This book, handsomely published by Wesleyan University Press, provides an essential and accurate record of Williams' involvement with little magazines and small publishing houses. The format is a model of clarity and accessibility. Many entries reveal his interest in painting and all the visual arts. Poems with the same title, like "Poem" or "Love Song," are carefully kept separate by giving the first line with the title. Section A concentrates on the first editions of all books and pamphlets by Williams. Section B describes the books with contributions by Williams. Section C lists his contributions to periodicals published both in the United States and abroad. Other sections describe recordings, broadsheets and cards, and all manner of miscellanea. Williams' remarkable popularity throughout the world is outlined in the section on translations. And his one known medical article is given its own section. Blank pages are offered for notes and additions. The index provides easy access to all names and titles, but the entries are also cross-referenced in helpful ways. Wallace's introduction titled, in Williams' words, "The Complete Collected Exercises toward a Possible Poem" is charming and incisive. Photographs of Williams, including one by Charles Sheeler, and a facsimile of the title page of his first book of poems is included. This bibliography should be updated and reprinted.

As one would guess from the title, this book compares big and little things. Big Bird likes big things, like mountains, whales and tubas, and Little Bird likes little things like molehills, goldfish and the piccolo. I think it is very amusing that in one of the pictures it looks like Big Bird was reading The New Yorker, while in his hammock.

This book is so cool !!! It is very educational yet very good also, I would recommend this book to anyone out there.This book is a real page-turner.I also think this author has a lot of potential

I am an 8th grade history teacher and I use this book every year when I am teaching about the Lowell Mills and the Industrial Revolution. The students love it and it really helps open up a discussion about the positive and negative effects of the Industrial Revolution

An important dimension of the "meaning" of the border text exists in the difference between the referential codes of author and reader. Since the special ontology of the border text makes the reader a conspicuous collaborator in the "writing" of the text, the same relationship of difference can obtain between the reader and herself as between reader and author. For the reader willing to engage in "border crossing," the "non-identities among the codes of the writer, the reader(s), and "sociohistorical semiotic" contexts create an ontologically special place or space within which "a remembering occurs" whose form varies with the desires and historical and political knowledge of the border crosser. Framed by a largely theoretical introduction and a meditative conclusion on the semiotics of work by Sandinistas and Chicano poets as well as her own creative writing, Hicks's discussion of Gabriel García Márquez's One Hundred Years of Solitude (Cien años de soledad), Julio Cortázar's Hopscotch (Rayeula) and A Manual for Manuel (Libro de Manuel) and Luisa Valenzuela's He Who Searches (Como en la guerra) and Other Weapons (Cambio de armas) inventively challenges readers to "deterritorialize" their categories of literary and political analysis. Performance artist, video maker, and activist as well as tenured professor of comparative literature, Hicks has created a theoretical work that is to academic theory and criticism something like what performance art is to theater/art/literature-a kind of genre-free zone in which the relations among and between performer, performance, and spectator/reader, writer, and text are not governed by the logic of identities and identification. Hicks's book changes its shape-as a good border crosser, trickster, or shaman does-from a good though unorthodox academic book about interesting Latin American texts to a highly charged "border handbook," an invaluable guide to the "border effects" being played out and ignored in the Southern California (or "occupied Mexico") region from which Hicks has taken her inspiration. Hicks uses holography as her metaphor for the multidimensional border text. Her introduction, "Border Writing as Deterritorialization," is an intrepid and intelligent extension of the work of Gilles Deleuze and Felix Guattari in Anti-Oedpus and Kafka. In it she explains how holography creates an image from more than one direction: "A holographic image is created when light from a laser beam is split into two beam and reflected off an object. The interaction between the two resulting pattern of light is called an interference pattern,' which can be recorded on a holographic plate." By analogy, the border metaphor produces an interaction between the connotative matrices of more than one culture. The holographic "real," then, is always understood to be a translation rather than a representation. It actively undermines any hierarchical original/alien distinction, resisting domination by the "monocultural or nonholographic" real and giving the reader the opportunity, instead, to "practice multidimensional perception and nonsynchronous memory. " In her discussion of Cien años de soledad, for example, Hicks reflects on the collective amnesia about objects and their uses that afflicts the residents of Macondo after the arrival of the gypsies (with their ice) and the banana company. Read from a holographic perspective, she suggests, Macondo's amnesia may be seen less as an instance of "magical realism" than as "realist" or "historical" documentation of the cultural effects of technology and capitalist exploitation and commodification. The Anglo reader, meanwhile, is also made aware of the precapitalist, pretechnological referential codes she or he is lacking. Time is experienced nonsynchronously by both characters and readers. García Márquez's remarkable experiments with tense, the text's flight from linearity , and the wildly uneven development of its character has perhaps less to do with the "irrationality" of the inhabitants of Macondo than with the effects of cultural domination. But, just as characters in Cien años read and respond to events in Macondo differently, so readers can be expected to respond differently to border texts--which count on this manifestation of difference in their operation. Hicks mentions, almost in passing, an immensely suggestive instance of the kinds of difference that may obtain (and be overlooked in Anglo-American literary theory and criticism) among subjectivities belonging to the "same" place and time. For the Mexicanos living in the U.S.-Mexico border region of San Diego-Tijuana, the main, socially-structuring dichotomy tends not to be Freud's male-female, but documented-undocumented. An African-American gay male fiend of mine, raised in new Orleans and now teaching in another southern state, corroborates her point, observing that the race, much more than the gender, of the person he lives with is the issue in his community. Hicks argues that neither psychoanalysis nor Marxist categories are adequate to the critical study of the characters in the works of these three authors. On the contrary, both Freud and Marx offer equally treacherous paths away from the real for Valenzuela, whose texts, Hicks maintains, overtly reject European models of subjectivity. Valenzuela, in fact, presents us with the possibility that Argentina's frightful recent history is directly lined to the aesthetics of the Renaissance humanist subject, whose repression of whatever threatens it ends up maintaining the disease of fascism. According to Hicks, Valenzuela has responded to the situation in Argentina by rewriting entry into the stable order of the Lacanian symbolic as a betrayal, using the Lacanian model to indict the years of Argentina's "dirty war." Some of the epistemological impasses of postcolonial and postructuralist theory begin to appear less than absolute from this border vantage point. Hicks's close-up look at the holographic "real," a non-ontological and therefore not easily dominated cognitive space, may usefully complete the images of irremediably colonized spaces offered by theoreticians working with the history of the British presence in South Asia, for example. There will also be readers who resist this way out. Many of us prefer the nice, stable impasses of an essentially realist epistemology (and/or its deconstruction) to the radical multiculturalism advocated and practiced by Hicks, which literally leaves nothing, including "ourselves," the "same."

Excerpted from Marguerite Waller, Review of Border Writing, published in Comparative Literature, 1995.

Of the four books about each of the Bratz, "Jade: Extreme Kool" is my favorite. Along with the wonderfully adorable, full color Bratz artwork (with a few pictures that have hardly been seen on Bratz products!) there are several great activities including how to personalize your own sneakers and how to create a unique demin book bag! Coloring pages, puzzles, and a teen mag-style quiz are also featured that are uniquely Jade! Learn more about the "Kool Kat" of the Bratz in her own feature story when you pick up this awesome book!

Patsy Stoneman has painstakingly investigated how the Brontes' works (specifically Jane Eyre and Wuthering Heights) have been perceived and transformed over time. The research she's done is remarkable. She investigates the implications in each film, stage, or musical version. She also dips a bit into how the Brontes themselves have been perceived over time--this part of the book could be expanded. I also think a similiar work investigating the works of Branwell and Anne Bronte is needed.

I thought that Bloom's The Brontes was a great book to use when researching the Brontes, especially Charlotte. For my AP English class I had to find critisms on Jane Eyre and background information on Charlotte Bronte. This book provided me with the materials to produce three pages of research on Charlotte Bronte.

With beautiful illustrations, and a simple descriptive story of a day at ballet school, this book is very well done. However, our 4-year-old daughter would tell you that her favorite part is the set of glitter stickers. They are very pretty, and incredibly easy to put on (all you need is a wet washcloth). They stay on all day, but come off with soap in the bathtub. This is a great price and it would be a good gift to include with a birthday party present.

This book is easy to read, the pictures are colorful, and all pertinent information is covered. Even though I have lived in the state nearly all my life, this little hardback book showed me things I never knew. It reinforced prelearned knowledge and expanded my knowledge. I helped a 2nd grader who was doing a research project, and found this particular book met all the requirements, the pictures were accurate and colorful and the information excellent. I would highly recommend this author for all her states' information-type books.