ServSafe(R) Essentials, 5th edition was designed with managers' needs in mind. This edition has been updated to reflect the changing needs of a diverse and expanding workforce in the foodservice and restaurant industry. The streamlined delivery of food safety content in the Fifth Edition will create a learning experience that is activity-based and easily comprehended by a variety of learners. The updated book will help readers prepare for examinations, and more importantly, it will promote adherence to food safety practices in the operation. Based on a new job task analysis revised exclusively for the Fifth Edition, the book reflects the latest updates to the "FDA Food Code," new science-based and industry best practices and prepares readers for the ServSafe(R) Food Protection Manager Certification Exam.

    Each word in Biblical Hebrew and Biblical Aramaic is numbered, presented in Hebrew script and in transliteration and is accompanied by a pronunciation guide. Each word is defined, and the translation(s) of that word in the Authorized English Version are presented. Strong's work was originally published in 1890 under the title A Concise Dictionary of the Words in the Hebrew Bible; with their Renderings in the Authorized English Version. It was bound together with Strong's Exhaustive Concordance of the Bible.

    As fun to use as it is profound in its revelations, Who Are You? is drawn from ancient teachings and contemporary findings. The "tests" it contains are divided into four sections--the body, the emotions, the intellect, and the spirit. The result is one hundred and one separate identity mirrors that work together to give readers a comprehensive self-portrait that is both revealing and informative.

    During his life he created numerous works of art and kept voluminous notebooks that detailed his artistic and intellectual pursuits.The collection of writings and art in this magnificent book are drawn from his notebooks. The book organizes his wide range of interests into subjects such as human figures, light and shade, perspective and visual perception, anatomy, botany and landscape, geography, the physical sciences and astronomy, architecture, sculpture, and inventions. Nearly every piece of writing throughout the book is keyed to the piece of artwork it describes.The writing and art is selected by art historian H. Anna Suh, who provides fascinating commentary and insight into the material, making Leonardo's Notebooks an exquisite single-volume compendium celebrating his enduring genius.

    With an increasing number of graduate and business school applicants and an increasing number of GRE test-takers—now a complete test overhaul by the test-maker—a high GRE score is critical to set yourself apart from the competition.New GRE 2011-2012 Premier with CD-ROM is a comprehensive package that includes a book, CD-ROM, and online companion with in-depth strategies, test information, and practice questions to help students score higher on the new GRE Revised General Test. New GRE 2011-2012 Premier with CD-ROM is fully updated and revised with 75 percent all-new content covering the revised and expanded Verbal, Quantitative, and Analytical Writing Assessment Test sections, including 50 percent new practice questions and brand new strategies for each of the new question types.New GRE 2011-2012 Premier with CD-ROM features:6 full-length practice tests (1 in the book, 5 online)400 practice questions and answer explanations on the CD-ROMA detailed overview of the test changesKey strategies for all New GRE question typesDetails and practice sets for the Verbal and Quantitative sectionsDiagnostic tool in end-of-chapter practice sets for even more targeted practiceAdvice for the graduate school application processKaplan guarantees that readers will score higher on the GRE Revised General Test using our guide—or get their money back.

    Handed a sacred scroll from Atlantis by a dying Tibetan monk, Marcus, Joanna and Helen are propelled into adventure as they race to get it translated and follow its instructions.

    Readers will find intrigue and inspiration in the story of one man's death-defying struggle to uncover the truth behind 50 years of government lies.

    Starting in Paris, Jean-Baptiste-Joseph Delambre would make his way north to Dunkirk, while Pierre-François-André Méchain voyaged south to Barcelona. Their mission was to measure the world, and their findings would help define the meter as one ten-millionth of the distance between the pole and the equator-- a standard that would be used for all people, for all time. "The Measure of All Things" is the astonishing tale of one of history's greatest scientific adventures. Yet behind the public triumph of the metric system lies a secret error, one that is perpetuated in every subsequent definition of the meter. As acclaimed historian and novelist Ken Alder discovered through his research, there were only two people on the planet who knew the full extent of this error: Delambre and Méchain themselves. By turns a science history, detective tale, and human drama, "The Measure of All Things" describes a quest that succeeded as it failed, and continues to enlighten and inspire to this day.

    On the eve of its centennial celebrations in 1969, the Boston MFA announced the acquisition of an unknown and uncatalogued painting attributed to Raphael. Boston's coup made headlines around the world. Soon, an Italian art sleuth began investigating the painting's export from Italy, challenging the museum's ownership. Simultaneously, experts on both sides of the Atlantic lined up to debate its very authenticity. The museums charismatic director, Perry T. Rathbone, faced the most challenging crossroads of his career. The Boston Raphael was a media sensation in its time, but the full story of the forces that converged on the museum and how they intersected with the challenges of the Sixties is now revealed in full detail by the director's daughter.

     Packaged in the ultimate wraparound slipcase and weighing in at a hefty 8.8 pounds, Simpsons World The Ultimate Episode Guide (Seasons 1-20) is meant for reading, not throwing!

    He has been taught by his closest friend, Carlo, a philosopher/poet who commits suicide in his early twenties, to search for an authentic life, free of social falsehoods. But in his search for this unattainable goal, Enrico destroys every chance he has of a normal existence; even after his return to live a life of ever-increasing isolation by the Istrian seashore, his attempts at human intercourse, at meaningful love, are thwarted. In recounting the life and character of Enrico, ostensibly one of Life's failures, Claudio Magris paints a remarkably shrewd and observant picture of a whole world in ferment, that of the decaying Austro-Hungarian empire, shaken to its foundations by the Great War, and emerging from the German occupation and the Communist revolution ripe for disintegration and forever seeking, as does Enrico, for a reason to go on living.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    As before, the accents range from regional U.S. and British dialects to European accents that include, among others, the Germanic, Slavic and Romance Languages. Completing his around-the-world journey, the author then covers the Middle East, Africa and Asia. Includes two CDs.

    Variant dialectic forms are given, together with variant forms found in the same dialect. Purely poetic words and words not common in prose are indicated, and references are given to the passages in which they occur. First published in 1894, this is a reprint of the fourth edition (Cambridge University Press, 1960).

    A book that has and continues to move hearts.