If you've read the "Little House" books, you'll find that some things in the stories weren't quite the same in real life - for example, the Ingalls family's time spent in Burr Oak, Iowa, isn't mentioned in any of Laura's stories, nor the fact that they actually lived in the Big Woods twice in Laura's lifetime - the events of "Little House on the Prairie" actually took place when Laura was too young to remember, so of course she relied on her parents'memories of Indian Territory. Also of note are a couple of name changes - the "Oleson" family was actually the Owens family, and the quarrelsome people she stayed with on her first teaching job were named Bouchie, not Brewster. Many more surprises await you when you read the story, but I don't want to give everything away!

Historian William Anderson did a great job with this little book in rounding out the life and times of the Ingalls family. He fills in the gaps with historic details for those parts of her life that Laura ommitted, for reasons of her own. The final chapters of the book are especially fascinating as we travel to Rocky Ridge Farm in Missouri to see how Laura, Almanzo and Rose lived after "West From Home." Also included is the fascinating story of how the "Little House" books came to be. Anderson also provides some embellishment from Laura herself on stories told in the "Little House" series. It's heartwarming to hear another version from Laura of Almanzo's surprise Christmas visit. This book is full of little tidbits just like that - which are irresistible to Little House fans!

Anderson writes a wonderful and incredible book about Laura Ingalls Wilder. She is a fascinating person and this is a wonderful tribute to her and her life.

Anderson fills his book with facts about Laura's life that I have never read before. Laura chose not to write about every year in her life... this book covers some of them.

Excellent, terrific and informative book... wonderful addition to the Laura Ingalls Wilder Little House series. You will absolutely enjoy it!

I am a student at Florida State University, My major is Management Information Systems. This book covers many approaches to solving business problems. This book is easy to read and understand. It gives many real world examples and solutions using MS Excel.

He usado el libro en cursos de maestria en administracion. Mis estudiantes lo recomiendan por ser muy didactico, sin sacrificar profundidad en la presentacion de los temas.

This goes great with the hardcover textbook. It is full of problems and solutions to practice with.

I only have the fifth edition of this book, but it is probably similar to this edition. I used this book, when I was teaching statistics many years ago. The book is very clear and it explains each statistical concept very thoroughly.

As an online statistics tutor, I find myself referring to it all the time. It has all of the topics that are normally covered in a first course in statistics. It also has some very good chapters on elective topics such as nonparametrics, sample surveys, and quality control. I took many courses in these subjects in undergraduate and graduate school, and I find that this book is a good review for some of the things I've forgotten.

I have many statistics books both elementary and advanced. This is one of only two elementary books that I would purchase again (my teacher's edition is losing the binding!).

It is probably the most complete book on statistics that I have ever read at this level. I would certainly recommend this book to anybody who is taking statistics for the first time. I would also recommend this book to statistics majors who plan to go into teaching and need a good review text.

This is a definately worthwhile learning tool which can aid anyone who is attempting to tackle statistics for the first time. The methods and theories are concise, direct, and most of all, clearly stated. The authors bring you step by step through each procedure and then offer exercises to demonstrate the process while giving you the confidence to go on.

This book was puchased midway through the semester. At that time I was struggling to maintain a C average. With the help of this book I was able to close the semester with an 89% average.

After taking this course for the second time, I found that this book really explained concepts well. I had trouble learning statistics the first time, but this book adds real-life applications making it easy to learn why it works the way it does. If you are hesitant or jittery about this class...relax. This book will make your life easier.

Got to love the Coens, and thheir style of filmmaking. Read it.

This is a terrific book for anyone interested in the Coen brother's films, or indeed anyone interested in the filmmaking process. While the book is true to its title, other Coen films such as 'Raising Arizona', 'Miller's Crossing' and 'Barton Fink' are also briefly discussed. Along with spotlighting Joel and Ethan's work practises, the book looks in detail at the storyboards, cinematography, set and wardrobe design on 'The Big Lebowski'. Of particular interest is the comparison of still frames with their orginal storyboards during a detailed breakdown of 4 Lebowski scenes. Also appreciated is Robertson's practise of actually explaining many of the film terms used is the book, recognising that not all his reader's are Directors!

This was one of my childhood favorites, as was the whole C.W. Anderson series. It's about a white show pony who is deemed useless because he is going blind, and the girl who loves him enough to work with his disability. This is a good book about horse-training, and the handicapped. Incidentally, when I was about 17, several years after reading this book, my horse went slowly blind, similar to the pony in the book. I tried the techniques used in this story, and taught my blind horse to negotiate uphill & downhill slopes, find curbs, and remain a useful riding horse. I wish they'd reprint it for the youngsters today.

I thought this book was wonderful, because it shows how a young girl tought a blind pony how to jump and trust her.

. . .by authors who remember that they are writing for persons who are NOT professional mathematicians.

In today's world, frequently persons enter the business profession from a background in something other than what in the past might have been considered traditional avenues. Not all business textbooks recognize this (see my review for "Mathematical Applications")! However, this book seems to be an exception.

The material is presented in a logical format; key formulae are highlighted and set off from the rest of the text; and in-depth business examples are given in each chapter, demonstrating the particular statistical tools to be taught.

A useful and recommended volume.

The information in this book is clear-cut, concise, and easy to read. Easily understandable examples are given for the various statistical formulas, and extras like z-score value charts and the like help a lot. If you have a talented instructor leading your Stats class (like I did) in addition to this text, you will be sure to ace this course (like I did)!

P.S.: If you happen to be an Information Systems/Information Technology major (such as myself) DO NOT RE-SELL THIS BOOK! You will need the information in this book in your future Info Systems courses, and you will definitely realize the TRUE value of this text!

As a philosopher, he wedded classical methods of inquiry to a Chrisitan faith. The Metamorphoses captures the scope and the fire of Ovid's genius as thoroughly as asny single volume can. It contains complete verse translation of Ovid's 15 books.

The purpose of the Metamorphoses was to edit in a poetic way a few stories from the greek mytholegy from the begionning of the world and until the times of Aogustus.

In all the stories the people and the gods change themselves into animals, beasts, birds, plants and rocks. Here took Oviduis the greatest task by selecting only the most interesting stories from the mytholegy and twist them together in a chronicle line.

This commentary on Ovid's Metamorphoses is directed at Latin students at the advanced undergraduate and early graduate level, but it also has a lot to offer to scholars and other people who are able to read and enjoy Ovid's original Latin. Written by one of the most distinguished experts in the field, the Latin text of the book follows that of Anderson's own Teubner edition (6.ed. 1993). The commentary reflects Anderson's deep familiarity with Ovid's poetry and his high critical acumen. For a more detailed and highly positive review, see, e.g., Stephen Wheeler in American Journal of Philology 120 (1999) 170-73.

(...)

This is a very entertaining collection of interviews. Duckworth takes his time to explore the issues sufficiently deeply with his interlocutors. Hence, there is substance to the book: it certainly is more than a loose collection of freewheeling conversations. And I am grateful for the fact that Bill Duckworth expanded his survey beyond the obvious collection of Minimalists and Cage. I knew nothing about Pauline Oliveros, Glen Branca or La Monte Young and came away refreshed from reading all their stories. I was generally satisfied by the way Duckworth steers the interviews. The tone is relaxed, sometimes earnest, sometimes tongue-in-cheeck. He is at his very best in the long, sometimes rambling conversations with La Monte Young and John Zorn. But in other cases - such as with the more rigorous and perhaps intellectually more intimidating personality of Steve Reich - Duckworth rigidly sticks to his agenda and fails to capture a number of potentially interesting tangents. The interview with John Cage is outright funny in the way Duckworth fails to catch on with what Cage really tries to get across. He keeps asking the wrong questions whilst Cage, with dwindling patience, is making broad excursions in conceptual hyperspace. But if Duckworth fails to capture a number of interesting opportunities to dig deeper in some of the interviews, this remains a very valuable collection, at least for those new to the whole field of American experimental music.

Willian Duckworth is marvelous at asking questions,he is so natural at it that he makes you feel you have known his guests all your life. He allows everyone to feel at home, at ease,like catching more flies with sugar quip. Like asking John Cage for instance, "I don't have a very good understanding of what your early musical training was like,". or to La Monte Young, asking if he is the "father of minimalism", I guess it doesn't matter now, since most of what is discussed has played itself out. Here Duckworth interviews creators of primary creative genres of Americana leaning toward the achievements of all the various,nefarious "isms", experimentalism, minimalism, well just intonation doesn't fit, and the ubiquitously opaque post-modernity. And progressing from who are considered the Mammas and Pappas to the younger generation.The genre of Interviews seem to be occurring with greater frequency,speaking of one of the features of post-modernity. It is the most immediate way of knowing someone's art, aesthetic, how they feel about the world,about politics, or how they don't feel. Obsessions are explored in these interviews,as with John Zorn's early buying jags of recordings,jazz etc.,and formative years as with La Monte Young and his obsessions with sound, listening to telephone generators,or machines, the inherent drone in these industrial objects,Also professional associations, and disassociations with the New York scene,Fluxus which includes,just about everyone here interviewed is probed, with nice discussions of the early years of performance art in New York City. Education away from academia was an important component of American music,sorry to say, with those of the post war-generation turning to the east, and World Music, as Steve Reich, Phil Glass,Lou Harrison, Pauline Oliveros and La Monte Young. Young in particular reflects on his education with Pandit Pran Nath on intonation and improvisation and learning it with Marian Zazeela.Professional associations, how to survive by being a performance artist, Duckworth pursues and explores with Meridith Monk and Laurie Anderson, finding gigs in New York City or Europe again was everyone's passion.How do you work? is also a wonderful question, Monk reflects that she has to work all the time to feel attached, whereas she knows composers who don't work for months and claim to feel they don't lose anything. How creators get into ,what they get into, as Ben Johnston reflects on his early education with instrument iconoclast Harry Partch, how Partch taught Johnston to sing fractional tones, an eleventh/sixteenth, and how Partch would devote mornings to music, and afternoons to physical work, building sheds,or home extensions,or gathering wood. Also Johnston speaks about his wonderful string quartets, the Seventh in particular which is based on an 100-tone scale, and how we come to understand it via the relationships it represents rather than hearing 100 isolated tones. With Lou Harrison we have almost a history of American music, in that his life traversed through the primary achievements, the interests in World Music, Tunings, percussion music, and extended techniques,living on both coasts. But Harrison claims he was always a melodic composer, he had to sing whatever he wrote first, to attach himself to the world of sound, no matter how complex his music became.Some interviews are boring however as the the one with Phillip Glass where he simply recounts his life, and his interests, there was not a spirit of adventure, of discovery.Whereas Milton Babbitt has wonderful reflections on his early studies in music with Roger Sessions, and how Babbitt felt he needed to start over. The interview with Christian Wolff was over before it got interesting,Wolff primarily discussed his early music, the pieces associated with the Cage School(Cage,Feldman,Brown,Wolff)(nice photo of them)instead of traversing the set of problematics of dealing with political imagery. That question came as the very last one."Are you still writing political music?". Duckworth admirably gives nice introductions to each composer, and makes you feel the center of where creativity occurs, what excites an artist,and where challenge and repose occurs within music.One good question here always was"When did you first hear of John Cage", or what was the first piece of "so and so" you heard. This makes for a marvelous discussion on what were the initial indeliable moments on one's creative life. Not everyone is gifted at interviews it is a conditioned and practiced art. This work is a great model toward that genre.

Allow me to quote the author, William C. Anderson, from Contemporary Authors NR - "To paraphrase Mark Twain, truth is a very rare commodity and should be used sparingly. I subscribe totally to this view, and have seldom been accused of letting the facts interfere with a good story."

The author does tells the reader in the afterword that the book is based on the true story in 'spirit'. However the words "Based on the True Story..." usually mean a high degree of fact. If you're looking for an entertaining story written by a close friend of the main character, you've found the right book.

I have recently met LtCol Hambleton in person. He has become a friend of mine and I enjoy every moment we have together to talk things over on his experience. He is a very interesting Gentleman. I have never met personally a person like this before, so I do cherish his friendship.

Mel Lehman Usaf, Ret (1971)

Lt.Col. Hambleton is a man among men. The 5 stars is for his intelligence, determination and humanity. Sir, I salute you.

LAURA'S ALBUM includes photos of people, places, important items (such as Pa's fiddle), and many other interesting items (postcards, hand-written treasures, newspaper clipping, even a sample of Laura's needlework).

In addition to showing many of Laura's memories in photo-form, this book also give a basic history of her life by decade. It's a great supplement to her LITTLE HOUSE books, and is comprehensive enough to give a lot of extra information to those who are interested in Laura's "real life."

This scrapbook of photos and souvenirs from the life of Laura Ingalls Wilder is enthralling. How did these precious items survive trips in all kinds of weather in a covered wagon, moves that covered several states and entailed unimaginable hardships? I did not come to the Wilder books until I reached 70, yet I'm fascinated. To me, the heroine of these odysseys was Ma. Her accomplishments were in no way secondary to those of her adventurous and resourceful husband. Ma gave birth alone, braved blizzards and fires and plagues with the children while her husband was away. This book of remembrances makes it all real and true and is as educational as the Little House books themselves. A winner.

I realize of course there was text, written superbly by William Anderson. The treat here, though, is the color photographs of artifacts from the museums. For anyone disappointed in the poorly reproduced b&w photos from West from Home and On the Way Home, you are in for a treat.

But as a Laura-junkie, I'd shave a 1/2 a star off as I wanted more, more, more!