Astor Books

When I went and saw "Assassins" for the first time, I honestly wasn't sure what to expect. I've been a Sondheim fan ever since I began watching "Into The Woods" at the tender age of four years old... but I don't think I was sufficiently prepared for "Assassins". And that's a good thing.
"Assassins" keeps you on your toes throughout, being able to make dramatic changes from the light-hearted to the tragic in the time it takes to bat an eye. Perhaps most striking is how you come to like and sympathize with every one of the assassins, while still knowing that they all have their dangerous streak.
Moreover, "Assassins" deals with a common subject in a very uncommon way. The overall 'theme' says "Everybody's got the right to be happy." The brilliance in this statement is not in the statement itself, but within the context of the cold-blooded murderers with it has been placed. It gives us the lesser seen perspective of life from the point of view of these historical figures who had major problems with their lives and with themselves. Rare, even in the history books.
In fact, "Assassins" has been a better history lesson for me than nearly anything else. The play is very highly based on the facts of every person's life and the details of their assassination attempts. Good for theatre buffs and history teachers alike.
Go Sondheim, go!

Well, I was not very well aquainted with Sondheim, though I had heard of him. Then I was fortunate enough to be cast as Sam Byck in a production of Assassins. I have to say, the show was an experience like I can only hope to have ever again. Weidman's writing brings to life thoroughly disturbed characters in a way the audience can relate to. It shows us the world of a psychopath- looking out from the inside. My first thought was to question whether I could do justice to the material. The incredible intensity of the scenes and the forceful emotion of the songs is nearly overwhelming. From the actor's point of view, I can say only that a sense of desparation is omnipresent, even in the comedy, and that there is the feeling of a great injustice, and perhaps an epiphany that never quite came. I encourage anyone who can to try and acquire a copy of the London production( I don't know if there are any official ones, but as any theatre enthusiast knows, there are ALWAYS bootlegs), or of the new production when it becomes available, because of the added song "Something Just Broke". This incredible piece serves as an important... I think the word is catharsis. I remember crying backstage during the first show, because it put a sharp point on the events of the previous scene, where Oswald takes his shot. The play itself also brings into focus the background of the assassins, and those lesser-known souls who tried and failed( like Byck). While it won't appeal to everyone, it is definitely worth looking into for Sondheim lovers and US History buffs. And serious performers will find the songs and text rich with meaning. I recommend this show, libretto and music, to anyone with an open mind, or a love of art.

I profess to be of a young age, and those who don't know me would probably consider my experience with musical theatre to be rather inextensive. I am, however, even at a young age, a Stephen Sondheim admirer. Yet even I, whose favorite musical is the ghastly and mind-numbing masterpiece "Sweeny Todd," was not entirely prepared for the unabashed "Assassins."

Assassins combines all the would be and have been presidential assassins of the United State's history and throws them all into a timeless world where Charles Guiteau (Garfield) can chat with Leon Czolgosz (McKinley) and Sam Byck (Nixon) at a bar while John Wilkes Booth (Lincoln) reads a copy of Variety magazine. It is more of a revue than anything, but the music (which you MUST own if you're going to buy the libretto) is so moving and so powerful it actually is able to draw sympathy for Lincoln's assassin. If the prospect of feeling pity or sympathy for Lee Harvey Oswald makes you angry, Assassins is not my recommendation.

Indeed, Sondheim and Weidman sucessfully made me feel sorry for Leon Czolgosz and Booth and Oswald and nearly all the characters in the musical. Some may think it unpatriotic; I think it presents the other side to woefully biased history lessons claiming the Assassins to be vengeful madmen searching for chaos. Assassins truly brings to light what's wrong with the American dream, and for any history buff, Sondheim fan, or just plain theater fan, Assassins is a MUST have.

All I can say about this play is that it is sheer genius. I was fortunate enough to see the Broadway revival cast act it out in Studio 54, thus can safely say that the play is just as shrewd and clever onstage as it seems in the play.

The thing that often repels people from 'Assassins' is firstly its subject matter - assassins and would-be assasins of presidents of the United States - and secondly, the way it handles its subject matter. 'Assassins' neither trivializes nor glorifies its characters: what it does is examine them, and let the audience make the decision as to what prompted them to commit the crimes they did. On stage, the play is chilling - seeing "Squeaky" Fromme carve an 'M' for 'Manson' into her forehead at the end of her number with John Hinckley 'Unworthy of Your Love' does not seem disgusting; it is entrancingly horrific. And this is not even mentioning the song 'How I Saved the President', the fast-paced narrative of Giuseppe Zangara's attempt on the life of President Franklin Roosevelt: it rises to an eerie feverish pitch and ends with a jolt - literally. The singing ceases only when Zangara has been electrocuted.

I realize that the above description may seem to portray 'Assassins' as a gruesome horror-trip into history - but really, that is not what it is at all. The rises and falls of emotions in the songs (apparent in the book as well as in the play) are shrewdly placed so that the viewer can't quite bring themself to feel sorry for the assassin, exactly, more fascinated. And this is what 'Assassins' is - a fascinating look at some of the most forbidden American taboo in our country's history. The play jumps on its subject matter with surprising gusto - it does not jump delicately from point to point. It attacks its topics and does not let the audience leave unshaken.

I feel as though I should probably mention that reading the book and seeing the play live are two different things. They are both thought-provoking and interesting looks at the various assassins - but a certain emotional element is lost in the text. Not that the book is bland and dry - far from it. However, seeing Charles Guiteau dance his way up to gallows feverishly reciting his poem 'I Am Going to the Lordy' is slightly more morbid than reading it.

Highly recommended.

This review is by Crosley.

I had become very well acquainted with the score to Assassins before I read the script, and I think John Weidman may have done the impossible: he may have overshadowed Sondheim's score with his book. Don't get me wrong, the music and lyrics are phenomenal, but the book is what really matters in this one.

Assassins is an examination of the dark side of the American Dream and those it has affected, namely, those who have tried to kill presidents. Most of the assassins actually have good reasons for their efforts. The play has gained a lot of bad publicity for "glorifying assassinating the president," "being unpatriotic" and "trivializing terrible events." The play does none of these on any level. I said that some assassins had good reasons. I did not say that their actions were the right thing to do, because they weren't. However, the play rehumanizes people that society has dismissed as one dimensional madmen. Hence, the Balladeer. The Balladeer represents the traditional, one sided view of the assassins, and is used expertly. The play keeps in mind the fact that the assassins are dangerous people who should be condemned, but it also keeps in mind that they are indeed people. The scene between Csolgosz and Emma Goldman is wonderfully poignant, and allows us to see a side of Csolgosz rejected by the world, and it's things like that that make the characters much more real.

By making the characters real and at least vaguely sympathetic, the play succeeds in such a way that could never be done with demonized characters. Since the assassins are made human and just like us, Americans trying to live The Dream, they are infinetly more terrifying and frightening, because now we can identify with them, and see the clear and present danger in America.

They all have different motives, but there is one thing that ties them all together. They thought The Dream was not a goal, but something they were entitled to, and when they didn't get it, they wanted people to listen. Hence, drastic measures. Booth's anger with Lincoln is very real, and the crimes he lists against Lincoln are all true to some degree. Csolgoszs' anger at the working man's plight is completely justified, considering his working conditions and wages. Few of them have motives that we can't understand (except Moore and Guiteau), and again, they are that much worse because of it.

This is not to say that the play is not funny. Au Contraire, Assassins is one of the funnier plays I've read, mostly because it preys upon the assassins' character flaws and quirks and exploits them for some great comedy. They're even funnier if you know about the personalities of each for whatever reason. For example, regarding the scene where Guiteau hits on Moore, it was known that Guiteau hit on anything with two legs (usually unsuccessfully), and Moore, who had been married five times (each husband was more successful than the last), may have been roped in by Guiteau's line of "How would you like to marry the ambassador to France?" It's really quite good. The scenes between Moore and Fromme are priceless, as are Byck's rants into his tape recorder, hamburger in hand. "I am Unworthy of you Love" is a gorgeous song, and in context (being sung to Jody Foster and Charles Manson by John Hinckley and Squeaky Fromme, respectively), it's uproarious. Thank God for Weidman's wit, because this is a show that definetly needs comic relief.

The interesting idea that the play presents is that the assassins are just as American as anyone else, because America is "The land where any kid can grow up to be president," and likewise, "Any kid can grow up to be his killer." Comedy, tragedy, laughs, tears, a message, great music, Assassins has it all. The scene near the end with Lee Harvey Oswald is one of the most powerful scenes I've ever read. In fact, it was recorded on the soundtrack, because it's just that important. Delaying Oswald's appearance for so long was a great move, because the audience, after being emotionally assaulted by the other 8 assassins, is finally pushed over the edge with an event that most of them were alive for and remember. The triumphant chords after Oswald's shot give me shivers every time I hear them.

Assassins is a phenomenal play that unfortunately is rarely produced. I recommend reading the script and enjoying the excellent score to people looking for something a little different (hey, that's Sondheim for you), a little funny, and a little scary. The show will live on because of its relevance, and it's a wonderful addition to the American Musical Theater.

If you are discovering or reliving the music of the master composer, the epitome of tango, Astor Piazzolla , than you have to have this book. I cannot over emphasize the clarity it lends to the music La Camorra as you listen Tango: Zero Hour and read simultaneously about one of the great 20th century musical figures. This book is fantastic. It is a journey that begins in Mar del Plata, south of Buenos Aries and traverses the globe, highlighting the life of Astor Piazzolla as he spread and expanded his musical vision of the tango worldwide. The authors present a book that begins somewhat dense and challenging at first but than draws you into the magical world of Astor's humble beginnings, continues as he he spreads his tango vigor with evangelical zeal and an untiring work ethic that resulted in over 3,000 compositions; all the while as he rubs elbows with all the major dignitaries and artists of his time and goes through several mariages and many bands with different musicians from different genres.. The authors who colloborated on this great book, about an even greater man, Maria Susana Azzi and Simon Collier, give us a glimpse into Astor Piazzolla that is both intimate and scholary at once; the balance lends itself to the character of the subject. They both have extensive credentials when it comes to tango and Latin America. The portrait of the man revealed is not sugar coated, as the various first hand accounts of dealing with the sometimes troublesome and difficult genius indicates. This is a complete book and a great compliment to Natalio Gorin's Astor Piazzolla: A Memoir that is even more detailed. The book is divided neatly into three parts, Part I Struggle, Part II Man and musician and Part III Fame. the first part deals with his early life up to the mid-seventies and fame takes it from the mid-seventies until his death in 1992. As you can see, from the years indicated, that most of his life was a struggle. As there are many different versions of his compositions recorded, the book serves as a good reference point to distinguish the players or different groups that made the recordings. This is one of the interesting , strong points of the book that helps you understand the music of Astor Piazzolla. The classical-jazz-avant garde-traditional sound of maestro Piazzolla's tango is brought to the forefront with explanations as to the goings on in his life that resulted in such wonderful compositions and the varied interpretations. The book also has several "extras" like a foreward by Yo-Yo Ma Soul of the Tango: The Music of Astor Piazzolla, a family tree, a glossary of South American terms, sources and notes and some great photographs that include some from the family archives. Essentially, this is about as a complete a book as you can find on Maestro Piazzolla and not to be be missed. If you are fan of the tango and the man who furthered the evolution of the soul of the music of Argentina than you need this book. Recommennded for people who want to know more about the controversies and music associated with Maestro Astor Piazzolla's tango.

Piazzola means tango for many people. The first tango music I ever purchased was Piazzola's music. His music dominated Sally Porter's movie, "Tango Lesson." This is a man that you must know about if you like tango, the dance and the music. Even if your interest is 20th century music, you will be fascinated. The story of Piazzola's life is a story of how cultures, music, and people are interrelated. As a person who was born in Argentina, his music was tango; as a kid named "Lefty" who grew up in Manhattan, he felt the influence of jazz. As a musician known as "El Gato," he built on the tango traditions of Troilo, Sarli, and Pugliese.

He began his musical career as a musician who could not read music. Anibal Troilo hired Piazzola because he had memorized the band's repertoire. He studied music and composition while playing in tango groups, and went on for more formal training in Paris. Piazzola loved everything from the classical music of Rubenstein to the jazz of Gershwin. Although we think of Piazzola in terms of tango, many of his contemporary tango aficionados hated his music because it was nontraditional, evolutionary, and avant gard.

This book was of value to me because it increased my understanding not just of Piazzola, but also of the major twentieth century tango musicians and composers. It may not make me a better dancer, but the increase of knowledge added to my appreciation of the music not just of Piazzola, but also of Pablo Ziegler, Romulo Larrea, and Felix Leclerc. It was a fitting complement to "Tango!" a collaborative book by Simon Collier, Artemis Cooper, Maria Susana Azzi, and Richard Martin. You don't have to be a serious student of music to enjoy either book. It will add to your appreciation of tango.

This is the best and most complete document about the life and work of Astor Piazzolla. The authors inter-link Piazzolla's work with the major events of his life and the artistic and political context of the time. If you are really interested in learning about Piazzolla, you should go ahead and buy this book.

Piazzola means tango for many people. The first tango music I ever purchased was Piazzola's music. His music dominated Sally Porter's movie, "Tango Lesson." This is a man that you must know about if you like tango, the dance and the music. Even if your interest is 20th century music, you will be fascinated. The story of Piazzola's life is a story of how cultures, music, and people are interrelated. As a person who was born in Argentina, his music was tango; as a kid named "Lefty" who grew up in Manhattan, he felt the influence of jazz. As a musician known as "El Gato," he built on the tango traditions of Troilo, Sarli, and Pugliese.

He began his musical career as a musician who could not read music. Anibal Troilo hired Piazzola because he had memorized the band's repertoire. He studied music and composition while playing in tango groups, and went on for more formal training in Paris. Piazzola loved everything from the classical music of Rubenstein to the jazz of Gershwin. Although we think of Piazzola in terms of tango, many of his contemporary tango aficionados hated his music because it was nontraditional, evolutionary, and avant gard.

This book was of value to me because it increased my understanding not just of Piazzola, but also of the major twentieth century tango musicians and composers. It may not make me a better dancer, but the increase of knowledge added to my appreciation of the music not just of Piazzola, but also of Pablo Ziegler, Romulo Larrea, and Felix Leclerc. It was a fitting complement to "Tango!" a collaborative book by Simon Collier, Artemis Cooper, Maria Susana Azzi, and Richard Martin. You don't have to be a serious student of music to enjoy either book. It will add to your appreciation of tango.

Nearly ten years after Astor Piazzolla's death, the debate still rages about whether or not his music is "tango". Well, some of it is, and some of it isn't. But the roots of all his music lie deep in the tango tradition and whether or not a particular piece is or isn't tango is of no real importance. The fact is that Astor Piazzolla composed some of the finest music in any genre and all Argentines can take pride in that. I have been a fan of Astor Piazzolla for nearly 30 years but only knew the music. After having read Le Grand Tango, I now feel as though I know the man. Having "met" him, my understanding and admiration of both the music and the man has increased exponentially. Azzi and Collier have authored an easy to follow, entertaining and informative book about El Maestro. One learns not only about his music but about his forceful personality and the forces which shaped Piazzolla and drove him to be the most dazzling musician of the 20th century. His life, his loves, his triumphs and his failures all spring to life here. Though most readers will likely be hardcore fans of Piazzolla, its flowing style makes it an engaging hagiographical read for anyone who has even a mild interest in music history or in the forces and personalities which have shaped and regenerated tango throughout second half of the 20th century.

We Think The World Of You is basically a tale of "you don't
get what you want you get what you get". In the case of Frank
he wanted Johnny but ends up with a dog named Evie. An amusing
and sly look at some working class personalities and carry on.

Fantastic book !

John

First published in 1960, this book is a delicious souffle, which J. R. Ackerley has whipped to perfection. It tells the hilarious story of the love triangle involving Frank, a buttoned-down civil servant, Johnny, the working class guy he's in love with, and the beautiful, headstrong Evie. As the story opens, Johnny has been sentenced to a year in jail for breaking and entering, and Frank is worried that this will give Johnny's pregnant wife, Megan, the chance to freeze him out of Johnny's life altogether.

But in the end it's the beautiful Evie that precipitates the final crisis, forcing Frank to go through some painful self-discovery along the way. Ackerley's tone is pitch-perfect throughout. An offbeat book that is completely hilarious.



Did I mention that Evie is a German shepherd?

It would be hard to make the case that WE THINK THE WORLD OF YOU is by any means a major work, but why should that lessen your fun? Ackerley's novel is very much a surprise in its relegation of its homoeroticism (dealt with very honestly and matter-of-factly) to the background; the protagonist's homosexuality is treated as simply a matter of course rather than as the center of concern, and what gets greater attention is his complicated relationship with his lover's family and dog.

The narrator himself is a terrific creation: sneaky, pompous, arrogant, and yet also somewhat likeable despite it all. And so too are the lover's parents and the dog herself--it all has the ring of reality about it. This is a minor delight, but a delight nonetheless.

This fantastic piece of high art just gets funnier and funnier and more blackly though generously hilarious with each successive page. Brilliant.

It's practically impossible to imagine a book like this being published in today's publishing atmosphere, but thankfully, NYRB is around to buck that trend. I mean what editor today would manage a straight face upon opening a proposal about a middle-aged gay man taking care of the irrepressible dog of his working-class lover who's in jail? But as usual, with any work of art -- craft, talent, intelligence, compassion -- this remarkable work is so much more than that. Around its droll premise, Ackerley found a way to brilliantly expose the pettiness of people, regardless (or precisely because) of their social standing. The dog, which is just as vividly alive as each of this novel's (bipedal) characters, is really only it's lovable catalyst. But finally, what makes this work astounding is how it slyly and assuredly gets funnier and funnier and more blackly though generously hilarious with each successive page. A real snicker of a book.

(My review is on Thoreau's Cape Cod rather than this specific edition).

While some literary critics seem to slight this work by Thoreau, saying that it is not as "powerful" as his other works, etc., I personally find this one very enjoyable. Sure, it does not have as much "philosophizing" as other books by him, but it is full of humor and very fun to read. The part where he describes the old man spitting into the hearth is particularly hilarious. The part about him sleeping in a lighthouse is also very funny. It lets us experience the more jovial side of Thoreau. This is probably one of the easiest to read among Thoreau's books.

Published posthumously, this volume is surprisingly consistent and complete (unlike "The Maine Woods" which is chopped into three different parts), it gives one the feel of walking along the entire cape, although the materials are quarried from several different trips. One only wish Thoreau had lived longer and had seen the West, imagine him taking a trip in the Sierra! Oh, well, meanwhile, we still have this one to enjoy.

This hardcover edition from Peninsula Press is unquestionably the best available edition of Thoreau's Cape Cod, for these reasons:

1) While all other editions are based on Thoreau's journal entries from only his first three visits to the Cape, this edition includes an epilogue compiling Thoreau's notes from his fourth and final visit, in which he traveled south to Chatham and Monomoy.

2) This is the only edition to translate the many, many Greek and Latin phrases Thoreau includes throughout the work, and it is also the only edition to provide illustrations, maps, and sidenotes in-text.

3) This is the only indexed edition ever created.

HIGHLY RECOMMENDED for fans of both Cape literature and Thoreau in general.

Thoreau visited Cape Cod in 1849, 1850, and 1853. These trips formed the basis for a series of essays, several of which Thoreau published in magazines. After Thoreau's death, the essays were gathered together and published as "Cape Cod" in 1865.

Thoreau's "Cape Cod" is different in tone in theme from his earlier books. The tone is leisurely and light. Instead of solitude or the wild woods, the picture that remains with me from this book is that of a long walk, or, as Thoreau puts it, a "ramble" through the sand and dunes of Cape Cod. The book is picturesque, full of humor and wry observation. Thoreau unforgettably describes the ocean, in its storms, vicissitudes, and moments of peace, the fish and the fishermen, the sands, birds, plants and lighthouses of Cape Cod, and the people. I have visited portions of the Masachusetts coast, but I have never been to Cape Cod. Thoreau took me there in his book.

The book is arranged into ten chapters. It opens with a description of the shipwreck of the St John on a rock off the Cape. Thoreau then describes a ride by coach across the Cape. But the heart of the book lies in the following chapters in which Thoreau with a companion walks the 30 mile beach from Nauset Harbor to Provincetown with many stops and diversions along the way. I felt the salt air and saw the fishermen and the sandy beach as I walked with Thoreau.

The most vivid characterization in the book is in the chapter "The Wellfleet Oysterman", as Thoreau describes a grizzled, taciturn, and ancient native of Cape Cod and his family who offer him hospitality for the night. Another memorable chapter involves the description of the Highland Lighthouse, no longer standing, and its keeper. The stops with the Oysterman and the Lighthouse punctuate Thoreau's long walks through the day over the beach and his meditiations about and descriptions of what he finds there.

Thoreaus walk ended at Provincetown, on the northernmost portion of Cape Cod, with its wood walkway, shanty houses, and ever-present scenes of fishermen, boats, and drying fish. Thoreau offers what I found an affectionate portrait of these hardy fishermen and their families. Following a description of what he found at Provincetown, Thoreau offers a great deal of historical background on the exploration of the Cape, from the Pilgrims reaching back to earlier French, Icelandic, and English explorers.

Thoreau's "Cape Cod" is a worthy companion to his books describing his experiences inland, on Walden Pond and on the rivers and woods of New England and Maine. It is beautifuly written with unforgettable descriptive passages. It made me want to get up and go from my life in the city, and over 150 years after Thoreau wrote, wander and walk for myself along the dunes and sands of Cape Cod.

This book details the flora, fauna and people that Thoreau found in Cape Cod in the 1850s. Thoreau organizes the book around a single trip to Provincetown, although much of the material that he uses in the book came from various visits to the Cape, and to the ocean in general. He starts with a description of a shipwreck at Cohasset, then a stagecoach ride from Plymouth, then a walking trip with a companion along the outer shore to Provincetown. Along the way, he describes not only the plants and animals he encountered, but also the people who he met. The book finishes with a lengthy academic historical account of the discovery and mapping of the Cape.

I found this to be the most humorous of all Thoreau's work. The character sketches he provides in this book, sharpened with his trained eye for observation of natural phenomena, are legendary. The cultural description of the Cape and its environment is quite fascinating for those interested in the history of daily life in 19th century Massachusetts. As Thoreau describes the desolate, treeless desert that made up the far reaches of the Cape, one begins to comprehend what it meant for an economy to be based on wood and whale oil for fuels. Thoreau stresses how valued driftwood was for residents of the Cape, as one of their main sources of heating and cooking fuel. Doubtless, he would not recognize the Cape today with its lush new forests. Or its Wal-Marts--switching to an oil economy has brought mixed blessings for the Cape. For those who think Thoreau to be a humorless didactic philosopher, this book shows a very different aspect of Thoreau as a writer.

You will forget about the outside world when you read this; nothing but sand, wind, and water. Plus some natural history, local folklore, a few shipwreck tales. Typical Thoreau; he finds beauty, interest, detail in the wilderness. The desolate landscape will help to clear your mind. Highly recommended.

My daughter brought this home from school.

It's a cute little story about an inch worm who gets out of being eaten by offering to measure stuff for the birds. He measures tails, a bill, a neck, legs, and even a hummingbird.

It works until a nightingale asks to have his song measured. What to do?

The art work is good and my daughter did look it over.

At first she was so-so to the story as she didn't understand how the inchworm measured. I showed her with my finger and she laughed.

Others have suggested this might be a tool to introduce the concept of measurement. I can see that but my daughter already had an idea from the age old method of marking her growth height on the wall.

One of my favorite 5 bookes was Inch by Inch by Leo Lionni. The reason is, is that the worm in the story is very clever and thinks his way out of a sticky situation. That is what I like about authors like Leo Lionni. They can always come up with a great little story that influences so many children in such a positive way.

A children's book about an inch worm who loves to measure things and then saves himself by measuring. The book was the 1961 Caldecott Honor book (i.e., the runner-up to the Medal winner) for best illustration in a book for children.

Once upon a time there was a cute, little, green inch worm hanging out on a piece of grass. One day, a robin came up to eat him, but the inch worm talked the robin into letting him measure the robin's tail. Being such a useful worm, the robin did not eat him, but took him to other birds so that they could have something measured by the smart inch worm. Finally, a nightingale told the worm to measure his song or he would eat the little inch worm. Using his little worm brain, the inch worm began measuring the song until he had inched away to safety.
This wonderful book, written and illustrated by Leo Lionni, won the Caldecott Honor in 1961. He has taken a little worm and made the reader fall in love with it through the worm's usefulness in measuring and his cunning ability to escape the hungry nightingale. Even though there are many different scenes, with many various shades of green on them, Lionni has illustrated the little worm in such a way that the reader can always point him out. Children would enjoy finding the worm on each page, especially at the end of the book when he is hiding from the nightingale. Also, we always see the story from an outside perspective; eye level with the grass. It is as if we are another small animal looking in on the story.
The background of each page is pretty much the same. All Lionni has illustrated on each page is the worm and the other details that are needed during that part of the story. For example, while the inch worm is measuring the legs of the heron, Lionni has only portrayed the heron with the worm inching down its leg. I think this technique is good for younger audiences because it helps children focus on the story and keeps their attention for more specific details. This also makes sense because there is a small portion of text to read on each page which means the audience does not have much time to look at the illustrations while the reader is reading to them. As for colors, Lionni has kept them realistic. For example, the flamingo is a bright pink whereas the nightingale's colors are calmer. Overall, the colors in the book make the readers feel at ease and calm. The dull greens of the grass and the open, white background keeps the reader moving along at a steady pace. It's almost as if we know that the inch worm is going to outsmart the different birds and there is no need to get over-excited.
Lionni has intertwined the illustrations and the text in a way that they are dependent on each other. Although you could get the gist of the story by either reading the text or looking at the pictures, by having the illustrations support the text, the reader gets a more detailed, visual story. However, Lionni leaves room for the imagination to add on to the story at any time.
Overall, I loved this book. Lionni has creatively illustrated this cute story, making children and adults want to read it over and over again.
If you are looking for instructional ideas, I would read this story to students in primary grades before doing a lesson on measuring. Then I would have students measure different things around the classroom including themselves. I would also use this book when talking about different types of art. I would have children do a collage or make something with decoupage. They could even re-create a scene from the book!

This Caldecott Honor Book is easy listening for the early child and the young child as a new schoolyear begins. An industrious inch worm is the main character. He engages himself with measuring a variety of birds and lastly outwits the hungry nightingale using his measuring savvy.

Teacher Note: This book can be used to introduce the young child to using standard measurement tools. It can also be used for activities with creative non-traditional measurement activities. For example: Paper clips, hands, feet, craft sticks, shoes, beans, etc. This book can be a springboard to a thematic unit on measurement. It can be extended for study of birds, other nature studies, art experiences, and musical activities as well.

This book is just awesome. I bought this for my daughter. I read it, laughed, and realized I would never read this to a small child. It's so miserable it's funny. The drawings are morbidly beautiful, the story is tragic and hilarious, Edward Gorey is like the Tim Burton of adult children's books.

The funniest tragedy ever written. With illustrations. I have owned, and loaned out or given, several copies. Lately, I've had to rely upon Amphigory to supply my bile. Now it's back again in a single volume! The perfect gift for weddings, Bar Mitzvahs and birthdays!

This is the first book I ever read by Gorey. After becoming a bit of a fan and exploring his writings further, I think this story holds up as having the best narrative and shock value. A great little yarn and a must for the collector.

This is one of Gorey's best stories, about the sad life of a sickeningly sweet orphan. Some people might prefer "The Gashlycrumb Tinies", but I think "The Hapless Child" is superior. This book is the epitome of Gorey's weird style, a parody of Victorian fiction, and always funny in a gruesome way, or gruesome in a funny way, depending on how you look at it. "The Hapless Child" is also collected in the first "Amphigorey" collection, but any serious collector of Goriana will have to own this edition as well.

Recently I broke out some Astor Piazzolla to listen to again which spurred me on to get this excellent book. I couldn't have been happier listening to the indescribeable classical-jazz-tango music of the Maestro Piazzolla and gaining insights into the music via the book. The style of writting is fitting for a memioir, organized in a somewhat chaotic manner, reflective of the cadence changes in the music, the book jumps around with reflections and recollections of the mans life in no particular order. The parts I found most interesting were the actual conversations with Senor Piazzolla himself where it was obviously conducted like an interview. The author, Natalio Gorin,used a tape recorder to capture the essence of the man behind the music. His thoughts on his creativity and resulting music reveal what is known, that he was a genius, but at the same time reveals the passion that drove him to such extraordinary achievements.This is a tremendous document and testament to one of the great musical figures of the twentieth century whose music will live on beside the great composers of previous centuries. Learning about the struggles of the man, his ability to rise above makes his music make even more sense. The fact that most of the book is Maestro Piazzolla speaking about his life keeps the reader totally engaged. I suggest listening to his music Tango: Zero Hour while reading for further enhancement. "Libertango," "Adios Nonino" and other signature songs will sound even better when you know the story behind the music and more about the man. If you are new to his music, he claims that his best album was his last with his classic quintet entitled La Camorra. Listen to any of these suggested discs an the Maestro comes to life again while reading. There is a certain sadness I feel when I finish a book, especially a book such as this but I already have ordered Le Grand Tango: The Life and Music of Astor Piazzolla and just received some more Astor Piazzolla music so I am almost ready to continue learning more about the man and his unique tango that was part of the evolution and current revolution of the tango that is evident in music such as La Revancha del Tango or Bajofondo Tango Club which are electronica hybrids. Anyway check this book out, it is a very good memoir. Recommended for people who like biographies, especially for those who want to know more about one of the legends of tango, Maestro Astor Piazzolla.

I have read the Piazzolla biography Le Grand Tango and came away with a great deal of knowledge about Astor Piazzolla and his music. But it was not until I read Astor Piazzolla: A Memoir that I felt that I came to understand Piazzolla.
I like this format. Natalio Gorin's interviews with El Troesma are not the chronological, blow by blow account of Piazzolla's life I expected. Gorin asks some questions, but in a series of interviews generally allows Piazzolla to warm to whatever topic develops and then expand on it as the spirit moves him. He only prompts Piazzolla at times when he wants to steer the conversation in a particular direction, such as Piazzolla's politics or his love life.
This is really a tremendous work. One can feel Piazzolla's struggles as he describes his many clashes with the tango establishment and his constant fight to make a place for himself in Argentine and world music. Particularly interesting is the chapter in which he talks about numerous well-known musicians and those who influenced him, and those for whom he felt contempt. Particularly poignant is his relationship with the great bandoneonist Anibal Troilo who would often criticize Piazzolla's work, but at the same time express great affection and admiration for him.
I am amazed at the passions of his audiences whenever he would introduce new elements into his work. That people would actually riot and threaten a musician with death boggles the mind, but I am sure that reactions like that only more firmly convinced Piazzolla of the rightness of his course. Piazzolla was a fighter and he answered his critics not only with his fists, but with one musical masterpiece after another.
After Piazzolla is through talking, the book winds up with Gorin tying up loose ends and analyzing some of Piazzolla's greatest triumphs and greatest disappointments. He also takes a number of swipes at Aldo Pagani, a man Gorin considers to be Piazzolla's Rasputin. Gorin's conclusion is then followed by a couple of short commentaries by some of Piazzolla's collaborators and a discography of Piazzolla's recordings.
I highly recommend this book both by itself and as a complement to Le Grand Tango as a guide to understanding one of the greatest and most complex musician/composers of the 20th century.

Superbly translated, annotated, and expanded by Fernando Gonzalez (who as a music critic for The Miami Herald and The Boston Globe reported extensively on Astor Piazzolla's career), Astor Piazzolla: A Memoir by journalist Natalio Gorin (Astor Piazzola's friend from their first meeting in 1971 until Piazzolla's death in 1992) is an unforgettable remembrance of the brilliant tango musician and composer Astor Piazzolla (1921-1992), whose work was so unique that he even dared to create some tangos that were not for dancing. Astor Piazzolla offers the reader a fascinating glimpse into a musical genius' life, times, and inspirations and is brilliantly presented biography as well as being an impressive contribution to Music History studies.

This was a great resource for learning the radio customer acquisition space. My background is online and direct acquisition. This book offered me great insight into how to extend that to the radio medium. Excellent read.

"Direct Response Radio" is a very pointed and useful book for anyone considering radio advertising. The book provides a framework of how to be effective with the dollars you spend.

This is a well-written book that focuses on what I need to know, without all the fluff of the usual business books, yet with enough substance and good references to make it worth my time to read.

I have already purchased 5 copies of this book to share with my friends who are also on their spiritual journeys. This book confirms in black and white many beliefs that I have always "known" to be true but was never taught in my Reform Jewish education. The part of the book discussing the truths of nature in itself makes the book well worth reading. This book will be a good resource for you in any discussion you might have on facts versus fiction regarding creation as opposed to evolution. I highly recommend this book!

I read the book beyond a reasonable doubt by Rabbi Shmuel Waldman and I must say that I loved it so much that I couldn't even put it down! I read this great book more than five times and I constantly read over some of the different chapters in it all of the time. This book shows how the world must have been created by a creator and it knocks out the misleading lies of evolution. It shows that the bible must have been given at sinai and it shows eternal existance. The book shows divine providence in jewish history and plenty more. I feel that it's a great book in fact many of my friends have read it and they have all really enjoyed it alot. It is a "must read" for all young and old alike.

Absolutely beautiful! Pagan prayers for every esbat, every Sabbat, every aspect of pagan living. As a solitary practitioner, I will read this book in quiet times for relaxing, use the prayers with prayer beads, and incorporate them into my silent rituals. Be it blessing a meal, a child, an animal, a sick person or myself, each prayer speaks to my heart and says what I'd want to say. Not just prayers are found in this book, though. A belief statement, codes of conduct, and other guides are given.

Though I purchased four or six pagan prayer books all at once, I still give this one a wonderful mark for its beauty.

Should you, dear friend, wish to be filled with a flaming heart towards the one you love..."above", I recommend a prayer life filled with unstopping prayer. Little ones, fast ones, long ones and silly ones. But mostly, and everyday; begin one prayer time with a standard prayer during which you build that prayer to a higher and higher flame until you feel consumed with a love for She or He. Blessed Be!!!