2012, ISBN: 9780374110093

Hardcover

Lustre/Roli Books, 2009. Hardcover. New. In this touching book, Mallika Chopra explores 100 questions children ask - sometimes whimsical, often mystical - and shares insights on how you… More...

Lustre/Roli Books, 2009. Hardcover. New. In this touching book, Mallika Chopra explores 100 questions children ask - sometimes whimsical, often mystical - and shares insights on how you can craft your answers in a way that will foster a child`s imagination, creativity and sense of self. Chopra writes: `As a mom, I realized early on that my children were looking to me for answers. Even before they could speak, they were asking questions - questions about how to interact with the world. And it was my reaction to these questions that began to shape their worldview, their sense of security and trust. Chopra teaches us that each question a child asks presents a chance to change the future. With warmth and wisdom, she shares her own quest to answer her children`s questions with lessons that last a lifetime. `In our rush-rush world, it`s sometimes hard to slow down and match the pace and the natural, wide-eyed wonder of our kids. Chopra shows the harried parent how much power rests in those small moments, and how parents can turn each one into an opportunity to teach empathy, understanding, and spiritual growth.` Dame Anita Roddick, Founder of The Body Shop Printed Pages: 191., Lustre/Roli Books, 2009, 6, Lustre/Roli Books, 2009. Hardcover. New. In this touching book, Mallika Chopra explores 100 questions children ask - sometimes whimsical, often mystical - and shares insights on how you can craft your answers in a way that will foster a child`s imagination, creativity and sense of self. Chopra writes: `As a mom, I realized early on that my children were looking to me for answers. Even before they could speak, they were asking questions - questions about how to interact with the world. And it was my reaction to these questions that began to shape their worldview, their sense of security and trust. Chopra teaches us that each question a child asks presents a chance to change the future. With warmth and wisdom, she shares her own quest to answer her children`s questions with lessons that last a lifetime. `In our rush-rush world, it`s sometimes hard to slow down and match the pace and the natural, wide-eyed wonder of our kids. Chopra shows the harried parent how much power rests in those small moments, and how parents can turn each one into an opportunity to teach empathy, understanding, and spiritual growth.` Dame Anita Roddick, Founder of The Body Shop Printed Pages: 191., Lustre/Roli Books, 2009, 6, Lustre/Roli Books, 2009. Hardcover. New. In this touching book, Mallika Chopra explores 100 questions children ask - sometimes whimsical, often mystical - and shares insights on how you can craft your answers in a way that will foster a child`s imagination, creativity and sense of self. Chopra writes: `As a mom, I realized early on that my children were looking to me for answers. Even before they could speak, they were asking questions - questions about how to interact with the world. And it was my reaction to these questions that began to shape their worldview, their sense of security and trust. Chopra teaches us that each question a child asks presents a chance to change the future. With warmth and wisdom, she shares her own quest to answer her children`s questions with lessons that last a lifetime. `In our rush-rush world, it`s sometimes hard to slow down and match the pace and the natural, wide-eyed wonder of our kids. Chopra shows the harried parent how much power rests in those small moments, and how parents can turn each one into an opportunity to teach empathy, understanding, and spiritual growth.` Dame Anita Roddick, Founder of The Body Shop Printed Pages: 191. 100 Questions from My ChildMallika Chopra (Author) & Deepak Chopra (Frwd)9788174366863, Lustre/Roli Books, 2009, 6, Toronto, Ontario: Toronto, ON: Allen Lane / Penguin Canada, 2012, 1st Edition, First Printing, 2012. -----------hardcover, a Near Fine copy in a visually Near Fine but there is a short closed tear so a Very Good+ dustjacket, jacket is now in a hi-quality mylar protector, 472 pages, b&w photos and illustrations, ---"Two portraits flank the doors leading into Canada’s House of Commons: Sir Robert Borden to the left and W.L.M. King to the right. While each man appears flatteringly stern, wise, and charismatic, it is the portrait plaques that are of particular interest. Borden's caption reads: -World War I War Leader, 1914-1918,- while King’s caption is similar: -World War II War Leader, 1939-945.- No other dates are given. --Perhaps that definition makes sense for Borden, who did little of note before the war; it does not ring true for King, Canada’s longest serving prime minister. Yet in both cases world wars shaped their careers and legacies. They ushered in massive government changes: income tax, health care, and conscription; changes to society through industrialization, enfranchisement, and patriotic unpaid labour; and they raised enormous armed forces from a civilian base. --Warlords is a fast-paced narrative that humanizes the war effort through the eyes of the prime ministers. Set against how our senior politicians governed themselves and the nation during these difficult times, it offers an invaluable perspective of war and war leaders."---, any image directly beside this listing is the actual book and not a generic photo ///NOT SIGNED ---GUARANTEED to be AVAILABLE///. First Edition. Hard Cover. Near Fine (see description)/Very Good+ (see description). Illus. by Doublenaut cover Design. 6.25w x 9.25h Inches. NOT Price Clipped., Toronto, ON: Allen Lane / Penguin Canada, 2012, 1st Edition, First Printing, 2012, 3.5, Garden City, New York: Nelson Doubleday, Inc., 1982. By WALTER KERR Published: September 13, 1981, Sunday The world changes, behavior patterns change, I suppose even styles in bicycles follow mysterious shifts of fashion. (I don't have a bicycle, so cannot be dogmatic about the matter, but there are three bicycles on stage in the popular Off Broadway play called ''Key Exchange,'' and they don't look exactly like the ones my kids used to ride.) There is one thing, however, that seems not to change. It's the look of pain on the face of the guy who's happily adapted himself to all the life-style innovations that have come his way - particularly those connected with sex -and still hasn't been able to put together a world he can manage. Perhaps that's not pain on his face, just bafflement. Or maybe egg. Whatever it is, it's a funny look -and a touching one, too. It crops up more often than I expected in Kevin Wade's small, smart, mostly sunny ''Key Exchange,'' which opened while I was vacationing, was very well received, and is still eavesdropping on its biking trio (brightly striped sweaters, visored caps worn backwards) at the downtown Orpheum. To recap briefly, two boys and a girl spend their Sundays (and one offbeat Saturday) circling Central Park. One of the boys (Mark Blum) reports that he's just got married though his companions can't honestly detect any real change in him, possibly because he and his new bride had been living together for quite some time beforehand. The other boy (Ben Masters) is trying to decide whether or not to exchange keys with his constant date (Brooke Adams). Flippant boy-girl establishment of premise: ''If we exchange keys, can I sneak into your bed in the middle of the night?'' (Girl nods) ''Can I bring my pals?'' ''No more than five.'' There is a reason for this apparently playful but quite carefully calculated banter. Mr. Masters is inordinately fearful that some casual-seeming step in his relationship with Miss Adams - the weekend outings, the carefree bedding-down, the proposed exchange of apartment keys -will commit him to something. And he knows what he means by ''something.'' Sooner or later, unless he keeps his wits about him, he'll be roped and hogtied and tugged right back into the obligations, the proprieties, the imprisonment that his lucky generation has escaped. No matter how liberated a girl may be, there's still a gleam behind the gleam in her eyes that spells marriage. Thus, when Miss Adams suggests, in all innocence if there is such a thing as female innocence, that the two of them have dinner with her father at Tavern on the Green, Mr. Masters is quick to slip from the snare. Eye to eye with her father, he points out, ''we'd both know what was going on.'' Obviously this would make him uneasy, and feeling uneasy could lead to his doing something rash. No din ners with fathers, anywhere. A fellow can survive this sort of ploy. What suddenly gives Mr. Masters the true roaring horrors, what paints a look of unadulterated terror on his face, is a discovery over which he can really exercise no control. He learns, shatteringly, that for quite some time Miss Adams has been seeing no one else. No other boy, or boys. He has been her exclusive date and bedmate, without knowing it. The sense of entrapment, of black betrayal, that comes with the horrified arch of Mr. Masters's eyebrows and the almost corklike pop of his eyes is splendid comedy and stiletto-like comment in the same gasping breath. His strangled question, ''For how long?,'' is the question of a doomed man organizing his obituary. And the moment is funnythorny for the pretty Miss Adams as well. It would seem that the girl in the case has got to sleep with someone else if she wishes to continue sleeping with the fellow she likes. (''Loves'' may be a taboo word here; perhaps ''likes best'' wouldn't seem so threatening.) In any event, the new freedoms have their points. Some of them are sharp. Mr. Blum, the remaining weekender, is even more affecting after he's been suitably funny by way of introduction. Not too many Sundays have passed before we (and his two friends) learn that his wife has left him for a composer. We never see his wife in the play, but we do get to know her. Mr. Blum looks like a spaniel who's simultaneously happy you've just come home to him and still worried that you mightn't have, but playwright Wade has made him a most articulate - sometimes almost poetic -sort of spaniel. The actor's handling of a passage in which he describes his wife's parting speech, a speech that begins with ''It's nothing you've done'' and compounds its soothing rationalizations from there, is, I think we may safely say, masterly. He tries so very hard to be fair to the woman dispensing cliches, retracing her inflections with his own yearning for her intact, that the missing woman becomes as real as his comic melancholy. At one point Mr. Blum remembers himself ''conjuring up a flood of images'' brought on by the sight of a girl he doesn't know. And the images are there, thoughtfully provided by author Wade, tumbling on top of one another and then holding firm to make a kind of verbal pyramid, a hilltop of vivid metaphor. The performer reads it pe rfectly. But then he handles all such set p ieces well: an account of zooming out of Central Park with his head down over the handlebarsuntil, after shaking off his preoccupations a nd at last looking up, he discovers himself in Westchester; and an o nly mildly embarrassed refusal to join his friends for the evening b ecause it might, after all, be the night his wife decides to come ba ck. As for Miss Adams, gamely making the best of what may be a no-win situation, she's nicely independent offering to take her boy to the movies provided she can pick the movie, she's enormously cooperative when his tensions reach the point where he could well use a rubdown, and I thought she was eminently reasonable making the small social request ''Can't you lie once in awhile?'' ''Key Exchange'' is sliver-slight; it's also, in some curious way, lyric. When playwright Wade was interviewed by Douglas McGill for these columns just a few weeks ago, he insisted that he hadn't been struggling for anything significant, he'd just tried to jot down a few reasonably accurate echoes of the life around him that might give some pleasure to his friends. Well, the pleasure's there. But I think he may have caught a soup,con of significance as well, by indirection, by keeping a casual eye on the rearview mirror. His play seems to be reminding us -with humor and sensibility both - that whatever the winds of change may have done to us lately, they haven't much altered our reflexes. We've still got to prowl and slug our way through those same old emotions. As the freest soul among the cyclists broods, there's ''all that negotiating and nuances and finesse'' to be got through, after all. Or, as his on-and-off married acquaintance reports in a line the author himself likes to quote, ''We tiptoe around the silences and the half-smiles.'' Freedoms are freedoms, all right. They just don't banish fears, worse luck. Some sunning on jacket, otherwise in very nice condition.. Book Club (BCE/BOMC). Hard Cover. Near Fine/Near Fine. Illus. by Some B/W Photos., Nelson Doubleday, Inc., 1982, 4, Hatchette Australia, 2008. A Fairly True History of Modern Australia. Used. William McInnes brings the World, or at least Australia, into our backyards as he writes about families and sport and politics and life in his familiar style that makes you feel as if he is sitting down talking to you. Both funny and insightful That d Be Right is part memoir, part personal history of Australia over the last thirty years. It s a biographical trip told through sport, and families and William s own experiences. He writes: As with A Man's Got to Have a Hobby I weave in and around the events that have held such fascination for this country over the last thirty years or so, connecting them all with the progression of a life. Some of these events would be considered momentous, some small and personal. And all are seen through William's eyes. They range from a day at the Melbourne Cup with his mother where too many champagnes and too few winners were picked; a swimming carnival early in the morning after a gloomy and long federal election the night before; watching truly surreal Grand Final moments in a pub with a group of odd and unknown bar companions. Sailing on a massive yacht during the Sydney Olympics while listening to the conversation of an elderly lady from Texas in the cabin below. William also writes about a night at the cricket with his son, which shows how things can change and oddly come full circle., Hatchette Australia, 2008, 0, New York, NY: Farrar, Straus, & Giroux, 1983. 1st Edition 1st Printing. Hardcover. Fine/No Jacket. Visual, auditory, tactile--ever attentive to perception--Lawrence Joseph's third book of poems, Before Our Eyes, generously, almost exotically, blends various tones, atmospheres, and textures into forms of concentrated, pitch-perfect invention. The poet, an astute aesthetician, is also astutely conscious of history, a critical observer of public life. He explores the American identity. He investigates meaning and language. He celebrates the mysteries of beauty and love. The result is a poetry of illuminating effects which captures a profound sense of what it's like to be alive, and what it means to write poetry, in a radically changing time., Farrar, Straus, & Giroux, 1983, 5<

2012, ISBN: 9780374110093

Paperback, Hardcover, First edition

Mysterious Press. NY., 1992 Book size about 5 1/2 by 8 1/2 inches with some 281 pages. Bound in lilac wraps with black lettering. This is an UNCORRECTED PAGE PROOFS copy. Spine lightly su… More...

Mysterious Press. NY., 1992 Book size about 5 1/2 by 8 1/2 inches with some 281 pages. Bound in lilac wraps with black lettering. This is an UNCORRECTED PAGE PROOFS copy. Spine lightly sunned else no sign of wear. NEAR FINE Language: eng Language: eng Language: eng. 1st Edition.. Soft cover. Near Fine/No Jacket., Mysterious Press. NY., 1992, 4, La Cuenca: Departamento de Difusion Cultural de la Universidad de Cuenca, 1994. First Edition. First Edition. SIGNED by the author on the title page. About Fine in pictorial wrappers. Two plays by K. Wishnia. Bilingual English-Spanish edition imported by The Imaginary Press, East Setauket, NY., Departamento de Difusion Cultural de la Universidad de Cuenca, 1994, 0, Manchester: Manchester University, 1946. Minor wear to grey printed wraps, and booklet as a whole has been folded once vertically. Reprinted from the Bulletin of the John Rylands Library, Vol. 30, No. 1, October, 1946; 26 pages. Author was Professor of Semitic Languages and Literatures in the University of Manchester. Briefly inscribed by author top of page 1 "With kind regards E.R.".. Signed by Author. Offprint. Wraps. Very Good.., Manchester University, 1946, 3, New York: Signet, 1990. Later printing. Mass market paperback. Good. 983, [9] pages. Illustration. Kenneth Martin Follett, CBE, FRSL (born 5 June 1949) is a Welsh author of thrillers and historical novels who has sold more than 160 million copies of his works. Many of his books have achieved high ranking on best seller lists. For example, in the US, many reached the number 1 position on the New York Times Best Seller list, including Edge of Eternity, Fall of Giants, A Dangerous Fortune, The Key to Rebecca, Lie Down with Lions, Triple, Winter of the World, and World Without End. Follett has had a number of novels made into films and television mini series: Eye of the Needle was made into an acclaimed film, starring Donald Sutherland, and six novels have been made into television mini-series: The Key to Rebecca, Lie Down with Lions, On Wings of Eagles (1986), The Third Twin and The Pillars of the Earth (2010) and World Without End (2012). These last two have been screened in several languages in many countries. Follett also had a cameo role as the valet in The Third Twin and later as a merchant in The Pillars of the Earth. The Kingsbridge series could be seen as depicting the shifting relations between the Kingsbridge Priory and the Kingsbridge merchants and artisans. In Pillars of the Earth, monks and townspeople are allies, standing together against the Earl of Shiring. Building the cathedral is a joint effort benefiting both - the cathedral's construction draws new inhabitants and trade, turning Kingsbridge from a backwater village into a thriving town, while the Priory's income from taxing this increasing trade finances the continued construction of the cathedral. Derived from a Kirkus review: Here, Follett gives us a long, steady story about building a cathedral in 12th-century England. Anyone who has ever been moved by the splendors of a fine church will sink right into this highly detailed but fast-moving historical work-a novel about the people and skills needed to put up an eye-popping cathedral in the very unsettled days just before the ascension of Henry II. The cathedral is the brainchild of Philip, prior of the monastery at Kingsbridge, and Tom, an itinerant master mason. Philip, shrewd and ambitious but genuinely devout, sees it as a sign of divine agreement when his decrepit old cathedral burns on the night that Tom and his starving family show up seeking shelter. Actually, it's Tom's clever stepson Jack who has stepped in to carry out God's will by secretly torching the cathedral attic, but the effect is the same. Tom gets the commission to start the rebuilding-which is what he has wanted to do more than anything in his life. Meanwhile, however, the work is complicated greatly by local politics. There is a loathsome baron and his family who have usurped the local earldom and allied themselves with the powerful, cynical bishop-who is himself sinfully jealous of Philip's cathedral. There are the dispossessed heirs to earldom, a beautiful girl and her bellicose brother, both sworn to root out the usurpers. And there is the mysterious Ellen, Tom's second wife, who witnessed an ancient treachery that haunts the bishop, the priory, and the vile would-be earl. The great work is set back, and Tom is killed in a raid by the rivals. It falls to young Jack to finish the work. Follett's history moves like a fast freight train. Details are plenty, but they support rather than smother. It's all quite entertaining and memorable., Signet, 1990, 2.5, New York, NY: Farrar, Straus, & Giroux, 1983. 1st Edition 1st Printing. Hardcover. Fine/No Jacket. Visual, auditory, tactile--ever attentive to perception--Lawrence Joseph's third book of poems, Before Our Eyes, generously, almost exotically, blends various tones, atmospheres, and textures into forms of concentrated, pitch-perfect invention. The poet, an astute aesthetician, is also astutely conscious of history, a critical observer of public life. He explores the American identity. He investigates meaning and language. He celebrates the mysteries of beauty and love. The result is a poetry of illuminating effects which captures a profound sense of what it's like to be alive, and what it means to write poetry, in a radically changing time., Farrar, Straus, & Giroux, 1983, 5<

1983, ISBN: 0374110093

Hardcover, First edition

[EAN: 9780374110093], Gebraucht, guter Zustand, [PU: Farrar, Straus, & Giroux, New York, NY], LAWRENCE JOSEPH POETRY SIGNED, Visual, auditory, tactile--ever attentive to perception--Lawre… More...

[EAN: 9780374110093], Gebraucht, guter Zustand, [PU: Farrar, Straus, & Giroux, New York, NY], LAWRENCE JOSEPH POETRY SIGNED, Visual, auditory, tactile--ever attentive to perception--Lawrence Joseph's third book of poems, Before Our Eyes, generously, almost exotically, blends various tones, atmospheres, and textures into forms of concentrated, pitch-perfect invention. The poet, an astute aesthetician, is also astutely conscious of history, a critical observer of public life. He explores the American identity. He investigates meaning and language. He celebrates the mysteries of beauty and love. The result is a poetry of illuminating effects which captures a profound sense of what it's like to be alive, and what it means to write poetry, in a radically changing time., Books<

1983, ISBN: 9780374110093

Hardcover

New York, NY: Farrar, Straus, & Giroux, 1983. 1st Edition 1st Printing. Hardcover. Fine/No Jacket. Visual, auditory, tactile--ever attentive to perception--Lawrence Joseph's thi… More...

New York, NY: Farrar, Straus, & Giroux, 1983. 1st Edition 1st Printing. Hardcover. Fine/No Jacket. Visual, auditory, tactile--ever attentive to perception--Lawrence Joseph's third book of poems, Before Our Eyes, generously, almost exotically, blends various tones, atmospheres, and textures into forms of concentrated, pitch-perfect invention. The poet, an astute aesthetician, is also astutely conscious of history, a critical observer of public life. He explores the American identity. He investigates meaning and language. He celebrates the mysteries of beauty and love. The result is a poetry of illuminating effects which captures a profound sense of what it's like to be alive, and what it means to write poetry, in a radically changing time., Farrar, Straus, & Giroux, 1983, 5<