Wilson Books

Everything came in a reasonable amount of time and it was described exactly as I received it.

I am a communication graduate student, so I've read a lot of organization communication texts and readers. I've read my Weick, my Mumby, my Deetz, my Jablin, my Putnam & my Poole. While I would never suggest that anyone ever forgo reading primary sources, who can argue that sometimes we just lack the time to read everything we would like to? That is where this book comes in.

This Eisenberg & Goodall book is not just an average review of the major concepts, themes and theories in organizational communication. It covers the concepts of org comm in more detail than most texts do. The authors also are very aware of the changes and challenges to organizations in the contemporary world, and included excellent chapters on globalization, outsourcing, etc.

Finally, Eisenberg & Goodall wrote this text interactively. It is the most dialogical of all the org comm texts I've read. This stimulates not just the memorization of fact, but deep-rooted thinking and contemplation.

If you do not know where to start when you look at the expansive landscape of organizational communication, this is THE place to start. After a thorough reflective reading of Eisenberg and Goodall, you will definately have a firm foundation to read the primary sources you want.

I am a graphic design professional and the daily application, negotiation and consideration of 'communication' in all of its forms impacts my work, and this is mostly referring to the communication that occurs between people and societies, over and above that of 'designed communication' through the products of a graphic design project. I commenced a Masters Degree in Organisational and Professional Communication, and found that this text was far superior to everything I was presented in the degree... this book crystalises every pivotal concept, in clear, accessible, and credible language... but most of all bridges the gap between academia and actual practice. I'm so thrilled with this book. It's like a bible to everything that matters... understanding more about the nature of human beings and relationships in all aspects of modern life. I would recommend this book to literally anyone.

Wilson Harris' epic charts the history of the Caribbean through the metaphor of Donne's crew as they travel into a West Indian "heart of darkness."

Wilson Harris, born in 1921 in what was then British Guiana and is now Guyana, is one of the most unflinchingly poetic British novelists of the twentieth century. Generally lumped in with such English writers from the Caribbean as Naipaul, these "West Indian Novelists" are in actuality quite diverse in style and artistry. Where Naipaul is world famous, Harris is now almost totally forgotten, and out of print. Harris, a decidely challenging read, thus today is now inaccessible for most readers in both fact and fiction! For all the variety of modern fiction, there remain certain pragmatic lines in the sand, lines no writer wishing to attain even a fleeting popularity dare cross. This explains the disappearance of so gifted a writer as Harris. Readers must it appears sooner or later need the security blankets of the concrete; what Harris spells out in an essay as "the selection of items, manners, uniform conversation, historical situations, etc., all lending themselves to build and present an individual span of life which yields self-conscious and fashionable judgements, self-conscious and fashionable moralities." Absent these literary crutches, readers shun his works, and move on to authors more forgiving, but less fundamentally exciting.

Harris seeks and explores the twin themes of disorientation and human unity through language, highly personal language neither scientific nor founded, as so much of modern writing is, on the journalistic, but rather language teeming with brilliant metaphors and wide-arching similes tracking the most gyrating perspectives. Such writing deliberately confuses, and apparently is anathema for most readers; its lack of direction turns off even the young, bright demanding minds too filled these days with the narrow-mindedness of careerism. Even readers who might be willing to follow fantasy or 'soft' philosophy, such as they find in such writers as Hessse, reject a writer like Harris as confusing, pointless, obscure.

The Palace of the Peacock, first published in 1960, was the author's first novel; he didn't finish it until he was nearly forty, a very late age for a novelist to take up his craft. It calls to mind a series of novels, now seen as radical or non-mainstream, written during the forties and fifties; most prominent among these works is the fiction of John Hawkes. Dense and dreamlike, the most extreme examples of this fiction seldom offer very much in the way of a traditional narrative.

Describing an exploration upriver, Palace of the Peacock sometimes reminds of Conrad's Heart of Darkness. Yet Harris works from such a decidely multiple vision as to refute much of the narrative point of view Conrad worked so assiduously to maintain in his story. The unfolding tragedy here takes on a marked difference, for Harris is a native writer, and he visualizes a complex and perplexing human unity where Europeans discover only otherness and disintegration. Harris continually denies any distinct one voice or certainty, demanding his reader confront this perplexing interplay with the same degree of intensity as do his characters and their evasive narrator.

The novel consists of four books, each set off by a short quotation from a major poet - Yeats, Donne, and two by Hopkins. The opening book, "Horseman, Pass By" sets the basic plot in motion, a boat is journeying up the river through the Guyanese rain forest. The second book, "The Mission of Mariella" finds the Armeridian village of Mariella deserted, and the crew, finding an old native woman, enlists her forceably as guide. In the novel's longest book, "The Second Death", the men travel further and further upstream looking for the missing villagers. After a series of deaths and further confusion the novel evolves into a vast bewildering dream, "Paling of Ancestors".

Harris invites readers into a different reading process, one demanding new sensibilities and asking that old habits be jettisoned. His works both encapsule the colonial experience while at the same time expanding it's inherent limitations until it is triumphantly overcome. It is not surprising his books are generally unavailable - few readers respond to his challenges or his open-ended invitation. Those who do will be amply rewarded.

Wilson Harris produces, in the most poetic prose, the images, traditions, and myths of the the Carribean. Although most readers will find his writing too strange to follow, those people willing to submit to his style will find themselves torn from the restrictive world of realism. Palace of the Peacock depicts the journey of Donne's crew as they pursue both indigenous laborers and the creation of the universe. The characters are simultaneously dead and alive, dreaming and awake, as they shed the burden of mere physical existence. Philosophically and stylistically, Harris is unique and intriguing. I recommend Palace highly; unfortunately, his other novels are out of print.

This personal momoir adds to the body of World War II history.

Very interesting book. we know the author and have heard his of his experiences during the war. The book is informative and interesting, they were a brave bunch of men. Highly recomend it to everyone.

Paratrooper Robert L. Wilson lived the experiences in this book. It tells of a pivotal operation during World War II that abruptly ended German-Nazi domination of the European continent. Historically, Operation Varsity was overshadowed by Patton's push across Germany. Wilson and his co-author son give full credit to those courageous ground troops commanded by Patton and Montgomery, but the focus of this book is on the lesser known paratroop action.

In December 1942, Robert L. Wilson joined the Army. At that time, Parachute troops were a fledgling group. When approached to join this elite group. Wilson agreed. The training was rigorous, but young Wilson fully ascribed to the Parachutist's creed, which said in part:
"I realize that a parachutist is not merely a soldier who arrives by parachute to fight, but is an elite shocktrooper and that his country expects him to march farther and faster, to fight harder, to be more self-reliant, and to soldier better than any other soldier."

In March 1945, the 464th Parachute Field Artillery Battallion joined several other Paratroop divisions in an unprecedented airborne drop into Germany. No enemy force since Napoleon had effectively crossed the Rhine River but Operation Varsity changed that. The paratroopers had been told to expect a 50% casualty rate because the Germans knew they were coming. That day, 17,122 paratroopers landed en masse to do battle with the Germans for control of their territory.

Paratroopers and planes faced heavy artillery flak, anti aircraft cannons, and small arms fire. On the ground, under grueling artillery fire, the 464th swiftly assembled Howitzers airdropped with them. They were the first airborne artillery unit to fire a Howitzer east of the Rhine, and surely earned their place in history that day. Meter by meter the Paratroopers and their Howitzers blasted a path through the Germans dug in along the battle's perimeter. Man to man and hand to hand, for one full day then two, paratroopers who survived hacked their way through the German lines. The paratroopers had been advised to take no prisoners, but hesitated to kill first hundreds, then thousands of surrendering German troops. Instead, they utilized German prisoners to pull cannons and dig foxholes. This continued until all fighting ceased and thousands of Nazi soldiers lay face down at their feet in a posture of surrender.

Robert L. Wilson's first hand report of his training stateside and in France, culminating with the Rhineland battle, is a fascinating story. This is a precious history of unsung American heroes from an aging generation of warriors. What truly magnificent men these were! I highly recommend A Paratrooper's Panoramic View to mature readers of all ages.

Like the previous reviewer, I found the instructions in Janet Wilson's book to be very clear--much more so than other books I have on the subject. She guides the reader step-by-step and tells what supplies are needed and how to use the tools. This craft was completely new to me, but within a short practice period, I was able to complete most of the projects in the book with very beautiful results. I've sent birthday greetings with my hand-made parchment cards and received effusive compliments and thanks for them. This is my favorite instruction book for working on parchment.

This is my favorite book on parchment craft. The patterns are just beautiful and can be done by a parchcrafter of any skill level. Janet Wilson's directions are clear and easy to follow.. The photos of her completed projects are inspiring. I use this more than any other book I own on parchcrafting....I was recently asked to teach classes in parchment crafting and this is the book I asked to be put on the student's supply list.

Of all of my parchment craft books and kits, Janet Wilson has written the one I turn to most often. I've created three cards (two valentines and a sympathy card) following her directions and designs, and she is by far the easiest author to understand. (Incidentally the directions included with the Pergamano parchment craft kit were the most difficult to follow. Go figure.)

In the first chapter of "Parchment Craft," the author describes and shows photographs of the materials and equipment you will need to get started in this fifteenth-century art form. She does not actually list suppliers, but they are easily discovered out on the internet. (One of my favorites is "willascommodities.com".) You really don't need much to start with, just the correct type of paper (which is not really parchment), scissors with short curved blades and fine points (very much like manicure scissors), a pen and white ink for tracing, a couple of pads to place underneath the paper while embossing and perforating, embossing tools (basically knob-ended sticks to use for drawing & rubbing), and needle tools for perforating the paper into fancy patterns.

The author suggests tracing all designs on to the parchment with a mapping pen and white ink. I tried that and found that I was more comfortable with a white Prismacolor pencil, although the resulting lines are not quite as fine. Embossing is done from the back of the paper, so don't do what I did the first time and also trace onto the back of the paper. My niece Chelsea's name came out as 'aeslehC.'

Many of the directions are illustrated by step-by-step color photographs, especially when the author is demonstrating a new method such as applying color with oil pastels, or using the four-needle tool to make lace.

There are many patterns that can be used interchangeably--for instance I copied part of the design from an Easter card for my sympathy card. However, some of the patterns are not full-sized and you will have to enlarge them on a photocopier before using them. I wish this step could have been avoided by publishing only full-size patterns, since I no longer have easy access to a copier. However, this is a minor fault in a very nice book.

I'm surprised no one more learned than I in the literature of the American Civil War has yet reviewed this book. I came to it in an attmept to get a sense of the literary quality of the various memoirs and writings left by prominent participants in that momentous struggle, after being surprised that U.S. Grant's memoirs are held in high regard by critics. Wilson's book is a very compelling read (so far - I haven't yet finished it), giving the reader a vivid impression of the ideologies of the time and the pervasive and somewhat high-strung religiosity that influenced their development. Wilson's style is a pleasure, the product of a highly attentive intelligence informed by deep, but lightly-worn, learning. It's surprising how recently this book was written, since Wilson's voice resonates to these ears (educated in the jargon and vulgarities of the late-20th-century university) with the timbre of another, more civilized age.

I am knowledgeable about the Civil War and its literature. In fact, you would think I'd be heartily sick of the subject by now. I sometimes feel that I have over-grazed this favorite topic. However, Wilson is simply wonderful in this book. He makes the whole antebellum era and the war years live again. His opinions are orignal and well stated. He has picked both famous and obscure books/authors to discuss at greater or lesser length depending on what he has new to say about them and on whether or no the subject in hand has, through disuse, disappeared from the knowledge of man. If you are interested in this period but are tired of the same old things, Wilson can point you down paths you could never find by yourself.

I found the introduction a little too ideological to my taste but otherwise the book is darned near perfect.

Edmund Wilson produced this classic look at civil war literature more than forty years ago and it remains essential reading for anyone professing an interest in the great American conflict. Wilson brought much to the table: a beautiful, restrained writing style and a prodigious understanding of the civil war and its primary players. His magnificent analysis of Ulysses S. Grant's memoirs remains the best and most often-quoted ode to these books. Wilson's tribute to Grant's memoirs is the crux of the book, but his ancillary analysis of other civil war works is also riveting and instructive.

"Patriotic Gore" is not only great literature, it's truly one of the best books I've ever read. It deserves a place on any serious civil war historian's bookshelf.

Colin Wilson wrote this book because although he liked the basic ideas behind the "Lovecraftian" genre, he did not like the writing style of H.P. Lovecraft. His goal was to develop a well-written novel using the rules of the genre, such as making everything as real as possible in regards to references, events and places.

This book also deals extensively with the concepts that are more at home in a Frank Herbert novel, such as the limits of what it means to be human and what human beings are capable of. This book is part mystery, part science-fiction, part primer to Wilson's occult philosophy.

This is one of the best Lovecraft-style stories I have read. The suspense in this book is great. You never know what will be uncovered in the next page. This is a must read for anyone who enjoys a good suspense story.

Colin Wilson continues his exploration of "Intentionality" as a key element in his existential philosophy. If you liked The Mind Parasites, then you owe it to yourself to read this book (as well as The Space Vampires). His use of fiction as a vehicle to philosophical discourse is worth the effort to find these books.

This beautiful book illustrates one mans realization of personal evil and his victory over it. The line-drawing illustrations and beatiful prose combine to make this picture book unforgetable and moving.

This book contains a story that you simply cannot forget. A story perhaps about the downfall of an incredible society or perhaps the rise of an even more advanced but archaic group. Beautifully illustrated...unforgetable pictures

The brilliant, fun poetry is equalled only by the totally engaging illustrations. I re-read it regularly, getting more out of it each time.

I was afraid to read this at first, because I don't like the idea of messing around with scripture. That's why we still use the King James Version. HOWEVER... I love this book. I never felt like anything was lost. Only clarified. I won't let this book replace my scriptures, but it will never be far away. GREAT Job Tim. Thank you sooo sooo much. I bought it in a used book store, and I feel very fortunate to have found it. I was unaware of it before that moment. My teenager is reading it now. Thanks again.

As a former seminary teacher and now gospel doctorine teacher, this "guide" makes reading the Book of Mormon much easier and understandable. It's like have a scriptorian next to you explaining what you just read, and yet, it is written with flow, like a novel, so you don't want to put it down. I finished the whole Book of Mormon in one week. I have a more vivid understanding and mental references now. I completed the prophets challenge. I can't wait to read this 2-3 times a year. It is not like other scriptures "re-written" losing translation, this is "right on", and has the same spirit of revelation attending you as it is when you are reading from the Book of Mormon.

This book is basically a rewritten version of The Book Of Mormon in contemporary English and reads at about a middle school level of difficulty. It eliminate the archaic prose of words like the "thee", "thou", "verily", "hast" and other KJV biblical text. A comparison could be the KING JAMES BIBLE rewritten into the easier to understand NEW LIVING TRANSLATION.

I'll admit there are places in the Book of Mormon where I have struggled to comprehend its contents (Jacob chapter 5 and the Isaiah quotes come to mind). Timothy Wilson's work has made a world of difference in understanding it. This is like a rewrite of the Book of Mormon in modern English. It also includes some extra references for explaining certain themes and events. Read this alongside the original - it has helped me to read it much more effectively.

If you are interested in this, you might also want to check out the EASY-TO-READ BOOK OF MORMON by Lynn Matthews Anderson (ISBN: 0-9644957-0-8). That version (young children being the target audience) is written in even more simple English than is Timothy Wilson's work here. Both are useful for comprehension of the original text.

This wonderful edition features a judicious selection of Walt Whitman's poetry and essays, edited by distinguished literary critic Mark Van Doren (who is perhaps now as well known for being the father of Ralph Fiennes' character in 'Quiz Show' as he is for his erudition).

Van Doren's preface, itself a famous piece of work, accounts for both the best and worst of Whitman's creations (Van Doren seemed to share Randall Jarrell's view that we can only appreciate the best of Whitman's poetry by acknowledging the depths of his worst work), and seeks to locate the personal Whitman within his verses. This essay alone is arguably worth the price of purchase.

What really sets this anthology apart from others like it, though, is the manner in which Van Doren takes his argument - that Whitman's work was always intimate, even though its themes were variously epical or universal - and applies it to his selection of poems. In inevitable inclusions such as 'Song of Myself', 'Mannahatta' and 'Crossing Brooklyn Ferry', we see Whitman the oracular poet, bringing into his egalitarian imagination the disparate bustle and brio of nineteenth-century New York and ordering them in verse. But when we read alongisde these poems 'Ashes of Soldiers', 'When Lilacs Last in the Dooryard Bloom'd', 'Native Moments' and 'Once I Pass'd through a Populous City', we begin to recognise the truth in Van Doren's thesis. Whitman's fear of death, his concern for the memories of the individual dead (as we see in 'As Toilsome I Wander'd Virginia's Woods'), and his nascently homerotic fascination with his own body (he writes in 'As Adam Early in the Morning', 'Touch me, touch the palm of your hand to my body as I pass,/ Be not afraid of my body'), complement those aspects of his poetry for which he is perhaps most famous: his mythical imagination, exclamatory verse, and descriptive catalogues of local people and places, which remind me of Homeric battle lists, except that they are predicated upon peace, not war.

Combined with his eloquent prose accounts of his activities as a nurse during the Civil War, his letters, and his thoughtful, incisive tributes to those he recognised as great poets (his critical work occasionally resembles the scrupulous excellence of Samuel Johnson), Whitman's poetry discloses subtle resonances that readers might otherwise be inclined to overlook, or forget. Long-time admirers of Whitman will be overjoyed by this classic edition of his work. Those who haven't yet experienced the joys of his language could do worse than look here for a comprehensive overview of his oeuvre.

Whitman is the great American poet. Emily Dickinson has a greatness more metaphorically striking and acutely original in thought. And Wallace Stevens has a music which in its intellectual complexity perhaps transcends that of Whitman.
But Whitman is as Emerson rightly understood the essential American poet.
He is the voice of the new world, of a new land, of a new conception of mankind greater and more hopeful than any seen before. He is the cataloguer of continents and the master maker of the music of ordinary places and people.
He feels most deeply into the American story and is the great democrat of American poetry. His long lines have a freedom and a sense of expansiveness which embrace worlds and celebrate the sights and sounds of his native land. He more than anyone understood the poetry of American place-names. And he had a feeling for the natural motion of America's teeming new cities and long distant shores.
His 'Song of the Self' is a heroic American assertion of Mankind in its great exuberance of hopefulness. Yet no one more than him felt the pain of America's Civil War and its suffering, the lilacs that last in the dooryard bloomed.
There are certain parts of his great poem, set pieces such as 'When I heard the learned Astronomer ' or his lines on the observation of Animals that provide a kind of wake- up shock, a kind of revelation of Thought as Beauty.
He is the definitive American poet, whether we like every aspect of his barbaric yawp or not. Or whether we sometimes feel that his celebrations are misplaced and his self- singings mere aggrandizements.
The great continent, the great Westward expansion, the great thriving of a new world is as he pictured it a sequence of ever- expanding circles of a cosmos becoming greater and greater in time. And he gives that feeling, gives the sense that life has in it some mysterious greatness that moves us always to be more in the future than we can dream we are now.

Not having read the entire book yet, I am not eligible for evaluating it as a whole. However, the poems that I have read amaze me and they are the reason why I call Whitman my favourite poet.

First and foremost, Whitman follows Emerson's thread of thougth in his nature-loving poetry, but Whitman allows himself fewer limits: He not only writes in free verse, he also writes explicitly about his sexuality.

His power, though, lies in his ability to take everyday things and use them in what we might call catalogue rhetoric: In a way he is just making drafts without logics. This is his way of putting everyday America into a poem. And it works. We may wonder what his point is, but Whitman is about sensation, not logics, and the feeling you experience when you read 'Song of Myself', his masterpiece, is truly unique. It is the same feeling you have when you see a beautful forest or sunset. This is poetry at its best.

I was very fortunate to find a used copy from the library. The pictures are not only remarkable but the information included make it very valuable. The truth hurts and there is plenty of facts in here about how we as a people are destroying our Earth. If this book moves one person to care about the effects of their actions.. then maybe it's served its purpose.

This is an awesome pictorial with great editorial book that is awesome to read or simply thumb through to view some of the most beautiful rainforest's the world has to offer. Perfect for schools, to show kids who may have never been to or seen a rainforest what they are & why we need to protect them.

Very young children will understand when explained the importance all rainforest's have for human survival, not to mention the survival of unique flora & fauna.

This book would be helpful to science classes of all ages and teachers should have no problem creating study guides and exercises from it.

Do not get me wrong, this book is perfect for adults too, makes a fantastic coffee table book for your guests to flip through. And would look striking on the coffee table of any home!

I do not think anyone who purchases this would be disappointed. It is such a lovely book and simply gorgeous to view!

The author and photographers are part time residents of the Monteverde area of Costa Rica. Many of the photos in this book also are displayed at the Monteverde Cloud Forest Reserve, near Santa Elena, in Central Costa Rica. Anyone who has been to a Central or South American rain forest or cloud forest will enjoy the ecological explanations -- similar to briefer explanations by guia naturalistas (guides) in the reserves -- and will especially enjoy the dramatic photos. Those who haven't visited the forest in person may be motivated to do so.