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Voisin's classic is still in great demand, nearly three-quarters of a century after it was first written and published. And with so many books in this area that have completely disappearedThe main point of it, so often forgotten over and over, that grass is more productive when shorn and given time to re-grow. That is the core base of all the current popular works on rotational and "mob" grazing. It's not too surprising then, that you can go through Voisin's book and find everything they are saying now as "revolutionary". Because he took the time to make a full study of his land, it's cattle, and everything anyone had written on the subject up to that point. Also not too surprising is that only the really profitable grazers actually find this book and study it. Then re-study it. Because a regular re-study of Voison's work brings new understanding, new ideas, and greater simplicity to anyone's grazing operation. As well as more profitability.The underlying basic to this work is that through managed grazing, the cows can help the grass be more productive. They help the soil regenerate through their interaction with the grass, very similar to how the vast roaming herds of grazing and browsing animals across the Western plains developed and maintained the prairies. The sheer size of those herds proved the land was capable of supporting massive tonnage of livestock through grazing - and following natural patterns.But that same land, a few decades later, first was mismanaged into a massive Dust Bowl - and then recovered from it. And that both says a lot about our own human arrogance, and our ability to use humility ot learn from our mistakes. Grazing cattle, done responsibly, can improve the land beyond what it's produced in decades before. It can start restoring the erosion that plowing nad cultivation have created. That's if we actually study that book and apply it.In that way, we can first work to make our farming more sustainable and pay its own way, then we can encourage it to save our futures by restoring the land, and producing higher quality beef and forage than it has in centuries. IF we read, study, and apply now... - - - - This is a reproduction of the original 1959 edition, formatted to trade paperback (6x9). Many original tables and formulae have been reproduced as images. Additional essays by James Anderson have been included. This second edition has been cleaned up and reformatted to take advantage of Print On Demand capabilities - so your reading is less interupted, with the tables and photos closest to where they are mentioned. Scroll Up and Get Your Copy Now.

There was one copywriter who made millionaires from people who read his book, but never wrote an ad.You may or may not have heard of Eugene M. Schwartz - one of the most successful copywriters in advertising history.He worked three hours a day and you couldn't pay him any amount to write your copy.Seriously. At one point he wrote up just how he did it. And never wrote about that subject ever again.Eugene Schwartz wrote a classic on copywriting almost 50 years ago that is probably one of the most powerful, and profitable, books on copywriting and marketing ever written.That book has been kept available only as a rare hardback gift edition. Generations of copywriters haven't had access to this material. And the world would be a poorer place, except...Fortunately, Schwartz was also prolific as a speaker.So we are able to bring notes of his lectures and a precise analysis of his classic text to you to make your own millions with. In this short review guide, you can learn: How to create ads which sell your products at the expense of your competitionFind which roles your customer really wants to play - and will pay anything to get - and align these to your productDiscover how to get a product to sell no matter how people have already heard about it or how many products like it are already out there.Learn how to control your ad-copy viewers by being their honest, trusted friend.This tribute to his genius is also a guidebook so you can duplicate his success with your own copywriting.Please enjoy this journey to greater ease and profit. The genius of Eugene Scwartz can teach you, starting immediately.Scroll Up and Get Your Copy Now.

Life isn't easy when you're a library cat who was formerly a Cat Goddess out of Egypt.And then you're introduced to two young male time-travelling scientists by your friend who natively bends time herself, with the help of organic tesseracts that float around her.Of course their machine won't work - but then it does.And they are trapped in Ancient Egypt because they only went there to prove a point - and their machine was stolen meanwhile...So starts the Hermione series - the latest creations of S. H. Marpel in his mystery series, "Ghost Hunters".Now, this particular anthology doesn't only talk about Hermione's adventure. We also give Mysti a chance to explain how the Lazurai healing works. Oh, you may know the Lazurai from earlier books. But if you don't, check out the Notes at The Tao of Mysti's end. (Or get the earlier seven books in this anthology series...) Anthology containing: - Hermione- When Cats Ruled- A Case of Lost Time- Enemies & Bookends- The Tao of Mysti Excerpt: I'D BEEN CAUGHT IN a cross-fire. And just got saved from bleeding out.Now my shape-shifting was on hold until I healed. But I was stuck in human shape, having to re-learn the human experience.I don't know when I first appeared on Earth. Before recorded time somewhere. And for the last few centuries or so, I'd been happy as a library cat.But then I got bored, and started helping out with simple missions.Good thing they got to me in time on this one.Now I had to re-learn what it is to be human. Me, the cat-goddess.But I'd never be able to shift back to my native form without shooting pains up that arm - until I could understand human relationships - ones that always left the scholars of the ages mystified.Easy-peasy for a goddess. Maybe.- - - -THE FIREBALLS AND SHARP spinning discs were aimed right toward us as we arrived.Sent from rock-outcrops in the darkness beyond our glow-balls. An ambush.Sal and Jude's shields came up, but John had already gotten himself nicked. He was holding on to his other arm with his free hand, blood seeping between his fingers. We were pinned down.So I sent to Sal - "Let me out. I'll hold them while you get John to safety.""You sure?""We're sitting ducks otherwise."Sal nodded to me and to Jude.I leapt out and multiplied with alternate selves, borrowed from multiple time-lines. All of us tiger-sized now. And we each held the small groups in stasis. Something I could do indefinitely.Sal and Jude took John out of there. The attackers and my multiple me's were now all in a Mexican stand-off.Until their reinforcements came in.Then one of my other future selves went down with a bad slice and a lot of blood. I signaled the others to retreat and take her with them. Then shrunk down to my smallest cat size and bounced out of harm's way to a small rock outcropping that was out of their firing-sights. Mostly.It was just a nick, but I wasn't going to hold that blood in with my tiny paws. And any larger form that had regular hands would stick out enough to become a target.... Get Your Copy Now.

This contains the first 8 of the 12 stories in the published book The Man Who Knew Too Much and Other Stories. In these 8 detective thrillers, the main protagonist is Horne Fisher. (The omitted four are individual stories with separate heroes/detectives.)Due to close relationships with the leading political figures in the land, Fisher knows too much about the private politics behind the public politics of the day. This knowledge is a burden to him because he is able to uncover the injustices and corruptions of the murders in each story, but in most cases the real killer gets away with the killing because to bring him openly to justice would create a greater chaos: starting a war, reinciting Irish rebellions, or removing public faith in the government.A film of the same title was made in 1934 and remade in 1956, both directed by Alfred Hitchcock, but the films had nothing at all in common (except the title) with these short stories. Hitchcock decided to use the title simply because he had the rights for some of the stories.(Reference: Wikipedia)