Designs and patterns for sweaters reflect the folk costumes and ethnic motifs of Europe, Asia, Japan, Australia, North and South America, and Africa

When Laurence Fife was murdered, few mourned his passing. A prominent divorce attorney with a reputation for single-minded ruthlessness on behalf of his clients, Fife was also rumored to be a dedicated philanderer. Plenty of people in the picturesque southern California town of Santa Teresa had a reason to want him dead. Including, thought the cops, his young and beautiful wife, Nikki. With motive, access, and opportunity, Nikki was their number-one suspect. The jury thought so, too.

Eight years later and out on parole, Niki Fife hires Kinsey Millhone to find out who really killed her late husband.

A trail that is eight years cold. A trail that reaches out to enfold a bitter, wealthy, and foul-mouthed old woman and a young boy, born deaf, whose memory cannot be trusted. A trail that leads to a lawyer defensively loyal to a dead partner--and disarmingly attractive to Millhone; to an ex-wife, brave, lucid, lovely--and still angry over Fife's betrayal of her; to a not-so-young secretary with too high a salary for too few skills--and too many debts left owing: The trail twists to include them all, with Millhone following every turn until it finally twists back on itself and she finds herself face-to-face with a killer cunning enough to get away with murder.

Kate Bloomfield is back! And she's got a lot to say -- about school and friends and parents, about cartwheels (she can't do them), about parsnips (she won't eat them), about being alone and being herself, about life and love...even about Dave Nelson, who doesn't know she's alive. Outspoken, funny, sometimes confused but always observant, Kate is writing it all down -- 'Hey World, Here I Am!'

Notable Children's Books of 1989 (ALA)
Best Books of 1989 (SLJ)
Notable 1989 Children's Trade Books in Social Studies (NCSS/CBC)
Children's Books of 1989 (Library of Congress)
1989 Children's Books (NY Public Library)

Westward ho!

The Golly Sisters are heading west. They've got new dresses and the best show on either side of the Mississippi. But can they keep their act together long enough to get this show on the road?

The Story of the Stone (c. 1760), also known as The Dream of the Red Chamber, is one of the greatest novels of Chinese literature. The fifth part of Cao Xueqin's magnificent saga, The Dreamer Awakes, was carefully edited and completed by Gao E some decades later. It continues the story of the changing fortunes of the Jia dynasty, focussing on Bao-yu, now married to Bao-chai, after the tragic death of his beloved Dai-yu. Against such worldly elements as death, financial ruin, marriage, decadence and corruption, his karmic journey unfolds. Like a sleepwalker through life, Bao-yu is finally awakened by a vision, which reveals to him that life itself is merely a dream, 'as moonlight mirrored in the water'.

The Story of the Stone (c. 1760), also known by the title of The Dream of the Red Chamber, is the great novel of manners in Chinese literature. Divided into five volumes, of which The Debt of Tears is the fourth, it charts the glory and decline of the illustrious Jia family (a story which closely accords with the fortunes of the author's own family). The two main characters, Bao-yu and Dai-yu, are set against a rich tapestry of humour, realistic detail and delicate poetry, which accurately reflects the ritualized hurly-burly of Chinese family life. But over and above the novel hangs the constant reminder that there is another plane of existence - a theme which affirms the Buddhist belief in a supernatural scheme of things.

MADHYAMIKA The hallmark of Miidhyamika philosophy is 'Emptiness', sunyata. This is not a view of reality. In fact it is emphatically denied that sunyata is a view of reality. If anybody falls into such an error as to construe emptiness as reality (or as a view, even the right view, of reality), he is only grasping the snake at the wrong end (Mk, 24.1 I)! Nftgfujuna in Mk, 24.18, has referred to at least four ways by which the same truth is conveyed: Whatever is dependent origination, we call it emptiness. That is (also) dependent conceptualization; that is, to be sure, the Middle Way. The two terms, pratitya samutpiida and upiidiiya prajnapti, which I have translated here- as 'dependent origination' and 'dependent conceptualization' need to be explained. The interdependence of everything (and under 'everything' we may include, following the Mftdhyamika, all items, ontological concepts, entities, theories, views, theses and even relative truths), i.e., the essential lack of independence of the origin (cf. utpiida) of everything proves or shows that everything is essentially devoid of its assumed essence or its independent 'own nature' or its 'self-existence' (cf. svabhiiva). Besides, our cognition of anything lacks independence in the same way. Our conception (cf. prajnapti) of something a essentially depends upon something b, and so on for everything ad infinitum.

Buddhist philosophy and the experiences of the author's own family underlie this eighteenth-century novel of a Chinese family's declining fortunes