Best read with a soft southern accent, this book has the kind of off-the-wall humor that can be enjoyed by both grandmas and grandchildren. I was introduced to it by a Missouri woman who fetched it from her summer cabin to read to a group of grandmas over cocktails. For all of those who want their grandchildren to grow up as they did with an appreciation of New Yorker cartoon style humor.

Although not a travel journal of his walks through Japan (i.e. the terrific "The Roads to Sata" and "Looking for the Lost"), Booth turned the rather ordinary premise of a travel guide into a sociological exploration of the Japanese people as well as an indepth relation of the islands and prefectures of the country and their history. This is not a typical travel guide- there aren't any recommendations of restaurants or hotels. Instead, this is a description of Japan by a non-Asian who was able to master the Japanese language and who walked the entire length of the country, besides living there for half of his life. This man truly knew Japan and his knowledge is conveyed in his very lively discussions, complete with his typical dry humor and fascination with the people of the country. If you enjoyed "The Roads to Sata" and "Looking for the Lost", this book is different- it is aimed at travelers. However, you will love this book if the other books enticed you to learn more about Japan because Booth really took the time to share his wealth of knowledge and detail of the country for his readers in this terrific book. Also, the photos by Ken Straitton are a welcome addition for those who have always wanted to see exactly what Booth wrote about on his travels.

Learning to program was studied by following a group of undergraduate students of Computer Science while on their introductory course in programming, in a functional programming language, Standard Meta-Language (SML). The central question addressed was, What does it mean and what does it take to learn to program? The study was conducted in the phenomenographic tradition, seeking qualitatively distinct ways in which the students understood certain phenomena in and aspects of the programming they were studying. For the purposes of the study, "programming" was considered in terms of two sorts of constituents: framework constituents which are those aspects of programming not normally thematized in instruction, and technical constituents, which are those that form the body of instruction and practice during the course. Three framework constituents (programming itself, programming languages, and learning to program) and three technical constituents (the function, recursion and correctness) have been singled out for study. In addition, the ways in which students approached writing programs in response to given problems were studied. Sets of ways in which the constituents studied were understood (conceptions of the constituents), and distinctly different approaches to writing programs for given problems have been identified, presented and discussed. The results which have been presented are discussed in three principle ways. First, they are where possible placed into the field of relevant research into learning and learning to program. Second, they are discussed for what they tell one about what it means to learn to program. Thirdly, they are discussed with respect to their inter-relatedness and integrated with reference to the work of the phenomenologist Aron Gurwitsch. Learning to program is characterized as a growing awareness of the field of programming, seen in terms of developing not only qualitatively better conceptions of the constituents of programming but also quantitatively more conceptions. The skill of programming is then seen as a capacity for intuitively drawing upon the appropriate conception in given circumstances. The experience of programming is seen as the fundamental way of generating such conceptions, elaborating them and differentiating them. Implications for teaching lie in the nature of the conceptions identified. Stress is placed on the framework constituents in that teaching should encourage well-founded conceptions through example. Teaching should not merely try to bring about expert behaviour in students by offering expert views on the content, but give students the range of challenges which enable them to come to the expert understanding via experience. Teachers should above all be aware of the range of conceptions held by their students, and that poor conceptions are not necessarily caught in lab exercises and examinations.

Lincoln And Booth: More Light On The Conspiracy is a close and revealing study of President Abraham Lincoln's assassination. Journalist, historian, and political scientist H. Donald Winkler sheds new light on the possible conspiracies and motives that may have been a factor in Lincoln's assassination. Black and white photographs combined with deftly researched and presented evidence make for an insightful and highly commended study of a terrible political murder that was to serve as a grim and symbolic epilogue to the American Civil War. Lincoln And Booth is an invaluable contribution to Civil War Studies reference collections and Lincoln Studies reading lists.

This book provides a variety of reading strategies - in simple terms. A teacher with 30+ years of experience presented it at an inservice for our district, and it is a fantastic resource!

Covers the Maryland Booth Family +! Kimmel is the greatest!! Wonderful pictures and well written! The second edition (Dover) is the best by far!!!!!!!

this book gives an accurate unbiased account of the life & times of aleister crowley, a thoroughly enjoyable read, you can make up your own mind whether you think he was a conman or a conjuror. all the facts are there...you decide!

In 2002, I first noticed Edward Burtynsky's gorgeous 40 x 50-inch color prints at the AIPAD conference in New York. To me, Burtynsky's work stood out from all the rest in that immense exposition, which annually showcases international photography galleries. I hoped his gifts would receive appropriate recognition. I didn't realize the degree to which his reputation as a master photographer was already well established by museums, collectors and critics. Since 1985, the Charles Cowles Gallery has represented his work in New York and the Mira Godard Gallery, one of Canada's most prestigious galleries, represents him in Toronto where he is based. So I am now delighted to report that Yale University Press' handsome catalogue from his recent retrospective exhibition in Ottawa is a remarkable accomplishment in every respect. The National Gallery of Canada organized the show and co-published the book. Although the 64 color plates do not deliver what I love most about seeing his work in person - that is simply not possible to achieve in small-scale, half-tone reproduction. The fact is that this book's design and color plates are wonderful. Every aspect of this book is highly accomplished and carefully, thoughtfully considered. Assistant Curator of Photographs, Lori Pauli, deserves special recognition, firstly as editor for selecting top professionals and for coordinating their efforts seamlesslessly. Secondly, Pauli also wrote a scholarly, insightful essay that sets the tone for engaging inquiry and discourse that is maintained by a distinguished panel of co-authors, each with a different approach, including Mark Haworth-Booth, Kenneth Baker and an interview of the artist by Michael Torosian. Their different perspectives should satisfy many questions that might arise for the reader who wants a broad social context without losing a sense of personal connection concerning aesthetics or individuating details about Burtynsky himself. He grew up in southern Ontario, Canada's most populous and richest province. Much of Ontario's wealth comes out of the ground itself and even more significantly, comes out of manufacturing industries, particularly auto plants. Mining and heavy industry are major themes in his site selection both close to home and far away. He traveled half way around the world for some locations. Burtynsky's beautiful art of otherwise terribly distressed places is absolutely authentic, warmly human and almost always immediately engaging. The reader learns that there is neither pretense nor opportunism in Burtynsky's choice of site selection and content. His deliberate ideological detachment also distances him from the controversy and rancor that often accompanies polemical discourse. However, his personal connection with his sites is another matter. Burtynsky reveals his distinctly individual sense of place in almost all of these man-altered landscapes. Considerable skill, intelligence, time, and expense were devoted to every composition. He certainly did not need to work this hard to simply provide compelling evidence of the consequences of large-scale exploitation of natural resources. The color reproductions are only a small fraction of the size of the original photographs but they still illustrate his career-long attraction to detail and immense, complex space. He understands color, light and large-scale abstract composition like few others in his medium. In fact, I believe that he could make anything appear beautiful anywhere -- and yet he doesn't. At the exclusion of everything else Burtynsky chooses places transformed by human desires - including his own - for commerce and comfort. His pictures of mine sites, quarries, oil rigs and rusting steel can truly astonish the viewer for their visceral impact. They convincingly demonstrate decades of demanding study, persistence, experiment and high critical standards but his conflicted passion for his sites is a separate, far more complicated matter that for the most part remains undisclosed. As a fellow large format photographer and colorist, I can attest that there is nothing he takes on to photograph that is simple or easy. Tripod-mounted view cameras are cumbersome tools to use, especially outdoors at the mercy of ever changing natural light conditions as well as the unavoidable and unexpected shifts in weather. It is slow, complex, painfully deliberate work in conditions that are always unpredictable and often physically uncomfortable. Burtynsky makes it look easy - it isn't. Ian Hunt, the designer, also hides his craft. His design reveals wise William of Occham's razor, keen balance and restraint. It is what only the very best design can demonstrate. This is certainly a book worthy of collectors but it is accessible for us all. It showcases an artist about whom we shall hear many more richly deserved accolades in the years ahead. There will definitely be more books about Edward Burtynsky, but Manufactured Landscapes will be difficult to surpass.

The author pour his private experiences over thirty years in the pre-engineered metal buiding industry. We advice any body interested in this industry shall take a look at this book. Many pages of this book give some basical concept of pre-engineered metal building system and the practices of marketing and sales in this industry have been illustrated clearly. Thanks the author share his private and successful experiences to the industry.

This book is both informative and spiritual. I was blessed by the life of Catherine Booth and will not be the same after having read this book.