As a huge Paul Tracy and CART fan, I looked forward to reading this book about one of the most controversial drivers on the circuit, hoping to get an up close and personal view of the driver and what makes him tick.
I was disappointed. Mr. Ferriss seems to spend most of the time waving the Canadian Flag, sugar coating interviews, and reporting race results that could have been gotten from the newspaper and enthusiast publications. Compared to the driver's actual life, this book doesn't even come close to having anything controversial. In actuality, for the length of the book, there really aren't that many quotes from direct interviews with Paul. It appears to me, that Paul had very little input on this book project. We do learn that Paul wants his privacy.
If so, why bother writing about him?

I am a Paul Tracy fan since his early Indy Lights days and was excited to see a book written about him. I wanted to know a little bit more about him and I think I have from the book, but there are too many mistakes in the book. In one chapter, Paul debuts for Team Penske at Michigan International Speedway in 1991, which is right, but in the next chapter his debut at MIS happened in 1992, which is wrong. His famous hero dance occured after winning in Long Beach, not Houston. There are at least six
mistakes concerning the Indianapolis 500. The pictures are good.

If you ever wondered where that phrase came from, this is the book. Other than that, there just isn't much here.

Lytton got a bad rep because of the opening sentence of this novel. However, this novel is an unexpected delight: it is rather ironic, witty and the plot, with the highwayman as the hero, is very complicated and involving. I especially like the satirizing of polite society through the twisted reflection of its meaningless conventions in the criminal circles.

Not as good as Last Days of Pompeii or Pelham, but certainly worth a read.

In a nutshell this is a very expensive 11 page biography followd by almost 200 hundred pages of bibliography. The biography has nothing that is not well know to Simon's fans. The bibliography can be gotten for a lot less money with a good search engine. Even with a casual glance at the bibliography ommisions were apparent.

While the biography is short -- as are all the ones in Greenwood's series -- this is a good annotated guide to information on Paul Simon, with a focus on his work as a songwriter.

Being a jewish history professor I find paul the convert aPAULing hahaha - i could do much better! Lacks analysis and close reading.

In this 1990 work by Alan Segal, the author argues that the best way to understand Paul is by using the conversion language prevalent in the first century. Largely reacting to the writings of Krister Stendahl and E.P. Sanders, Segal writes that Paul did in fact undergo a conversion. This conversion was not an emotional or crisic experience, but was demonstrated in Paul's willing change of social setting. So Paul then, a Jew, lives as a non-observant in a Gentile community.

Segal uses this distinction to explain the struggle that Paul had with opponents in his letters. While Segal finds that conversions did occur in the first century, Paul's problems started in earnest when he tried to reconcile the observant and non-observant wings of the church. Segal's thesis is that Jews supported the idea of converting Gentiles, but were repulsed by non-observnt Gentiles and observant Jews worshipping TOGETHER.

The weakness of this work in its tendency to describe Paul as a kind of first-century religious quester. A position that does not fit with the self-description of the man in his letters. It is also a bit unnecessarily long, especially in the first 70 pages or so, when Segal spends much space describing the religious attitudes of various religions in the first century. Much of this does not apply to his larger arguement, and provides detail for the sake of detail. It is, however, an excellent examination of the sociological implications of Paul and his work. A worthy read for any student of Paul and his literature.

Doug Ward

I bought this book because I was starting a math club at my son's school. I was hoping that it would have rhymes that would stick in the kids' minds so that they could remember their math facts. Instead, the poems take some interpretation, and after that is done, one finds that the poem was about a circle (for example). But it does not teach anything about the circle. I thought the book would be useless, but we have had some fun with it. The children take turns reading the poems aloud, while the students listening say things such as, "Huh?" or "What?", or they just fall out of their chairs laughing. This book doesn't help with math, but it gives the kids a good laugh.

As a fourth grade teacher in a low-performing school,I have found that many of my students have difficulty with math "word" or "story" problems. Because some of the students struggle with reading comprehension, combining reading with math often creates a high level of anxiety. I have noticed that using literature and poetry as a basis for math problems helps lessen the anxiety and increase the chance for success. The poems in this book are silly and fun, and tell exaggerated stories about topics children enjoy and relate to: candy, animals, costumes, cleaning messy rooms, etc. The students laugh and enjoy the poems, and are less intimidated to tackle the math concepts than they might be with a traditional "word" problem. Each poem is accompanied by teaching suggestions for classroom and home-connection activities, and most of the poems can be extended for higher-achieving students and fourth or even fifth graders (the book labels itself as grades 1-3). There are a lot of different ways to use the poems - it just takes some imagination. I like "Poems to Count On" because it is one of those much needed windows for students who close the door.

The benfit to this book is for someone who has never entered Manufacturing Mode in Pro/Engineer. It gives a light overview of NC Sequence types. The Exercise is to make a Plaque with Letters...

This book lacks knowledge of interest to anyone with Pro/Engineer Design Experience. It does have enough information to Manufacture Parts or Organize your Process in a logical Fashion.

Its not worth the 39.95. It lacks Pictures (Descriptive or Not) with the Lesson Material and the Exercises. The exercise parts are not realistic or useful to your learning.

I would equate this book with a demo from PTC. Consider starting your manufacturing journey with a PTC course or Reading the PTC help. At least you learn the menu picks, the definitions, the process and work with exercises using curved surfaces.

If your just getting started in Pro-e, this is an excellent book to get started. Giving you good specific step-by-step details to following. But if you are working with any older versions (there are many of them) of pro-e the book can be a little confusing. You will learn how to completly assemble and create 3-d parts. Expanding and enhancing web sites is one way you can export your creations. It should come with a CD-ROM that is also very helpful with understanding the book better. I would recommend this book to anyone trying to learn the program. It will get you started at being proficient.

Calling "Reader's Guide to Murder" a classic mystery would be like calling an Edsel a classic car. Technically, you're correct, but classic can also imply that it's timeless and valuable, and that would not accurately this book.

"Reader's" is a classic mystery in that it resembles the immature side of the genre, where the characters are cardboard cutouts mounted on sticks, moved hither and yon in order to solve a series of murders that are puzzling, but, in this case, are not very engaging. The murders are recreations of those found in classic mysteries, complete with taunting notes sent to the department's chief of detectives, Harvey Goldstein. Since Goldstein is accompanies by a visiting British police officer, and both are mystery fans, the murders become springboards for discussions of the genre with Goldstein's assistant (and mystery-free) Sgt. John Bogdanovich.

It is possible to write a contemporary mystery with references to the genre; Peter Lovesey's fine "Bloodhounds" comes to mind. Considering the flood of books coming out every month -- 52 during February according to the Cluelass Internet site -- there seems little reason to pick this one out of the morass.

To me this was a well thought, well in-depth mystery based on the most clasical mysteries and their authors. Fictional characters like Holmes and mystery writers like agnatha christie. This novel is a real treat of fans of those novels and myster fans in general. H. Paul Jeffers outdid himself and did justice to the authors his book protrays and their creations. Murder never has been so much fun, and entertaining, with his charm and wit and the side of humour is mixed well with the story line and theme.

Better than his first book, Jewett's sequel is still very uneven. Clearly he is more comfortable with the straight Biblical scholarship than the films, as the strength of the intro indicates.

The film chapters are very uneven, with Jewett often unable to distinguish when a film RELATES to a particular Biblical issue tangentially and when a film PORTRAYS a Biblical issue directly. Stated differently, he seems to make no distinction between films which are consistent with, but not necessarily about, Biblical teaching, and those which seem to be directly about Paul's passages. As a result he seems to stretch to make a movie fit a passage, at times using as evidence the fact that there is some consistency in values. These parallels would, admittedly, be of interest without any claim that the films intendeded a parallel.

At times Jewett seems very liberal in his theology or application. For example he says that Paul would approve of Glen Holland, the teacher in Mr. Holland's Opus, because Holland does not have a sexual affair with a student he finds attractive. While it is certainly good that Holland did not commit adultery, "approve" seems a strong word to attach to a man who knowingly and willingly flirts with a student and cultivates an emotional intimacy that threatens his marriage. I agree with his assessment of PRINCE OF TIDES, that it demonstrates the hurting power of shameful secrets, but he lets Streisand off too easily for her argument that Tom Wingo becomes a better husband and father because his adulterous affair with his sister's therapist somehow "gives him something to give back to the women in his life." He also seems to miss the significance of Tom making psychoanalysis into a "religion" by saying Lowenstein's name "as a prayer" every time he goes home.

Occasionally the parallels are interesting (such as the chapter on BABE). I thought the chapter on GROUNDHOG DAY was his best combination of understanding the film and applying Biblical principles to it. Other chapters seemed to lack application and draw parallels only in subject matter, i.e. both the film and Paul dealt with the issue of "x."

The author's familiarity with Paul's letters and evangelical fervor are undeniable, but his knowledge of film is quite another matter. With the exceptions of "Babette's Feast" and "The Edge of the City" he elects to treat Hollywood hits of the nineties. Since only "Babette's Feast" and "Forrest Gump" pass the author's "Pauline test," it's unclear what his basis for selecting the other 8 films was. Moreover, his attachment to his thesis, one suspects, blinds him to the shallowness of "Forrest Gump," unless he really believes that this new-age, feel-good, self-esteem builder targeted at the troubled baby-boomer generation represents a '"triumph of love." Given the author's preoccupation with the triumph of grace over shame, wouldn't it have made more sense to choose "classic" but not necessarily "popular" films that address this subject--for example, Bergman's "Shame" or Lynch's "The Elephant Man"? Or if he elected to stay within the popular field, why not take a highly-respected "auteur" such as Alfred Hitchock, whose identity is stamped on virtually each of his "texts" by his focusing on the themes of guilt and shame? The author's assumption that popular films are the reflection of deep spiritual currents connecting with Biblical texts is narrow if not naive. Apart from the selection of films, the treatment is limited primarily to the narratives, or scripts, of the films and gives little consideration to the art and technique of the film or the actual experience of the spectator. Although he has consulted some popular reviews, there is virtually no evidence of film theory, aesthetics and history, of the "language" of cinema and the ways in which viewers, vicariously and voyeuristically, make meaning out of that language. Finally, since the author argues that film brings scriptural truths into concrete, human experience, it's surprising that his discussions of the theological meanings of films fails to draw upon "existential" theological thinkers such as Kierkegaard, Tillich, and Buber. As for the author's style, it includes numerous first person references ("I think," "I believe") and indefinite pronouns ("this"), suggesting that the discussions would be a good basis for conversations on the meaning of Paul's letters in the daily lives of present-day Christians. For an audience as specialized as the latter, perhaps the leader of a Bible study group, the book may have greater value than it does for this reader.

This solution manual only provides answers for every 4th problem. It does not elaborate much either. You're better off just asking your TA. Or hell, you can buy my copy - I'm sending it back.

this book is good, help student to solve the problem on the text book.