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I am lucky enough to live by one of nature's rain forests in the West Indies. Everyday I am filled with awe and wonder by my surroundings. This book makes me feel the same way. What also impressed me too, was his mastery of the craft and it reminded me of Ansel Adams work. They have combined technological mastery of the photographic techniquies available to them; and have produced a vision that not only speaks to the senses, but also to the heart. This is a rare combination and achievement.
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Poor communications is the problem that holds humanity back from making progress more than any other. Think of it as being like a stalled engine that would otherwise pull your car forward at whatever rapid pace you like. Overcome that stall, and progress will be yours.
Because of the importance of improving communications, I have made it a point to read every book about communications that I can find. Most of these books provide an in-depth look at one aspect of communications, while ignoring all of the others. Many times, communications books are not as simple and direct as they could be. Other times, they lack compelling stories.
I can think of few elements of effective communications that are not covered by Dr. Lampton's superb book, with Neuro-Linguistic Programming being the main exception. As a result, a person can read and employ the lessons of The Complete Communicator and have the benefits of reading many dozens of other books. For that reason, I think The Complete Communicator is the best communications book I have read.
Here are the subjects covered:
Person to Person (including self-talk, making connections, getting information, finding prospects for a business, and deepening relationships)
Nonverbal Communication (gestures, appearances, symbolism, and credibility)
Writing (the writing process, things to emphasize and avoid, getting published and improving your writing)
Letter Writing (following up on meetings, complaints, answering complaints, and avoiding errors)
Giving Speeches (the right mental attitude, preparation, expressing yourself naturally, touching the audience and making the right impression)
Listening (what those who are speaking would like you to do, questions to ask, appropriate responses, and ways to improve)
Telephone (good habits, etiquette, succeeding through voice mail, and keeping notes on messages)
Computers (e-mail, Web sites, and Internet connections)
Media (keep it simple and effective, getting booked on broadcasts, handling crises, and letters to the editor)
Many people who try to write such an overview book fail to either properly credit their sources, don't have enough examples or make the book too long. Dr. Lampton avoids all of those snares.
To me, the best writers tell stories that grab me emotionally. Dr. Lampton did that very well with stories from his own experiences. I especially liked one about a telephone message that he read from his Ph.D. advisor.
What more can I say to convince you to read this book? Please, contact me by e-mail with any questions. Click on my name at the beginning of this review to find my e-mail address.
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Bevington's edition of Shakespeare's plays is a popular choice, and not without good reason. But that doesn't make an ideal choice. The introduction to this one volume edition is ample with chapters on life in Shakespeare's England, the drama before Shakespeare, Shakespeare's life and work. These are good, but they tend to rely on older scholarship and they may not be current. For example Bevington repeats Hinman's claim that there were 1200 copies of the 1623 Folio printed. However later scholars think the number was quite a bit lower, around 750. It should be said that we don't know for sure how many copies of the 1623 folio were printed and either number could be correct.
Bevington's edition prints the plays by genre. We get a section of Comedies, Histories, Tragedies, Romances and the Poems. He puts "Troilus and Cressida" with the comedies, though we know the play was slated to appear with the tragedies in the 1623 folio. The play was never meant to appear with the comedies, and all the surviving Folios that have the play have it at the beginning of the tragedies.
Let's get down to brass tacks. You are not going to buy an edition of Shakespeare's works because of good introduction. You're going to buy one because the quality of the editing of the plays. Is it reliable? Is it accurate? For the most part this edition is reliable and accurate, but that does not mean it is accurate and reliable in every instance.
Modernized editions of Shakespeare's plays and poems are norm. Since the 18th century (and even before) editors of Shakespeare have modernized and regularized Shakespeare's plays and poems. There are good reasons for this modernization. There is the reader's ease of use and the correcting misprints and mislination. I have no problem with this regularization of spelling or punctuation. But when an editor goes beyond normalizing and modernizing--when an editor interferes with the text then I have a problem.
Let me give two examples of the editorial interference that I am writing about:
King Lear 2-1-14 (p. 1184)
Bevington has:
Edmund
The Duke be here tonight? The better! Best!
This weaves itself perforce into my business.
The Folio has:
Bast. The Duke be here to night? The better best,
This weaues it selfe perforce into my businesse,
Even allowences made for modernization of punctuation and grammar would not account for Bevington's "The better! Best." Bevington glosses this to mean "so much the better; in fact the best that could happen." Nice try, but "The better best" of the folio is a double comparative, (which is a regular feature of Early Modern English) and not two separate adjectival phrases. Interestingly, the Quarto printing of Lear prints this scene in prose, and there is no punctuation between "better" and "best" in that version either.
A few lines down Lear 2-1-19 Edmund continues
Bevington has:
Brother, a word. Descend. Brother, I say!
Enter Edgar
But Bevington has reversed the order. The Folio has:
Enter Edgar.
Brother, a word, discend; Brother I say,
Bevington does not say why he changed the order, though to be fair other modern editors have done the same thing.
These two changes just a few lines apart go beyond regularization or modernization. They interfere with the text as presented in the 1623 Folio. And Bevington does not explain the changes. So next time you pick up this or any other modernized edition you should ask yourself "am I really sure what I'm reading is what Shakespeare wrote?"
As complete Shakespeares go, the Bevington would seem have everything. Its book-length Introduction covers Life in Shakespeare's England; The Drama Before Shakespeare; London Theaters and Dramatic Companies; Shakespeare's Life and Work; Shakespeare's Language : His Development as Poet and Dramatist; Edition and Editors of Shakespeare; Shakespeare Criticism.
The texts follow in groups : Comedies; Histories; Tragedies; Romances (including 'The Two Noble Kinsmen'); Poems. Each play is given a separate Introduction adequate to the needs of a beginner, and the excellent and helpful brief notes at the bottom of each page, besides explaining individual words and lines, provide stage directions to help readers visualize the plays.
One extremely useful feature of the layout is that instead of being given the usual style of line numbering - 10, 20, 30, etc. - numbers occur _only_ at the end of lines which have been given footnotes - e.g., 9, 12, 16, 18, 32. Why no-one seems to have thought of doing this before I don't know, but it's a wonderful innovation that does away entirely with the tedious and time-wasting hassle of line counting, and the equally time-wasting frustration of searching through footnotes only to find that no note exists. If the line has a note you will know at once, and the notes are easy for the eye to locate as the keywords preceeding notes are in bold type.
The book - which is rounded out with three Appendices, a Royal Genealogy of England, Maps, Bibliography, Suggestions for Reading and Research, Textual Notes, Glossary of common words, and Index - also includes a 16-page section of striking color photographs.
The book is excellently printed in a semi-bold font that is exceptionally sharp, clear, and easy to read despite the show-through of its thin paper. It is a large heavy volume of full quarto size, stitched so that it opens flat, and bound, not with cloth, but with a soft decorative paper which wears out quickly at the edges and corners.
If it had been printed on a slightly better paper and bound in cloth, the Bevington would have been perfect. As it is, it's a fine piece of book-making nevertheless, and has been edited in such a way as to make the reading of Shakespeare as hassle-free and enjoyable an experience as possible. Strongly recommended for students and the general reader.
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This English version of "Gitanjali" is a series of prose poems that reflect on the interrelationships among the poet/speaker, the deity, and the world. Although Tagore had a Hindu background, the spirituality of this book is generally expressed in universal terms; I could imagine a Christian, a Buddhist, a Muslim, or an adherent of another tradition finding much in this book that would resonate with him or her.
The language in this book is often very beautiful. The imagery includes flowers, bird songs, clouds, the sun, etc.; one line about "the riotous excess of the grass" reminded me of Walt Whitman. Tagore's language is sensuous and sometimes embraces paradox. Like Whitman and Emily Dickinson, he sometimes seems to be resisting traditional religion and prophetically looking towards a new spirituality.
A sample of Tagore's style: "I surely know the hundred petals of a lotus will not remain closed for ever and the secret recess of its honey will be bared" (from section #98). As companion texts for this mystical volume I would recommend Jack Kerouac's "The Scripture of the Golden Eternity" and Juan Mascaro's translation of the Dhammapada.
I would enthusiatically recommend this book by my favorite author. Like the Psalms of David, Gitanjali is a soothing balm to the spirit. I read this entire book in less than two hours and has been my long-trip travel companion ever since. The introduction to the book by W. B. Yeats is magical and all the poems in this book transcend your imagination. The variety and quality of the poems are unbelievable!
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Horse Badorties is a loser who knows he's a loser and this makes his life that much more poignant, hilarious, and pathetic. He's on the fast track going nowhere and intends to enjoy every moment of it. He's the burnout hippie who hasn't escaped his languishing identity; he's capable of great things, but never follows through. He's a skilled musician, a magnetic group leader, and a charismatic con artist, yet never takes himself seriously enough to achieve the bliss he's looking for -- until he gives up his main ambition to watch the sunset over the Hudson River.
Like the sunset, his contentment is also short lived and leads inevitably to his perpetual dark dissatisfaction with everything he does (with the exception of his girl's choir). Yet I still find myself laughing at him and with him. Every time I read this book.
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This book serves a definite purpose. It's designed to be the book on the shelf that you use when the inevitable "How Do I Do This?" question pops up. It fulfill this purpose well. What this book is not designed for is to fully explain the features of Windows 2000 and Active Directory. There are other titles that do a much better job of that.
This book never comes up short in the help department. You cant remember it all and you dont need an 900 page book to remind you. Pick this up and keep it handy. You wont be let down when you need it most.
I think the coverage is very complete, but given the comlexity of win2k, some areas are bound to be left out. Suffice it to say that this book looks like it has everything I need to do my job. If you work as a win2k administrator, definitely get this volume.
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William Boyd takes these various threads and weaves them together, along with a variety of brief comments on scientific and mathematical ideas and issues, into an exciting and intellectually compelling novel. With its Edenic setting and themes of Man's search for knowledge--and the madness the search can bring--the book taps into our primordial myths and some of the core questions of our existence. If it sometimes seems to be almost too consciously striving to be a serious novel of ideas, that ambition is justified, if not always realized, and the philosophical failures are more than offset by the good old-fashioned African adventure story that unfolds simultaneously.
The shelves fairly groan beneath the weight of books warning that when a little of the veneer of civilization gets stripped away in the jungle, Man must face the fact that he has a dark heart. And there are elements of that here, particularly in the way that Mallabar treats Hope and her discovery, but Boyd has much more to say besides just this. Perhaps the most exciting message of the book lies in the contrarian stance it takes to the modern age's tendency to romanticize Nature. It is always well to recall Thomas Hobbes's famous description of Nature as "red in tooth and claw." The reader of this book will not soon forget it.
GRADE : A
How can a novel that discusses the difference between turbulence and topology in mathematics be a page turner? You'll have to read this book to believe it. Other than the name of Hope Clearwater - a bit too much in this otherwise subtle tale - Boyd writes deftly and passionately, sometimes with horrifying precision as he describes what is happening among the chimps.
This suspenseful and intelligent novel deserves a wide readership. I only wish I had learned of it sooner!
William Boyd takes these various threads and weaves them together, along with a variety of brief comments on scientific and mathematical ideas and issues, into an exciting and intellectually compelling novel. With its Edenic setting and themes of Man's search for knowledge--and the madness the search can bring--the book taps into our primordial myths and some of the core questions of our existence. If it sometimes seems to be almost too consciously striving to be a serious novel of ideas, that ambition is justified, if not always realized, and the philosophical failures are more than offset by the good old-fashioned African adventure story that unfolds simultaneously.
The shelves fairly groan beneath the weight of books warning that when a little of the veneer of civilization gets stripped away in the jungle, Man must face the fact that he has a dark heart. And there are elements of that here, particularly in the way that Mallabar treats Hope and her discovery, but Boyd has much more to say besides just this. Perhaps the most exciting message of the book lies in the contrarian stance it takes to the modern age's tendency to romanticize Nature. It is always well to recall Thomas Hobbes's famous description of Nature as "red in tooth and claw." The reader of this book will not soon forget it.
GRADE : A
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