Form-T Books

Now here's a book for writers (and would-be writers)! Anyone who's ever stared at a blank page in the typewriter or a blank computer screen needs this book ... if for no other reason than to take a break! I've read enough how-to-write books - including the staple of the writing world, "Ideas for Books and Articles" list books - to really appreciate this tongue-in-cheek look at the world through the jaded eyes of writers suffering an apparent case of (lazy) writer's block.
Enjoy - and then write some of these articles (I too would like to know how to "Fart Like a Lady".

This is one of the best references that I have read on the subject. Contains information that one would need to run a business on a daily basis.
I would recommend this book to anyone who is starting a new business and wants to get a view of all paperwork to be done on a regular basis...

Through the exploration of the lives and works of four profoundly influential American literary "insurgents," Zwerdling tells the story of their transgenerational fight to clear a space for the recognition of the worthiness American literature among English and European elites.

Engaging, thought-provoking and often surprisingly moving, we follow the expatriate careers of Henry Adams and Henry James in the mid to late 19th and early 20th century, followed by the modernist careers of Pound and Eliot in the early to middle 20th century. Zwerdling makes an extremely good case for cultural power's linkage to economic power by showing how Adam's and James cultivated reputations in both the U.S. and England, laying the groundwork for a idea of a shared Anglo-Saxon Literature just at the time when America was becoming recognized as having usurped England's role as the world's most vital economic and cultural power. Pound and Eliot build on the foundations laid by Adams and James, fully confident that as Americans they will no longer be treated as second-class literary citizens. They employ different strategies in their own "siege of London" but Eliot to a large degree succeeds in becoming the final arbiter of all literary disputes and grand critic of modernist literature. As America takes center stage at the end of WWII, American's version of world modernist literature and culture, not surprisingly, come to predominate forming the core of the canon of Modern Literature as taught in the University.

The literary insurgency takes it's toll on all four of our literary heroes, however. Adams comes to despise much of English culture and mores. James does his best writing after a long-delayed trip back to America after nearly a lifetime abroad, writings that imaginatively explore what kind of man he might have become had he stayed in his native land. Pound wears out London literary society in a few short years and abandons the field. Eliot adopts the manners of a high-toned Englishman to such an extent that he sets back the appreciation of other American writers thirty years (according to William Carlos Williams). Nevertheless, he too, writes some of his best later work after a visit to America.

In becoming expatriates they wander far afield of their original inspiration. In becoming accepted, they lose some of the insurgent edge. Of all of these James remains the most alive to the stirrings of new possibilities and the shifting relations of power between Americans and English elites.

Mary Ward Brown's second collection of stories is a terrific read. These 11 stories (ten set in Alabama, one in Russia) are heartwarming, thought provoking, and very human (not to mention well written). They run the emotional gamut that can cover a lifetime and in each there's a sense that something more important than life itself is at stake (often this reminder comes in the form of death or thoughts about mortality).

The stories in this collection take up 142 pages (the longest is only 18 pages long) and for the most part stand alone (as opposed to being fragments of longer stories). These are essentially Southern stories told by a great Southern writer and there's not a dud in the mix.

"It Wasn't All Dancing" examines the relationship between an aged Southerner and her black nurse. As with many of the stories in this collection, the relationship (and its impact on the main characters) is the focus.

"Once in a Lifetime" is a love story on several levels--a mother's love for her young-adult daughter and her newly found love for the former high school hot shot.

"A New Life" is perhaps the weakest story in the batch and centers on an encounter between a recently widowed woman and a group of well-intentioned Christians who become interested in her fate.

"No Sound in the Night" is a moving story about a learning disabled adult-child and his love for his hardworking female boss.

"The Birthday Cake" is another story about deep friendships, love, choices, and consequences.

"Swing Low: A Memoir", perhaps the best story in this collection, is a moving account of the deep friendship that develops between an aged wealthy woman and one of her family's hired hands.

"Alone in a Foreign Country" is a brief tale about a young woman's overnight adventure/scare in a foreign country.

"The House the Asa Built" recounts how a strong marriage can have problems and how the husband and wife in this short story deal with them.

"The Parlor Tumblers" is about a grandfather's difficulty in getting reacquainted with his grandson after three years apart. It's also about the grandfather's regrets and his relationship with his son. And some pretty cool pigeons.

"A Good Heart" details the relationship between two neighbors from different social stratas and the effect of their tentative friendship on each.

Lastly, "A Meeting on the Road" provides a very short glimpse into what it would be like to be a minority in a small town--from both the black and white perspectives.

All of these stories are concise and each allows for some personal reflection upon completion. They're short stories, but they stick with you. This is a terrific collection of stories. Very Highly Recommended.

Innies & Outies has a unique perspective on life. Creative and fun!!!

Kudzu,a vine first introduced into the United States in 1876 as a foilage,has overrun large portions of the South,taking over forests,roadsides and countless buildings."Kuzdu," says Bo Whaley,"grows faster than a runaway husband can run,covers everything in sight,and can't be controlled.Prolific as it is ,however,it can't cover everything.
That's where this book comes in:
In 176 pages Whaley covers just about everything with Southern humor,wisdom,thuths,and an endless string of one-liners.Find a good chair in the shade,a cool drink,and get set for some entertaining reading.Personally,I'm not in favor of tape-books;but if any book would be good on tape,this one would be it.
Here's just a bit to whet your appetite:

The farmer remains the world's most stubborn optimist.

Some proposed political appointments:
Secretary of Defense--David Koresh
Secretary of Transportation--Ted Kennedy
Director,CIA--Oliver North
Director Secret Service--Don Knotts

Director FCC--Howard Stern
Surgeon General--Dr.Ruth
White House Communications Director--Rush Limbaugh

Show me a man with both feet on the ground,and I'll show you
a man who can't get his pants on.

Colleges and insane asylums both are mental institutions in
a way.But one has to show some improvement to graduate from
an asylum.

What did the blond name her pet zebra?
Spot.

What do you call a brunette between two blonds?
An interpreter.

The nurses always say,"How's our leg today?"or "How's our
back today?"But when I touched our thigh,she slapped our
face.

One of the most difficult things in the world is to know
how to do something and to watch without comment,somebody
else do it incorrectly.

That's it folks;you're on your own to read the rest.

Tom Henry and Laurence Kanter, both highly regarded scholars of Signorelli's work, have produced the finest and most comprehensive catalogue of Luca Signorelli's paintings to date. Each scholar has museum expertise and each possesses an observant eye for stylistic and technical details, ideal qualifications for producing a complete catalogue of an artist's works. The strong point of this book is the text, which is accurate and written so well that it is comprehensible to both the scholar and the general reader. Whereas both authors contribute to the first two sections, the catalogue, which fills nearly half of the book, is largely the work of Tom Henry. Professor Henry is thoughtful and meticulous in his work. He has viewed every painting first hand to give each work careful attention.
The book is arranged as a typical catalogue, with an explanatory text followed by a chronological survey of the artist's works. The first section contains five chapters that record the major episodes of Signorelli's career, divided more or less by decade. Each chapter is followed by endnote documentation. The general overview is followed by twenty-two full-page (sometimes double-page) color plates, also arranged chronologically, that highlight Signorelli's major works. The last two sections consist of a complete catalogue of Signorelli's paintings with black and white images and a general bibliography. The authors list one hundred and forty-eight works, including autograph works, collaborative pieces, and paintings begun by Signorelli but finished by others. The authors also introduce twenty-three paintings not found in any previous Signorelli catalogue; they list eight works of uncertain attribution; and they reject sixty-four works. Selected drawings are included alongside paintings to which they relate.
Any weaknesses in the book lie in layout and design. The publisher was generous with color plates. However, the designer and authors must not have discussed the choice or placement of the 39 high-quality, full-bleed details of paintings interspersed throughout the opening pages and the five overview chapters, for they are not necessarily placed near text that discusses them. Each chapter is preceded by a color detail on the left and a white page with a chapter heading on the right. Although the details are taken from works discussed in the chapter they accompany, they may have no relation to their facing text, are never cited in the text, and often do not illustrate the authors' points. A few photographic diagrams in the catalogue section reconstruct the possible arrangement of various parts of mutilated altarpieces. One photograph gives a partial sense of the total space in the fresco program at Orvieto, Signorelli's acknowledged masterwork.
Both authors keep Signorelli's importance in his own day in the forefront of their passages as they point out his major contributions to Italian Renaissance painting. The superb scholarship and accessible text of Henry and Kanter should help raise Signorelli from his undeserved relative anonymity to the prominent position he held in the late fifteenth and sixteenth centuries.

This is the 4th edition of the book and is well developed. If you have Martin's Physical Pharmacy, you'll find this book a suitable reference as well. This book focuses more on the industrial setting while Martin's focuses on the physical (as noted by the title). If you are working at any point in the formulation of a drug, this book is a must have.

My daughter gave me this CD for Fathers Day and I was so impressed with it that I bought one for my son and son-in-law for Christmas.

Menken's Old Testament Quotations in the Fourth Gospel: Studies in Textual Form was so invaluable to my M.A. thesis on the textual form of the OT source of Rev 21.3c that I copied his methodology with some few changes.

Menken compares an NT text with the relevant OT passages in order to determine the most likely source of the reference. Then, he discusses the reference's meaning in its context, and, finally, he addresses whether the reference's interpretation is applicable to its "supposed source." In this way, Menken establishes the textual form and version of an OT text in the NT.

In contrast with many OT-NT scholars today, Menken avoids the overabundance of categories put forward by men like Beale and Fekkes and tightly defines the parameters for the NT's use of the OT. For instance, Menken explains a quotation thus: "a clause (or series of clauses) from Israel's Scripture that is (or are) rendered verbatim (or anyhow recognizably) in the NT and that is (or are)marked as such by an introducing or concluding formula." Anything that does not meet this standard, Menken terms allusions. It's that plain and simple. Thus, all the 'echoes' and other terminology introduced by scholars examining the OT in the NT are revealed for what they are, absurd and unnecessary. Either one has a quotation or an allusion, end of text, end of story.

This book is an excellent addition to the library of any scholar who is seeking to research the OT in the NT.