Mary Bell – författare

Far from being a fad, food dehydrating is one of the most ancient, effective, and nutritious ways of preserving food. Now, at last, there is a book that teaches absolutely everything there is to know about using an electric food dehydrator to dry foods at home -- and gives more than 100 foolproof recipes for scrumptious snacks and meals made from dried foods.

With this extraordinary book, you can learn how to cross junk food and expensive store-bought snacks off your family''s shopping list -- and add to your cupboard homemade, preservative-free fruit leathers, candied apricots, beef (and fish) jerkies, "sun" dried tomotoes, corn chips, banana chips, and so much more!

Mary Bell gives specific techniques and instructions for preparing every kind of fruit (from apples to watermelon) and vegetable (from asparagus to zucchini). She also provides important shopping tips for buying an electric food dehydrator. The recipes for cooked meals (including mushroom soup, sloppy joes, pesto, and moist banana bread) will make this book a kitchen classic. And recipes for lightweight, filling trail snacks mean that the book will travel, too.

Additional chapters explain to how make herb seasonings, granolas, celery powder, cosmetics, dried fruit sugars, potpourri -- and even pet treats!

Food drying is an excellent way for gardeners to preserve their produce. It is a great way to make healthful snacks for the kids. It''s perfect for the new wave of thrifty consumers who can''t bear to spend dollars at health food stores for treats they cold make for pennies themselves. And food drying doesn''t use chemicals or preservatives—so it''s great for you and for the planet, too!

If it is not generally known that the foundations of twentieth-century criticism of Shakespeare’s imagery were laid over one hundred and fifty years ago, the explanation lies in the limited availability of the single original edition of Walter Whiter’s Specimen of a Commentary on Shakspeare published in 1794. In an age in which the study of Shakespeare’s characters was of prime interest and importance, Whiter – a classical scholar who took holy orders and ended his life as a country parson – developed a form of textual criticism closely linked to a study of the workings of the human mind: and his book offers a psychological survey of the creative imagination, following the principles laid down in Locke’s Essay on Human Understanding and illustrated by examples from Shakespeare’s plays. In his realization that Shakespeare provides the finest examples of the poetic imagination Whiter is of his time: but in his particular study of the associative powers of such a mind engaged in the process of creation, he is far in advance of his time and has no immediate disciples in the later nineteenth century. In the twentieth century, however, there was an increasing acknowledgement of Whiter’s work and a more frequent appeal for the reissue of his book. Originally published in 1967, the present edition was started in response to that appeal more than ten years before Mr Alan Over’s tragic death in 1964 and incorporates the revisions and additions made by Whiter for his own projected second edition.

If it is not generally known that the foundations of twentieth-century criticism of Shakespeare’s imagery were laid over one hundred and fifty years ago, the explanation lies in the limited availability of the single original edition of Walter Whiter’s Specimen of a Commentary on Shakspeare published in 1794. In an age in which the study of Shakespeare’s characters was of prime interest and importance, Whiter – a classical scholar who took holy orders and ended his life as a country parson – developed a form of textual criticism closely linked to a study of the workings of the human mind: and his book offers a psychological survey of the creative imagination, following the principles laid down in Locke’s Essay on Human Understanding and illustrated by examples from Shakespeare’s plays. In his realization that Shakespeare provides the finest examples of the poetic imagination Whiter is of his time: but in his particular study of the associative powers of such a mind engaged in the process of creation, he is far in advance of his time and has no immediate disciples in the later nineteenth century. In the twentieth century, however, there was an increasing acknowledgement of Whiter’s work and a more frequent appeal for the reissue of his book. Originally published in 1967, the present edition was started in response to that appeal more than ten years before Mr Alan Over’s tragic death in 1964 and incorporates the revisions and additions made by Whiter for his own projected second edition.