Step into a world of mystery and espionage with this thrilling novel set during the Cold War. When a British embassy official is murdered in East Berlin, two intelligence agencies must work together to unravel the plot. James Leasor's masterful storytelling will keep you on the edge of your seat until the very end. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.

"A complete illustrated guide to tandem massage, 4 Hands Are Better Than 2 integrates contemporary therapeutic massage techniques (Ayurvedic mirror, deep tissue, Swedish, Shiatsu, and Reiki) into the ancient practice of tandem mirror massage"--Provided by publisher.

Poetry. DIFFERENCES FOR FOUR HANDS was first published in 1984 by Gil Ott's Singing Horse Press. Rosmarie Waldrop's exploration of the relationship between Robert and Clara Schumann uses Lyn Hejinian's Gesualdo as a syntactical matrix. In this poem, written in prose sections, Waldrop plays with breath and pacing with a rigorous ear for the musicality of sentence and paragraph. Tempo all around him....Repetition all around him....The Rhine all around him. Rosmarie Waldrop lives and writes in Providence, R.I. Her many other books include SHORTER AMERICAN MEMORY (paradigm), SPLIT INFINITIES (Singing Horse), ANOTHER LANGUAGE: SELECTED POEMS (Talisman House) and the new SPLIT INFINITIES (Singing Horse).

JULY is the third and final volume of the long poem, FORTH OF JULY.

Learn to tell time with Winnie-the-Pooh.

In the course of the nineteenth century, four-hand piano playing emerged across Europe as a popular pastime of the well-heeled classes and of those looking to join them. Nary a canonic work of classical music that was not set for piano duo, nary a house that could afford not to invest in them. Duets echoed from the student bedsit to Buckingham Palace, resounded in schools and in hundreds of thousands of bourgeois parlors. Like no other musical phenomenon, it could cross national, social, and economic boundaries, bringing together poor students with the daughters of the bourgeoisie, crowned heads with penniless virtuosi, and the nineteenth century often regarded it with extreme suspicion for that very reason. Four-hand piano playing was often understood as a socially acceptable way of flirting, a flurry of hands that made touching, often of men and women, not just acceptable but necessary. But it also became something far more serious than that, a central institution of the home, mediating between inside and outside, family and society, labor and leisure, nature and nurture. And writers, composers, musicians, philosophers, journalists, pamphleteers and painters took note: in the art, literature, and philosophy of the age, four-hand playing emerged as a common motif, something that allowed them to interrogate the very nature of the self, the family, the community and the state. In the four hands rushing up and down the same keyboard the nineteenth century espied, or thought to espy, an astonishing array of things. Four-Handed Monsters tells not only the story of that practice, but also the story of the astonishing array of things the nineteenth century read into it.