EG Books

This book is unique in the sense that Mala Betensky applies phenomenological theory to the use of Art in Therapy. Until Mala wrote this book, there was little available for the phenomenologist to read in the use of art in therapy. As a therapist myself, and a phenomenologist, it is refreshing to read about the phenomenological use of Art in Therapy.

There is a wealth of Art Therapy literature using psychalalytic theory, and there is a small amount of work by brief and narrative therapists on the use of Art in Therapy. While there are a few journal articles, and a few chapters in books on the phenomenological use of Art in Therapy, Mala's book is the only one that I know of where a whole book is dedicated to Phenomenology.

As a therapist and researcher, I have found the second chapter very useful. In this chapter, Mala gives a clear description of a four step sequence that a therapist can take a client through. One begins with "pre art play", then shifts to "the process of art work", to "phenomenological intuiting", then the "what do you see? procedure". It is my experience, that these steps usually lead the client to a deeper sense of self understanding and also a sense of resolution. What emerges on the page can be unexpected, often providing a unique insight into the client's problem. In this process, unexpected solutions also emerge.

I have found Mala's process to be a very powerful theraputic tool, particularily when clients have sensitive concerns that they may have difficulty verbalising. For example, some clients, who have been abused as children, can be very reluctant to verbally describe their experiences. These clients are more comforetable drawing their experiences. They may also feel safer with the drawing process because it allows them to externalise the matter of concern. What they promised not to talk about, can sometimes be drawn.

Robert Harris has a reputation for writing in a way that those new to classical music can easily comprehend. Yet, it isn't a basic book either that you can get in a couple hours either. Harris intersperses his quite engaging story telling of Beethoven's life and times along with the major musical works and their significance. In fact, his narrative on Beethoven's life is so much more interesting and readable than the more standard texts. In particular, his treatment of Beethoven's deeply personal struggle with his worsening deafness is detailed and fascinating. His writing has the mark of a great educator in that you can understand without struggle (unlike other books). There is little music jargon so the beginner need not fear this book. He also highlights (as in his Mozart edition), the "Top 40" major works and says a little about each to place them in context.

Last, he gives a little less "note-by-note" analysis of major works here than in his earlier Mozart book which seems to work just fine as it can be too much for some and bogs down in the Mozart book in my opinion. Summary: an unintimidating, really rewarding and thoroughly enjoyable book that will give you a deeper respect and appreciation of Beethoven and his monumental music.

This book had me guessing a few times. Some things were predicatable, but there were a few surprises. This book kept my interrest the whole time.

This book is easily followed as a simple how-to-do-it manual. The beginner will find all processes clearly explained, together with their material requirements, up-to-date variations and all the author has found most helpful in thirty years as a practitioner. However, anyone interested in any aspect of this subject will find the book much more than just an instruction manual. It expands and illuminates one's appreciation and perception not only of wood engraving but of the nature of art itself. For how to do it, says the author, cannot really be separated from why you are doing it and what it is you think you are doing. Another part of the text therefore covers thinking as an engraver, making the book a guide not only to beginning but also to continuing in what Simon Brett calls 'this lovely, disciplined and passionate art'. This new edition of Wood Engraving - How to do it is more clearly laid out, in an improved and larger format. It has been considerably expanded, and contains a number of new examples. Simon Brett, chairman of the Society of Wood Engravers 1986-92, is a freelance artist, printmaker and prizewinning book illustrator. He taught for eighteen years, from 1970 to 1989, and has written widely on the history and practice of wood engraving, as well as curating major exhibitions for the Society and for The British Council. 244 x 172 mm, 160 pp, Hardbound

Harland Hubbard's simplisitc woodcuts are an excellent source of inspiration for printmakers and artists. He captures the true meaning of life through his work. Next to his art in the book, are selections from his journal during his shantyboat home,and farm life in Northern Kentucky. This is the next best thing to viewing his original works at the Berringer-Crawford Museum in Norhtern Kentucky!

I am facilitating a writing workshop using personal narrative to explore what gives our lives meaning and this book has been invaluable to me. It is written with compassion and insight and is full of practical ideas and resources to explore. I know I will refer to it again and again.

ukiyo-e woodblock prints. I have been searching for this book for a couple of months. I orginally saw a copy of it in a japanese tattoo shop and fell in love with it. This book is printed on high quality paper using the best copies of the prints that can be found. The color is reproduced perfectly and it is an excellent example of this art form. If you can find it, buy it.

...for lovers of Ukiyo-e. The whole series "Thirty-Two Aspects of Daily Life" is beautifully presented in full-colour and full-size plates. The book features in-depth information about each print, Yoshitoshi's life and the time he lived in. I strongly recommend this book!

from a ukiyo-e lover's standpoint, this book is one of the best ever. Not only is it an indespensible part of my library, it makes a wonderful coffee-table book!

Before there was Peter Hessler, there was Mark Salzman. His first book, Iron and Silk, a memoir of time spent in China, was totally charming. Excellent writing, a keen eye, and a sly, self-deprecating sense of humor marked Salzman as a writer to watch. His subsequent writing career has been unorthodox, but interesting. The two subsequent books of his that I've read - Lying Awake and The Soloist - confirmed him as someone worth keeping up with.

So I was hopeful that he would manage to avoid the potential for cliche and sentimentality in this account of his time spent teaching writing to violent offenders in L.A.'s Juvenile Hall. I didn't need to worry. This is an astonishingly good book. As usual, Salzman's writing is terrific. His true accomplishment here is to be unobtrusive and let his students' voices come through. The result is genuine, raw and disturbing at times, heartbreaking in places, and completely unforgettable. What might have been expected to be heavy sledding was a joy to read from start to finish.

The only other author I can think of who matches Mark Salzman's intelligence, sensitivity, and the brilliance of his writing is Anne Fadiman. Reading their work is always a pleasure.

This extraordinary, extremely moving, book confirms Salzman's prodigious talent as a writer and his intelligence and sensitivity as a reporter.

Mark Salzman molds this book in a way that allows many of his experiences at juvenile hall lead the way. But, he does this with his own author's eye. While the book is chronological, Salzman chooses which moments to portray that will give readers the larger picture of what he and other members of the facility were attempting to do. He does not shy away from his own mistakes, but he revels in his successes as well. For teachers in alternative environments, and even teachers who are simply looking for new inspiration, this book gives insight to many pedagogical options and pitfalls. Salzman asks questions about the purpose of teaching that all teachers should be asking themselves, regardless of where they are teaching their students. This book is a worthwhile read for writers and teachers alike.

I was assigned to read this book for my Honors English 10 class, and I must admitt, I was not too thrilled with this being chosen for me. This is nowhere near my type of book. I like to read suspense and thrillers with the occasional teen books (you have to admitt they're hilarious), so I thought this would either be a waste of time or a major let-down. To my surprise, I loved it!

I figured it had to have somewhat substantial writings done by these kids in juvie, but I never expected them to make such a profound impact on the way I envisioned freedom and justice.

The works that Salzman included that were written by the HROs (high-risk offenders) astonished me.

This book teaches a vital lesson to society and life in general with the only downfall I saw as beimg the kids don't always get that happy ending that you're hoping for, but hey, neither does life all the time...

Very easy read, very informative on what its like for these juveniles who are caught up in our legal system. My words for review cannot describe how good of an account this is.

Better him than me. I just finished reading this for my third time, which is my typical reaction to a Mark Salzman title. Look up everything he's ever written, read them all, enjoy the movie based on one of his books, and thank me. You just can't go wrong with this guy.

Looking at this book in particular, I devoured it like it was new to my bookshelf. I just couldn't stop myself. I had some work I was supposed to be doing and I just rescheduled. Yeah, it's good to be the boss. Even better to have such a great book to read. It's still a keeper.