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The fact that this book and interactive CD-ROM set get you so involved with literally hundreds of programs and quiz questions (most of which have answers) makes it much more effective than any other Java book out there. You learn by doing, and you do so at your own pace. It's like a real live classroom with a pause, rewind, and fast-forward button.
I found the "Cyber-Classroom" companion CD-ROM effective not only because of the excercises but also because every example and figure in the book is included and explained to you via audio by one of the authors. From there you can either launch the program to see what it does or save the code to disk to tweak it as you wish. If only the other Java books that line my shelf had CD-ROMs that were *half* as helpful. They usually end up being used as drink coasters.
I enjoyed reading the first edition of the "Java How To Program" so much that I purchased this set to learn about all the new features of Java 1.1 by reading it over and doing the new excercises. This second edition has code that has been totally rewritten for Java 1.1.
Bottom line: if you want to learn Java buy this set.
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The four redeaming qualities are: 1. Most of the information you want is in there, somewhere. 2. The appendices. 3. The Self Test Software self test CD. 4. The plug of Amazon.com on page 166.
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The photograph is great and is gives you a better understanding of the Corrs really are.
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It is shocking and provocative.
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She started the book with a purpose of making her life cohere in the face of betrayal. Her naive loyalty and guilelessness help her "cling instinctively to life," as she seems to find consolation in her simple moral choices and unselfish devotion. Despite her plain, predictable, unengaging style, I sympathized with Lamblin in her struggle to maintain a precarious balance between objectivity and self-vindication. She tries to distance herself from Simone de Beauvoir, stressing their differences and disengaging herself from her famous lover's philosophical influence by reclaiming her own war-time experience as a Jew and choosing to have a family and children. And yet she continues to be constantly tormented by her inferiority to the existential duo - her attacks on Sartre's "revolutionary" ideas, for instance, remain purely emotional. She is profoundly not at peace with herself, irritated, angry, and oftentimes behaves like a hurt child, throwing the same words back at her offenders ("Truly, I would call THEIR intelligence monstrous and at the same time downright feeble").
And yet her innate grace and her perhaps never completely squelched attachment to "the Beaver" make her stop short from launching an open smearing campaign. Because she is keenly aware that the reader will be perceiving her book as an attempt at "retributive justice," she makes an effort to stay as objective as possible, which, in my opinion, is exactly what prevents her from venting her hurt feelings. Despite a simplified Lacanian explanation of her life Lamblin offers at the very end of the book, her story is a tragic example of an unresolved conflict.
But perhaps what vindicates her is a sense the reader gets of a fundamental private turmoil and instability on which Simone de Beauvoir's seemingly "philosophically justified" world was based. It comes as a nice reprieve for someone who was tempted to make her ideas from The Second Sex into life principles.
If the reader takes the facts as the author presents them--and there is nothing implausible or erractic in what Lamblin relates--what unfolds is a brief, startlingly clear reflection on what it means to evolve one's own workable philosophy of life based on the cards one is dealt and the living examples one has to choose from. After her rejection by her existentalist mentors, Lamblin consciously chose a conventional, slightly leftist, life. Her mentors' narcissism seems to have turned her away from a life focused on pursuing celebrity and getting published (aside from a few academic philosophy articles, A Disgraceful Affair is Lamblin's only published work, one she didn't begin writing until she was in her seventies and all the key figures in the story had died). Unlike her mentors, she chose to marry and have children, decisions that disturbed and disgusted Beauvoir.
Those looking for portraits of Sartre and Beauvoir should know that Beauvoir (unfortunately called "the Beaver" throughout the book, a nickname that might have been better left untranslated) is the more fully realized. Lamblin renewed her relationship with Beauvoir after the War and continued to have platonic meetings with her for the rest of Beauvoir's life. Lamblin's depiction of Beauvoir's life after Sartre's death is one of profound pathos and emotional disenfranchisement. By that point, Beauvoir's alcoholism was quite advanced and the reader senses that the great thinker and prolific writer's death must have been a lonely, troubled, and confusing end indeed.
The reader should be warned that there is a sort of craftlessness to Lamblin's writing. For me, this added to the sense of authenticity of what she was attempting to communicate. She often tells the reader what she is going to say--or why she is relating a particular incident--before launching into her account of an event. This tends to pull the reader up short. As off-putting as this might be, for me it further convinced me of the author's essential guilelessness and I ultimately judged this practice as awkward but not offensive. In addition, I suspect that Julie Plovnick's translation of the French original is a little wooden and literal-minded (for instance, she translates "lucide" as "lucid" in a context where I suspect "perceptive" might have been the intended meaning).
Readers interested in the way people, and especially women, make meaning of the troubles life throws their way will enjoy this book. Other books along this line that I have enjoyed are Girl Interrupted by Susanna Kaysen, The Liar's Club by Mary Karr, and A Loving Gentleman: The Love Story of William Faulkner and Meta Carpenter by Meta Carpenter Wilde and Orin Borsten.
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