BP is an excellent book for all those people seeking for inside information. To me it seems it was written for people who are willing to walk the talk. BP provides the reader with information about drivers towards partnering and the benefits of partnering but also of the threats if you don't select your partner right. Therefore it emphasizes the importance of selecting the right partner and offers first hand evaluation forms from successful companies giving you ideas how to do it right with your own company. The first step to walk the talk.

Provides people involved with an outsourcing strategy in manufacturing with an excellent, hands-on approach. Breakthough Partnering should be a part of the implementation process for companies looking for practical experience in manufacturing partnerships. Robert LeValley, Director of East Coast Operations, Solectron, Inc.

Breakthrough Partnering is loaded with contemporary examples ofsupplier partnerships and it contrasts them with the 'old time religion' of bidding, leverage, and voluminous planning. Readers should come away with insights on how to transition from their old tenets to a new-found faith in the power of teamwork in supplier partnerships. Robert W. Hall, Founder of Association for Manufacturing Excellence, and Editor-in-Chief, Target magazine

This is a wonderful book, and I use it to help others who have suffered the loss of a loved one.

I have all of Dr. Moody's books. They have helped me understand an out of body experience I had fifteen years ago.

He is one of our brave authors who dares to write of controversial subjects. Thank you, Dr. Moody

An excellent resource book for anyone who has gone through or is going through the grief process. Especially meaningful are the real stories from real people to illustrate the points the authors are making. A great book to to add to your library for future reference.

Ms. Arcangel provides wonderful insight into the grief process and why all grief is as individual as the person experiencing it.
She is also working on a new book about After-life encounters which will help people understand that as well.
...

This is the best overall study bible I have used. The type is very readable, the notes don't overwhelm you but are there where they're needed. Only advice I would give is to get the genuine leather version if you can afford it.

This is a study Bible ideal for anyone who is looking for a most acurat verion, and most indepth explanations of the Bible. This contains many maps and charts making this Bible unique.

I received a Ryrie Study Bible about 5 years ago or so, and I have not found too many other Bibles with such an expansive variety of study helps, definitions, references, and to-the-point information. I personally like the Specific Topics that are focused on in the reference section in the back. The Miracles of Jesus, The Parables of Jesus, The Ministry of Jesus, The Topical Map of the Holy of Holies...and SO MUCH MORE! I guarantee you will not be disappointed if you pick up one of these today!

"Beat Writers at Work" is a fascinating and informative collection of interviews with writers and publishers of the so-called "Beat Generation". I consciously use the term "Beat Generation", rather than "Beat Movement", because the collection incorporates a diverse group of poets and writers who, while largely contemporaries, are each so idiosyncratic in their own right that it is inaccurate to lump them together in a single "movement". All of the interviews originally appeared in "The Paris Review" between 1965 and 1998. Each interview is preceded by a short biographical introduction and a description of the circumstances in which the interview occurred.

If there is any unifying characteristic among these writers, it is their rejection of literary formalism and their reliance upon sponaneity. As Lawrence Ferlinghetti observerves in his 1998 interview, one of the best in this collection, "I would call it the 'graph of consciousness' school of poetry because the poetry, as conceived and as defined in this manner, is exactly what goes through your consciousness at any given moment."

Consistent with Ferlinghetti's view of the Beat poets, Allen Ginsberg thus proclaims in his 1996 interview, that "there should be no distinction between what we write down and what we really know." Attacking literary formalism, the owlish iconoclastic "Howl" author notes: "the hypocrisy of literature has been-you know like there's supposed to be formal literature, which is supposed to be different from . . . in subject, in diction and even in organization, from our quotidian inspired lives."

Not surprisingly, Ginsberg's poetics echo the 1968 interview with Jack Kerouac, the breathless unpunctuated Beat proponent of unrevised prose, the very inventor of the term "Beat". In Kerouac's words, "by not revising what you've already written you simply give the reader the actual workings of your thoughts about events in your unchangeable way."

Charles Olson, whose virtually unintelligible 1970 interview appears here, follows this same poetic line. Olson (more appropriately identified with the "Black Mountain School") advocated so-called "open-field composition", described by George Plimpton in his introduction to the Olson interview as "poetry whose appearance and internal logic are governed by the spontaneity of the writing process."

Thus, in some respects, Beat poetics seems to resemble the spontaneity, the anti-formalism of Surrealist automatic writing (something which Ferlinghetti suggests in his interview). But this resemblance is attenuated by the Beat experience of America and of the Beats turn to the East (specifically, Buddhism) and to the influence of consciousness-expanding drugs. Furthermore, while there may be unifying strands running through Beat poetics, this collection of interviews also demonstrates the remarkable diversity of these authors, a diversity which makes it difficult to collate their writings under any unified theory. After reading the interviews with William Burroughs, Jack Kerouac and Gary Snyder, a reader is enthralled and exasperated at the eclection of thought among them.

"Beat Writers at Work" contains exceptional interviews with Ferlinghetti, Burroughs, Ginsberg, Kerouac, Snyder, Paul Bowles, and Ken Kesey. These interviews make this collection required reading for anyone interested in the Beats. The interviews with Ferlinghetti and Barney Rosset also provide an insightful look at the role of City Lights Books and Grove Press in publishing the Beats in their early days, a time when censorship made such publication a financially parlous venture for small presses. Finally, Elissa Schappell, a contributing editor of "The Paris Review", provides a fascinating memoir of a graduate class taught by Ginsberg in 1995. The only weak pieces in this collection are the 1980 "conversation" among Ginsberg, Peter Orlovsky and Russian poet Andrei Vosnesensky and the largely unintelligible wordplay of Charles Olson's 1970 interview. There is also one notable author missing: Gregory Corso, who is, in Ferlinghetti's words, "the most important Beat poet after Ginsberg."

"Beat Writers at Work" is a fascinating and informative collection of interviews with writers and publishers of the so-called "Beat Generation". I consciously use the term "Beat Generation", rather than "Beat Movement", because the collection incorporates a diverse group of poets and writers who, while largely contemporaries, are each so idiosyncratic in their own right that it is inaccurate to lump them together in a single "movement". All of the interviews originally appeared in "The Paris Review" between 1965 and 1998. Each interview is preceded by a short biographical introduction and a description of the circumstances in which the interview occurred.

If there is any unifying characteristic among these writers, it is their rejection of literary formalism and their reliance upon sponaneity. As Lawrence Ferlinghetti observerves in his 1998 interview, one of the best in this collection, "I would call it the 'graph of consciousness' school of poetry because the poetry, as conceived and as defined in this manner, is exactly what goes through your consciousness at any given moment."

Consistent with Ferlinghetti's view of the Beat poets, Allen Ginsberg thus proclaims in his 1996 interview, that "there should be no distinction between what we write down and what we really know." Attacking literary formalism, the owlish iconoclastic "Howl" author notes: "the hypocrisy of literature has been-you know like there's supposed to be formal literature, which is supposed to be different from . . . in subject, in diction and even in organization, from our quotidian inspired lives."

Not surprisingly, Ginsberg's poetics echo the 1968 interview with Jack Kerouac, the breathless unpunctuated Beat proponent of unrevised prose, the very inventor of the term "Beat". In Kerouac's words, "by not revising what you've already written you simply give the reader the actual workings of your thoughts about events in your unchangeable way."

Charles Olson, whose virtually unintelligible 1970 interview appears here, follows this same poetic line. Olson (more appropriately identified with the "Black Mountain School") advocated so-called "open-field composition", described by George Plimpton in his introduction to the Olson interview as "poetry whose appearance and internal logic are governed by the spontaneity of the writing process."

Thus, in some respects, Beat poetics seems to resemble the spontaneity, the anti-formalism of Surrealist automatic writing (something which Ferlinghetti suggests in his interview). But this resemblance is attenuated by the Beat experience of America and of the Beats turn to the East (specifically, Buddhism) and to the influence of consciousness-expanding drugs. Furthermore, while there may be unifying strands running through Beat poetics, this collection of interviews also demonstrates the remarkable diversity of these authors, a diversity which makes it difficult to collate their writings under any unified theory. After reading the interviews with William Burroughs, Jack Kerouac and Gary Snyder, a reader is enthralled and exasperated at the eclection of thought among them.

"Beat Writers at Work" contains exceptional interviews with Ferlinghetti, Burroughs, Ginsberg, Kerouac, Snyder, Paul Bowles, and Ken Kesey. These interviews make this collection required reading for anyone interested in the Beats. The interviews with Ferlinghetti and Barney Rosset also provide an insightful look at the role of City Lights Books and Grove Press in publishing the Beats in their early days, a time when censorship made such publication a financially parlous venture for small presses. Finally, Elissa Schappell, a contributing editor of "The Paris Review", provides a fascinating memoir of a graduate class taught by Ginsberg in 1995. The only weak pieces in this collection are the 1980 "conversation" among Ginsberg, Peter Orlovsky and Russian poet Andrei Vosnesensky and the largely unintelligible wordplay of Charles Olson's 1970 interview. There is also one notable author missing: Gregory Corso, who is, in Ferlinghetti's words, "the most important Beat poet after Ginsberg."

The Paris Reviw interviews of the beats are famouse for their openness about the writers craft, and the insight into their work and lives. If you want to truly understand the beats, this is the place to go! Totally worth it!

The book Judy Moody Saves the World, is about a little girl Judy Moody. The main characters in this book are: Judy a 11 yer old girl, Stink, Judy's younger brother, Rocky and Frank, Judy's best friends. In school, Judy likes to learn about the world and how she can be a person that will not litter, but throw away trash, and will recycle things, lilke bottles.I would recommend this book it people who like to read about saving the world and nature.

I love this book so much because it is funny, because her friends have to pick up a frog. Then her friends feel something warm -- guess what that was. There are no books better than Judy Moody. There are no books funnier than Judy Moody. And this is all that I can tell you about this book.

My seven year old daughter loved this book, and I did, too. There was a lot of humor, and my daughter was laughing out loud to parts of it. One thing I appreciated was that the book doesn't talk down to kids, the way I think the "Junie B. Jones" books do (by using improper grammar and words like "bestest" to seem cute). Highly recommended!

**Strengths: distribution maps for species in North and South America, good history of early researchers, nice cladograms, nice drawings of all species, brief descriptions of behavior and habits of ants in North and South America, fun to read. **Weaknesses: not comprehensive, keys are difficult, does not directly address Bolton's synonomy of Pogonomyrmex and Ephebomyrmex

One reviewer thought that the author did not provide reasons for disagreeing with someone else's view that the two harvester ant genera should be seen as only one genus instead of two. In reality, it is this book that provides the only analysis of the problem. It was an unfair criticism.

Dr. Taber has come up with a practical and informative narrative style that told me everything I couldn't find elsewhwere in a straight forward, convincing manner. I am persuaded that the chromosone distinction he has drawn between the Pogos and Ephobos is a conclusive evidence of different genera and a more scientific key than the often jumbled attempts to describe morphological characteristics which leave much to be desired.

I am curious who did his excellent ant drawings? If one were to focus in on the gasters depicted, and could use these reliably and with ease under a microscope, it would certainly be a lot quicker to identify specimens than looking for offset teeth, non-concentric rugae or trying to differentiate amongst verbal descriptions of epinotal armature when a single species may have more than one variety of worker in the same colony.

Mr. Taber's book is a must for any serious myrmecologist or wanna-be scientist. My own work on the diet and nutrition of horned lizards (Phrynosoma) led me to this excellent book. I would like to talk to and/or meet Dr. Taber and commend him personally for opening the door to my better understanding of Neartic harvester ants.

Buy this book. Don't even think about it. It is positively the latest thinking and best for its manageble size on the market.

R. Joseph Collet JD Horned Lizard Study Center 2330 Guardian Circle St. George, UT 84790 FAX (435) 628-4492

After 5 novels hasn't Mr. Moody learned that you just, can't, put, a comma, wherever you want to? And at times, well, a comma is needed. This could be credited to extreme sloppiness and mistakes that editors should notice right away. Like the fact that California is 9, not 8 hours behind Amsterdam. Consecutive chapter headings of Wednesday the 10th and Thursday the 12th (with a mention of Friday the 13th) make me wonder what happened to the 11th day of that month. Mr Baker is referred to as "Mrs" Baker. (What the hell do editors do these days?) And there are probably others that my quick reading or fading memory have missed.
If you have a craving for some Chet Baker (who doesn't/shouldn't?) I would suggest de Valk's bio, or pre-order Gavin's. If you have mystery fix, just buy Elmore Leonard. I am not familiar with the other works of Mr Moody, I like the idea of jazz mysteries but heavily shy away from silly clichés and most of all bad writing. If anything I hope this will turn a few people on to the lovely music of Chet Baker.

This is the fifth in a series featuring the reluctant detective Evan Horne who is a jazz pianist. He always finds himself involved in the solution of a mystery that concerns a real life musician. Because Bill Moody is a jazz drummer and journalist, he brings a certain authenticity to his stories and if you don't watch out, he may cause you to buy some new CDs. His other books were about Charlie Parker, Wardell Gray, Clifford Brown, and this one is set in Amsterdam where Chet Baker died in 1988 when he either fell or was pushed from a hotel window. Poor Evan, he just had a gig and then he finds himself once again mixed up with the police! I have enjoyed each one of the Evan Horne books, waited for this one for about a year, recommend the series to all musicians and mystery lovers...

Jazz pianist Evan Horne is drawn into the life and death of musician Chet Baker in this story of an investigator who tries to get away from his career on a trip to London for a gig. When he discovers his fellow musician and hero has disappeared, and Chet Baker's paperwork becomes the only clue to his whereabouts. Fast, involving intrigue with a twist.

Koplewics has long been a leading advocate of psychiatric drugs for kids. In a June 17, 1999 story for Salon.com he said, "I actually think we're not medicating kids enough." This book is his attempt to get more kids on mind-altering drugs.

It is simply astonishing how Koplewics ignores the mountains of evidence in his own book that childhood problems have non-biological causes (relationships, life events, cultural factors) and real physical causes (e.g., hormones) and instead pushes pills - without offering a shred of evidence that these kids have bad brains. Of course, in this regard he displays a common trait of psychiatrists - the dismissal of the obvious in favor of the hypothetical and untestable.

Just so no kid misses his or her pharmocological treat, there are the multitude of different types of depression followed by the all encompassing caveat: "none of this is etched in stone." In other words, don't be discouraged if your kid doesn't meet all the criteria. We've got a diagnosis for everyone. (One is reminded of the statement in the Diagnostic and Statistical Manual of Mental Disorders (DSM-IV)(xxii): "In DSM-IV, there is not assumption that each category of mental disorder is a completely discrete entity with absolute boundaries dividing it from other mental disorders or from no mental disorder." Imagine a real doctor saying diabetes is not a distinct entity with boundaries dividing it from cancer, an infection or complete health.)

There are the unquestioned and unexamined platitudes: "adolesence is demoralizing almost by definition." Understandable feelings are redefined as "symptoms" of illness. A fear of the future (we're all so confident of the future, aren't we?) becomes "Generalized Anxiety Disorder." Fears of the family well-being (imagine a kid being concerned about that!) become "Separation Anxiety Disorder."

Koplewics writes, "It's the duration of the symptoms that tell if a teenager has crossed the line into depression." Says who? Psychiatrist Nancy Andreasen, editor-in-chief of the American Journal of Psychiatry, has written (Science, vol. 275,14 March 97), "thresholds based upon duration ... are boundaries of convenience ... not boundaries with any inherent biological meaning."

Koplewics attitude towards children is often patronizing. One girl's description of a horrible childhood is described by Koplewics as "the product of the drama of adolescence."

Questionable "facts" and outright untruth abound in the book. According to Koplewics, the newer antidepressants (SSRIs) "have fewer side-effects" and "have always been found to be more effective than placebos." Not so. In his 1999 textbook, The Fundamentals of Clinical Neuropsychiatry, Dr. Michael Alan Taylor writes, "It is a mistake to think that one class of drug is 'safer' or has 'fewer' side effects .... Taylor specifically cites claims about the SSRIs

A July, 2002 analysis by George Washington University's Thomas Moore of 47 studies used by the FDA in approving six antidepressants found that in over half the studies, the drugs were no better than placebo. The overall slight benefit antidepressants had over placebo were found to be "not meaningful for people in clinical settings."

Koplewics ignores the side-effects of drugs and the withdrawal effects. Failed treatment is excused because, of course, one never recovers from psychiatric "illness." Typical is this statement: "That Jesse [treated with drugs as an adolescent] has depression as an adult is not a surprise."

Ho-hum. Failed treatment is all part of a days work.

This book is a real page turner! I could not put it down. As a teenager I suffered from severe bouts of depression and I wish a book like this was available for my parents to read. Now as a parent of an adolescent who suffers from depression I can empathize with the teenagers, their parents and the stories in this book. More than Moody is not filled with a lot of psycho babble, but rather with easy to read and comprehend stories and situations we can all relate to and the various treatments available. Thank you Dr. Koplewicz for giving my family the thing we've been searching for - Thank you for giving us hope.

As a mother who has two children that have suffered from teenage depression, this book is a true breath of fresh air. Koplewicz sheds light to the distiction between regular behavior and clinical depression in an entertaining and informative way that I have not experienced after personally researching the topic for five years.

Thank you Dr. Koplewicz.

This is nothing more than a long puff piece, probably written to indoctrinate Honda employees. Alternately cryptic and jejune, it provides little insight into the workings of Honda's touted BP management system. Reflecting the American/Japanese duality in Honda culture, the book preaches in tones that are part Knute Rockne, part Zen Master. The overworked prose reaches its fawning heights in the section on Honda's racing team:

"All Honda team members share a fierce competitive spirit and an intense dedication to the task at hand."

"Under the stresses of racing, the driver, his vehicle, and his support team experience their greatest performance peaks. Each race, every lesson, and every failure are treasured."

"The company's leadership has consistently been drawn from the ranks of engineers who love engines and who share a passion to drive well-designed, robust, high-speed vehicles to their limits and beyond."

Yeeks!

Powered by Honda is for every leader's desk. If managers apply what they read in this book, their organizations will be dynamically improved, and their customers along with their associates will be delighted. Robert A. Kemp, PhD, CPM Former President, National Association of Purchasing Management President, Kemp Enterprises Former Professor Emeritus, Management, Duke University

Powered by Honda tells the story of what Honda does by the people who do it. You can hear the belief and commitment behind their actions. With this book you experience the power of a unifying vision, unswerving support, deep human understanding, and the guts it takes to implement effectively. I knew they were good - but now I know why. Rick Dove, Chairman, Paradigm Shift Incorporated