from sometimes famous writers about their own dogs and own losses is incredibly moving. It helped get me through a rough time. Since then I've given the book to others when they've lost dogs (or cats) and each one has really appreciated it.

This is a great book to read if you are grieving the death of a beloved dog. This a great collection of short, long, moving, funny, serious, and sentimental stories about dogs. Many of the writers are unfamiliar names to me and I found myself wishing that the book included a brief bio of each author, or at least the date of the first publication of each story.

Some of the greatest writers of our times have humbled themselves to celebrate the memory of lost dog-friends amd provide us with a spiritual boost. To experience the depth of feeling and understanding a human and dog can share is only possible through direct experience, or through the masterful language of these gifted people.

As a dog trainer, shelter worker and rescue volunteer, I am continually confronted with man's inability to respect, admire and wonder at the enrichment domestic dogs and cats bring to our lives. Even the most expensive purebred specimens are not exempt from man's ability to be inhumane.

Knowing that human intelligence and emotion at its highest levels of achievement and expression, through the works of these brilliant writers, recognizes the treasure that is the dog's presence in our lives, and deeply mourns its loss, gives me continued hope for humanity.

Barbara Davis
BADDogsInc
Corona, CA

Old Dogs Remembered is a wonderful collection that reflects on the joy of being owned by a dog and being the object of unquestioning devotion. While it is the collected remembrances and obituaries for famous people's dogs long past, it also focuses the reader on the dogs in our lives now. Our dogs pass away, but we have the power to make sure they are remembered. Take a minute to reflect on your current companion or one that awaits you in an afterlife that can only exist because we love our pets. Write his or her story, and save it, for yourself, your children, or just for the future. All old dogs deserve to be remembered.

I'm Salvadoran and I'm married to a Jewish-American woman. She bought this book for us to take a tour in El Salvador. Let me tell you, this is the best guide book I've ever read. It's so easy to use and it has ALL the information about this little beautiful country that you need. I even used some of the information on my website, of course with the permission from the authors. Thank you Jeff, Julian and Veronica for making this possible.

For years I looked for a book that would cover travel to El Salvador. I have been married to a Salvadorena for 16 years and have made five trips to the country since 1991. I love El Salvador, its beauty and its wonderful people. You can't travel there without this book! Buy it today!

I found this book quite helpful. I'm a native from El Salvador who had been out of the country for 20 years. I found it a good supplement to other sources of information (e.g., local phone books in El Salvador, people and friends). Although some of the directory information may be dated, most of the facts and directions still hold. It's best to cross-reference the book with a local phone book for more accuracy. Yet, the book is a great trip planning tool. It allows you to pick and chose places and things to do at a pace that not even locals can keep up. It's clear that a lot of good work went into making the book. The level of detail is beyond what any local can know all by himself (e.g., bus routes, mores, festivals, local rituals, etc.). I found the hand-drawn maps most helpful and the history/background informaiton information least helpful. Advisories should apply to all locations outside the central city or popular foreign tourist attractions. Also, the book does not address which locations are most ideal to visit depending on the small universe weather conditions, e.g., heavy rains or dry, hot to extremely hot temperatures. I recommend this book. I've found no other books as helpful as this one but feel that the book and its contents could be much improved, e.g., day-trips, sports events, local festivity schedules, shopping information, entertainment options, ground and non-ground recreational activities, specific coverage and related-activities regarding aviation, boatin, sailing, surfing, fishing, golf, lakes, rivers and bodies of water, etc. (perhaps on future editions, beyond the 2nd). I currently own both of the first two editions. They're both pretty much worn out and it's because they go with me and take me places each time I visit there. I just wish the book were more expansive and provide material for all the other sites that one encounters while going from place to place, yet this would make it too thick and heavy. Also, if you ever go to El Teleferico, please say Hi to Mr. Moon (a local cartoonist) there for me!

This is really the only comprehensive guidebook to El Salvador that is widely available. The Lonely Planet and Let's Go and other books have chapters on El Sal in their books on Central America, but none of them go into real detail. In fact, I've noticed that most of the guidebooks don't recommend going to El Salvador, or skipping it if you're short on time.

Well, you should go. There is a lot to see and do but it's important to realize that it's different from the other Latin American countries. It's maybe a little less pretty and the people are a bit more hardened from the long guerra civil. This book does a good job providing sociopolitical background and anecdotes from important periods in history. Other than that, it's your basic guidebook, going region by region in the country, detailing sights, hotels, transportation, all that stuff. There are also several pages of decent color photos.

The one problem is that the book is now nearly ten years old. While most of the things are still accurate, a lot has changed. Things like prices and bus routes especially. There are also many different sights, museums, roads and enormous Kentucky Fried Chicken franchises that did not exist when the book was published. Likewise, some things no longer exist. The only way to find out, unfortunately, is to go and discover these things for yourself.

El Sal is not the most tourist-friendly nation in the sense that the infrastructure is not really there to support a heavy flow of tourists. The people are _wonderful_, don't get me wrong (don't think for a second that it's the people's fault), but to give one example, some of the bus routes to tourist sites make absolutely no sense and can be very frustrating to navigate. This is the fault of the government. Likewise, the El Sal government tourism agency could do themselves a big favor by publishing or funding an up-to-date guide.

But this book is as good as it gets.

If you are going to spend any time in the country and want to tool around, you'd be a fool not to get a copy of this book for your backpack. I just got home and gave my friend a hug for grabbing this book out the the bargain bin at Borders for me. In several cities I was able to pick it up and quickly flip through to find a map and make my way through the town. Or simply discover something interesting within or nearby my location. It's an absolute must for anybody going into the country. Well put together and concise - 5 stars for sure!

i've been suffering from bulimia for over 14 years. and i was at a loss what to do. i even had suicidal thoughts. but, i got this book and after i understood what was going on in my mind, i felt real better and also the exercises on this book were real helpful and most importantly, i got over bulimia at last.
the best thing for me in this book is "normalized eating". this book tells you what is normal eating: no more dieting, no more food restrictions, no more urges to overeat.
now i eat normally and i'm not on a diet anymore. i don't even think about my weight and shape. and i feel real good about it. this is the happiness and freedom this book gave me, and i really want to say thank you guys and this book is highly recommended for anyone who's suffering from bulimia and wants to get out of the nightmare. this book will help you.

This workbook was for my daughter in rehab and she said this was an excellent book that gave her new insight into overcoming bulimia. Well worth the money

This book contains nuggets of truth as well as helpful, practical suggestions for coping with symptoms of bulimia. This book is a great companion to: "Hope, Help and Healing" By Dr. Greg Jantz. Based on the absolute truth of the Bible, you will be given insight regarding your childhood and discover how you were set up to fall into the lifestyle you desperately struggle against. You will discover freedom, day-by-day, as you trust Jesus and are filled with the Holy Spirit. YOU CAN BE FREE!
Hope, Help, and Healing for Eating Disorders: A New Approach to Treating Anorexia, Bulimia, and Overeating

This workbook is good for many reasons. It is written in a way that is easy to read, and very interesting. It does not seem at all like a dry textbook. It covers everything from defining eating disorders, to the root of the problem, to steps to take to begin recovering. I would highly recommend it for all ages.

This is the best resource for eating disorder self-help I have seen. Widely applicable for those who binge and purge by a number of definitions, including overexercising and subjective binging. Addresses a comprehensive range of related issues such as anxiety, obsessiveness, and perfectionism. Practical with real step-by-step things you can actually DO, ways to measure your progress, and encouragement about expected setbacks. Very strongly recommended.

Painting The Word is a truly outstanding guide to Christian paintings and their meanings brings art and spirituality together in an inspiring coverage. More than a history of painting, Painting The Word discusses how Christian images reflected and influenced Christian civilization as a whole, with a universal quality delivering balanced messages. Color reproductions of significant classic Christian art works appear throughout.

As an ordained Anglican priest and the dean of Christ Church in Oxford, John Drury is by no means an accredited art historian but he is a trained artist and has a knowledgeable background in theology and New Testament exegesis. Depicted as "a book about how Christian paintings convey their messages" (p.ix), Painting the Word uniquely "extends" the "historically iconographical, or picture-describing, approach" to art by incorporating spiritual "meditation," in order to bring the reader through a "contemplative waiting process" of viewing Christian artwork (p. xi-xiii).

John Drury specifies that the purpose of the book is for the reader to take ownership of the paintings and receive `spiritual nourishment' from them. What originally began as `postcard sermons' describing artwork exhibited in the London National Gallery, has developed over time into the authoring of this wonderful book, which is full of photographic illustrations of European Christian paintings from the 14th to 18th century.

The author successfully brings the reader along on a spiritual journey through the life, death and resurrection of Jesus. Drury groups paintings under each key moment of the salvation story, starting with the Annunciation, to the Nativity, to Christ's baptism and ministry, and culminating with his death and resurrection. In this way, Painting the Word is entirely Christocentric, as it focuses on the sacrificial narrative of Jesus "from conception to resurrection" (p. xiv).

I question whether Drury successfully builds a connection between the artwork itself and the spirituality being conveyed by the artist, because Drury presents some very odd theological concepts throughout his book. I disagree with Drury's constant insinuation that the original painters understood the biblical scenes that they were depicting as "myths." For example, as Drury begins his discussion of paintings depicting the Annunciation, he states, "A dialogue between Mary and the angel follows. It can only be imaginary, but... it is held together over a respectful distance by their mutual regard" (p.41). Drury claims on the very next page that the "moment" of the Annunciation is thanks to the "imagination" of St Luke and St John. Is Drury actually insinuating that the dialogue between Mary and the angel was only a fantasy? Would the artists of the Annunciation paintings really see their portraits as depicting a mythical scene? If so, then a plethora of Christian artists from the 14th to 17th centuries must have believed that Christianity was nothing more than a "myth", as Drury repeatedly refers to sacred Tradition as "myth" throughout the book (cf. p.48, 89, 114). It is more likely that Drury is imposing his own view upon the reader rather than objectively bringing out the artist's intended spirituality.

A more detailed review is available on my website:
http://members.shaw.ca/angelamccormick

This book is without doubt one of the more beautifully prepared and printed books in my collection. Done by the Yale University Press in association with the National Gallery of London, virtually every page is a treasure. There are nearly two hundred full-colour-process reproductions of artworks throughout the text, and every page (not just the colour plates) are heavy bond, high-gloss stock that shows the ink and colour with vibrancy and depth.

John Drury spent a career at both Cambridge and Oxford dealing in matters of theology, ecclesiology, liturgy, and art. I discovered Drury's book while attending a course at my own seminary on the church and the arts, and kept finding myself frustrated at the rapid pace we would go through topics (a frustration I know the professor teaching the course shared - how does one do justice to 2000 years of music, architecture, and art in a mere 15 sessions?). I sought out supplemental materials to help fill out the outline, and Drury's text serves the purpose in many ways.

Drury states his purpose early in the text. `This is a book about how Christian paintings convey their messages. It takes on whole paintings. It is not content with just picking symbols out of them for identification. Composition, colour, contents (including architecture and landscape as well as figures) and the ways in which the paint itself is handled - all are treated as part and parcel of their religious meanings.' This is a holy and holistic approach.

Drury adopts a kind of picture-describing approach (one that he terms `historically iconographical'). This involves absorbing details while understanding context and material. This is the same kind of attention that worship requires (and indeed, the Eastern church has always had this kind of physical artistic interplay with the tradition of use of icons for prayer, meditation and worship purposes) - it requires an openness to experience and feeling while also benefitting from understanding and guidance.

Major artists and works studied in detail in this text include the work of Tiepolo (c. 1750s), the Wilton Diptych (anonymous, c. 1390s), Titian (c. 1510-40s), Duccio (c. 1310s), Filippo Lippi (c. 1450s), Poussin (c. 1630-50s), Rembrandt (c. 1640s), Piero della Francesca (c. 1450-70s), Caravaggio (c. 1600s), Rubens (c. 1630s), Velazquez (c. 1610s), Cezanne (c. 1900s), and others. Most presentations begin by showing the whole work, then proceeding to look at individual characteristics or highlights often pulled aside in side images or isolated for greater emphasis. The text and artwork is arranged in good pattern throughout the text.

Throughout his text, Drury makes a repeated call for care, meditation and attention to be given to the artwork as well as the response to the artwork. He makes that statement that we should stay in front of the images `longer than people usually do' - noticing in museums, art shops, churches and other places that people tend to shuffle past rather than give attention to the most stunning and sublime works of art. Drury draws in history, theology, philosophy, literature, biblical references and images, and other cultural and contextual references to make the experience of these works a full and profound one. This is not a book to be read quickly or glanced over lightly.

Drury includes a narrative annotated bibliography rather than a simple list; he provides both a general bibliography for the entire text as well as a selected bibliography for each chapter/topic.

This is a wonderful book, a great gift for oneself or for others. It is particularly good for those who want a deeper experience and understanding of the way in which art has and can interact and enhance one's relationship with Christianity and its message.

Reasoned analysis involves dissection of statements and dissection of images. The dissection is needed to detect evidence or to expose the lack thereof. The reason analysis of images is needed is that all of the images are not natural. They are iconic based on conventions (like language) and therefore Christian images are signs. The discipline to investigate them is not the neuropsychology of perception but semiotics, the science of signs. Here we have an excellent semiotic rhetoric of Christian images informing us of the meaning of the signs and the meaning behind the images given to us by an expert in both religion (John Drury is a priest) and in the history of art. The cross, the scourging pillar, the spear and the sponge on a cane -all these have meaning. Particularly interesting was Chapter three with the dissection of the different presentations of the annunciation by Duccio as compared to Lippi and Poussin and the biblical quotes that supported each artist's view of what happened and how it happened.

John Drury is an art historian who uses his vocation as a priest to explain the subtlety of meaning that lies hidden in the symbolism of religious paintings in London's National Gallery.

Anyone how has looked at such a painting but not "seen" it, would do well to read this wonderful book and share the insights that the author offers. Paintings that I would have passed by with scarcely a second glance, are revealed within a context of their time, with reference to their history, the world view of the artist, the common and uncommon symbolism employed and much else besides.

It gives the possibility of sharing a visual language that we have lost and enables us to understand what it is about a picture that we sense is great, without comprehending why that might be.

It is hard to think that anyone who has ever visited an art gallery could not profit from reading this book and has certainly given me the enthusiasm to go and look at the pictures for myself.

A best buy, especially considered the low price. Nice collection of tunes, suitable for all instruments and most importantly nice arrangements and chord settings for an excellent selection of useful songs for the beginning or grown musician. You simply can not go wrong investing 6quid here, whatever you're background. Get it while still in print and a big hand to Williams for providing us this treasure of Bluegrass, Irish and traditional British tunes along with useful introductions to each number. Put short; an excellent book of reference value to any folk based player out there.

I have found this book to be helpful in my quest to play the penny whistle. When I started I could not read music or carry a tune. In the past few months I have taught myslf to play over 20 songs and am getting the hang of reading music!
This publication was delivered early and in A-1 condition

I recomend this book, and the seller.

It's great to finally receive this book. The seller was prompt, payment easy, and on the whole a pleasure to do business with.

Good book, with a slew of old tunes, but if you are a beginning whistler, check out Bill Ochs " The Clarke Tin Whistle." Then buy this book. Whistle on!

The author provides a spectrum of good selections and some solid advice on performance. Many of the selections translate well to fiddle too. Over the years I have bought a number of different books, but this is one I keep coming back to.

Heard this story as a child from my grandparents who were on German background. This story is just like they told it. Beautiful illustrations complete the story that swirled in my head so many years ago!!

Ok.I HAVE NOT READ THIS BOOK.I hope that you don`t hurt my reviews for this,but in a way,I HAVE read this book.I am in this play,so I have read this script.And since the play is going to be on Saturday,(5th) and Sunday(6th) and also for the next weekend,I have to read this script over and over and over again.I think that this book is a very good book.In the play I am Miss Applebee but I think that this book is very good it must be.

When I was about seven-years-old a family member gave me a recording, (78s) of the Pied Piper of Hamelin narrated by Ingrid Bergman. As I listened, I could see the characters in my head and never tired of the story.

A month ago I bought the book for my eight-year-old granddaughter who lives about eight hundred miles away from me, because I was afraid with the passing of one more generation, the story might be forgotten.

It is a lovely book, written by Robert Browning more than a century ago. The drawings are perfect, given the dated language used in this book. And the story has a simple message, about honoring our promises.

Sadly, my granddaughter glanced at the book and was clearly not interested. I wanted to read it with her, intending to make clear the English used by Browning.

So, a tale almost twelve hundred years old bit the dust, at least in our family it did.

But if you are a lover of this fable, it is worth your time to try it out on the children in your family. They will be the richer for it.

This book would be a wonderful treasure for the pictures alone. Kate Greenaway, noted children's illustrator, has created a magical world of beautiful children, innocent faces, and romantic, nostalgic costumes. The colors on these pages are breathtaking, and the details (although Greenaway is always faulted for not drawing hands and feet well) are superb. This story is not for very young children, as it contains some troublesome themes. For the older child, perhaps 7+, the story might provoke some interesting post-read family discussions about honesty, trust, and the actual state of the children at the end of the tale. This is even a beautiful book to give to adults, as the messages about human nature can be appreciated on a deeper level.

"Rats!
They fought the dogs, and killed the cats,
And bit the babies in the cradles,
And ate the cheeses out of the vats,
And licked the soup from the cook's own ladles,
Split open the kegs of salted sprats,
Made nests inside men's Sunday hats,
And even spoiled the women's chats,
By drowning their speaking
With shrieking and squeaking
In fifty different sharps and flats."

Robert Browning (1812-1889) first published his poem "The Pied Piper of Hamelin, A Child's Story" in 1842, based on an old German legend which may or may not have had some basis in historical fact. Browning was a serious poet; even in a poem filled with playful rhymes written specifically for children, he did not "dumb down" his language, but expected his readers to do a little work in understanding some of his "big words."

Kate Greenaway (1846-1901) was one of the most famous and popular illustrators of children's literature in the latter part of the 19th Century. She had grown up loving Browning's poem, and shortly before his death she requested and received his permission to republish it accompanied by her own illustrations. This edition was initially published in 1888 under the imprint of George Routledge & Sons, which was at that same time in the process of splitting between Routledge and Frederick Warne. Starting in 1889 all subsequent editions carried the Warne imprint. The book continued to be popular, and Frederick Warne has issued reprints from time to time, well into the late 20th Century. This Warne edition is not in print at present, but used copies with various reprint dates are available from Amazon Marketplace sellers.

However, two different reprint editions are currently available, each with the complete original text and illustrations, and each presented with loving care from an eminently respectable publisher, in well-made but modestly priced editions. The Dover reprint (ISBN 0486296199) is full-size, in a sturdy paperback; the Alfred A Knopf/Borzoi/Everyman's Library reprint (ISBN 0679428127) is part of their Children's Classics series, in a very sturdily constructed hardcover with sewn sections that will not crack with use, but the page size is somewhat smaller. Both are beautiful books, and either is an excellent value.

As noted in the Editorial Reviews above, there have been other editions of "The Pied Piper," with different illustrations, and at least one seems to have been issued with the poem itself "retold" to make the language simpler; neither of those reviews is discussing this original version. Some readers may prefer one or another of these different versions. But anyone wanting to stick with Browning's original full text and Greenaway's original charming, muted and subtle illustrations should choose between the Dover or the Everyman's, or visit Amazon's Marketplace sellers to look for a copy of the Frederick Warne.