Bradshaw Books

This book is one of my favorites. Birthday cakes are covered for children, adults, men, women. There are a variety of ideas and also a good number of basic skills that can be used to design and create your own cakes. Cakes ranging from easy to more difficult are shown which allows this book to be an asset no matter the level of the decorator.

I was looking forward to getting this book.I was disappointed that it has alot of the same cakes and ideas that several of my other books already have.If you don't have any books on fondant or only have a couple, then i would suggest getting this book.It has lots of picture's & does a good job on explaining what to do.

I just recieved this book about a month ago, and how amazed I was. There are so many wonderful ideas in this book. It's a must for any cake decorator to have in there collection! It has full, easy to follow, color page instructions for each of the cakes, including recipes for cakes and icings used. There's a Volts Wagen cake that they shaped out of regular square cake. Awesome! The barbie cake is so beautiful, any little girl would fall in love with it. I could keep going on and on. I totally recommend this book, and hope you enjoy it as much as I have.

An excellent text! Very easy to locate information. Love the color pictures. I prefer it over the other gynecology texts we were required to purchase.

I just received my copy of Williams Gynecology and have been very happy with it thus far. I find the illustrations to be much better than other surgical texts. Yes, blasphemous (TeLinde's). While I have yet to finish perusing my copy, I know I will continually refer to it throughout my career. I find it much easier to read than other Gyn texts and am pleased with the color plates. I recommend this text, and share this sentiment with several collagues.

I just received my Williams' Gynecology text 1st edition 2008 and must say that it's stunning in breadth, detail, illustrative creativity, and organization. The most important aspect is the constant attention the authors at Dallas Southwestern have paid to maintaining a contemporary evidence-based medicine approach throughout each chapter which is devoted to the field of gynecology. I'm not surprised in the least that such a perfect masterpiece has been written by the folks at Southwestern, the same group devoted for over a century to the world-renowned and authoritative text, Williams' Obstetrics. This companion book provides the medical student considering a career in gynecology and the resident in-training or practicing OB/GYN physician all they require to become well-versed and exemplary in the classroom, clinic, and OR. It is an impressive example of perfection in writing style and illustrative genius. Congratulations to the many physicians and specialists who made this book a reality. You've clearly shown yet again, that the Dept. of OB/GYN in Dallas, Texas is the pinnacle source of research, education and training in our great field of Obstetrics & Gynecology. Obviously, I would strongly recommend this text to accompany TeLinde's Operative Gynecology for anyone in an OB/GYN residency program.

This is a neatly illustrated book on two different but similar techniques using fondant /sugarpaste icing in the European style of cake decorating. the instructions and illustrations are useful and informative. However, many of the designs are a little twee. From the point of view of learning the two techniques described it is very helpful and once mastered can be transfered to other designs of your choice.

This short, but concise paperback book details the fine, meticulous art of bas relief. Instructions are provided with step-by-step photographs showing gradual progression of figure build up. Although an earlier publication, the various cake ideas are timeless and would be appreciated by any lucky recipient of such a lovely cake. Good word descriptions go along with the photo instructions. Diagram outlines for the figures are also included. Great book for the price!

The book was very clean and in excellent shape. I would recommend to anyone.

I was able to quickly get my book and when I found out I no longer needed the book they were quick to refund my money.

This is surely the best single book you can purchase for a guide to the Morgan models and history until 1992, The work is well organized, pleasantly written and beautifully illustrated. At the end, you wish there was more. There is much detail on different changes over the years, often presented within an anecdotal context.

This is the first Morgan work to buy. Others stem from here.

Great source for information with abundant color photographs. This book really deserves a revision of the type that Bill Piggott's Original Triumph TR recenently benefitted from (the original addition, which covered models from TR2 through TR6 was expanded into three volumes didicated to TR2/3/3A/3B/Italia, TR4/4A/Dove GTR4/5/250/6, and now TR7/8 as well). With a 35 year production history, the +8 certainly merits a volume of its own, as do the three-wheeled models. My personal interest would be in greater documentation of the evolution from the flat radiator cars to the now more-or-less current low line cars. By my count, +4 two seat roadsters were produced in seven defferent body styles (I include flat-rads factory converted to cowl-rad to reach this number). Owing, presumably, to space limitations, only one of these types is included in the selection of photographs (3 different cars). The variations in DHC bodywork over the years of production are similarly underrepresented. These limitations aside, I would recomend this book to anyone interested interested in Morgans. The photographs are beautifully done, and the text is the most readable of any of books in the "Original" series which I have read. Other recomendations: MORGAN: THE LAST SURVIVOR by Chris Harvey, and Ken Hill's COMPLETELY MORGAN trilogy (both out of print).

Dominique Jameux's study of Pierre Boulez appeared in 1984, with a second edition in 1986, and was translated into English in 1991. While the book necessarily stops before some interesting things happened in Boulez's career, such as the revival of "...explosante-fixe..." and the completion of "Repons", it is one of the most detailed overviews of his life and work up to that point, and worth seeking out for Boulez fans.

Part I, "Trajectories" is the biographical portion of Jameux's work. It traces Boulez's life from birth through his youthful Paris iconoclasm, his groundbreaking works of the 1950s, the beginning of his conducting career in the 1960s, and finally the IRCAM era. Throughout Boulez is shown as a thoroughly fascinating man, a titan of his age, although Jameux isn't afraid to thrown in some criticism of his attitude. My only complaint about this biography is that often it doesn't place Boulez in enough context. For example, we know he taught at Darmstadt, but who were his colleagues and how did Boulez fit in?

The second part, "Commentaries", is a series of musicological analyses of twelve works. These are "Sonatine", the three piano sonatas, "Le Soleil des eaux", "Structures" (but only Book I), "Le Marteau sans maitre", "Pli selon pli" (in a shorter version than what is played nowadays), "Eclat" and "Eclat/Multiples", "Domains", "Rituel", and "Repons". I can only regret that "...explosante-fixe...", perhaps my favourite of his orchestral works, is not included.

While some of the theory gets heady for a layman, Jameux's study is essential reading for serious fans of the great French composer, conductor, and intellectual.

This is an incredibly usefull work on Maitre Boulez. Jameux is a critic,journalist writer in attendance for numerous concerts with Boulez conducting, as well as interviewer of him. Originally published in French in the early Eighties, this translation is a primary source. It traverses all of Boulez's works with brief, yet focused analysis with a full range of understanding. If you are fascinated by the early Boulez(many believe more interesting than the middle Boulez,the realm prior to his"Repons") Jameux writes well on this early period the "Flute Sonatine" the early Rene Char settings"Visage Nuptial" and especially the powerfull "Second Piano Sonata" the use of rhythmic cells as a local structuring device. But Jameux also continues well into material on Boulez the conductor with lists of his performances and how Boulez captured the realm of modernity through ocean-hopping engagements,countless concerts of the Masters, Schoenberg,Berg,Webern,Bartok, Debussy,Stravinsky,Ravel. If you are looking for more advanced scholarship on Boulez,analysis of his works perhaps utilizing fractal thinking you will not find it here. Jameux's work is more to lay the first layer of information and materials never collected in one place on Boulez. It is a great odyssey to follow, Boulez the creator,and conductor, the life of an activist remaining a non-proselyte for the vigours of modernity.

Wade Bradshaw's "Searching For A Better God" is eye-opening. We no longer have an accurate picture of God. We've spent so much time trying to put God into terms we can comprehend that He has become much smaller to us than He truly is! This book makes a valiant effort to re-draw that picture, bringing the reader back into alignment with the portrait God paints of Himself in scripture. This is not so much a warm and fuzzy, feel-good read as it is a thoughtful assessment of where we are and where we need to be.

This book helps tackle some of the unknown questions people are facing as believers and non-believers.

Helpful in differentiating between different obstacles to the belief in God.

The general reader may be put off this book because of its reputation as a masterpiece of literary modernism (a style now some eighty years old), the sort of book that is assigned to be read in college English courses as an example of non-linear story telling by an unreliable narrator. This is a pity because the chief reason for reading The Good Soldier, apart from the beauty of its language, is the inspiration and wisdom that is apparent on every page. It reminds one of What Maisie Knew, another appalling story of sexual intrigue told through the eyes of an innocent. In this case the innocent is the narrator, Dowell,a really amazing creation. How can such a pathetic fool have such fine insights into the human heart? Ford's style is so beguiling that the reader never notices the incongruity.

This is, of course, a modern classic, which means that we're far from the certainities of the classical XIXth. Century novel, as set by , e.g., Balzac or Zola, where an all-seeing narrator tells everything there is to know about both plot & characters;instead we have a completely beffuddled narrator trying to make head or tail of the events he has lived, therefore losing his sense of "order" - of a well-ordered, black on white bourgeois universe - in the process. Of course, some pioneers had already taken this path before, such as the Brazilian novelist Machado de Assis, whose "Dom Casmurro" has certain similarities ( as also a prevading feeling of doubt and confusion) in plot with "The Good Soldier". No wonder, however, that this novel was published in 1915, when all old bourgeois certainities were being actively put to rest.

Although this is a classic, I found it to be a hard read. I did not like any of the characters. I found the style intriguing, though convoluted. The narrator admits to telling the story in "a very rambling way." He explains, "One remembers points that one has forgotten and one explains them all the more minutely since one recognizes that one has forgotten to mention them in their proper places . . . ." It is a tale of irony, in which nobody gets what they want: "The things were all there to content everybody; yet everybody has the wrong thing. Perhaps you can make head or tail of it; it is beyond me." It is beyond me, too. Nevertheless, I am glad that I read it.

"This is the saddest story I have ever heard," the narrator observes in the opening line of Ford Madox Ford's novel, The Good Soldier. Set on the eve of World War I, the 1915 novel tells the story of two incidents of adultery involving two seemingly perfect couples, Edward and Leonora Ashburnham and John and Florence Dowell. While John Dowell chronicles the account of the two troubled marriages, his narrative ultimately proves to be unreliable, which is exactly what makes The Good Soldier such a compelling experience in fiction.

Throughout the novel, Dowell grapples with the nature of truth of sexual betrayal. While Edward and Florence seek treatment for their heart ailments at a spa in Nauheim, Germany, it becomes apparent that theirs is a loveless marriage, characterized by Edward's constant infidelities and Leonora's attempts to control her husband (the "good soldier" of the novel). Dowell's scheming wife Florence feigns a heart ailment only to pursue an affair with an American thug named Jimmy, making Dowell both a cuckold and a fool. (In addition, he appears to be the only character not having sex in the novel.) Unbeknownst to Dowell, Florence also had an affair with Edward for nine years, an affair with that leads her to commit suicide (by consuming prussic acid) when she discovers that Edward is falling in love with another character, a young ward named Nancy. (Edward appears to be Dowell's polar opposite when it comes to sex in the novel. Among of his numerous conquests is a Spanish dancer named La Dolciquita.) Eventually, his affair with Nancy leads Edward also to commit suicide (by slitting his throat). In the end, no one gets the relationship they're hoping for. Ultimately, The Good Soldier is a study in Dowell's inability to understand himself and the people in his life, and his eventual realization of his own self-deception. In many ways, this is the finest novel I've ever read. It has been called "the novelist's novel" because of its elegant writing and flawless structure. Highly recommended.

G. Merritt

Although formulaic in concept for early 20th century literature, this book's style separates itself from its peers.

During pre World War I, we meet the British Edward and Leonora Ashburnham and American Florence and John Dowell. As though it was a Fitzgerald novel -- the American couple resides in luxury, in Europe, the woman is talkative but fragile, and there is something brewing among the comrades -- it is definately somethin different. Although the same plot could be used and written by Waugh, Forster or maybe Woolf, it definitely is not their novel.

Unlike Waugh, unlike Fitzgerald or unlike all of the others, this book is light, very light, on dialogue. Instead, it is mostly a narrative by Mr. Dowell about the descent of his wife, of his best friend Edward and his love of life, Nancy Rufford.

Because it is a recantation of events, there are passages which repeat what was just previously read, but somehow the style (disjointed in a manner which narrative story telling would have to be) works. Oh, and how it works majestically as it passes in and out of time and through and around events so that the picture is delivered to you like a focus of a camera lens. This is not a temporal chronological recitation of what happened. The author circles us in and out of what he calls "the Saddest Story. . . because there was no current to draw things along to a swift and inevitable end." And in this sad story, "There is not even a villain in the story . . ." Reeling in and out of the sadness, it is an abstract-like collage, much like what his contemporary artists would depict with paint. This story surreally depicts Ashburnham's demise. And, the demise of those about him.

True to its form, it starts sad and ends sadder. Split into four parts, three parts end with tragic deaths (two in suicide and one perceived to be a suicide) and one ends with the acknowledgment of a failed marriage. Do not expect even one laugh from this novel.

I have not read anything by a living author which mirrors the style of this book. For that reason alone, I would recommend this novel. And, it is a classic - through and through.

I would also recommend getting a copy of Knopf's Everyman's Library edition with the edifying and insightful introduction by Alan Judd and Max Saunders. Much of Ford's life resembles one of the characters. If you get the Knopf edition, you will know why, and a lot more.

D.H. Lawrence is not for the faint hearted, or anyone with a short attention span. Women in Love would perhaps be better title Women and Men in Love, as Gerald and Birkin play equally important roles as Gudren and Ursula.

Those looking for mere titillation will be sorely disappointed, however, as the sexual charged moments are primarily portrayed through internal thoughts and emotions - indeed, by today's standards this would be a PG-13 at the most, although the inferences are certainly more adult than that.

The exploration of relationships portrayed here shows the beginning of women's liberation, as well as a philosophy accepting of non-heterosexual love - although again these are through thoughts and emotions, and occassionally conversations, with nothing more blatant than a wrestling scene actually happening.

In the end this seemed to be more about failing to achieve harmonious relations than succeeding at it - though in the end one couple remains and one is apart, I am not sure but that it could have been as easily reversed as to which was which.

Well-formatted for the Kindle, with an easy-to-navigate table of contents. The novel itself is striking -- "right between the eyes." Passion has rarely felt so naked, and yet so much of the passion in _Women in Love_ is the passion of intellectual debate. The characters are desperate to know, *finally*, who they are, and flummoxed by their need for such explanation.

First off, I LOVED the Rainbow, the prequel to this book. I was very excited to get into this book and see how the characters developed further. In the beginning I felt the same interest as I did with the Rainbow, but as many others have stated, somewhere in the middle the reading got a litte tedious. Birkin was such a preachy kind of character, constantly spouting off stuff without ever convincingly proving he believed it himself! Luckily, Ursula seemed to tone that down in him. I did have a point where I debated finishing the book but I figured I had already committed to seeing how things worked out with everyone. Man, what a payoff at the end! BIG twist ending!!! Maybe that was Lawrence's way of rewarding his readers for allowing him his theological or philosophical rants and loving him anyway. He threw in the big exciting finish. Well, I say if you like Lawrence and you liked the Rainbow, this one might feel like a little more work but give it a chance and you're sure to get a satisfying conclusion to these characters.

This book is beautifully written. You could randomly pick almost any paragraph and read it and close the book and think to your self "wow, that was beautiful." It tells the story of sisters Gudrun and Brangwen, two young women in England who stand apart from the crowd and struggle with their quirky independence in a classist society.

Of course it isn't a gripper or a page turner. It took me over a year to finish reading this book. That's not to say it's not good-- on the contrary I say it's a testament to how good it is that I ever finished it. How many times have you put a book down for months and then returned to pick it up where you left off? I can think of one other book I did that with, but I did it several times with Women in Love.

It's slow, and in the beginning I couldn't really keep all the characters straight. But it's beautiful and it's hilarious! The langauge of the day, comsbined with the melodrama of Gudrun and Bragwen as they discuss the banal horror of spending the rest of their life with any of the men they know, is both charming and laugh-out-loud funny.

The book works as a period piece; you can see the structured class system of the England of the day nad the sisters who simply don't fit in with anyone.

The book also works as a philosophical piece; at times it reminds me of Ayn Rand's Atlas Shrugged. The chapters dedicated to the coal mines and the machine-like endeavors of the men who runs them must have inspired Ayn Rand's work.

This book is deifnitely worth reading, but perhaps best along side another book (or 10).

DH Lawrence was born in the coaltown of Eastwood located eight miles from Nottingham, England in the Midlands region of Great Britain. His father was feckless; his mother worshipped young Bert who was sensitive, reserved and bookish.
Lawrence grew up to leave this repressed environment to wander the world with his German wife Frieda. He remembered how the miners would enter the coalmines with clean clothes emerging hours later covered with black coal dust. Like those miners, Lawrence would also go "underground" exploring those human emotions we keep repressed. His themes were communication between the sexes concluding that we are basically alone in a godless universe. Plot and story are minimal in a Lawrence novel. The iconoclastic novelist was more interested in examining our motivations through stream of consciousness and dialgoue between his complex characters. These themes are evinced in "Women in Love" his brilliant sequel to "The Rainbow" dealingwith several generations of the Brangwen family.
The main characters in this 1920 novel are:
1. Ursula Brangwen: The plainer of the two Brangwen daughters. Ursula is a 26 year old teacher in a Midlands school. Her life is mundane. She is an intellectual who falls in love with the mecurial Rupert Birken.
Ursula is said to be a fictional recreation of Lawrence's wife Frieda.
She is fiercly independent but craves the warmth of a sexual/spiritual relationship with a man.
2. Gudrun Brangwen is the artistic sister of Brangwen. She is an art teacher in a local school. Gudrun has studied and worked abroad as a sculptress. She is artsy,loving life. Gudrun enters into a tempestuous affair with the owner of the town mining company. Her affair with the aristocratic Gerald Brangwen will end in tragedy. Gudrun wears bright clothing and is more outgoing than her sister Ursula. She too is independent wanting to go beyond sex or domestic life with a life partner.
She may have been based on Lawrence's New Zealand writer friend Katherine Mansfield.
3. Rupert Birkin is the fictionalized portrait of the author. Birkin is a school inspector who has a desire to create a new world free of the harsh Victorian conventional society he despises. His longtime lover is the wealthy Hermione. Birkin jilts the superficial Hermione for the enchanting and engimatic Ursula. As the novel ends he and Ursula are married, The Birkins leave England for a life of wandering much as did Frieda and D.H. Lawrence. Birkin, as well as Lawrence, hated modern industrialized society which made men and women into automatic machines in a souless society.
4. Gerald Crich is the owner of a large mining company in the area. Gerald can be very cruel as when he forces a horse he is astride to sit still while a train (the symbol of industrialized life) roars by to the dismay of the frightened creature. Crich is also seen strangling a rabbit. He has been a playboy with a mistress named Pussums. Crich has a torrid affair with Gudrud which ends in a tragedy. Crich is a handsome man who wants power in busines and his affair with Gudrud. He attempts to strangle her and control her every move. Crich is the least sympathetic and most tortured of the four major characters.
D.H. Lawrence's prose in this major novel is lyrical, poetic and detailed in its description of moods, nature and the emotions inherent to love. Lawrence knew the human psyche is a mine which needed exploration by a perceptive novelist. Lawrence is still worthy reading all of these years after the Brangwen girls story was first spun into gold by a literary giant.

I highly recommend this book anyone who has experienced - depression, guilt, grief, abandonment, abuse or addiction. Healing the Shame - points to the build up of - Undeserved Shame as Children - as the main reason for the emotional pain we're haunted by through out our lives - pain we are destined to relive if not faced. While Part One of this book expresses and pin points the Problem, Part Two is devoted to Solutions.

I am not rating this book on miniscule literary flaws, its far to important of a message to care. Bradshaw's collection of different ideas and methods by other authors and thinkers on the issue shows his passionate search to understanding Shame as well as that he takes a realistic stance that there is no pill formed method for how we face and resolve our past. One of my favorite things about the book is that there's an abundance of solutions and methods to facing unresolved shame in Part Two.

I've been searching for over a decade for something like this book - and nothing come as close - this is probably one of the most important books I'll ever read.

It's clear from the beginning how much Bradshaw cares about this topic an how profoundly positive his exploration into this area was a great gift to him. It was refreshing to begin reading Bradshaw's take on shame. I began to see familiars in his descriptions right away and was deeply moved by them. They helped my feel not so isolated, among many other emotions and feelings, in my own challenges with shame. I was disappointed though in the sensationalism in some of his claims and his self-promotion for his other material. I also question intensely his claims about the 12 step programs. He states that no one questions the efficacy of these programs, but many do. The blind support of these programs has no basis in research and in many cases there is support to the idea that while the primary behavior may change, i.e. alcohol abuse, the program continues to foster deep internal shame and feelings of inadequacy in facing the deep underpinnings of addiction in many people. In general I think this book can be a useful tool, but must be buttressed by additional reading by essential voices in this field, i.e. Frances Broucek, et. al. So yes, check this book out, but read it with questions while feeling bathed in recognition and validation. Use the tools that are useful for you and let go of what isn't.

Bradshaw, J. 1988. Healing the Shame that Binds You. Health Communications, Deerfield Beach, Florida

John Bradshaw's book is full of references to various philosphies and methods of treating psychological problems. He expalins how many of our difficulties relate to how we were made to feel unworthy of love.

I especially enjoyed how he described the work of Albert Ellis and Aaron Beck. Thinking that we should be perfect or that we know what someone is thinking can lead us into depression.

John Bradshaw goes from quoting famous people to mentioning the simple praises that are heard in 12-step meetings. So people who attend 12-step meetings are likely to get a lot from this book.

This book shamelessly regurgitates the ideas of others without documenting the sources with footnotes. Moreover, Bradshaw fundamentally misunderstands and misrepresents seminal ideas drawn from psychoanalytic theory, Gestalt therapy, Transactional analysis, and other schools of thought. The result is confusing and will lead many people down a false path in their attempts to address mental health problems.

I read this book twenty something years ago. I have family problems. Don't we all? My parents let me down in many ways, and so did my siblings.

But this book left me feeling that my problems were someone else's fault. I no longer had to feel responsible for my own thoughts, decisions and actions. Fact is, shame is there for a reason. It makes me aware that I am guilty. I can't do anything about my guilt. Only God can. And he did. He sent his son Jesus to die in my place and take away my guilt. I am forgiven. I am loved by a perfect Father.

I was raised in a Christian home. I knew about God's love in my head. But as a college student I read Bradshaw's book. It was at a time when I was suffering from my parents' bitter divorce. Because I got so caught up into focusing on their sins and blaming them, and rejecting any shame I felt from my own misconduct, I couldn't grow.

So stay away from this book. Or at least if you read it, you will need a good dose of truth to help you deal with the lies in Bradshaw's book. I think he meant well. But he's way off base. The truth will set you free. This stuff will bind you for a long, long, time!