I don't think it's something you'd want to read for its own sake unless you have a particular interest in the development of the novel in in the nineteenth century. The plot concerns the efforts of Sir Austin Feverel to prevent his son's marriage and then to break it up. There are ponderous attemps at humor. A tragic and melodramatic ending is tacked on. The story is often difficult to follow, with characters being assigned different names. Jane Austen had already shown how a a tight light novel could be constructed. Madame Bovary had been written (for the diffference between mediocrity and genius compare the descriptions of the food at the wedding breakasts in this and in Madame Bovary). This has the clumsy baggy long-winded structure of Dickens (who was writing Great Expectations at the sme time) but without the great characters and confrontations. This was popular literature in its time, and considered scandalous.

Excellent example of the style of the time.

As a professional geologist, I use this reference often but I have found numerous errors. An example is that the mineral Pentlandite, an important ore of nickel, is not listed in the index. A German website is compiling an errata list on this book and it is many pages long of spelling, locality, formulae and indices errors. Other complaints are: The information concerning the economic use of the minerals is too sketchy and incomplete; and the page paper is too thin and fragile.

I can't believe that John Wiley & Sons (the publisher) actually tries to sell this book as "compact". It's 1100 pages! The Peterson Field Guide to Rocks and Minerals is a much better "compact" guide. This thing should really be on CD-ROM.

I use the book almost daily while working on a large mineral collection. It is up to date and comprehensive with valuable references to localities. The book is fragile with thin pages so must be used with care. It should be published as a CD ROM.

Arthurian fiction in general is steeped with awful fiction, and short story collections are a mixed bag. Let me simply say that I was left unimpressed - and often disgusted - by the stories in here. There are some good ones, but they are few and far between. (Do not be led astray by the pretty cover art! It is pretty, but that's almost all it has going for it)

We start with an icky poem by Jane Yolen; then a groanworthy Mercedes Lackey story "The Cup and the Cauldron" -- it stars girls and yes, has more Christian-pagan stuff if you're as sick of that as I am; an incoherent Andre Norton story "That Which Overfloweth"; Marion Zimmer Bradley's equally groanworthy feminist-Goddess-server "Chalice of Tears." We hit something far better in Diana L. Paxson's "Feast of the Fisher King," which is both well-written and entertaining, as well as being in play format; also Brad Strickland's enjoyable elf-fantasy-Arthurian story "Gift of Gilthiliad."

Then it's back into "groan" territory with Ilona Ouspenskaya's gypsy tale "Curse of the Romany," where you wonder what-the-heck-does-this-have-to-do-with-it? James S. Dorr's "Dagda" is pretty; Gene Wolfe's odd "Sailor who Sailed After the Sun" is another where you wonder what the relevance is; Lee Hoffman's indifferently-written western-fantasy "Water" takes a long time to get to the point, as does Alan Dean Foster's "What You See..." and Richard Gilliam's "Storyville, Tennessee" and Jeremiah Phipps' "Hell-Bent for Leather" (are you seeing a pattern of irrelevance here?)

Lisa Lepovetsky pens another icky poem; Orson Scott Card's "Atlantis" stretches indefinitely; Dean Wesley Smith's "Invisible Bars" is pretty amusing; Janny Wurts bores and annoys with "That Way Lies Camelot"; Kristine Katherine Rusch's "Hitchhiking across an Ancient Sea" is a pale, pale short story; Lawrence Watt-Evans's story has a good idea, but is poorly written; Lionel Fenn's "The Awful Truth in Arthur's Barrow" is just plain bizarre, as is Brian M. Thompson's "Reunion." Margo Skinner redeems the poetry angle with "Quest Now"; Neil Gaiman's "Chivalry" is enchanting; Bruce D. Arthurs is weird again in "Falling to the Edge of the End of the World", same with Rick Wilber's "Greggie's Cup."

As you can see, this mixed bag tends toward the dull, irrelevant, pretentious and just poorly written. Half the stories seem to have the Grail thrown in (if it's there at all) just as an afterthought. Except for Margo Skinner's poem, the poetry all stinks; only a few of the stories retain the beauty and prose that one espects to see in an Arthurian story. When I buy a book classified as Arthurian fiction, I WANT Arthurian fiction; I do not want stories about pregnant gypsies, fantasy westerns, or genies.

There are much better collections out there, however bright the bright spots in this are. Read "The Doom of Camelot" and the upcoming "Legends of the Pendragon" if you want good Arthurian short stories.

The Gaiman story in this collection is brilliant. There are other bright spots as well, particularly the contributions from Diana Paxson and Alan Dean Foster. Good, fun stuff.

This book is an assest when dining out or at the grocery store. Every imaginable type of food is counted, allowing you to easily stick to your maximum allotment of carbs. This diet has also been easier to follow than the atkins for it allows you a reasonable amount of carb intake.

The life of Henry Miller really derves the talents of someone like Robert Caro, since it can be seen as the basis for a broader history of the American West in the 19th century. Miller himself was self-made, a dynamic, visionary, and fantastically successful land and cattle baron. He also seems to have been welll-liked by the men he hired, and (at least for a land baron) by his neighbors. The story as told by Treadwell is factual enough, but devoid of personal and cultural detail. Miller's business papers are mostly in the collection of the Bancroft Library at UC Berkeley, raw data awaiting the talentrs of a more skilled biographer. An out-of-print but fairly easy to find book written by one of Miller's foremen, "California Gringos", is also informative

Have you ever wondered what makes America? What is patriotism? What is right and wrong within YOUR society? Peirce helps in your discovery of who you are among your people. He preaches, but as any good philosopher, expects his readers to think hard. Not for beginners, but entertaining.

Behind David Lean's directorial masterpiece 'Lawrence of Arabia' (1962) lay a series of attempts to film T. E. Lawrence's life, most of them centred around the abridged version of 'Seven Pillars of Wisdom', known as 'Revolt in the Desert.' Chief amongst the filmmakers eager to produce this epic was the great Alexander Korda, who bought the rights to both books and also to several biographies that contained their material. Korda was asked by Lawrence himself not to make the film while he was alive. Five months later, Lawrence was killed in a motorbike accident and Korda began his preparations. Locations were scouted, scripts were drafted, and several actors were tested to play the lead. Walter Hudd (who had played the Lawrence-based character Private Meek in 'Too True to be Good') and Leslie Howard were the favourites, although Cary Grant and Laurence Olivier were also considered. The Foreign Office thwarted Korda at every turn, protesting that it would be ill advised to show the Turks in an unfavourable light with the ongoing political unrest in the East. After a dozen attempts to make the film, Korda let it slide. This book is tripartite: part one sketches a brief history of the attempts to film 'Lawrence of Arabia' and includes pictures of all the key players. The second part is an interview given by Leslie Howard on how he would play Lawrence; and thirdly, the final script (1938) of the Korda epic is reproduced. While it is a laudable piece of work, the book fails to hang together and emerges as two articles and a film script that are linked by the same subject, but have no cohesion. Part One is far too brief for the reader to gain an understanding of the forces arrayed against Korda and his project, and it would benefit from more research and more expansion on the views of the various directors and actors engaged for the film in its different stages. Part Two is simply the Howard interview with no editorial comment offered. Part Three, the script, also has no analysis. This is surprising, as it is rich in allusion and with peculiar sequences that (to modern eyes) detract from the overall pacing of the film. It relies heavily on 'Seven Pillars' for dialogue and description, with little or no modification. To those who are acquainted with the Robert Bolt script of the Lean film, the Korda Lawrence is but a pale shadow: eloquent passivity rather than "nothing is written" man of action; cold detachment rather than anger and angst in crucial scenes (Tafileh, the Turkish hospital); the smug imperialist rather than the tortured anti-imperialist. Korda's Lawrence was intended to be heroic, a ( ) puff-piece with a serious bite, but looking at the script today, he seems shallow, self-important and obnoxious. The real Lawrence evaded any attempt to capture him by constant shifts in personality, presenting a different face to each person he met. It would appear that the celluloid Lawrence of Korda's vision was the same; and, as such, defeated him wholly.

I find this book fairly understandable, easy to follow and a bit of interesting with good pictures!

If your MBA professor offers Schonberger as the answer to 21st Century Operations Management, seek a transfer quick. Obsessed with a touchy-feeling "quality paradigm", there is not enough meat here to frighten off the most zealous vegetarian. The chapters on "managing projects" and "facilities management" are especially shallow.

Fairly good survey book. Having an undergrad operations background, I found this book mirrored the strengths and weaknesses of a more detailed operations curriculum. Book is best in framework and quantitative model overviews, weaker on softer subjects like staffing, project management, & holistic quality.