Nutrition researcher Sally Fallon unites the wisdom of the ancients with the latest independent and accurate scientific research. The revised and updated Second Edition contains over 700 delicious recipes that will please both exacting gourmets and busy parents.

    Dunne (1866-1949) was an accomplished English aeronautical engineer and a designer of Britian's early military aircraft. His An Experiment with Time, first published in 1927, sparked a great deal of scientific interest in--and controversy about--his new model of multidimensional time.A series of strange, troubling precognitive dreams (including a vision of the then future catastrophic eruption of Mt. Pelee on the island of Martininque in 1902) led Dunne to re-evaluate the meaning and significance of dreams. Could dreams be a blend of memories of past and future events? What was most upsetting about his dreams was that they contradicted the accepted model of time as a series of events flowing only one way: into the future. What if time wasn't like that at all?All of this prompted Dunne to think about time in an entirely new way. To do this, Dunne made, as he put it,"an extremely cautious" investigation in a "rather novel direction." He wanted to outline a provable way of accounting for multiple dimensions and precognition, that is, seeing events before they happen. The result was a challenging scientific theory of the "Infinite Regress," in which time, consciousness, and the universe are seen as serial, existing in four dimensions.Astonishingly, Dunne's proposed model of time accounts for many of life's mysteries: the nature and purpose of dreams, how prophecy works, the immortality of the soul, and the existence of the all-seeing "general observer," the "Witness" behind consciousness (what is now commonly called the Higher Self).Here in print again is the book English playwright and novelist J.B. Priestley called "one of the most fascinating, most curious, and perhaps the most important books of this age."

    "Each spread is composed of full-color photos, sketches, and explanatory text covering the anatomy, behavior, and adaptations of birds and presented in a visually appealing manner that compels further page turning. The author leads us through all that is fascinating in our study of birds at a level of writing suitable for younger readers. A fine addition to school libraries at all levels."--(starred) Science Books & Films.

    In Words and Rules, Steven Pinker explains the mysteries of language by examining a single construction from a dozen viewpoints, proposing that the essence of language is a mental dictionary of memorized words, and a mental grammar of creative rules.

    It is also one of the most beguiling, thanks to more than a century of manipulation at the hands of tobacco industry chemists. In Golden Holocaust, Robert N. Proctor draws on reams of formerly-secret industry documents to explore how the cigarette came to be the most widely-used drug on the planet, with six trillion sticks sold per year. He paints a harrowing picture of tobacco manufacturers conspiring to block the recognition of tobacco-cancer hazards, even as they ensnare legions of scientists and politicians in a web of denial. Proctor tells heretofore untold stories of fraud and subterfuge, and he makes the strongest case to date for a simple yet ambitious remedy: a ban on the manufacture and sale of cigarettes.

    Winning Chess Openings shows players how to do both. In Yasser Seirawan's entertaining, easy-to-follow style, they are shown formations that can be used with other White or Black pieces.Winning Chess Openings explains how to:*Build a safe house for a king*Estimate losses of ten moves or fewer*Utilise the elements: time, force, space, and pawn structure*Plan strategy based on time-tested opening principles of play*Employ a defence for Black against any White opening*Apply an opening for White used by World ChampionsWinning Chess Openings will help readers develop a solid understanding of opening principles that can be applied to every game they play--without having to memorize a dizzying array of tedious and lengthy opening lines.

    Monte Carlo. The ultimate race in the Formula One calendar.When you think of Formula One, you think of Monaco. Once a year, yachts jam the harbour, celebrities fill the stands and luxury sports cars litter the streets as of thousands of people gather from across the world to watch the greatest, and one of the oldest, races in motorsport.Monaco is glamorous, prestigious and seductive. But for the drivers, it is the most demanding race of the year. The narrow streets, tight corners and sharp elevations make it the ultimate test of driving skill. It is physically draining and mentally exhausting.Proposed today, the race would not exist but it remains the jewel in the crown for every Formula One driver. There is simply no other race like it.Win at Monaco and your name is etched in history. You will join the likes of Graham Hill, Jackie Stewart, Ayrton Senna, Alain Prost, Michael Schumacher and Lewis Hamilton.With exclusive interviews and insight from drivers and a wealth of F1 insiders, award-winning sportswriter Malcolm Folley goes behind the scenes to discover what it's really like to drive and live and breathe this iconic circuit. He reveals along the way a unique and definitive portrait of the circuit, and recreates in thrilling detail its most extraordinary weekend, when only three cars finished.

    Whether pondering black holes or predicting discoveries at CERN, physicists believe the best theories are beautiful, natural, and elegant, and this standard separates popular theories from disposable ones. This is why, Sabine Hossenfelder argues, we have not seen a major breakthrough in the foundations of physics for more than four decades. The belief in beauty has become so dogmatic that it now conflicts with scientific objectivity: observation has been unable to confirm mindboggling theories, like supersymmetry or grand unification, invented by physicists based on aesthetic criteria. Worse, these "too good to not be true" theories are actually untestable and they have left the field in a cul-de-sac. To escape, physicists must rethink their methods. Only by embracing reality as it is can science discover the truth.

    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

    With engaging stories and keen insights the authors delve into the fundamental aspects of leadership to help students keep pace with our ever-changing world.

    Described as the 'shorthand of mathematics', the Trachtenberg system only requires the ability to count from one to eleven. Using a series of simplified keys it allows anyone to master calculations, giving greater speed, ease in handling numbers and increased accuracy.Jakow Trachtenberg believed that everyone is born with phenomenal abilities to calculate. He devised a set of rules that allows every child to make multiplication, division, addition, subtraction and square-root calculations with unerring accuracy and at remarkable speed. It is the perfect way to gain confidence with numbers.

    Every developed nation in the world at one time went through the transformation from predominantly informal, extralegal ownership to a formal, unified legal property system. In the West we've forgotten that creating this system is also what allowed people everywhere to leverage property into wealth. This persuasive book will revolutionize our understanding of capital and point the way to a major transformation of the world economy.

     Well, we offer you YOUR DISGUSTING HEAD by Dr. and Mr. Doris Haggis-On-Whey. A world-renowned and much feared expert on everything, Dr. Doris Haggis-On-Whey has seventeen degrees from eighteen institutions of higher learning. With her husband, Benny, she has traveled the world many times over, has learned about all aspects of life, including outer space and food, first hand. The human body is beautiful and mysterious. The mysterious part reeks of cheese. But no part of your body is as scary and horrifying as your head! In YOUR DISGUSTING HEAD: The Darkest, Most Offensive--and Moist--Secrets of Your Mouth, Nose and Ears, Dr. & Mr. Doris Haggis-on-Whey reveal -- through newly discovered discoveries -- all the ways in which your head disappoints you. With such amazing information as: • The ear was invented and designed by Feranando de la Mancini Goldfarb, in 1911, which was also a good year for yeast. • Good Reasons for teeth removal: dentist did it; peer pressure; not sharp enough; found better teeth, like, on the ground; suspected of enjoying flossing; decay and mouth politics. • The real reason your ears can't hear your pets talking. The answer is simple: your pet is a mumbler." With the wit and irreverent sense of humor for which Dave Eggers and McSweeney's is known, comes the second volume in the revolutionary Haggis-On-Whey World of Unbelievable Brilliance books. More than just entertaining and informative, YOUR DISGUSTING HEAD will help you appear smarter, more in touch with your sensitive side and whiten your teeth. And much, much more that will likely sicken you.

    Now more visual and even easier to use and understand, EasyWriter offers practical help with research and documentation and expanded coverage of academic writing for students in all disciplines.

    For everyone interested in science, history and biographies of extraordinary people - or anyone who wants to understand the workings of the physical world - this thorough and authoritative book is a perfect introduction to science's most profound discoveries, and a testament to the triumph of human knowledge.