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The writers all refute technological determinism: new weapons - artillery in World War One, tanks in World War Two, guided missiles in the Arab-Israeli war of 1973, precision bombing and superior ground force technology in the Gulf War - were none of them unbeatable. They show that the basic principles of conducting land warfare have hardly changed in the last hundred years. Armies need to combine their arms, defend in depth, keep large reserves, use cover and concealment, and integrate movement and suppressive fire. In particular, Stephen Biddle shows that, contrary to many claims, the USAF air war in the Gulf did not destroy all the Iraqi armour. Possibly 4,100 armoured vehicles later fought the US ground forces, but they did not fight according to the basic principles, so they were beaten.
However, the editors err in dividing what they call '20th-century theories' - deterrence, arms control, terrorism and 'irregular warfare' (national liberation struggles) - from the 'contemporary issues' of technology, weapons of mass destruction, and humanitarian intervention. These are all still live issues. Further, the editors could have presented them in the livelier form of debates.
As with any collection of pieces by many hands, the quality is uneven, but generally the better essays are more grounded in the realities of 20th-century military history. The worse ones try to discuss, for instance, the causes of war in terms of biology or psychology. As a rule, strikingly individual expressions of one person's views, like Colin Gray's Modern Strategy, or Bernard Brodie's War and Politics, provoke more thought than compilation textbooks
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THE SKULL BENEATH THE SKIN may be the most stylish, lavishly mounted novel that James has written. It's an overflowing mixture of the elements of the detective/horror tale at its most clichéd--the closed circle of suspects in a Victorian castle on a small island serviced by a spooky, tight-lipped butler and his wife, a crypt filled with skulls, a collection of memorabilia from past murders, frightening knick-knacks in the shapes of human appendages...it's all gloriously entertaining, never for a minute even coming close to realism. And therein lies the fatal flaw of the novel.
P.D. James' novels are seldom been anything but realistic, but she seems to have broken the rule in THE SKULL BENEATH THE SKIN. The Gothic horror, portrayed in a darkly comic manner, clashes painfully with her finely drawn, introspective characters (except Clarissa Lisle, one of the few two-dimensional stereotypes who pop up in James' fiction) and flawlessly crafted prose. It's as if she's written two completely different novels, one a brilliant character study, the other a conventional ghost story, and meshed them together with little regard for the coherence of the result. Until now, James has done a marvelous job proving that the English mystery can make an extraordinarily fine mainstream novel; unfortunately, she's also shown that the magic combination can work only when her settings are serious and controlled. THE SKULL BENEATH THE SKIN is not serious. It's not too far from out-and-out comedy, and James' admirable but vain attempts to weave her fantastic set pieces and excessively necrophilic atmosphere into a profound work of fiction makes it even more funny.
Not that most readers will care. This is still an absorbing entertainment--substantial, cunningly plotted, and beautifully written. More discriminating readers will conclude that either THE SKULL BENEATH THE SKIN is a parody written by a skilled impersonator, or P.D. James has seen one Dracula movie too many.
The Skull Beneath The Skin, however, is the exception to the rule. Dalgliesh is nowhere in sight. James brings her other creation to the forefront, a woman named Cordelia Gray, last seen in James' An Unsuitable Job For A Woman. Cordelia runs her own detective agency, and at the start of the novel is hired to protect a neurotic actress from a series of poison-pen letters during an upcoming amateur theatrical production to take place on a secluded island.
James seems to be taking on the classic murder mystery, complete with despicable victim, exotic locale, small number of suspects each equipped with a motive, and finally, a rather bizarre murder weapon. The story moves swiftly and entertainingly, the characters live on the page, and if the denouement is rather unsatisfying, well, I think that is very much the point that James is making. Those classic whodunits are not about life, they are more about creating a puzzle for the reader to solve. James, however, wants to make us think about the realities of her situations, and to see her characters as living people, not just as cardboard types. In this book she James takes the genre out for a ride, and manages to have some good mean fun with it.
In the sequel to "An Unsuitable Job for a Woman" (which probably should be read first), Cordelia Gray is still struggling to maintain her detective agency. In some ways, she has attained a greater measure of independence (she now has her own flat and even has a couple of employees), but in some ways she is more self-doubting than ever (is finding lost pets really a worthy endeavor for a detective agency?).
"The Skull Beneath the Skin" probably isn't the best of P.D. James's works from a novelistic standpoint (her subsequent works, such as "A Taste for Death" and "A Certain Justice" explore deeper themes), but it remains my favorite of her books because the juxtaposition of country-house (well, Victorian castle) murder and Gothic horror is simply great entertainment. The characters are profoundly sympathetic and well-delineated, and the conclusion is both affecting and disturbing.
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In the context of a class, this book works great. However, if you are trying to learn Excel from scratch on your own, you might do better starting with another, more basic, book, and then moving to this book once you've mastered the basics. This book gets very advanced very quickly.
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The saving grace was that the writing was often fun and the player comments could be downright irreverant. Unfortunately once John Benson took control, the book lost all its fun but still retained its deficiencies. The numbers are meaningless, the analysis non-existent and the text mostly a warmed up serving of material that Benson publishes (and has published) elsewhere.
Unless you really need the official constitution of the Rotisserie Baseball League, leave this book on the shelf. If you want real analysis, good numbers and pithy comments, check out Alex Patton online!
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Things that would have made it better are appendices with the NUMERIC_STD libraries and STD_LOGIC libraries detailed. A bit more depth in the synthesis area and some answers to at least some of the chapter questions in the back. Thus if you are teaching yourself VHDL as I am you will need to talk to a VHDL expert to verify your understanding.
With all that being said, I have no reservations recommending this book. You can probably skip chapters 1 & 2 if you are not a beginner and jump in at chapter 3. The use of comercially available FPGA design boards was a plus as well since I could "follow along" with the examples. Now if I could only find the student guide/lab book ...