This book helps teach young children what hours and minutes are and how each hand of the clock is used for telling time. Activities include making sundials, water clocks, wristwatches, bean clocks, and more. Stories, bulletin board ideas, and worksheets integrate math with language arts, social studies, and science.

A delightful way to show little ones how their hands are a blessing from God that they can use to do help others. Written in rhyming text and illustrated with the charming art of Gaby Hansen, this simple message of God’s blessing of hands not only entertains . . . as it teaches what wonderful things our hands can do from scratching, latching, and petting a pup to washing dishes with mommy and putting toys in a box . . . but it also conveys the important message: We can use God’s gift of hands to show our love for Him by helping others. The book ends tenderly with a prayer of thanks to God for hands and asks Him to use them again: One hand, two hands, Five fingers, ten. God, thanks, for my hands. Please, use them again.

A little boy brings his older brother, born with one hand, for show-and-tell. The students ask him all sorts of questions about how he does things with one hand and realize that he can do anything they can do, he just does it differently. Along the way, they notice that we're all different in one way or another, leading to the realization that not only are differences a similarity we all share, but, they are what make us unique - AND AWESOME!

Tristan Jones has logged more miles--and more adventure--sailing single-handed than any other person alive in our time. He has crossed the Atlantic many times, often alone, and has circumnavigated the globe in small boats. One Hand for Yourself, One for the Ship is a course on single-handed sailing by the man most qualified to give it. Tristan Jones offers his highly personal perspective on both the science and the art of this ultimate challenge. It is a book for every sailor, giving the novice and the experienced sailor alike invaluable information and advice simply and with humor. Rich with anecdote and detail, written as only Tristan Jones can write, this is the handbook to turn to when planning a trip and to refer to when sailing.

When The Sound of the One Hand came out in Japan in 1916 it caused a scandal. Zen was a secretive practice, its wisdom relayed from master to novice in strictest privacy. That a handbook existed recording not only the riddling koans that are central to Zen teaching but also detailing the answers to them seemed to mark Zen as rote, not revelatory. For all that, The Sound of the One Hand opens the door to Zen like no other book. Including koans that go back to the master who first brought the koan teaching method from China to Japan in the eighteenth century, this book offers, in the words of the translator, editor, and Zen initiate Yoel Hoffmann, the clearest, most detailed, and most correct picture of Zen that can be found. What we have here is an extraordinary introduction to Zen thought as lived thought, a treasury of problems, paradoxes, and performance that will appeal to artists, writers, and philosophers as well as Buddhists and students of religion."

We are sometimes given works to do that we do not understand the meaning there-of, nor do we know the how, or the why, that we believe that we are given to accomplish these works. The meaning and the way remain unclear unto us, and yet we have the conviction that this is what we are being asked to do. This, then, becomes our journey of faith. My journey of faith has been travel. For three decades I crossed the oceans, deserts, mountains, and jungles of this world. I sailed the seas, flew the skies, and traversed the land without sponsors or fanfare; traveling this world perhaps as no other has before. One Hand for Jenny is the account of one of my travels; that of sailing around the world alone. I hope you enjoy this voyage.

When the Civil War began, Northern soldiers and civilians alike sought a framework to help make sense of the chaos that confronted them. Many turned first to the classic European military texts from the Napoleonic era, especially Antoine Henri Jomini's Summary of the Art of War. As Carol Reardon shows, Jomini's work was only one voice in what ultimately became a lively and contentious national discourse about how the North should conduct war at a time when warfare itself was rapidly changing. She argues that the absence of a strong intellectual foundation for the conduct of war at its start--or, indeed, any consensus on the need for such a foundation--ultimately contributed to the length and cost of the conflict. Reardon examines the great profusion of new or newly translated military texts of the Civil War years intended to fill that intellectual void and draws as well on the views of the soldiers and civilians who turned to them in the search for a winning strategy. In examining how debates over principles of military thought entered into the question of qualifications of officers entrusted to command the armies of Northern citizen soldiers, she explores the limitations of nineteenth-century military thought in dealing with the human elements of combat.