A companion to the TV show, Buster Climbs the Walls is a level three reader about Buster's adventures in the Rocky Mountains where he learns all about rock climbing. Buster's new friends help him conquer his fear of climbing while teaching him about the history of the Rockies and how canyons are made.

Marking the centenary of the birth of Laszlo Moholy-Nagy (1895–1946), this book offers a new approach to the Bauhaus artist and theorist’s multifaceted life and work—an approach that redefines the very idea of biographical writing. In Laszlo Moholy-Nagy, Louis Kaplan applies the Derridean deconstructivist model of the "signature effect" to an intellectual biography of a Constructivist artist. Inhabiting the borderline between life and work, the book demonstrates how the signature inscribed by "Moholy" operates in a double space, interweaving signified object and signifying matter, autobiography and auto-graphy. Through interpretative readings of over twenty key artistic and photographic works, Kaplan graphically illustrates Moholy’s signature effect in action. He shows how this effect plays itself out in the complex of relations between artistic originality and plagiarism, between authorial identity and anonymity, as well as in the problematic status of the work of art in the age of technical reproduction. In this way, the book reveals how Moholy’s artistic practice anticipates many of the issues of postmodernist debate and thus has particular relevance today. Consequently, Kaplan clarifies the relationship between avant-garde Constructivism and contemporary deconstruction. This new and innovative configuration of biography catalyzed by the life writing of Moholy-Nagy will be of critical interest to artists and writers, literary theorists, and art historians.

A few years ago, a magazine sponsored a contest for the comment most likely to end a conversation. The winning entry? "I teach English grammar." Just throw that line out at a party; everyone around you will clam up or start saying "whom." Why does grammar make everyone so nervous? Probably because English teachers, for decades – no, for centuries – have been making a big deal out of grammar in classrooms, diagramming sentences and drilling the parts of speech, clauses, and verbals into students until they beg for mercy. Happily, you don't have to learn all those technical terms of English grammar – and you certainly don't have to diagram sentences – in order to speak and write correct English. So rest assured – English Grammar For Dummies will probably never make your English teacher's top-ten list of must-read books, because you won't have to diagram a single sentence. What you will discover are fun and easy strategies that can help you when you're faced with such grammatical dilemmas as the choice between "I" and "me," "had gone" and "went," and "who" and "whom." With English Grammar For Dummies, you won't have to memorize a long list of meaningless rules (well, maybe a couple in the punctuation chapter!), because when you understand the reason for a particular word choice, you'll pick the correct word automatically. English Grammar For Dummies covers many other topics as well, such as the following: Verbs, adjectives, and adverbs – oh my! Preposition propositions and pronoun pronouncements Punctuation: The lowdown on periods, commas, colons, and all those other squiggly marks Possession: It's nine-tenths of grammatical law Avoiding those double negative vibes How to spice up really boring sentences (like this one) Top Ten lists on improving your proofreading skills and ways to learn better grammar Just think how improving your speaking and writing skills will help you in everyday situations, such as writing a paper for school, giving a presentation to your company's big wigs, or communicating effectively with your family. You will not only gain the confidence in knowing you're speaking or writing well, but you'll also make a good impression on those around you!

Jean-Luc Godard, like many of his European contemporaries, came to filmmaking through film criticism. This collection of essays and interviews, ranging from his early efforts for La Gazette du Cinéma to his later writings for Cahiers du Cinéma, reflects his dazzling intelligence, biting wit, maddening judgments, and complete unpredictability. In writing about Hitchcock, Welles, Bergman, Truffaut, Bresson, and Renoir, Godard is also writing about himself-his own experiments, obsessions, discoveries. This book offers evidence that he may be even more original as a thinker about film than as a director. Covering the period of 1950-1967, the years of Breathless, A Woman Is a Woman, My Life to Live, Alphaville, La Chinoise, and Weekend, this book of writings is an important document and a fascinating study of a vital stage in Godard's career. With commentary by Tom Milne and Richard Roud, and an extensive new foreword by Annette Michelson that reassesses Godard in light of his later films, here is an outrageous self-portrait by a director who, even now, continues to amaze and bedevil, and to chart new directions for cinema and for critical thought about its history.