HTML 3.2 Starter Kit is not a starting place. It does discuss the origin of HTML and gives simple examples but fails to include some basic elements like a reference to HTML tags. There is no place to find the standard form or how to use some elements. The index doesnt even seem to include all the tags. The book also uses some tags before introducing them in the text. They start giving examples of things that show up in later chapters. The explanation of colors and their use in backgrounds is unintelligible. The book comes with a CD with some HTML editors. These are shareware which will expire after a time period or number of uses. One is supposed to have a 30 day evaluation period but by the time they got it to the CD it has 14 days left. I am not a professional programer but I have taken courses in programing in Fortran,Pascal and C. HTML is quite simple but trying to learn it from this book will make it more difficult. J. Claiborn Ph.D.

I started out with Que's HTML 3.2 Starter Kit. It lived up to it's name and had most common HTML commands with general descriptions and browser tips. I highly recommend it for "starting out" because it's written in layman's language with good examples and screen shots.

Like so much travelling these days under the fashionable banner of "post-modernism," Baudrillard and his ilk fuel the arrogant irrelevancy that has reached epidemic proportions in the lower reaches of the Humanities, exemplified by that most dubious of 'disciplines,' "cultural studies." A no less fashionable curative to this pretentious non-sense is the (otherwise, but much more fruitfully, problematic) work of Richard Rorty, particularly his widely-read book, CONTINGENCY, IRONY AND SOLIDARITY.

critics of "postmodernism" often fail to see past ideological blinders or perhaps are just too lazy to actually read the works of (anti)theorists like jean baudrillard. this collection is superb as mark poster offers a concise overview of baudrillard's "project" and also reveals baudrillard's work in all its iconoclasm and hyperbole all at once. this definitely makes for a fascinating read if not a critical insight into late modern society.

Mistah Kostabi, he yesterday's boiled cabbage. This book, laughable monstrosity, as weird and uncategorizably nutty as a momument built by Kim Jong Il in praise of himself, or Nero forcing Roman nobility to listen to him warble, or perhaps Rupert Pupkin kidnapping Jerry Langford so he could insist that America to listen to his jokes. This massive display, and massive it is, of egotism and lack of proportion, could only have happened in the unhinged atmosphere of the '80s, when folly and excess ran amok, and the general level of taste in all things aesthetic hit a once in a millenium low point, most probably as a result of the sunspot cycle interacting with transits of Pluto, or something equally beyond human comprehension. To give Markie some credit, the context of his moment was aptly described by Hunter Thompson's title, "Generation Of Swine", an understatement if there ever was one. Once the wild pigs had stampeded elsewhere, to tear up the earth with their SUVs and bloatburger homes, the general public lost all interest in the Kostabis of the world, those silly quasi celebrities who confused being in the right place at the right time with actually having chops. The day of the locust having passed, all that remains are bizarre momentos such as this. In the intervening years since it was published, Kostabi's market moved from the upscale art collectors world to the gamey sweathog underlayer of poster shops and schlock galleries, and from there to total oblivion as far as anyone can tell. There really is no nostalgia for Kostabi's '80s ; the age of Tina Brown, wads of loose cash, Vanity Fair profiles, Reaganomics, post modern tastelessness and incomprehensible academic detritus, Deconstruction or Whatever. Kostabi was fond of Beaudrillard, the great contemplator of the Simulacrum. If Mark had a philosophical bent, which I think he did, it was directed towards the commodification of all human conduct. He obsessed over the alienating and dehumanizing effects of money, yet he was ruled and imprisoned by those same obsessions. He would not be an artist, but a Simulacrum of an artist, like Andy Warhol declaring that he wanted to be a machine. Kostabi the Warhol simulacrum, as it were. In the final analysis, he was removed from the game by his sheer tastelessness and complete lack of subtlety in human interactions. Early Years was the gambit to be art's Comeback Kid. Instead he became a confirmation of Scott Fitgerald's quip, "there are no second acts in American lives". That's not a universal truth, witness the many comebacks of the real article, such as Frank Lloyd Wright. It is true, however, that America has a fascination of Icarus figures, especially as they fly too close to the sun. Julian Schnabel could pull himself out of free fall with a brilliantly acrobatic career switch, from painter to director of films about artists. Kostabi has proved himself no such an adept counterpuncher, soldiering on with the hope that the old magic will strike again. Perhaps his one hope is that Schnabel will make a film about him, which is about as likely as the sun rising in the west. The likelihood is that he will be a case study or a footnote in the history of his time, but little more than that.

The man is so Daliesque it is unbelievable. That is not a bad thing to be. Many years ago I met the Dali and he did not exggerate one iota. Kostabi is a magnificent artist who self promotes knowing that the many who come to laugh will also come to buy. Artists are laughed at. Most hang their heads and collective sigh. Kostabi only becomes more outrageous and his work expands to meet his ego. This book is as highly priced and as explosive as a Stealth bomber; smooth and grandoise to the eye with a million miniature inventions hidden from general view. If you do not have this book and love it, you will surely hate yourself in the morning. After all, what will you have to talk about.

Well, when you're right, you're right! This book was a gift to me, though I have to admit that I probably would have bought it for myself, anyway. Like the Henderson reader, I have read both this book and Lonnie Wheeler's. If you're a Blue Blood UK fan, read Lonnie Wheeler's book! This book was tough to stumble through because of the terrible editing. And each example given in the other review is dead on; what a mess! Still, I too have to credit the authors for their attempt; it's too bad the editing was so shoddy. This book is a big disappointment if you read it. On the other hand, if all you want is pictures, it's pretty good.

If you're a Kentucky fan who wants scores of photographs of UK's past and present teams, players, and coaches, then this is the book for you. If, however, you want a book that gets into the substance of Kentucky basketball, read Lonnie Wheeler's "Blue Yonder, Kentucky." While the pieces on Adolph Rupp, Joe B. Hall, and Rick Pitino in "Legacy of Champions" are good on the surface, I couldn't get past the editing errors and the plethora of grammatical mistakes that made this book so difficult to like. On page 32, the narrative ends in midsentence at the bottom of the page and never is finished. What happened? The authors had an interesting story going, and I wanted to know how that story ended when it simply disappeared never to return. In addition, whoever researched the book fell down on the job by incorrectly identifying Andre Riddick (who wore #10) as Roderick Rhodes (who wore #12) on page 158. The last two lines of the first column on page 155 read, "Caption goes here like this. Caption goes here like this. Caption goes" What in the world happened to editing? And the frequent misuse of commas? Don't get me started! The authors of this book did a solid job with their material, and there are scores of good photographs throughout the work, but the lapses in editing were a huge distraction from start to finish. It's unfortunate that the "little" mistakes (and there are many) combine to take away so completely from a book that had so much potential.

I thought this book would be an in-depth look at LinS and its times. It is actually more about the late 50's to mid-Sixties US. It had a few nice photos but spent more time on the Moon and Mars Landings and the Cold War than it did on the Space Family Robinson. I was tremendously disappointed. Also, it could have been edited a bit better...many quotes are used as chapter headings and as photo captions and then often in the middle of the text as well! It looks real nice but is not worth the money. The best part of the book was the two-page interviews with most of the actors telling us what they have been up to since the end of the series. Don't buy this unless you are a real LinS fanatic. For great photos of the classic series I recommend the LinS Arcade Series Entertainment Utility CD from Sound Source Interactive instead.

Lost in Lost in Space is an exellent book. It not only talks about Lost in Space, but also about sixties pop culture. I reccomend this book for fans of Lost in Space.

This is a horrible textbook and I mean it. The only possible use I can think of is to use it as a high school textbook.

I was taught intermediate micro using this book. For that class, I found this book helpful and easy to follow. I still use it as a reference for simple concepts that I've forgotten.

This book reads like it was written by a 6th grader and is such a ripoff from Harry Potter it isn't even funny. Not that I mind it being a ripoff; it is just such a lousy ripoff and so poorly written that I didn't read past the 2nd chapter and that is unusual for me as I usually read to at least the middle before quitting to give a book a chance to get better.

This book was so bad though, I stopped after the 2nd chapter. Don't waste your money on this book like I did.

I just want to say, I have read this book twice and I love it! I love fantasy books and this is definatly one of my favorits, if you are into Harry Potter, then you will love this!

This book is quite disappointing. The maps are okay, the elevation profiles are helpful, but otherwise it's utterly bland--and one thing mountain biking shouldn't be is bland. There's no sense of what makes these mountain bike routes special (and if you've ever ridden in Southern California, you know how special the riding is). I think there are other guidebooks about Southern California that give you a lot more bang for your buck. There's no reason to settle for something as lazy, mundane, and obviously-tossed-together-just-to-make-some-cash as this.

I found this book to very informative and opened up a lot of new riding experiences for me. As a Ventura/Los Angeles local, I got bored with the same old trails. This book provided me a good foundation to begin exploring a world of new trails, all within a few hours of my own home. The best part is that with one book, I was able to find trails in towns like Moro Bay, Santa Barbara, Big Bear and San Diego where I can now take weekend trips and know where to ride. The trail descriptions gave me a strong sense of the terrain and level of dificulty and I found them to be very accurate.

This book is pointless. It thrives on gore and mindless killing. Where there could be at least a decent story, thereis simply a mindless killing spree and a re-recycled, cheap thrills ending. Only for those desperately in need of reading matterial.

Mutants Amok is the first of a 5 book series. The story line is based in the future where the human race uses genitics to wage war. They created the ultimate fighting race, but didn't count on them taking over and enslaving the human race in the process. Among the enslaved humans are rebels that are fighting to destroy the mutants. Among the rebels is the infamous MAX TURKEL, who blows away alot of the muties. The rest you will have to read for yourself. Its good old blow em up and shooting book. Unfortunately there is only five books in the series and I don't believe Mark Grant wrote any more.

It is, by no means, a comprehensive guide to the price of glassware, 20,000 price listings notwithstanding. It is poorly organized, with few illustrations. Some popular patterns by well-known manufacturers are missing entirely, while others have been paid scant attention at best. Individually, pattern listings are inconsistent, with very few pieces of some popular patterns represented while other patterns have multiple pages devoted to them. The index provided little help, listing patterns variously by name, type (such as Depression or Art Glass) or manufacturer. The pages on hallmark identification were helpful, as was the glossary of terms, and there is a section on well-known periodicals and collector's organizations. Probably a good book for Carnival Glass collectors (nearly 200 pages devoted to this type of glass); the rest would do better sticking to books by Florence or others.

Very difficult for a person who does not know about all the classifications of glassware to find what he/she is looking for. Not enough illustrations. The best pages were the trademarks of glassmakers. That does give somewhat of a headstart. Would not purchase it again. I am the novice who gets glass and doesn't know how to identify it.