Great book for Access97. Great chapters on string handling in the enclosed VBA book as well.

Werd.

In the past few years, I'll admit, I have on a very few occasions looked for something I didn't find. Once the answer was there, in quite thorough form, but I missed it because I looked in the index instead of the table of contents! The only reason I even mention this is that the Developers Handbook is the *only* technical book I've ever come across from which I have, almost subconsciously, begun to expect not just excellence, but PERFECTION! I realize how terribly unfair this is, but I can't help myself.

I'm pleased to see the scope of the Developers Handbook being expanded into SQL Server and Visual Basic, since high-end Access development can no longer be done in isolation from those tools. Having a resource like this one provided by Ken Getz, Paul Litwin, and Mike Gilbert is far from the worst reason you could have for choosing Access, SQL Server, and VB over some other set of tools.

If you're a developer and value your own time, you'll want this book. If you employ developers and you're lucky enough to have one or two who will actually *use* a book if it's available, buy this book now. The only way it won't pay for itself is if *nobody* ever opens it. And I'm not even sure of that. I think it might even make your developers better at what they do just by sitting on the shelf of their office!

This book would be a terrific addition to any childs library.

The book is also a terrific coffee table book for any guitar collector, or enthusiast who shares the love and interest of high end collectors for this celebrated model but doesn't have a few million dollars in spare cash kicking around the house to build a collection of 'bursts. The photographs are magnificent and the book on the whole does a marvelous job of entertaining and informing. It's like buying a multi-million dollar guitar collection for the price of the book. You don't get to play them and hold them, but you sure can look at them and learn all there is to know about why they play and sound the way they do.

Functional sculpture . . . that's what a vintage Les Paul really is and this book does both the art and the craft of the historic '58-'60 Les Pauls justice.

If you, like me, have G.A.S. (Guitar Acquisition Syndrome), this book might just get you through a tough weekend where you might have purchased yet another guitar. Darn, I should have read it again this weekend... I could have saved a bunch!

A must read for anyone trying to understand the basics about living in the western world as a person of color.

I learned from Fanon about the use of language as a colonialist tool, the terrible affect on African self esteem, the psychological turmoil that erupts as a result of the contact with white society.
It is clear the world is not the same today as it was in the 50's, but Fanon's book is just as relevant.
Quoting from Sartre talking about another book by Fanon: "Have the courage to read this book !".

It tells the story of company that faces many challenges - the biggest of which is its own culture. What's different about this book is it tells you how to change that troubled culture into positive energy that will drive the business towards success.

This is a must read for those struggling with the cultural issues facing so many businesses.

Who inspired the Whos Who of Architecture? "Architects on Architects" attempts to address this loaded question in a series of 24 essays by leading architects of the late twentieth century from around the world from Norman Foster to Carlos Jimenez to Tadao Ando. As the essays illustrate, influence is actually not simply a question of "who?" but rather comes from a number of different sources: a single building, an entire career of an architect,or sometimes just an attitude or way of looking. Many of these influential experiences happened during the architects formative years as students or interns and the impact of how these influences changed the direction of a life are revealed for the first time in these later career recollections. For Richard Rogers, his visit to the Maison de Verre as a student in 1955 would not only determine his thesis project, it would stay with him through the next half century as the symbol of "the power of innovation itself." For Tadao Ando, Le Corbusiers words in "Vers une Architecture" stressing that a journey in ones youth has a deep and strong significance throughout a lifetime inspired the young untrained aspiring architect to visit Le Corbusiers church at Ronchamp in 1965.As the essays attest, the importance of an architect can be measured not only by his or her designs, but also by the architects impact on other architects careers. Based on this criteria, Le Corbusier, Paul Rudolph,and Louis Kahn appear in these essays as some of the most influential architects. However, although five of the 24 essays are devoted to Le Corbusier, we see five very different aspects of the master architect: Ando describes impressions of Ronchamp, Michael Graves talks about Le Corbusiers method of drawing, William Lim discusses him in relation to Frank Gehry, Sumet Jumsai describes his personal meeting, and Arata Isozaki describes the context of his death. While Paul Rudolphs reputation suffered greatly during the Postmodern period, we see his lasting impact through his students who studied at Yale ranging from Norman Foster to current dean Robert A. M. Stern.
One of the most interesting aspects of this collection is the great variety of topics that the architects chose to write about. Some easily understandable choices include Cesar Pelli writing about his mentor and former employer Eero Saarinen and high-rise building specialist William Pederson writing about Rockefeller Center. However, it might come as a surprise to see Diana Agrest writing about architect-turned-filmmaker Sergei M. Eisenstein or Richard Meier writing about Frank Lloyd Wright rather than Le Corbusier. For the most part, these short essays are poignantly written -- a refreshing change from the typical arrogance and incoherence of many architects writing about their own work. Nevertheless, the essays shed great insight into the
architects inner thinking and also reveal architecture as a collective profession greater than the work of any single architect.The collection serves as a valuable document to understand this generation of architects from the second half of the twentieth century and also begs the question of how this generation will influence future generations of architects.

Those who buy this book will be fortunate enough to learn about the screenwriting trade and expand their horizon whether it is for writing or just for education. Don't hesitate to get it today.

Because Chef Paul had already developed a system of layering flavors (with spices, herbs, stocks, other juices) he was able to translate this knowledge of deep flavors to compensate for the absence of fats in the dishes he normally would make.

Fat carries aromas and flavor to our nose and taste buds. And it produces a certain feel to foods. Chef Prudhomme replaces the lost ingredient with fruit juices, intense but fat-free stocks and mixes of spices that are added in series to preserve their intensity and build the taste.

So, you don't have to stare nightly at a plate of lettuce, steamed chicken breast and rice if you don't want to. You can make oven fried fish, turkey and many other tasty dishes that will still be within your dietary restrictions.

Because this is a chef's book, the methods are sometimes time-consuming (like making stock.) And the very method of layering takes some time as well. So this is not a quick-to-the-table book but one that can teach techniques to enhance your own recipes.

Perhaps it could have helped.

The idea that someone so incompetant and clueless could become PRESIDENT is a sobering thought.

This is on my list of favorite books of all time; it is a great book not because it subtly describes the frivolties of life and not because it shows the persistence of human spirit, blah blah blah... It is a beautiful and great book because it makes you laugh - in its own great non funny way. It is not laughing out loud, of course, more like chuckling to yourself as you read it. You even get to identify with the characters of the book, with their weird perks and idiosyncracies. In our real world, the cronopios have a great cult following (at least online) - in the book, they are what people strive to be: worry-free animals in pursuit of happiness.

I read this book on a regular basis, mostly in short pieces. It is written in short chapters, so even when you are too tired to read anything else, this will cheer you up.

Recommended for all conoisseurs of inventive and experimental literature.

The book is divided into four main sections, each of which is further subdivided into several short pieces. The first section, "The Instruction Manual," contains such pieces as "Instructions on How to Cry" and "Instructions on How to Climb a Staircase." Cortazar invites us to look at everyday things and actions from a radically altered perspective; in the process, he seems to point towards an occult, or metaphysical, wisdom.

The second section, "Unusual Occupations," details the antics of a bizarre family (think TV's "Addams Family" as drawn by Dr. Seuss, with input from Franz Kafka). The third section, "Unstable Stuff," is the most varied and chaotic section of the book, and is rich in fantastic and absurd elements.

The final section of the book has the same title as the entire book: "Cronopios and Famas." In several short vignettes Cortazar draws a portrait of an alternate society populated by three different types (races? castes? species?) of beings: Cronopios, Famas, and Esperanzas. Cortazar describes the individuals of each group, and details many instances of social interactions between the groups. This final section of the book is reminiscent of Aldous Huxley's "Brave New World," but more cryptic. Along the way we witness the invention of the "wild-artichoke clock" and get a glimpse of "GENITAL, the Cigarette with Sex."

"Cronopios and Famas" is not for the lazy reader. I must admit that after my first reading of the book, I didn't really like it that much. But the second time I read it, I said to myself, "This is brilliant! What was wrong with me the first time I read it?" I wonder what my reactions will be on my third and fourth readings. This book, rich in irony and remarkable images, is truly a remarkable achievement by one of the most innovative masters of 20th century literature.