Kamis, 31 Maret 2011

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Into the Volcano, by Don Wood

Don Wood, bestselling Caldecott artist, rocks the graphic-novel world with his new paperback!


The volcano is erupting, and brothers Sumo and Duffy are trapped inside a deep lava tube--almost certain death. How did they get here? A vacation "hike" turned out to be a cut-throat search for their missing family fortune.
In a wildly dangerous twist of events, the boys try to escape--but rivers of lava are blocking their exit! The remote island of Kocalaha is threatening to explode at any minute. Will the boys survive?
Don Wood's rip-roaring adventure keeps readers hooked and turning the pages in this cinematic graphic novel that garnered outstanding critical acclaim. As one reviewer wrote about this book, "the American Library Association will either have to start handing Caldecott Medals over to comic books or create an entirely new award for them."
Into the Volcano is a rollercoaster read for all ages by an internationally acclaimed artist who has created scores of bestselling picture books published in more than twenty languages around the globe.

  • Sales Rank: #473054 in Books
  • Published on: 2012-06-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.25" h x 6.50" w x .50" l, 1.10 pounds
  • Binding: Paperback
  • 176 pages

From School Library Journal
Starred Review. Grade 5-8–This intense mystery-adventure coming-of-age chapter book is done in comic-book style–something of a departure for Wood. Two brothers, Duffy and Sumo, are sent to Hawaii to visit their mysterious aunt, who hustles them off on a perilous expedition into the bowels of an erupting volcano, accompanied by strangers whose skills are obvious, but whose trustworthiness is not. The dangers the boys face are terrifying, especially an interlude during which Sumo, wracked by guilt and indecision after he thinks his brother has fallen to his death, is trapped in the dark on an underground cliff and is visited by the specter of Death. That the children, who appear to be 10 or 12, have been exposed to such peril knowingly by an adult who has been entrusted with their care is a dark vein running through the story. Wood's vividly colored artwork brings the perils the siblings face into startling focus. Keenly observed depictions of the Hawaiian landscape and geological processes lend an impressive veracity to this exciting and unusual offering. It is a rare example of a graphic novel for young people that is neither manga nor mainstream.–Paula Willey, Baltimore County Public Library, Towson, MD
Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
*Starred Review* Brothers Duffy and Sumo Pugg embark on an adventure after their eccentric aunt invites them to come see the island of Kocalaha, their mother’s birthplace. Duffy, excited to get away from the gloomy winter in their hometown, jumps at the chance, but Sumo is worried: a�lot of things could go wrong so far away from home.�The boys are taken into the heart of a volcano to explore and learn more about their heritage, but the seemingly dormant volcano is in the midst of waking up. The situation quickly becomes perilous, and between the volcano’s power and shocking revelations of family secrets, it appears neither boy will make it out alive. With such a thrilling story, Wood scores points for both pacing and characterization. The action moves along at breakneck speed, and through all of the twists and turns, the reader is left wondering�if the boys will survive. The art is beautifully rendered in thick bold lines and a rich color palette and is a nice break from the mainstream comic style. Although this adventure may be a little too scary for younger readers on their own, it makes a fun book for parents and children to share together. Grades 4-7. --Tina Coleman

Review
Booklist Best Books for Young Adults; Booklist Editors' Choice: Books for Youth; Booklist Top 10 Graphic Novels for Youth; YALSA Best Books for Young Adults, 2009; Cybil Award, 2008 Finalist Graphic Novels; Pennsylvania Young Readers' Choice Award Nominee

"Wood's vividly colored artwork brings the perils the siblings face into startling focus. Keenly observed depictions of the Hawaiian landscape and geological processes lend an impressive veracity to this exciting and unusual offering. It is a rare example of a graphic novel for young people that is neither manga nor mainstream."--SCHOOL LIBRARY JOURNAL, starred review
"The action moves along at break-neck speed"--BOOKLIST, starred review
"a non-stop thrill ride through one of Earth’s most exotic and terrifying natural wonders."--CHILDREN'S LITERATURE
"will appeal to those boys who wouldn’t be caught dead reading a book, because from cover-to-cover they will find nothing but fast-paced action and excitement."--LIBRARY MEDIA CONNECTION
"Wood’s graphic-novel debut is visually exciting, with eerily delineated characters of questionable loyalty, a pair of Everykid brothers who are wondrously expressive on this emotional rollercoaster ride, and an active volcano whose pyrotechnics are real scene-stealers."--THE BULLETIN OF THE CENTER FOR CHILDREN'S BOOKS




Most helpful customer reviews

10 of 11 people found the following review helpful.
Into The Volcano
By R. T. Marshall III
I've been trying to think of unique ways to describe this graphic novel without using "visually stunning" and "breathtakingly beautiful," but I can't do it. Every panel is a work of art. The scenes where the lava meets the ocean are perfect. It's just ink on a page, but Wood captures the light, the hiss, and the heat. The graphic novel not only stands up to artistic scrutiny, but also has a gripping story.

It's a mystery, adventure that appeals to a younger audience, but I found myself engrossed. Brothers, Sumo and Duffy, are pulled out of class unexpectedly by their father to be shipped off to an island with a mysterious cousin they've never met. The whole enterprise is shady, and when the boys meet Auntie, it gets even more suspicious. The book twists and turns, so the reader is never quite sure who's good and who's bad. The boys have to do some self-reflection.

Wood's artistic portrayals of the characters captivated me. I was shaken by overweight Auntie with her greenish-pink skin and broken foot. I immediately knew something wasn't quite right with her. You can almost smell her. The boys have a pugish Hawaiian look, which made me not fall for them right away. That's a good thing. Most books aimed at younger audiences try to win the reader over to the protagonist's side with sentimentality too soon. Wood's style and scope gives the book a cinematic depth that I have rarely seen in graphic novels. One panel you're in the boat with the characters, waves pounding; the next you have a bird's eye view. It sets a fast adventure pace that young readers will love.

Overall, I'll be shocked if Into The Volcano doesn't win some awards.

6 of 6 people found the following review helpful.
A Terrific Ride
By Monica Edinger
Wow. Don Wood's Into the Volcano is one powerhouse of a graphic novel that you won't want to miss. In fact, as far as missing goes, I almost missed my bus stop so engrossed was I in this totally wild adventure in and under and around an erupting volcano. The word gripping is completely apt for this (here comes another trite but accurate word) roller coaster of a read. Wood grabs you on the first page as brothers Duffy and Sumo are called out of their classroom to meet their father who immediately turns them over to a cousin they have never met before, the burly Come-And-Go. Before any of us can take a breath, the two boys (who appear to be between 8 and 12 years of age) are flying off to their just-learned-about mother's home island of Kocalaha. Once there they and we are thrown into an extraordinary adventure involving questionable people (are they good or bad?), an erupting volcano, secrets (of every sort), life and death circumstances, heart-stopping moments (many of them!), and family ties. A truly brilliant work.

9 of 11 people found the following review helpful.
Into the volcano and out of the volcano and home before dark
By E. R. Bird
Look, I hate to burst your bubble but not every picture book illustrator born is necessarily cut out to write his or her own graphic novel. It's an entirely different set of muscles, after all. Melding text and image well enough to sustain a story means having a firm grasp of what does and does not work as a comic. So I know you might have gotten all excited when you heard that Don Wood had written a graphic novel, but don't be happy because a great Caldecott-winning illustrator has dipped his toe in a new format. Be happy because the man is good at it. Crazy good. He may have amused you with King Bidgood's in the Bathtub or entertained your children with his The Napping House but sister you ain't seen anything like to compare to his breathtakingly beautiful Into the Volcano. The past ten years have seen incredible strides in graphic novels for children. Into the Volcano appears to be the next logical step in the process. A full-color adventure with double crosses, death-defying escapes, and personal growth, it has no equal.

The Pugg brothers Duffy and Sumno are just sitting in their classroom in the dead of winter one moment and the next they're being whisked off to the island nation of Kocalaha. It seems their Aunt Lulu has been longing for a visit from her nephews and Duffy, for one, is thrilled. Sumo's far more reticent and likely to complain, a quality that doesn't serve a person well in Kocalaha. Soon they meet their cousin Mister Come-and-Go who disappears and reappears without a warning. They meet the beautiful Pulina, her boyfriend Kaleo, and Mango Joe, a fellow in the witness protection program. But not all is right on this beautiful island. Why won't Auntie let the boys talk to their dad on the phone? Why is everyone so gung-ho certain that the boys should go on this "expedition" that they're told is done for all the tourists but seems to mask a sinister plan. Before Duffy and Sumno know it they're dodging lava streams and spelunking in dangerous territory. But in a world where no one is what they seem, people of seeming weakness can find the strength to do what must be done.

I've been saying for a while that at some point an artist is going to create a graphic novel so visually stunning that the American Library Association will either have to start handing Caldecott Medals over to comic books or create an entirely new award for them. We've come close in the past. Mouse Guard was beautiful, but the story didn't hold up its end of the bargain. The Arrival would have been ideal, but the book wasn't originally published in America. Into the Volcano, though... now here's a title with potential. The entire enterprise is so lush you find yourself just poring over the images for long periods of time. Honestly, I could see a real push put to have this considered as the very first graphic novel worthy of a major children's award. Yet in many ways, it may come down to the way in which it was drawn. According to Scholastic's press material, Mr. Wood drew AND colored this entire enterprise on the computer. No fully computer created children's book has ever won a Caldecott, and perhaps none ever will. If there was a candidate, however, this would be it.

At the beginning I found Wood's boy heroes off-putting. With their snub noses and blunt faces, they resemble nothing so much as a pair of kids that could have jumped out of a Maurice Sendak book. Maybe We Are All in the Dumps with Jack and Guy. Wood utilizes the grotesque in a variety of ways. Sumno is a dislikeable character in a lot of ways so the book makes him the more unattractive of the two, both personally and physically. Aunt Lulu's sheer mass, weight, and injured foot will focus on her entirely one moment and then close in on her long grotesque toenails. Yet everything that I initially found off-putting in this book eventually grew on me. My resistance must have fallen apart entirely when I got to Chapter Seven: Lava in the Water. Trust me.

It takes skill to build the kind of excitement and tension Wood conjures up here. I wish I could get a sense of what comics Mr. Wood looked at before writing Into the Volcano. He's said in the past that he's a Carl Barks fan, but that doesn't explain what I see here. How did he learn to draw these action sequences? Who were his other influences? His references? Because when push comes to shove and people are fighting nature (lava, earthquakes, tides, and waves) you can't help but be sucked in. Reading Into the Volcano you have no sense that this is the man's first book of this kind. Clearly there are years and years of work in this pup. The biography in the back says five. It shows.

And take a close look at Wood's style here too. The sheer range of artistic styles and impressions... I mean this man has scope. There's a weight and a breadth to his art that we just haven't seen in graphic novels for young readers before. And just look at his ability to play with light and textures. As one of a million examples, take a close look at the sequences where the small boat is trying to navigate the rapids past streams of hot lava. Wood has managed to draw or illustrate the effect of hot orange light beneath water and steam. Now look at Aunt Lulu in all her full fleshy glory. You can practically feel her sweat and smell her moist possibly perfumed body. I mean this woman has a physical presence that seems to extend beyond the page. And look at how he changes angles in his panels. We're constantly looking at each scene from every possible viewpoint. It's as if Wood had a camera and he's using it to swing around his action, now below in the water, now up above.

I should probably talk about the story too, eh? Certainly Into the Volcano hits on all cylinders in terms of visuals but how does the writing itself stand up? Well, it's complicated. The story concerns the boys Sumo and Duffy and we watch as Duffy accepts and enjoys everything new while Sumo cowers and questions. For much of the first half Duffy is clearly the stronger, braver kid but as time goes on Sumo's suspicions appear to be well founded. Some younger kids may have a hard time figuring out who's a good guy and who's a bad guy from moment to moment. Sometimes you think you're rooting for the heroes and the next minute they appear to be villains. The plot requires a close reading, but it holds up (particularly on subsequent re-readings, which is crucial). In a way, this title is perfectly positioned to appeal to younger kids in terms of its danger and heroes and to older kids who need a complex story to bite into.

I'm the kind of person who wants to label everything. To slot every book into a neat little category, even if I didn't know the category existed before I read the book. For example, name me the greatest children's book out there about volcanoes. They exist. I know they do. But until now I've not seen or read a book that really worked factual information with a breakneck plot as seamlessly as Into the Volcano. And more to the point, I've never seen a graphic novel written with a child audience in mind that was as out-and-out beautiful and gripping as this puppy here. Read it cover to cover and you will find a title like no other that is sure to make a few waves when it hits bookstore and library shelves. A true original.

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[N654.Ebook] Download PDF Falling Up, by Shel Silverstein

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Falling Up, by Shel Silverstein

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Falling Up, by Shel Silverstein

From New York Times bestselling author Shel Silverstein, the classic creator of Where the Sidewalk Ends, A Light in the Attic, and Every Thing On It, comes a wondrous book of poems and drawings.

Filled with unforgettable characters like Screamin’ Millie; Allison Beals and her twenty-five eels; Danny O'Dare, the dancin' bear; the Human Balloon; and Headphone Harold, this collection by the celebrated Shel Silverstein will charm young readers and make them want to trip on their shoelaces and fall up too!

So come, wander through the Nose Garden, ride the Little Hoarse, eat in the Strange Restaurant, and let the magic of Shel Silverstein open your eyes and tickle your mind.

  • Sales Rank: #3569 in Books
  • Brand: Harper Collins
  • Published on: 2006-01-24
  • Released on: 2006-01-24
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.50" h x 7.25" w x 1.25" l, 1.37 pounds
  • Binding: Hardcover
  • 171 pages
Features
  • HarperCollins Publishers

From Publishers Weekly
All the things that children loved about A Light in the Attic and Where the Sidewalk Ends can be found in abundance in this eclectic volume, Silverstein's first book of poetry in 20 years. By turns cheeky and clever and often darkly subversive, the poems are vintage Silverstein, presented in a black-and-white format that duplicates his earlier books. Like Roald Dahl, Silverstein's cartoons and poems are humorously seditious, often giving voice to a child's desire to be empowered or to retaliate for perceived injustice: one child character wields a "Remote-a-Dad" that will instantly control his father, and another dreams of his teachers becoming his students so that when they talk or laugh in class, he can "pinch 'em 'til they [cry]." The poems focus on the unexpected-a piglet receives a "people-back ride" and Medusa's snake-hair argues about whether to be coifed in cornrows or bangs. Sometimes the art traffics in gross-out, as when William Tell gets an arrow through his forehead or a cartoon character sticks carrots in his sockets because he's heard that carrots are good for his eyes. Although some parents and teachers may cringe at such touches, Silverstein's anti-establishment humor percolates as he lampoons conventions (the stork not only brings babies but "comes and gets the older folks/ When it's their time to go"), or discards decorum (a small gardener zips up his pants after watering the plants "that way"). No matter that the author's rhythms and rhymes can be sloppy, or that his annoying insistence on leavin' off the endin' to his ING's seems artificially folksy, Silverstein's ability to see the world from, as he says, "a different angle" will undoubtedly earn this book a wide audience. All ages.
Copyright 1996 Reed Business Information, Inc.

From School Library Journal
Grade 3 Up?Fifteen years after A Light in the Attic (1981) and 22 years after Where the Sidewalk Ends (1974, both HarperCollins), Silverstein, whose poetry has achieved cultlike popularity, offers readers another collection. While bodily functions seem to be the source of humor in more poems than in the earlier titles, and while there are fewer wonderful images here, the child appeal is as strong as ever. Once again, Silverstein's pen-and-ink drawings are the perfect accompaniment to the poems, always extending and often explaining the words. The book abounds in energetic wordplay ("I saw an ol' gnome/Take a gknock at a gnat/Who was gnibbling the gnose of his gnu") and childlike silliness ("I only ate one drumstick/At the picnic dance this summer...But everybody's mad at me,/Especially the drummer"). Silverstein writes wonderful nonsense verse, but he has used rhyme and rhythm to greater effect in the past. There is much to love in Falling Up, but it has its ups and downs.?Kathleen Whalin, Greenwich Country Day School, CT
Copyright 1996 Reed Business Information, Inc.

From Kirkus Reviews
Well, finally. In this long-overdue follow-up to A Light In The Attic (1981), Silverstein once again displays the talent for wordplay and idea-play that keeps his poetry evergreen. In bumptious verse that seldom runs more than three or four stanzas, he introduces a gallery of daffy characters, including the Terrible Toy-Eating Tookle, a hamburger named James, blissfully oblivious Headphone Harold, and the so-attractive folk attending the ``Rotten Convention''--``Mr. Mud and the Creepin' Crud/And the Drooler and Belchin' Bob,'' to name but a few. The humor has become more alimentary with the years, but the lively, deceptively simple art hasn't changed a bit. Its puzzled-looking young people (with an occasional monster or grimacing grown-up thrown in) provide visual punchlines and make silly situations explicit; a short ten-year-old ``grows another foot''--from the top of his head--and a worried child is assured that there's no mouse in her hair (it's an elephant). Readers chortling their way through this inspired assemblage of cautionary tales, verbal hijinks, and thoughtful observations, deftly inserted, will find the temptation to read parts of it aloud irresistible. (index) (Poetry. 7+) -- Copyright ©1996, Kirkus Associates, LP. All rights reserved.

Most helpful customer reviews

3 of 3 people found the following review helpful.
Silverstein's poetry is good for the soul both young and old
By Vincent Price - NOT
My kids immediately fell in love with Shel Silverstein's when I introduced them to his work about 7 years ago... They were 1 and 4 at the time. (The older one got his younger brother interested as the younger one got older.) They are now 8 and 11 years old, and they still get a kick out of reading Silverstein's poems: They laugh out loud when they read his poems, and I get great joy from that. So this is our 10th or so of his books, and the boys love it. Can't go wrong with silly, clean poems that bring laughter to little children. Good for adult hearts, too!

1 of 1 people found the following review helpful.
An interesting and enjoyable book to read. If you are a Shel Silverstein fan you will love this volume.
By Joseph J. Truncale
This is the third hardcover book I have read (Falling Up: Poems and Drawings by Shel Silverstein) by this author. As I have mentioned previously, this author has an original and unique talent to create unusual poems spiced with his drawings making his books interesting reads. I enjoyed this volume the most out of the three books I have read by Silverstein.

Each of the wonderful poems also includes the author’s own original and unique drawings. The combination makes for a fun to read book for both adults and younger readers. Like a lot of Silverstein’s books, there are messages and lessons of life we can all relate to reading his poetic words.
I really liked most of the poems in this volume, but some of my favorites in this book include the following: Sun hat, snow ball, unfair, crystal ball, no thank you, safe, my robot, sidewalking, Pinocchio, big eating contest, bad cold, people zoo, hypnotized, mirror, mirror, haunted, a battle in the sky, the mummy, a cat, a kid, and a mom, Lyin Larry, no, the smile makers and when I was your age.

If you are a Shel Silverstein fan you will love this book. I found it to be refreshing, amusing and entertaining.

Rating: 5 Stars. Joseph J. Truncale (Never trust a politician: A critical review of politics and politicians.

0 of 0 people found the following review helpful.
A Wonderful Literary Way to Bond with Your Family
By Jamie
Almost everyone knows about this book and its author so I don't really need to go into detail about that. What I will say is that it is an awesome family bonding tool. I have six kids, ages 1 to 19, and they all enjoy listening to the poems from this book together. I'm a huge fan. Some of my favorite readings are in this book. I definitely enjoy sharing things I remember from my childhood with my kids and this is one of them.

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Senin, 28 Maret 2011

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Wind Energy Engineering , by Pramod JainFrom Hardcover

  • Published on: 2010-10-01
  • Binding: Hardcover

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Minggu, 27 Maret 2011

[R143.Ebook] Download Ebook Osteopathic Considerations in Systemic Dysfunction, by Michael Kuchera, William Kuchera

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Osteopathic Considerations in Systemic Dysfunction, by Michael Kuchera, William Kuchera

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Osteopathic Considerations in Systemic Dysfunction, by Michael Kuchera, William Kuchera

This text is divided into sections in order to present an osteopathic approach to dysfunction manifesting in a particular system pertinent to a common clinical presentation. The divisions are grouped by their common autonomic and lymphatic elements. The purpose of the book is to explore selected structural and functional consideration which may produce symptoms or compromise homeostasis. It also demonstrates, by example, clinical application of the osteopathic philosophy in selected situation. Lastly, it attempts to show where osteopathic manipulative treatments can be prescribed as primary or adjunctive modalities available to the DO as they assist patients in reaching their maximum health potential.

  • Sales Rank: #664639 in Books
  • Brand: Brand: Greyden Pr
  • Published on: 1994-12-01
  • Released on: 1994-12-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.00" h x 8.50" w x .75" l, 1.55 pounds
  • Binding: Paperback
  • 294 pages
Features
  • Used Book in Good Condition

Most helpful customer reviews

1 of 1 people found the following review helpful.
Osteopathic Considerations in Systemic Dysfunction.
By Richard Dana
This book is a compendium of amazingly ideas and concept which set the osteopathic profession apart from traditional medicine. I do not believe that osteopathy is " better" than the traditional mode- I have met excellent physician with both backgrounds. But the osteopathic model- at its best, can be a powerful tool, when used with the insight of great leaders in the field- i is: Ed Stiles, D.O., Fred Mitchell D.O. ( both senior, and junior), Loren Rex, D.O., etc., etc., etc. this book is a tribute to the profession, at its best. A fine reference.

0 of 0 people found the following review helpful.
Gotta have it!
By Dr. Hall
A must for anyone in the field of manual medicine. I have other books written by Kuchera and they are all great.

0 of 0 people found the following review helpful.
Excellent text on Osteopathy in the field of visceral diseas
By A Customer
An excellent and very welcome text on the important role Osteopathy has to play in the treatment of visceral disease. By explaining the relationships between viscera and the Autonomic nervous system, the authors have been able to recommend an approach and treatment plan for many common visceral disorders. For any Osteopath who has a desire to explore the full power of Osteopathy and be confident in treating such conditions in their clinic, this book is a must.

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Minggu, 20 Maret 2011

[J597.Ebook] Free PDF Star Wars: The Last of the Jedi: Return of the Dark Side (Volume 6): Book 6 (Disney Chapter Book (ebook)), by Jude Watson

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Star Wars: The Last of the Jedi:  Return of the Dark Side (Volume 6): Book 6 (Disney Chapter Book (ebook)), by Jude Watson

Star Wars: The Last of the Jedi: Return of the Dark Side (Volume 6): Book 6 (Disney Chapter Book (ebook)), by Jude Watson



Star Wars: The Last of the Jedi:  Return of the Dark Side (Volume 6): Book 6 (Disney Chapter Book (ebook)), by Jude Watson

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Star Wars: The Last of the Jedi:  Return of the Dark Side (Volume 6): Book 6 (Disney Chapter Book (ebook)), by Jude Watson

Ferus Olin's allegiance is to the Jedi. But when he's summoned to see the Emperor, the Sith Lord makes him an offer he can't refuse. If he can manage to prevent a planet from lunging into chaos, the Empire will spare ferus's capture friends. And if he doesn't- they'll die. Another heart-stopping Jedi adventure from bestselling author Jude Watson.

  • Sales Rank: #431312 in eBooks
  • Published on: 2014-11-25
  • Released on: 2014-11-25
  • Format: Kindle eBook

Most helpful customer reviews

0 of 0 people found the following review helpful.
Very good book. (Extremely Extremel ontense and violent chapters.)
By Adam Kradel
I liked this one more than the last one, I was really suprised
when Ferus Olin got bcaptured by the person who was trying to find him. In this book of the LAST OF THE JEDI series Jude Watson makes it much more intense the last one.

0 of 0 people found the following review helpful.
Keeps getting better
By E. Michael Mccaffrey
Ferus gets deeper and deeper and we see the well oiled machine that is the Empire. Good story. And Ferus is getting deeper in with his enemy!

0 of 0 people found the following review helpful.
Exciting continuation of Star Wars after Episode 3
By Lynette Moughton
I like this series because it fills in what happened after Episode 3.

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Rabu, 09 Maret 2011

[R192.Ebook] Free Ebook The Lightbringer Trilogy 1 The Black Prism (1 of 3), by Brent Weeks

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The Lightbringer Trilogy 1  The Black Prism (1 of 3), by Brent Weeks

Gavin Guile is the Prism, the most powerful man in the world. He is high priest and emperor, a man whose power, wit, and charm are all that preserves a tenuous peace. But Prisms never last, and Guile knows exactly how long he has left to live: Five years to achieve five impossible goals. But when Guile discovers he has a son, born in a far kingdom after the war that put him in power, he must decide how much he's willing to pay to protect a secret that could tear his world apart.

  • Sales Rank: #1163411 in Books
  • Published on: 2011-01-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 5.25" h x 6.25" w x .50" l, .1 pounds
  • Binding: Audio CD
  • 1 pages

Most helpful customer reviews

0 of 0 people found the following review helpful.
It is the most amazing story and getting to listen to it with different ...
By Horse Lady
It is the most amazing story and getting to listen to it with different voices reading is so much more fun. I love it.

0 of 0 people found the following review helpful.
Five Stars
By r bossler
Very good

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Selasa, 08 Maret 2011

[E230.Ebook] Free PDF The Party at Jack's: A Novella, by Thomas Wolfe

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The Party at Jack's: A Novella, by Thomas Wolfe

In the summer of 1937, Thomas Wolfe was in the North Carolina mountains revising a piece about a party and subsequent fire at the Park Avenue penthouse apartment of the fictional Esther and Frederick Jack. He wrote to his agent, Elizabeth Nowell, 'I think it is now a single thing, as much a single thing as anything I've ever written.' Abridged and edited versions of the story were published twice, as a novella in Scribner's Monthly (May 1939) and as part of You Can't Go Home Again (1940). Now Suzanne Stutman and John Idol have worked from manuscript sources at Harvard University to reconstruct The Party at Jack's as outlined by Wolfe before his death. Here, in its untruncated state, Wolfe's novella affords a significant glimpse of a Depression-era New York inhabited by Wall Street wheelers and dealers and the theatrical and artistic elite. Wolfe describes the Jacks and their social circle with lavish attention to mannerisms and to clothing, furnishings, and other trappings of wealth and privilege. The sharply drawn contrast between the decadence of the party-goers and the struggles of the working classes in the streets below reveals Wolfe's gifts as both a writer and a sharp social critic.

  • Sales Rank: #4080706 in Books
  • Brand: Brand: The University of North Carolina Press
  • Published on: 2001-02-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.02" h x .62" w x 5.98" l, .90 pounds
  • Binding: Paperback
  • 274 pages
Features
  • Used Book in Good Condition

From Publishers Weekly
Thomas Wolfe meets Tom Wolfe at last. Remember the Park Avenue penthouse party where the hoity-toity crowd gathered in The Bonfire of the Vanities? Here we're at that same party, without Tom W.'s humor--and without a story. Instead, Thomas W. gives us a cubistic painting of the building itself, from the penthouse to the subway trains beneath that tie the building to the whole U.S. economy, with portraits of the wealthy who inhabit the place, all rendered in prose of a density peculiar to this novella among his works. Those who loved Bonfire are likely to hate Jack's because of its literary daring, with entertainment a secondary consideration. Yet it is of note as the only example in all of Wolfe that shows his mastery of an experimental form he derived from Joyce. Written and revised during 1930-1936, this work first appeared in far shorter form in Scribner's monthly and in You Can't Go Home Again. Comparison with that novel shows that the present editors, both Wolfe scholars, have gone back to the original and presented him at his most expressive.

Copyright 1995 Cahners Business Information, Inc.

From Library Journal
Those familiar with Wolfe's work will recognize this title as a chapter heading in You Can't Go Home Again. In different forms, the work appeared as a novella in Scribner's Monthly and as part of the above-mentioned novel, but the editors have worked with manuscripts and letters to re-create it as they claim Wolfe intended. The central characters are the wealthy immigrant businessman Frederick Jack (note the play on the slang for money) and his Broadway show designer wife, Esther, both voluptuaries in their own way. Various "types" are satirized (the insipid "Piggy" London is a wonderful creation), and the party itself becomes the central character in a type of drawing-room comedy with a sharp edge. The editors offer an academic-style introduction to set the book in the context of Wolfe's life and work, though Wolfe's tale, replete with his especially lovely language, can stand on its own despite a few flaws. Highly recommended, especially for literary collections.?Harold Augenbraum, Mercantile Lib., New York
Copyright 1995 Reed Business Information, Inc.

Review
Aside from Tom Wolfe . . . and Norman Mailer, no stylist today takes as big a bite out of the American landscape.
—"Kirkus Reviews"

I think it is now a single thing, as much a single thing as anything I've ever written.
—Thomas Wolfe, to his agent, Elizabeth Nowell

Wolfe's tale, replete with his especially lovely language, can stand on its own despite a few flaws.
—"Library Journal"

A significant, addition to the Wolfe texts that have been appearing under this publisher's imprint.
—"Choice"

Written in Thomas Wolfe's characteristically rhapsodic style.
—"New York Times Book Review"

Most helpful customer reviews

2 of 2 people found the following review helpful.
Satisfying, though a draft
By Chris C. Hill
Stutman and Idol offer a generous and judicious working draft of an ambitious novel, some of which Wolfe's posthumous editor, Edward C. Aswell, included in his version of You Can't Go Home Again. While the earliest sketches for The Party at Jack's date from 1930, Wolfe worked on it mostly from the summer of 1937 into the winter of 1938, making this one of his last major writings.

Set in Manhattan at the zenith of the Jazz Age, the story concerns a "power couple" who exemplify the ambition, idealism, infatuations, compromise, materialism, and tragedy of a time and place that did much to define American culture. The opening chapters essay a multileveled psychological and behavioral portrait of the husband, Friederick Jack. The meditative pace, reminiscent of Goncharov or Proust, is energized by some of Wolfe's most daring and experimental writing. The main thread of the book, however, begins with Wolfe's parallel portrait of the wife, Esther Jack (the same character who motivates much of Eugene Gant's world wandering in Of Time and the River). The party at Jack's is her party, and Wolfe takes great pains to portray in frank detail the social, sexual, creative, and moral dichotomies revealed by the big event. You can feel Wolfe trying to work through his own conflicting emotions as he develops this narrative. He makes no attempt to hide his discomfort with aesthetics and lifestyles that celebrate ironic detachment or that privilege form over content.

Yet just when he seems to risk a descent into merely reflexive criticism of the jazz decade, Wolfe pushes the story (through convincing plot details) into new places where it pulses with empathy and achieves transcendence. In the end, the novel is a portrait of human caring and blindness, filled with colorful details of its era. Although redundant adjectives and even occasional redundant sentences indicate the state of the draft, I found the book engrossing and hard to put down.

1 of 1 people found the following review helpful.
Wolfe, but not quite Wolfe.
By Psyche
It is entirely possible for a book to be wonderfully-written and poorly-edited. If you don't believe me, read this book.

It took me three days to read this 240-page novella. I had to read some sentences, paragraphs, and even pages over a few times to gain clarity and understanding. Repetition of phrases can be a useful device for emphasis or effect, however, if over-used, the effect became annoying. I think the daughter's name was changed somewhere about a third of the way through the book, and then back again toward the end of the book, only for the daughter to disappear altogether by the close of the book. The first few chapters, told from Mr. Jack's viewpoint, did not really fit with the rest of the book, told from Mrs. Jack's viewpoint. It is fine to switch viewpoints, but I needed a bit of help to get from the fire to the return of Mr. Jack to his childhood home.

I can't fault Thomas Wolfe; first of all, because he IS Thomas Wolfe, but more importantly, he hadn't finished writing this book before he died. So, while I am happy the The Party at Jack's has seen the light of day, I would have preferred that someone with a stronger ear for Thomas Wolfe had edited it.

1 of 1 people found the following review helpful.
It's by Thomas Wolfe. Need I say more?
By Harrison Holmes
I needed this Thomas Wolfe novella simply because I didn't already have it. And if I am to be fully knowledgable of Wolfe... well the answer is obvious. If I were to conduct a class on writing I would have to spent time on the necessity of developing, as Andrew Lytle termed it, a-sense-of-place. There is a-sense-of-place that helps, is critical, to the development of the character of George Webber, Miss Esther Jack and others. Many Wolfe paragraphs read like poetry. Place is not so much a physical place like New York or Lybia Hill or the mountains of North Carolina but the place as defined by the characters’ personalities, their beings. Physical location is not so important except as a vehicle… a-sense-of-place is the domain of the characters. You might consider "The Party at Jack’s" an introduction to some of the characters you'll find in "You Can’t Go Home Again."

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Senin, 07 Maret 2011

[Q343.Ebook] Download Facilitator's Toolkit, by Maggie Havergal, John Edmonstone

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Facilitator's Toolkit, by Maggie Havergal, John Edmonstone

Maggie Havergal and John Edmonstone's Facilitator's Toolkit provides your organization with a resource on which every manager can draw. The authors explain the basic skills of facilitation, how and when to use them (and not to use them). The main part of the manual then offers a Toolkit of almost 100 tools for facilitation; tools for organizing groups; tools for strategic thinking; tools for problem solving; diagnostic tools; tools for managing people, including other facilitators; tools for decision making; tools for planning; tools for managing conflict and dealing with problems, situations or people.

  • Sales Rank: #5754547 in Books
  • Brand: Brand: Gower Pub Co
  • Published on: 2003-10
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.75" h x 8.25" w x .75" l, 2.26 pounds
  • Binding: Hardcover
  • 288 pages
Features
  • Used Book in Good Condition

Review
'This is as much a treasure chest as a toolkit. There are all sorts of pearls of wisdom in here for both the experienced facilitator and the beginner. The grouping of specific tools for organising, strategic thinking, decision making etc. is very effective. Tips on how to manage individuals, groups, fellow facilitators and clients, are practical and infused with common sense and humanity. I used the original manual extensively in all sorts of settings and foresee myself using this one with equal enthusiasm.' Jacinta Elliott, Director, Elliott Walker Consultancy Ltd '...in my opinion, one of the most valuable and useful toolkits I have encountered...sufficient to satisfy even the most demanding searcher for information and guidance. The information is clear, concise, quite comprehensive and eminently readable and usable. Well recommended.' Training Journal '...a comprehensive and pragmatic source of user friendly facilitation tools which any manager, trainer and developer can use, whatever their level of expertise.' Business Scotland '...a unique compendium' IT Skills 'A highly structured publication, with clear and explicit presentation of its topic...A very practical aid to facilitation, with a wide range of activities to help both the novice and the more experienced reader.' Rapport Magazine 'I commented about the first edition that, in my opinion, this is one of the most valuable and useful toolkits I have encountered, which will lead both existing and potential facilitators, trainers and non-trainers, to the range of best and/or useful practices open to them to make their workshops a success. This edition is even better! The information is clear, concise, quite comprehensive, and eminently readable and usable. Well recommended.' Training Journal, October 2003 'The Facilitator's Toolkit is a valuable learning resource that is highly relevant for all organisations, small or large, private or public' Economic Outlook and Business Review, April 04

About the Author
Maggie Havergal and John Edmonstone are both consultants working to develop the capability and capacity of individuals, teams and whole organizations in a range of public and private sector settings. They have also worked in both sectors as line managers and in a variety of facilitation roles.

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[L720.Ebook] Download Ebook Dear America: Letters Home from Vietnam 1st edition

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Dear America: Letters Home from Vietnam 1st edition

  • Sales Rank: #8610999 in Books
  • Published on: 1709
  • Binding: Hardcover

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Jumat, 04 Maret 2011

[A720.Ebook] Ebook Download Standard Work for the Shopfloor

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Standard Work for the Shopfloor

Standard Work for the Shopfloor by Productivity Press Development Team. Published by Productivity Press,2002, Binding: Paperback

  • Binding: Paperback

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Kamis, 03 Maret 2011

[I278.Ebook] Ebook Download Angels In America Part 1: Millennium Approaches, by Tony Kushner

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Angels In America Part 1: Millennium Approaches, by Tony Kushner

Pulitzer Prize-winner for Drama, 1993. The first part of Tony Kushner's epic drama of America in the 1980s. "A vast, miraculous play.... provocative, witty and deeply upsetting.... a searching and radical rethinking of American political drama."--Frank Rich, The New York Times �"Daring and dazzling! The most ambitious American play of our time."--Jack Kroll, Newsweek

  • Sales Rank: #254344 in Books
  • Brand: Brand: Theatre Communications Group
  • Published on: 1993-04
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.75" h x 5.75" w x .75" l,
  • Binding: Hardcover
  • 119 pages
Features
  • Used Book in Good Condition

About the Author
Tony Kushner's plays include A Bright Room Called Day and Slavs!; as well as adaptations of Corneille's The Illusion, Ansky's The Dybbuk, Brecht's The Good Person of Szecguan and Goethe's Stella. Current projects include: Henry Box Brown or The Mirror of Slavery; and two musical plays: St. Cecilia or The Power of Music and Caroline or Change. His collaboration with Maurice Sendak on an American version of the children's opera, Brundibar, appeared in book form Fall 2003. Kushner grew up in Lake Charles, Louisiana, and he lives in New York.

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0 of 0 people found the following review helpful.
You Have To Be Damned To Be Saved
By Kevin L. Nenstiel
This play has the secondary title "A Gay Fantasia on National Themes," but the "Gay" portion seems unnecessary. Reflecting the self-seeking, ambitious attitude that dominated the middle 1980s, Kushner uses jagged language, a clash of characters, and tension born from manipulating audience stereotypes to make us wonder if perhaps we've lost sight of our original national purpose.

Not for nothing does this play begin at an immigrant's funeral. This nation is a fusion of peoples drawn from elsewhere, a mix that cannot be made again. We know the officiating rabbi means it in the most literal sense when he says, "You do not live in America. No such place exists." This America is a created land, but created of all the anger, frustration, and venality of the assembled characters.

The lies these characters tell themselves are phenomenal. After the funeral, Louis, a relative of the deceased confesses that he didn't introduce his male lover to the family because "I get so closety at these family things." This is probably the most direct any of the characters are at any point in the play. Perhaps it's introduced very early to let us know that levels of dishonesty will be calibrated in every scene. And no dishonesty is more powerful than when the characters come to believe their own lies.

When Roy Cohn is diagnosed with AIDS at the end of the first act, before he does anything else, he revises his own prognosis to correspond to his own self-figuration. Not only does he tell himself that he has cancer, he bullies his doctor to ratify the diagnosis so that he can go out and tell everyone else the same thing. Even when his prot�g�, Joe Pitt, admits his own homosexuality, Cohn continues to hide from the world, and excoriate himself for hiding. Cohn's self-loathing is epic in scope, entirely consistent with the hatred Kushner implies he pushed out into the world with his militancy.

Though she is not as open with other characters as Louis, Harper Pitt has the most elaborate system of self-deception of the play. She invents friends to talk to, justifying her refusal to interact with the world. She manufactures an illusory pregnancy to get pity--but who from? Herself? It's hard to imagine who else she might elicit sympathy from, because she alienates her only ally, her husband Joe, as her world turns more inward upon itself. Her imaginary friend, Mr. Lies, gives away his identity with his very name. But even Mr. Lies won't participate unreservedly in the process. "You can be numb and safe here, that's what you came for," he tells her.

Perhaps because of the lies, all the characters seem to seek their own destruction. Faced with his lover's increasing illness, Louis flees to reckless sex with an anonymous partner--and, it is implied, more partners than we see. Likewise, Joe first admits his homosexuality by calling his mother, a judgmental Mormon unlikely to take kindly to such a revelation. On top of that, he calls her from a pay phone in the most dangerous part of New York's Central Park at the most dangerous time of night. He's asking to get killed, and perhaps he's asking for it because he wants to be punished.

Though it's not the end of the play, the summation of the themes takes place in the Act 3n Scene 2. Louis' garbled, self-justifying monologue tries to make sense of the way in which a gay man can face himself in the disapproving world that is Reagan's America. But what actually comes out of his mouth is an incomprehensible hash of American national mythology, half-remembered Nietzschean philosophy, a badly scrambled reading of race and cultural relations across borders, and more. As a court word processor, Louis has made his life out of comprehending the rhetoric and literature of justice. But he cannot remember how it actually goes.

This play, being actually half a play, culminates with the potential for redemption, in the final scene. Prior Walter, ravaged by AIDS-Related Complex, is the one character who cannot lie to himself. We watch, over the course of three acts, as each untruth and every easy self-deception is progressively expunged. At the end, devastated and alone, he is the only character fit to bear audience to the titular Angel.

But honest Prior Walter, and the lying characters all around him, do not yet have that redemption. They cannot have it, they cannot be saved, until they have reached the very bottom of their arcs. And that is what we see in this play. We see them being burned away, bit by bit. We see them being made ready for the possible salvation that comes in Part Two.

1 of 1 people found the following review helpful.
Wonderful, capturing story
By Josephine Siu
This story is so touching, and so timeless. It really stretches across time, and touches the heart of so many who lost loved ones to AIDS. In addition, it is such an eye opening story for those who have not. Beautifully written, and masterfully told.

0 of 1 people found the following review helpful.
Fine, save one scene.
By Robert Beveridge
Tony Kushner, Angels in America: Millennium Approaches (Theatre Communications Group, 1993)

I thought Millennium Approaches was going along like a house on fire for the first two-thirds of its length. It's character-driven, it's funny despite its heartbreaking subject matter, it handles an historical figure in such a way as to make him larger than life. (I will admit up front that, despite my mother having suggested I do so for something like twenty years now, I have not read Citizen Cohn, her favorite Roy Cohn biography, and so I can't actually say how much of Kushner's portrayal of Cohn is accurate; it is, however, all kinds of fun.) And Kushner was getting his message across in just the right way--letting the story impart the message. Then comes Scene 2 of Act 3, where Louis and Belize are sitting in a bar talking. And Louis' logorrhea is message, message, message, message, message, and the whole thing just goes to hell in a handbasket. The funny thing is, Belize recognizes that it's all message, message, message, message, message and calls Louis on it repeatedly. Even Kushner's characters can't stand message drama! (That doesn't stop Louis from prattling on.) I've been seeing this more and more recently; authors trying to insert message drama (or fiction or poetry or...) by making the characters who have to put up with it slap the speaker into senselessness. (Unless it's internal, then they get nasty looks; think about the interminable message paragraphs that Kenzie suddenly comes up with in A Drink Before the War, for example.) Here's a tip, guys: it doesn't matter how you try to cache message-based writing into your work. It's still crap. It has always been crap (well, okay, 95% of the time), and it will always be crap. And here's the kicker, in Tony Kushner's case: if you're already treading on ground that activists have worked over hundreds of thousands of times, there's basically a guarantee that some political activist with a placard has already said everything you're trying to say. And probably said it better. In this case, it's been done hundreds, if not thousands of times. It's not only message crap, it's retreaded message crap.

Now that I've spent three hundred words on Louis and Belize's painful, conversation in Act Three, I'll say that the rest of the play is just plain awesome. The characters jump off the page, the pace is fast (despite there being almost no action), the dialogue is, in the main, witty and interesting. Take out that one scene, and this is great stuff. Unfortunately, no one thought to take out that one scene. ***

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