Although it is of much help, to which the book lacks, it was disappointing to say the least. It did little to help simplify the understanding of the book; yet without it, one is much worse. If one needs to take trigonometry, this book will attempt to help, but lacks in great assistance.

Like all math books, this one is just an aid in the classroom. The main source of information is the instructor. This book has really good excersices. The layout is very clear clear. Dont listen to negative reviews, its probably their instructors

I bought the book to teach my 15 year old
son trigonometry and it is fantastic.
It has so many clear examples to illustrate
the concepts.
You can't go wrong with this book.

I am a huge fan of the work of Miller Hull, however I was disappointed that this monograph lacked a thoughtful depiction of the design process. I would have loved to have seen the architect's sketches, drawings, and personal writing. There were really too many pictures, and the book had the quality of a film strip. The Ten Houses book, which showcases many of this firm's residential projects is a better book if you want to see drawings.

This book provides an excellent cross section of more Miller|Hull work than you've ever seen in the magazines. This book is a significant improvement in representing the full scope of their work compared to the Ten Houses book. The book is layed out so each project gets roughly 3 spreads (or six pages). A majority of the photos are clean, crisp, beautiful images of both interior and exterior. There's typically one page of text and two drawings.
But, I have problems with this book. This book is over polished, over "published", & is more geared as a marketing brochure than a discriptive portfolio of thought and design. First, we all know these guys have done some really great stuff, but do we need to see ALL of it! Some of the less remarkable(i.e.,older, more traditional, more restrained) projects take valuable pages away from some of their more enlightened works. There's no heirachy about their design - everything gets 3 spreads, two token drawings, 500 words of static text, and some nice photos. You should not be able to learn more about a building from a magazine article than you can from the monograph. I want more! How do they think? What do early sketches and ideas look like? Models - I'm sure they've produced some great models! Where are they? This paperback book is a gem at it's current ...price. ... Ounce per ounce:dollar per dollar, the Ten Houses book is a better deal because it provides greater insight to the projects covered. But if you're looking for a blanket covering of Miller|Hull projects with nice photos, this is the way to go.

The seller of this book was not upfront in her business dealings. I needed the 5th edition, and she put the ISBN # for the 4th. Consequently I ended up paying an outrageous amount for an out of date book. The content of the book is good, but inn comparison with the current edition doesn't compare with the quality.

The book was very detailed. We used in our college class and it really has very interesting, upto date information. It tells us how to teach, can teaching be taught or is it an art or science. The book also tells us about pedagy and we discussed adrogogy as well.

The books in this series--The Ultimate Dracula, Frankenstein, Werewolf, etc.--are striking for their cover art but disappointing in their story selection. They're eclectic enough--including stories by established writers and little-known authors and varying widely in tone. But none of them really stands out. There must be better collections out there.

When I first picked up the Ultimate Dracula, I wasn't sure what it was. I thought another collection on Dracula himself, but I was wrong. Anne Rice's "Master of the Rampling Gate" is a wonderful short story of hers. My other favorite is "The Tenth Scholar", a totally different look at the world of the vampire. If you're looking for some good short fiction, pick up this book. It won't disappoint you.

I love dracula stories and I have to admit that I loved this book. I liked all the writers style and when I started to read it I could not put it down. I would recomend this book to those who enjoy vampire films and novels!

Few literary textbooks equal "An Anthology of American Literature" in length and dryness. While the book is a collection of mediocre stories who are now only seeing the light of day due to the baneful effects of political correctness, the editor of this work delves deeper to not include a single illustration that may have shed some light of this terrible experience of reading this collection of pointless stories,

I, on the other hand, think its a great collection of American literature, but maybe just a bit too pricey for what it offers. I would suggest it more as something to use as a reference than as something that should be read cover to cover, I mean, geeze, its 2060 pages long.

This huge textbook is a steal: hundreds of major works from the last century and a half, printed on quality paper, bound with a strong but flexible gum binding. If this were a hardcover, you'd pay twice the price for what it includes. It's thorough and scholarly, a tome that defines the Big League of anthologies. It's not for the shallow reader, though, who's accustomed to the sensuous audio-visuals of TV and the Internet. This is TEXT. Time to resuscitate the thinking mind, the patient intellect, the autonomous imagination.

Any author seeking to write a military history of the Cold War has undertaken a very formidable task. The intense and extensive military rivalry - and its related political, economic, and diplomatic competition - between the American and Soviet superpowers and their respective allies lasted nearly fifty years and was "fought" on practically every continent. So the fact that David Miller's The Cold War: A Military History is highly selective in the themes it addresses does not, in principle, trouble me. As a practical matter, that is the only way that a military history of the Cold War could be fit into one volume. But this book is not really history. It is, instead, a collection of relatively short essays, mostly about weapons and weapons systems developed and used to arm the Cold War military forces. As an introduction to those subjects, this book probably has some value, but it is not the narrative of Cold War military events which the title suggests.

I also take issue with the book's narrow focus: According to Miller, "central Europe best symbolizes what went on during the Cold War and is the most likely place for the fighting to have started." That assertion will come as a surprise to men and women who served in the American armed forces in Korea and Vietnam, as well as to their Soviet counterparts who served in Afghanistan. Miller's approach probably works for most of the period called the "high Cold War," which lasted from the first Berlin crisis in 1948 until the Cuban missile crisis in 1962. But from that point in time until the demolition of the Berlin Wall in 1989, I would suggest that the Cold War in central Europe was relatively stable. In contrast, during the last three decades of the Cold War, there were serious and lengthy Cold War conflicts "by proxy" in Vietnam and Afghanistan, as well as "hot spot" crises elsewhere in Asia, as well as in Africa and central America. Any book purporting to be a general military history of the Cold War which focuses exclusively on central Europe is going to mislead, and that is precisely what I consider one of this book's most serious shortcomings. Miller's emphasis on events in central Europe also is of limited value because he devotes too much space to the possibility of conventional war. During the formative period of the Cold War, from the end of the Second World War in Europe until the first Berlin crisis, the Soviet Union maintained huge tank armies and infantry forces in eastern Europe. Precisely in order to deter conventional war, first the United States and, later, Great Britain and France, developed atomic weapons. We will never know, of course, what would have happened if the Soviet Union's tanks and infantry had invaded western Europe, but I believe it is virtually certain that the United States would have responded with strategic and/or tactical atomic weapons. Indeed, according to Miller, "at least in public, NATO regarded battlefield nuclear weapons either as a reasonable response to Soviet first strike or as a last resort in the face of imminent conventional defeat." Nevertheless, Miller deserves credit for making this significant point: "The perceived threat from the Soviet Union caused the European nations and those of North America to draw together through NATO in a way which had never previously proved possible, even in the face of war." Miller writes: "In the mass of documents released since the end of the Cold War, no evidence has been found of any Warsaw Pact defensive plans, except for a few formulated in the three final years, after President Gorbachev had insisted that the General Staff prepare them. Instead, all plans concentrated on a series of massive attacks, which were aimed at securing Soviet control of the entire west-European land mass." That is interesting! However, this next point demonstrates Miller's discussion of protracted conventional war between NATO and the Warsaw Pact nations is superfluous. Miller writes: "According to Soviet and East German planning documents, the major plan for the Central Front aimed at reaching the German-French border in between thirteen and fifteen days, and then of overrunning France so that the leading troops arrived at the Atlantic coast and the Franco-Spanish border by the thirty-fifth day." Does anyone believe that the United States would have permitted the Soviet Union's tanks to race across Germany and then on to the Atlantic without using every weapon in its nuclear arsenal to prevent? When Miller decided to concentrate on weapons and weapons systems, in my opinion, he also should have decided to provide more information about their awesome expense because continuously developing and upgrading equipment was the key feature of the political economy of the Cold War. Only in his final chapter does Miller address "The Financial Cost," which may, in the long run, prove to be the most important aspect of the entire Cold War. But he provides virtually no details, except to state: "The true costs of defence equipment were virtually impossible to calculate." Miller concludes: "What was certain...as judged by the eventual collapse of the U.S.S.R., was that the cost proved to be unaffordable." I believe that will be one of the great historiographical debates of the coming century: Whether Soviet Communism was simply an ideology whose time came and went or whether the economic demands of the Cold War simply proved too much for the Soviet state to sustain? Furthermore, I believe Miller might have offered some comments about the nearly-indiscriminate distribution of weapons by the Cold War antagonists to Third World countries because I believe that is going to prove to be one of the most serious legacies of the Cold War.

I would recommend David Miller's The Cold War to novices and students who want some basic information about weapons, weapons systems, and their impact on certain issues of strategy. But, the title notwithstanding, this book is far from the final word on the Cold War's military history.

The author did a disservice to himself by incorrectly stating in the title of the book that it was a history of the cold war. The book is not, unlike the title might suggest, a history of the cold war. The book does not cover anything much outside of Europe and really does not touch on the political issues of the time.

What the book does give you is a very detailed and interesting review of the U.S., NATO and Warsaw Pact equipment, base structure and high level battle strategies for a war in Europe. The author has done a good amount of research on these topics and presents a very readable rundown of this information. If you are interested in these topics, especially the details on the equipment used then this book can almost act as a reference book. Overall it is a good book, good level of detail and written in a readable fashion.

This book is more of an encyclopedic listing of major weapons systems deployed by the United States and the Soviet Union than a proper history. Such a reference is certainly needed and this one is pretty comprehensive. Unfortunately, what is really needed is a true encyclopedia, complete with photographs, diagrams and extensive cross-references. This book is not it. One gets the sense that Miller was originally trying to write something similar to the Janes series that he has worked on, but the publisher nixed the idea of a glossy, heavily illustrated reference book and wanted something that looked more like a conventional history.

Miller does provide comprehensive coverage of the topic and provides a lot of interesting details. There are also many useful tables and appendices at the back of the book.

Despite this wide-ranging coverage, however, Miller almost completely ignores the role of satellites during the Cold War. Although highly classified, they played significant roles in treaty verification and also improved stability. For instance, the "missile gap" of the early 1960s was eliminated by the first American reconnaissance satellites and as a result, the United States did not build thousands more ICBMs.

One thing that bothered me was the limited references provided for the information. He has only a handful of references for each chapter, despite the fact that the chapters are packed with information. This makes it impossible to look up further information (or check the information in the book). Where, for instance, does Miller get the reliability rates for the Navy's Polaris missiles? That's a fascinating detail, but I wanted to read more about it. Yet he has only two footnotes for the entire chapter.

If I want to hear how good Director is, I'd go to the Macromedia web site. This book does not go into the specific. It tells you WHAT you can do with Director not actaully HOW to do it. The money I spent on this book does not worth the education I received from it. Oh well, Director 7 is coming out by the time you read this, lt's hope these guys would do a better job at actaully writing a reference book instead of a brouchure.

This book was the required text for my multimedia authoring class because no other Director 6 books were available at the time. It was so poorly laid out that after a few weeks my instructor gave up on teaching with the book. Now that I use Director at work, I've realized that it doesn't even cut it as a reference.

Inside Director tries to teach general multimedia rather than the fundamentals of Director. The book attempts to teach you how to create sound and digital movies in other programs(Which has nothing to do with learning Director), yet it severely lacks in explaining how to handle sound and movies in Director. The book also teaches you more about how to write HTML(Which also has nothing to do with learning Director), then how to create streaming shockwave movies with net Lingo.

Save your money and buy a different book.

Personally I would suggest every begginer or intermediate Director user to read this book. I think it explains what outher books didn`t!!

I absolutely agree with the review by Stephen Armstrong below. It doesn't take 50 - 100 problems for the average student to grasp a simple, basic algebraic concept. I see no reason for this book to be over 700 pages; the authors clearly ignored the need for simplicity and relevance in presenting their material. Of the several books I've used for algebra, this one has the most distracting presentation. It's hard to figure out what really matters and where the student should focus. And it's hard to discern how the concepts presented relate to each other. It seems that in the authors' desire to be thorough, they lost perspective.

After having completed a course in Beginning Algebra, the next textbook, Intermediate Algebra really smoothed everything out. The topics it covers are basically quite the same as Beginning Algebra (same author), but it goes into deeper depth that are peasy to pick up (especially with the examples in the start of each section). One thing I particularly like about Lial and Hornsby mathematics textbooks are the summaries they provide at the end of each chapter you complete. They give a concept covered in the chapter, a couple of examples, and therefore serve as a revision page before a test or exam.

This is a terrific book. It makes me feel that I shouldn't bother to attend my math class in school. The book explains concepts clearly. You don't even need a mentor. You can manage the book all by yourself, for the book itself is your teacher, your mentor. There is an abundance of exercises for you to practise. They never run out of it. It makes you feel that math is fun. It is the simply the best way to learn math. The best part of the book is the review after every chapter. I can learn back whatever I've missed. I'm an 8th grader only, but I can still manage the 2nd year of high school algebra. The book has helped a lot. The book is perfect for talented 8th graders.

This is not a book you would want your children to read! The short stories are inspired by modern-day, Frankenstein-like concepts (most having nothing to do with the movie or book characters) and there are explicit sexual scenes and references: pleasure robots, AIDS, rape, fisting, etc. Most of the stories are disgusting; I would not recommend them to anyone.

While some of the stories in this book are pretty good, most of them are just writing exercises by writers slumming in a collection. The Vonnegut story is dull and the cyberpunk story isn't anything new. Most of the other stories are either sequels to the book (which has the monster even more miserable than he was at the end of the novel) or to the movie (which are more fun just because the movies were more fun)

It's a short book and not terribly bad, but it's not altogether satisfying either.

A well-crafted compilation of tales; a good deal more discriminating than most monster/horror collections (because less material on Frankenstein's monster?). A great many of these stories are literature - some poignant, sentimental, mostly tragic and some actually scary; just like the myth that was their mother. The Vonnegut peice, "Fortitude" is a short play. While more simple in its statement and language than the other pieces, is fast and sharp on irony. "Monster of the Midway" is a short funny piece in a nontraditional arrangement, amusing even if you don't like football. "Pity the Monsters" has its pitiful and frightening moments. And Brian Aldiss' "Summertime was Nearly Over" almost made me cry. The creature that is the protoganist of Aldiss' story is achingly intelligent and well-spoken. But I think my favorite was "Creature on the Couch" despite its sudden and ambigous ending. It's funny and charming while being somewhat suspenseful, and maybe a little shocking as you re-read the ending again...

Yes, this is a most interesting, yet ultimately arcane and outdated work. Clinical Depression is a muddy area, wherein the biological and psychological often overlap. The fact is, a normally healthy and happy woman can descend into a severe postpartum depression, and depressive disorders often run in families. Something is genetically amiss, and to relegate the treatment of this illness to philosphers and psychoanalysts exclusively is a painful and unkind step back into the Dark Ages. Nevertheless, there is some value to this book, yet it needs to be taken with a grain of salt.

Dr. Hassoun is smart, compassionate, and well-read. He can keep lots of ideas going simultaneously. In this substantial slim book he draws from literature (Proust, Tsvetaeva, Dostoyevsky, Christa Wolf, Kafka, Primo Levi, etc.), history, psychoanalytic studies, especially the works of Jacques Lacan. His own clinical practice informs his observations. He is a French medical doctor, and a Lacanian psychoanalyst - and in this book you must wrap your mind around Lacanian standards such as the Other - defined in a footnote on p. 25 as "that who internally represents all the wealth of signifiers (yet who can nevertheless be imagined as relay for the first Other, the mother)." His thoughts on substance abuse, addiction, eating disorders as they relate to mourning and melancholy are presented well. A main point is that depression and melancholy can't be "cured" with anything quick or pharmaceutical. Dr. Hassoun ranges far and wide in the service of his treatise; he quotes (among others) Thomas Mann, Andre Breton, Cocteau, St. John of the Cross, and his interesting patients - fluidly and appropriately. Not for the lazy reader. The Lacanian linguistic acrobatics are hard for the uninitiated. This good book requires readerly effort, and is worth it.