Famous horses of the past, and even the horses of tomorrow
Jam-packed with games and puzzles to keep you laughing and learning, with The Everything KIDS' Horses Book you'll soon gain lots of horse sense!
Customer Reviews:
The Everything Kids Horses Book.......2007-05-12
In this case, you definitely can't tell a book by its cover! The inside of the book does not have the nice, big colorful pictures and print like the cover "implies." The lack of color in the pictures and small print inside the book does not make this very appealing for readers of any age.
Average customer rating:
- very droll
- Exaltations of Mistake
- The Exaltation of Mistake
- Interesting juxtapositions - some successes, some failures
- Deliberately Unstrung Hours
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Men in the Off Hours
Anne Carson
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ASIN: 0375707565
Release Date: 2001-02-13 |
Amazon.com
Yes, consistency is the hobgoblin of small minds--and minor poets. The major ones tend to operate in a trough-and-peak pattern, producing a dozen lesser works for every masterpiece. Still, Anne Carson pushes this tendency to extremes, and nowhere more markedly than in Men in the Off Hours, which contains some of the best and worst lyrics of her entire career.
First, the good news: Nobody has written more acutely about perception--about the chaotic collision of our senses with the real world--since the glory days of Wallace Stevens. Not that Carson echoes the airborne rhetoric of her great predecessor. Her fractured, zigzagging lines deliberately avoid the kind of gravity that was his trademark, and she likes to deflect the grand manner by ratcheting her diction upward (into Delphic utterance) or downward (into baby talk, if the baby happens to be Gertrude Stein). Still, like Stevens, she makes us think about how we think. She dislikes any attempt to remove cognition from its rustling Heraclitean framework. No wonder she ends up scolding taxidermy freak John James Audubon, whose point-and-shoot portraiture rubs her the wrong way: "In the salons of Paris and Edinburgh // where he went to sell his new style / this Haitian-born Frenchman / lit himself // as a noble rustic American / wired in the cloudless poses of the Great Naturalist. / They loved him // for the 'frenzy and ecstasy' / of true American facts." We comprehend things only in flux and, as Carson explains in "Essay on What I Think About Most," by mistake:
...what we are engaged in when we do poetry is error,
the willful creation of error,
the deliberate break and complication of mistakes
out of which may arise
unexpectedness.
Now for the bad news: Men in the Off Hours includes too ample a serving of Carson's weaker, semiprecious work--short lyrics in which she bends over backwards for an antipoetic poetic effect (if such a thing is possible). "Epitaph: Europe" is precisely the kind of freeze-dried surrealism she should avoid. And the spitballs this classicist fires at television in a piece like "TV Men: Thucydides in Conversation with Virginia Woolf on the Set of The Peloponnesian War" are truly puzzling. Why blame the tube for our cultural sins, particularly when the average NYPD Blue rerun contains more experiential fiber than most contemporary poetry? Still, Carson's blazing successes easily overshadow her failures. And those who have found her too recondite, too forbidding, need only take a look at the concluding poem, "Appendix to Ordinary Time." This elegy to the poet's mother is touching, emotionally direct, and completely original: an instant (to use a phrase Carson would probably loathe) classic. --James Marcus
Book Description
Anne Carson has been acclaimed by her peers as the most imaginative poet writing today. In a recent profile, The New York Times Magazine paid tribute to her amazing ability to combine the classical and the modern, the mundane and the surreal, in a body of work that is sure to endure.
In
Men in the Off Hours, Carson offers further proof of her tantalizing gifts. Reinventing figures as diverse as Oedipus, Emily Dickinson, and Audubon, Carson sets up startling juxtapositions: Lazarus among video paraphernalia, Virginia Woolf and Thucydides discussing war, Edward Hopper paintings illuminated by St. Augustine. And in a final prose poem, she meditates movingly on the recent death of her mother. With its quiet, acute spirituality and its fearless wit and sensuality,
Men in the Off Hours shows us a fiercely individual poet at her best.
Customer Reviews:
very droll.......2003-05-01
I understand the attraction to Anne Carson. I like experimental poetry, too. I like scholarship. But this book is pointless. The poems are so terrible that by the time I got to the essay at the end about hot & cold symbolism for the writers of antiquity I was so upset with the book that I just couldn't care about anything in it. These poems don't sound good. If nothing else, there should at least be the sound. & in any other respects, the experiments are to no end in themselves. I recommend forgetting this book & going for such progressive, ambitious younger poets as Karen Volkman & Brenda Shaughnessy.
Exaltations of Mistake.......2001-10-05
Susan Sontag, one of the foremost thinkers and writers of today, says of Anne Carson: "[Anne Carson] is one of the few writers in English that I would read anything she wrote." Such regard for Carson is justified. One of the premiere poets today re-inventing and rediscovering language to meet our present demands of articulation, in the true post-modernist fashion, Carson has come up recently with a collection called, Men in the Off Hours, finalist to the National Book Critics Circle Award.
Men in the Off Hours contains poems and prose pieces that lay the groundwork for various intersections of opposites: past and the present, the classic and the modern, cinema and print, narrative and verse. Here we can find the paintings of Edward Hopper turned into poems as footnoted by St. Augustine's words in the Confession, Thucydides and Virginia Woolf conversing about war, and a host of other characters summoned in the forefront of contemporary image-making: Sappho, Artaud, Tolstoy, Lazarus, Antigone, Akhmatova. They can be found in the chain of poems titled "TV Men" which re-images and re-imagines the lives of these personages, how they correspond to the contemporary definitions of the gaze, as shaped and articulated by woman-as-director, woman-as-creator.
One of the best poems in the collection is "Essay on What I Think about Most" where Carson exalts the element of mistake, both in art and in our lives. It then makes a literary exegesis of a fragment poem written by Alkman, a 7th century B.C. Spartan poet, of how it masterfully harnesses the conceit of the mistake, and is interspersed with quotes by Aristotle. The persona declares: "The fact of the matter for humans is imperfection."
"Irony is not Enough: Essay on my Life as Catherine Deneuve," on the other hand, is composed of a series of prose poems that narrativizes the days of Catherine Deneuve. Here Carson imagines herself as Deneuve, somewhere in a room in an academy in France, lecturing about Socrates and Sappho, catching all the knowing gazes by one of her female students, as the snow outside her window drives through everything like rain. The prose poems are short and episodic, almost breathless, representing the smallness of Daneuve's life, and the frailty of relationships, against a backdrop of a long, bitter winter.
Carson is at best intellectual and scholarly in this collection. Her far-reaching vocabulary touches various human endeavors like myth, archaeology, science, history. Because of this pre-occupation with facts and quotes, Carson has debunked the lyric, freeing words from imposed musicality that poetry is almost always made to assume. Her poems are minefields, nuclear antechambers, blackholes. They are reckless, energetic, centrifugal. This attitude of Carson problematizes the poem as insular and solitary, breaking up its gates to the gift of intertext, where meaning yields to multiplicity.
Told in such exquisite and piercing language, her long essay (complete with an annotated bibliography), "Dirt and Desire: Essay on the Phenomenology of Female Pollution in Antiquity," meanwhile interprets classical configurations of the woman body's and its supposed vulnerability for defilement. She calls forth thinkers from various epochs who have shaped and structured the constructs with which we define one another as members of the human tribe. She then launches into an analysis of the motivation behind ancient weddings and a fragment poem by Sappho, things that speak well of the kind of boundaries we have put up as a defense from one another, as how Carson puts it: "As members of human society, perhaps the most difficult task we face daily is that of touching one another-whether the touch is physical, moral, emotional or imaginary. Contact is crisis."
Men in the Off Hours culminates with an essay Carson has written for her newly departed mother titled, "Appendix to Ordinary Time." Carson proves that she is indeed a "poet of the heartbreak," as she remembers the simple gestures of her mother when she was still here, articulating the loneliness attendant to the experience of grief, and how she found solace and comfort from the diary entries of Virginia Woolf during her last days. She grieves: "Did she think of me-somewhere in some city, in lamplight, bending over books, or rising to put on my coat and go out? Did I pause, switch off the desklamp and stand, gazing out at the dusk, think I might call her. Not calling. Calling. Too late now..."
Carson is one of the first writers to conquer the frontiers of the 21st century poetry, the first to be able to storm through the paltry and outdated definitions of language and language-making. Here is a poet who is courageous, intelligent, and fierce but at the same time tender and forgiving toward the kind of passages we undertake, solitary or communal. She always reminds us that the love for imperfection is valid and that we are irredeemable from transience, but guides us though the maze of fear evoked by these truths, if only to discover the joy and surprise that come from being here, the ordinary time we seek to mark.
Carson's opus can well be summarized in the epitaph she used for her mother:
such
abandon
ment
such
rapture
The Exaltation of Mistake.......2001-10-05
Susan Sontag, one of the foremost thinkers and writers of today, says of Anne Carson: "[Anne Carson] is one of the few writers in English that I would read anything she wrote." Such regard for Carson is justified. One of the premiere poets today re-inventing and rediscovering language to meet our present demands of articulation, in the true post-modernist fashion, Carson has come up recently with a collection called, Men in the Off Hours, finalist to the National Book Critics Circle Award.
Men in the Off Hours contains poems and prose pieces that lay the groundwork for various intersections of opposites: past and the present, the classic and the modern, cinema and print, narrative and verse. Here we can find the paintings of Edward Hopper turned into poems as footnoted by St. Augustine's words in the Confession, Thucydides and Virginia Woolf conversing about war, and a host of other characters summoned in the forefront of contemporary image-making: Sappho, Artaud, Tolstoy, Lazarus, Antigone, Akhmatova. They can be found in the chain of poems titled "TV Men" which re-images and re-imagines the lives of these personages, how they correspond to the contemporary definitions of the gaze, as shaped and articulated by woman-as-director, woman-as-creator.
One of the best poems in the collection is "Essay on What I Think about Most" where Carson exalts the element of mistake, both in art and in our lives. It then makes a literary exegesis of a fragment poem written by Alkman, a 7th century B.C. Spartan poet, of how it masterfully harnesses the conceit of the mistake, and is interspersed with quotes by Aristotle. The persona declares: "The fact of the matter for humans is imperfection."
"Irony is not Enough: Essay on my Life as Catherine Deneuve," on the other hand, is composed of a series of prose poems that narrativizes the days of Catherine Deneuve. Here Carson imagines herself as Deneuve, somewhere in a room in an academy in France, lecturing about Socrates and Sappho, catching all the knowing gazes by one of her female students, as the snow outside her window drives through everything like rain. The prose poems are short and episodic, almost breathless, representing the smallness of Daneuve's life, and the frailty of relationships, against a backdrop of a long, bitter winter.
Carson is at best intellectual and scholarly in this collection. Her far-reaching vocabulary touches various human endeavors like myth, archaeology, science, history. Because of this pre-occupation with facts and quotes, Carson has debunked the lyric, freeing words from imposed musicality that poetry is almost always made to assume. Her poems are minefields, nuclear antechambers, blackholes. They are reckless, energetic, centrifugal. This attitude of Carson problematizes the poem as insular and solitary, breaking up its gates to the gift of intertext, where meaning yields to multiplicity.
Told in such exquisite and piercing language, her long essay (complete with an annotated bibliography), "Dirt and Desire: Essay on the Phenomenology of Female Pollution in Antiquity," meanwhile interprets classical configurations of the woman body's and its supposed vulnerability for defilement. She calls forth thinkers from various epochs who have shaped and structured the constructs with which we define one another as members of the human tribe. She then launches into an analysis of the motivation behind ancient weddings and a fragment poem by Sappho, things that speak well of the kind of boundaries we have put up as a defense from one another, as how Carson puts it: "As members of human society, perhaps the most difficult task we face daily is that of touching one another-whether the touch is physical, moral, emotional or imaginary. Contact is crisis."
Men in the Off Hours culminates with an essay Carson has written for her newly departed mother titled, "Appendix to Ordinary Time." Carson proves that she is indeed a "poet of the heartbreak," as she remembers the simple gestures of her mother when she was still here, articulating the loneliness attendant to the experience of grief, and how she found solace and comfort from the diary entries of Virginia Woolf during her last days. She grieves: "Did she think of me-somewhere in some city, in lamplight, bending over books, or rising to put on my coat and go out? Did I pause, switch off the desklamp and stand, gazing out at the dusk, think I might call her. Not calling. Calling. Too late now..."
Carson is one of the first writers to conquer the frontiers of the 21st century poetry, the first to be able to storm through the paltry and outdated definitions of language and language-making. Here is a poet who is courageous, intelligent, and fierce but at the same time tender and forgiving toward the kind of passages we undertake, solitary or communal. She always reminds us that the love for imperfection is valid and that we are irredeemable from transience, but guides us though the maze of fear evoked by these truths, if only to discover the joy and surprise that come from being here, the ordinary time we seek to mark.
Carson's opus can well be summarized in the epitaph she used for her mother:
such
abandon
ment
such
rapture
Interesting juxtapositions - some successes, some failures.......2001-07-28
As is to be expected from Anne Carson, the breadth of her knowledge results in thought-provoking writing even when it fails as "poetry". An example Hopper:Confessions begins with a quotation from Edward Hopper, followed with 9 separately title poems accompanied by quotations from Augustine's Confessions, and ending with a piece by Hopper.
Her essay on female pollution in antiquity is excellent scholarship made enjoyable reading for the "common reading".
Several pieces, or portions of pieces, consider Lazarus raising interesting issues from the perspective of Lazarus ... what is his reaction at being called forth (rotting?) from the grave?
While many of the pieces, especially the very short pieces, are not impressive, the book is worth your time - for the reflections it provokes in the reader.
Deliberately Unstrung Hours.......2001-07-28
... Anne Carson's two previous books string their wonderful perturbations along narrative lines, but "Men in the Off Hours" is a deliberately unstrung chaos, which Carson calmly, almost academically sorts through. Metaphor, she decides, is "the willful creation of error," and poetry consists of misunderstandings and mistranslations (even by a classics professor like herself). Since "The fact of the matter for humans is imperfection," the poet must try not only to accept mistakes but to enjoy them. Can she learn to accept the death of her mother as a kind of mistake, or to enjoy having taken as her "true love" a man who left her?
Such a wholesale interpretation of the book is risky. Carson is always, as she says in "Men," "uneasy with any claim to know exactly / what a poet means to say," and her poetry generally avoids the confessional mode. But this collection is filled with refugees from torments as searing as love's betrayal. Lazarus, the mad Artaud, Anna Akhmatova, the birds Audubon shot, wired and plumped into lifelike poses--their agony tells us truths. So do Carson's wisecracks, little word salads, and sardonic hurrahs ("At our backs is a big anarchy. If you are strong you can twist a bit off / and pound on it-- our freedom!"). This is a wickedly disquieting book, with footnotes. Its reassurances are its glinting intelligence and confident, humorous voice--when Carson read in Seattle last month, every syllable was as clear and knowing as laughter.
Average customer rating:
|
Off Hours
Jean Watts
Manufacturer: Great Potential Press
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ASIN: 0910707200 |
Book Description
Off Hours
Sometimes, you just have to laugh!
Jean Watts presents 180 original cartoons featuring her humorous views on teaching, parenting, and life in general. Busy moms and teachers will relate to these quirky drawings about the stresses, worries, frustrations, and ironies they experience every day. All the cartoons are reproducible for use in a non-profit organization, school setting, or anywhere else where a good laugh is needed!
Product Description
Plastic spiral-bound paperback; Illustrated with diagrams and black and white photographs.
Book Description
This digital document is an article from National Underwriter Property & Casualty-Risk & Benefits Management, published by The National Underwriter Company on July 1, 1991. The length of the article is 621 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.
Citation Details
Title: Brokerage begins compressed work schedule. (Sedgwick James of California)(work one hour longer each day and earn two weekdays off per month)
Author: Brian Cox
Publication:
National Underwriter Property & Casualty-Risk & Benefits Management (Magazine/Journal)
Date: July 1, 1991
Publisher: The National Underwriter Company
Issue: n26
Page: pC15(1)
Distributed by Thomson Gale
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Conferees visiting Boulder have many off-hour options : An article from: Boulder County Business Report
Manufacturer: Boulder Business Information Corporation
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Release Date: 2005-09-02 |
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Decorate Your Denims
Susan Figliulo
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Decorate your denims
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Book Description
Drow have long been one of the most popular, and feared, races of d20 fantasy settings. Mysterious and reviled, their habitats are often a focus for both terror and interest. This hardback details an entire drow city in full, offering Games Masters a fully realized setting for their games, or a focus for players to assault. With new rules, intricate politics, visually stunning maps and more, this book is sure to attract attention. An exhaustive guide to a Drow city in Dungeons & Dragons.
Customer Reviews:
OK, but not worth the retail price.......2007-06-08
This is a tough review because in a nutshell, had this been released in the 80s or even early 90s, (and at those prices) this would have been a viable product. But it's not. And this product ultimately just doesn't stand up.
Artwork: The artwork in this book is a strange mix of GURPs-style, (VtM) Tzimisce-inspired pieces, and some just outright amateurish drawings. Much of it placed seemingly just to be there.
Maps: The maps are broken up into sections out of necessity, (much like Szith Morcane in City of the Spider Queen) but is still slightly strange and requires some getting used to. Overall the maps themselves are of good quality and evoke the desired atmosphere.
There is, however, the overused horrible maze-mapping scheme thought to have been a forgotten relic of an earlier time but that still appears in the occasional book such as this. To make things worse the maze is in an otherwise natural cave that sections off the noble houses. And worst of all some of the "lesser houses" are strategically set up where they could pick off passers-by and absolutely know of all comings and goings. This map was just not thought out at all. At best making the "maze walls" spider webs with lots of secret entrances and exits might be interesting, at worst (and what I would do if this setting gets use) is to redo the entire cave.
Content: The actual content is reasonable with some good to very good ideas mixed in. The complexity of interaction between noble houses and guilds is very good, however, a critical allies/enemies table to help sort it all out is missing. As one can imagine, that one-page omission is fairly problematic since it would be time consuming to rebuild. To my knowledge, Mongoose does not have the chart/table on its website either. (They do, however, have the city maps together in PDF format.)
Some content is indeed mature enough that a label might have been better placed on the front cover rather then hidden on the back. This is simply a case of thoughtfulness. Owning a shop and being a subject of abuse by an angry parent of a underaged youth (who earlier bought the book) waving a thing littered with Tzimisce-style fleshcrafting pictures, nude female drow, and content to match both (and more) is not fun to learn of when mixed with hellfire biblical quotes.
Power Level: The power level in this setting is very high. For example, total wizards living in the "witch daggers" (wizard's guild/enclave) is 75. These are broken down as follows: 12-14lvl: 25, 15-17lvl: 20, 18lvl: 15, 19lvl: 10, 20lvl: 5! A setting where anything under 11th level not worth listing is pretty harsh indeed! Sorcerers and Priests/Clerics follow the same pattern. As an aside, "the 3.5 compatible" is pretty meaningless in context since balance from the changes was up to the DM anyways.
Last comments: The book itself is physically solid enough, but when I got mine (used) it had the upsetting quality that the front interior spine and first page were broken from the rest of the book. Thinking that was a property of it being used I took a look at a few new samples and noticed one of the four on the shelf had a similar broken front spine. This was some time ago, so whether this was something truly problematic or just a fluke, I have no idea.
Summary: A book with some interesting ideas and fairly evocative setting, but not at all worth the $34.95 asking price. True to its 80s quality origins $15-$20 would be more in line. True rating: 2.5, which in kindness is rounded to three.
A nasty place to visit,and I wouldn't want to live there!.......2003-09-29
This is a good campaign city for those who like a city that's not just an excuse to go shopping or training.This city is nasty enough that a dungeon will seem relaxing afterwards.The noble,preists and merchant factions are all at each others throats and somebody as honest as a paladin wouldn't last long before being sent to the sacrificial altar-low level nobodies should stay home!The vault of the drow and drow of the underdark would help you to expand on this setting because it's a little heavy on politics and a little light on new magic.A fold out campaign map would have been nice as well,though the smaller maps do make it easier to fit this product into an ongoing campaign.
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- The New Deal Art Projects: An Anthology of Memoirs
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