This is a sadly outdated book. The character building elements can be found elsewhere without the laughably out of date tips on fashion and diet. My mother ordered this book for me several years ago, and we ended up laughing more than anything else. I have several friends who also used this book who found it as amusing as I did. It also struck me as somewhat naive. Young girls in need of guidance as they enter adulthood will need to confront many issues this book entirely ingores. This is really a waste of money.

I received this book as part of an instructor-led course at my church 19 years ago, when I was 12 years old. Many of the lessons had an impact and have stayed with me into adulthood. The book has since been revised, but it has only improved upon itself. I highly recommend it to women who have a young lady in their life that is coming of age, as it provides the most important foundations of etiquette, interwoven with spirituality. It is ideal in an interactive setting, where there is dialogue and discussion, and an opportunity to have some fun with it.

The lessons provided are biblical, powerful, life changing, and vital in the raising of our young christian girls to be Godly women of God in these last and evil days.

"Emily Dickinson is Dead" is one book that I didn't enjoy out of the 4 on my summer reading list...what a slow beginning. The title made it seem like it was a book about Emily Dickinson, but instead it was about a conference to celebrate the 100th anniversary of her death.... that didn't include women and a fat girl who tried to kill a pretty one (who disappeared anyways) by burning down a building and who ended up being killed...what about Emily Dickinson HERSELF??? THAT'S who I thought the book was going to be about...not a bunch of confused people. I didn't expect it to be a biography or anything, just not what it was.

I chose the book because a friend is an Emily Dickinson fan, I'm a mystery fan, I was charmed by the author's sketches, and delighted by the snippets of Dickinson's poetry. What a fine discovery! The characters are complex, subtle, and interesting. The college town setting is vivid. The plot had unexpected twists and turns that kept me guessing. I learned something about the workings of dams and reservoirs, and I learned something about Emily Dickinson and her poetry, enough so I followed up "Emily Dickinson is Dead" by reading her biography. This was my first Jane Langton book. She has managed to do what a lot of writers only aspire to -- her writing is so transparent I forget the story and setting were coming to me through print on a page.

I have to totally disagree with the previous review. I found this Homer Kelly mystery refreshing and fully of marvelous characters full of human foibles. The descriptions were subtle but often verged on the hilarious. This is the book that hooked me on Jane Langton. It's too bad that the previous reader did not read the dust jacket before purchasing this book. It very clearly identifies itself as a mystery and not an study in Emily Dickinson. It's not surprising that she did not enjoy the book since it mocks stuffy Emily Dickinson scholars. But I found this book to be a skillfully written romp in weakness of human nature.

From the very beginning, the premise of Eve's Tattoo is an affront to those who suffered in the Holocaust. The protagonist is a vapid, self-indulgent woman experiencing a mid-life crisis. By getting a tattoo of a Holocaust victim she has seen in a photo, she creates a counterpart about whom she can weave tales of what the Nazis did. She can go into a discotheque and point out to her "victim" the tattoos painted on the young musicians. This is not what the Holocaust is about. The way that this character embellishes her tales to indulge herself is a trivialization of the true catastrophe. This novel feeds into the deceit of Holocaust deniers and revisionists because the protagonist creates victims' stories for her own egocentric purposes. A reader can get no insight into the true nature of Nazi evil by reading this book. It is an exploitation of the topic and has no redeeming value. Actually, I would use it as an example of how the Holocaust is diminished by bad pop-art.

When I first heard the premise of this book, I had my doubts about it. But I found it to have a lot of depth and historical interest. Very well written, and really made me think about my own life, history, and (lack of) generosity to and empathy for others and their varied situations.

This is an incredible book. It is thoughtful, haunting, and tells the story of an uncompromising heroine

How dare any woman to write a book on a man's sport. I wonder if Mrs. Donaldson knows that women are peed upon in Scotland.

Real men throw kegs. Real women sleep with real men. I love Scotland and all the hairy drunk bastards that call it home.

Before I read this insightful study into the athletic world of drunken Scots, I must say that I wanted to never visit Scotland. Now that I read the book i want to go there and pee on their culture. They throw keg up in the air. Wow how cool is that. They throw cabers, but can they win a war?

Although Emily Dickinson is a marvelous poet, this edition is not a good one to buy. The catalogue claims it is printed from "the earliest, most authorative editions" without noting that the earliest editions were heavily edited, eliminating much of what makes Dickinson unusual and brilliant. For example, another reviewer quotes from poem 258, which should read "There's a certain slant of light, / Winter Afternoons-- / That oppresses, like the Heft / Of Cathedral Tunes--"; the first editor didn't think many people would know what the word "heft" meant, so he (without Dickinson's posthumous permission) simply replaced it. Get a volume of Dickinson's poems, certainly! But not this one.

I don't doubt that it's possible to enjoy Emily Dickinson's poems in editions like this. But you should be aware that you are not really reading what she wrote. You are reading what earlier editors _wish_ she had written - a sort of 'tidied-up' and regularized version, a badly-tampered-with-text of a genius by those who weren't.

In a way, the situation is a bit like the one that prevails with regard to food. Would you rather eat natural food or genetically modified food? Maybe the modified food doesn't taste any different, but it might be doing harmful things to us that the author of real food never intended. So why take a risk when we can have the real thing ?

There are two major editors who can be relied on for accurate texts of ED's poems. These are Dickinson scholars R. W. Franklin and Thomas H. Johnson. Both produced large Variorum editions for scholars, along with reader's editions of the Complete Poems for the ordinary reader. Details of their respective reader's editions are as follows.

THE POEMS OF EMILY DICKINSON : Reading Edition. Edited by R. W. Franklin. 692 pp. Cambridge, Massachusetts : The Belknap Press of Harvard University Press, 1999. ISBN 0-674-67624-6 (hbk.)

THE COMPLETE POEMS OF EMILY DICKINSON. Edited by Thomas H. Johnson. 784 pp. Boston : Little, Brown, 1960 and Reissued. ISBN: 0316184136 (pbk.)

For those who don't feel up to tackling the Complete Poems, there is Johnson's abridgement of his Reader's edition, an excellent selection of what he feels were her best poems:

FINAL HARVEST : Emily Dickinson's Poems. Edited by Thomas H. Johnson. 352 pages. New York : Little Brown & Co, 1997. ISBN: 0316184152 (paperbound).

Friends, do yourself a favor and get Johnson's edition. Why accept a watered-down version when you can have the real thing?

This little gem is a treasure trove of the best of Emily Dickinson. All of her best known works are found nestled within these pages. President John Adams once gave the advice that you would never be lonely with a poet in your pocket. It is so true. I carry this little book with me everywhere, and find myself inspired by the magic within the pages. The poems have been ordered in a logical way either by theme or topic. It includes "Hope" , "The Chariot", "March" and my favorite, "There's a certain slant of Light on winter afternoons that oppresses like the weight of cathedral tunes..." Buy this book if you wear your heart on your sleeve, your passion on your paper and your soul on your solitude.

At first glance this book offers everything an aviation student could ask for in the never-ending quest for educational funds. It has good worksheets, and breaks down the scholarships by majors. But as the saying goes, "The proof is in the pudding". I spent a recent Sunday afternoon cataloging all the grants and scholarships that I could potentially qualify for. I totaled 30 in the end. Not a bad number, and if only 1 or 2 pan out it would more than justify the effort. However, within a week I started receiving replies. It turns out a great deal of these are extremely conditional or have non existent addresses. To be fair, this type of problem is mentioned in the disclaimer, but I get the impression the author did relatively little background research on the actual qualifications. As an example, a recent reply form a foundation listed the qualifications as "student must be domiciled in Whales". The book simply lists the qualifications as "Availability and financial need". While I can't allow one bad apple to spoil the whole bunch, when I receive letter after letter with similar themes, you have to wonder about the attention to detail. The bottom line is: If your in need of some good work sheets and don't mind chasing red herrings, this book would be a good place to start your search. Otherwise check into other titles and perhaps the author will put out an updated 3rd addition with more detailed information.

Aviation Scholarships! is the best book on this subject that I have read. It is complete, accurate and up-to-date where many scholarship guides are incomplete. Mr. Hines does a nice job organizing the book into sections for easy identifcation of the scholarships that fit your unique situation. Basically, the book takes all the work out of finding scholarship sources. I recommend this book all the time.

If you love Sandra Brown and you've read her book "Led Astray" this is the book for you. It's eerie alike. The difference between the books is that Sandra Brown's book has a bit more romantic sceens while Ginna Gray's book goes a little bit slower. Let me get to what the books about. The main characters in the book are Emily and Dillion. Emily's husband has just died in a fire while he was in bed with his mistress. Dillion is Emily's brother in law who Emily thinks hates her which cannot be further from the truth. Dillion has been in love with Emily since the first time he meet her but he hides it by being somber and remote whenever she's around. Losing her husband and finding out he has been unfaithful she also learns that her now deceased husband was deep in debt. If that wasn't enough she just learned a few days ago that she was pregnant. To Emily's surprise Dillion steps right in to help her. Emily doesn't understand why Dillion is being so kind to her. Dillion knows something Emily doesn't. Emily is carrying his child.

Although the plotline has no surprises, Ms. Gray has a knack for making readers care about her characters. A BABY FOR EMILY hits many favorite series romance elements--pregnant heroine, long-suffering hero, misunderstood tension that turns into sexual awareness then deeper emotion. It also sports an unfortunate stereotypical character, the hysterical, evil mother/in-law. Her one-dimensional meanness takes away from the story's credibility, but this is series romance, after all, and there isn't much time for secondary character growth or redemption. Ah, well. A gentle, pleasant read.

Okay, I confess: I'm a sucker for a pregnant heroine on the cover. Add that to the fact that I know Ginna Gray's books are always emotional--just the way I like a story--and those facts made this an immediate buy for me. I wasn't disappointed. Ms. Gray kept the tension simmering all the way through. I couldn't wait to see how this widow and her ...brother-in-law were going to get together.

This book is not a good book. As I am the first person to review this, feel free to criticise my comments to death. Emily Rodda does not get you involved in the plot or the characters, and it is unnesiserily bloody. As for the plot, come on! Tamora Pierce's books are soooooooo much better in all aspects. I felt as if I was watching a really bad action movie with violence everywhere when I read this book.

I would not reccomend this book at all if you like quality things. I was really sorry that I wasted my money on this.

This book is not top quility i agree but it is good and if you read the series that comes before it the characters and plot make more sense. I also agree that Tamora Pierce is waaaaaaaay better than Emily Rodda but she is worth it. I wouldn't buy this book but it is worth borrowing from the library.

In this book, Lief, Barda, and Jasmine face even more dangers and make more frineds. The first tribe said that this tribe would most likely murder them on site, and bred evil monsters in the sea. None of this is true. While they discover the truth about the island, they are in grave danger. I very much enjoyed this book, and very much recommend it.

While approximately 30% of this book is taken up with interesting stories about life abroad in the early part of the 20th century, in no way, shape, or form is this book actually a memoir. It is a collection of her old New Yorker articles, most of which do not even deal with her life abroad. In fact, the majority of the chapters comprise uninteresting tales of her domestic life -- not quite what the title implies, either.

The foreward states, in a fit of honesty that apparently didn't make it to either the title or back-cover copy, that Hahn was under contract to write a memoir, and instead, since she had already been paid and didn't much feel like writing anything more, took a bunch of her old New Yorker clippings and sent them in to her publisher. Anyhow, it certainly shows.

I had heard of Hahn before, and was interested in reading about her China exploits in particular. One could understand, then, that I would be quite chagrined to find that fully the first half of the book is taken up with boring childhood reminiscences of St. Louis and Chicago, and that the last few stories are set once Hahn has become safely re-domiciled in NYC, and concern similarly banal domestic issues.

This is not to say that there is no merit whatsoever in the book. At least a few of the stories are good and interesting: one or two about her life in the Congo, one about the Japanese occupation of Hong Kong, another two about Shanghai and her opium addiction. But even, with these, her writing style is usually so insubstantial, so affectedly flaky, like Dorothy Parker after a partial lobotomy or a teenaged girl dumbing it down so the boys like her, that I would in all likelihood not have liked this book had it been what its title and packaging claimed it to be.

This book is mostly just a collection of irrelevant, poorly written prose that was slapped together to pay the bills. The publisher should have demanded his money back.

In his lively and evocative Introduction to this book, Hahn biographer Ken Cuthbertson says that Emily Hahn "moved from here to there to everywhere, like some sort of multi-colored and quixotic literary butterfly" for around forty-seven years. Sheila McGrath, in her Foreword, looks through a different lens, seeing "an inborn and unyielding independence that must have been difficult to maintain," a wholly original woman who traveled, had adventures, made friends, and wrote about all of it with an unflagging energy and dedication. She lived exactly as she chose to, for her entire long life.

This book is a collection of essays that Hahn herself assembled in 1970, in order to fulfill a commitment she'd made to a publisher to produce an autobiography, which she was loathe to write, according to Cuthbertson. There are several delightful pieces on Hahn's good childhood and school days in the American midwest, and then the rest bright and incredible travel pieces - letters home, really - that appeared in The New Yorker magazine, from 1937 to 1970. (One describes a cross-country trip she and a friend made one summer during the '20's, as undergraduates, in a Model T). Artful and sensitive ordering of these pieces supplies the reader with a chronology. Unfortunately, the pieces are undated, so you must guess as to date of writing, and date of publication.

Hahn's adventures and quirky and strong views are fabulous and charming - and quaint at times. From "The Big Smoke": "Though I had always wanted to be an opium addict, I can't claim that as a reason I went to China." She supplies a witty and thorough description of how she did it. (And later, of how she kicked the habit.) In other venues she had a pet gibbon named Mr. Mills, she lived in the jungle for a while, and was literally trapped in Shanghai for a spell. Amazing things, reported in a calm - but playful - voice. The people she met and got to know are drawn less fully than her escapades. You, in turn, never really get to know them, either.

Hahn does not go deep so much as range far and wide. She has a great ear, an even better eye, and is fearless. That she reported so dryly and well on her doings in the US, the Congo, China, Japan, England and Europe is the icing on the cake. A very good and atmospheric read.

'Emily Hahn was an original--a first-generation feminist who chose not to be called one, a woman of courage who constantly underplayed it, a reporter of the acts of men and animals, whose peculiar likeness she grasped perhaps better than any other writer of her time. Above all, she was a prose stylist, a plain writer whose simplicities are never simple, and whose every sentence ends with a sharp, clean bite. Her (beautifully) episodic memoirs can stand alongside those of M. F. K. Fisher, who she in so many ways resembled, as a model of clarity, precision, calm sensuality, carefully weighed sadness.' --Adam Gopnik, New Yorker writer

Ugh. Roger Fishbite left me feeling cheap and used. I can't fathom how in the world this recent wave of authors (Praeger, Pia Pera, etc.) could have such hubris as to ape/parody Nabakov's masterpiece "Lolita". I imagine that they would argue that they're giving voice to the voiceless nymphet. But really, after reading several of these novels, in portraying Lucky, Lo, etc. as such charmless little harpies, I can honestly say they sure aren't doing the girls any favors.

Praeger is obviously a talented, funny and clever writer, but this was a ridiculous project. I hope to read something else of hers wherein she has not hitched her wagon to someone else's star as she has here with Nabakov.

_Roger Fishbite_ tries, and fails, to recreate _Lolita_ from the child's point of view. It fails, in my opinion, because only the absolute genius of Nabokov can make this genuinely repellent subject matter appealling. Prager is certainly a good writer, but her protagonist speaks with the voice of a mildly unappealing teenage girl. In the end this book fails to maintain the balance between comedy and tragedy that Nabokov so artfully maintains, and _Roger Fishbite_ plunges into the realm of bathos. This is the stuff of which Jon-Benet Ramsey was made.

Prager modernizes LOLITA and rewrites it from the nymphet's perspective. The heroine is a joy to "listen" to and gives a very funny story with serious overtones that develop later on. Kudos to the author for tackling child sexuality with maturity and avoiding a 90's reactionary attitude. I think this novel will appeal to fans of Amanda Filipacchi who took on a similar subject in NUDE MEN. While not as riotous (or as heartbreaking) as that novel, it is still affecting and memorable.