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There's nothing here about basketball strategy. The book is broken up into 1-4 paragraph anecdotes about subjects relating to family values, organization, and success.
His basic philosophy in winning was not which team scored the most, but whether or not his team played to their maximum ability. He also has some interesting stories about Bill Walton and Kareem Abdul Jabbar.
The best part of the book, in my opinion, is where he outlines his pyramid of success. The pyramid is a step-by-step, building block of characteristics you must master which lead you to maximizing your potential and perform at the highest level possible, whether it's sports, business, or family. A must read.
John Wooden is an 88 year old who was a former UCLA basketball coach, leading the Bruins to 10 championships in 12 years. He grew up in a small town and has lived a simple and basic life. In the book, he talks about success as a person, personal goals, acting towards others, behaviour, discipline, parenting, leadership, adversity, and numerous other topics - of course including basketball.
This book has made me a better person and a better basketball player. It has taught me that I can learn from experience, not things that I can learn before-hand. It has taught me how to constantly improve and how to always work harder. To be industrious and enthusiastic in everything I do! With that said, I'll leave you with a quote from John Wooden that has helped me improve in school, on the court, or whenever I'm working; "Failing to prepare is preparing to fail."
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-Jorge Luis Borges
Borge's gnosticism--his sense that the ultimate God is beyond good and evil, and infinitely remote
from creation--is deeply felt. But the sense of dread that informs his work is metaphysical rather
than religious in nature : at its base are vertiginous glimpses of the collapse of all structures of
understanding including language itself, flashing intimations that the very self that speaks has no
real existence.
-J. M. Coetzee, Borge's Dark Mirror (NY Review of Books)
A modern author who spends his life writing two chapters of Don Quijote, not rewriting mind you, but writing the original, a wizard who dreams a son into existence only to realize that he himself is but the emanation of another's dream, an infinite library, a man accepting a challenge to a knife fight which he can not possibly win, these are just some of the elements that Jorge Luis Borges draws upon in his stories. These labyrinthine fictions loop back upon themselves and upon reality in order first to undermine the claims of reason and ultimately to call into question existence itself.
Borges was one of the great conservative authors of the 20th Century--his support for things like the Bay of Pigs invasion and his anti-Peronism are widely considered to have cost him the oh-so-politically-correct Nobel Prize--but his was a very particular conservatism, the conservatism of anti-Reason, of which the other great exemplar was Leo Tolstoy. On first reading War and Peace, I couldn't understand how a supposedly great writer had made such an incomprehensible hash of the battle scenes, but in his great essay, The Fox and the Hedgehog, Isaiah Berlin makes the compelling case that Tolstoy was thereby attempting to show just how unsusceptible events are to the application of human reason. Borges similarly challenges the central place of reason in the modern age, suggesting that existence is simply incomprehensible, absurd, unyielding to human understanding or planning. With this understanding of how subjective our interpretation of life is at the forefront of his work, Borges then proceeds to craft brief, tightly controlled, imaginative, stories which seem to play with the idea that the writer is the god of the literary world that he creates.
Of course, this too is a paradox. Like the Existentialists, he is hoist on the petard of his own ideology. If intellectual exercises are pointless, and his writings are nothing if not intellectual exercises, why devote his life to a pointless exercise? Likewise, one wonders why anyone would produce such carefully constructed stories if all of existence is so essentially dubious. The awkward answer can be nothing but faith. God may be a distant figure to Borges, a non-existent one to the Existentialists, but the very act of continuing to write beautiful stories to argue their point of view, indicates that at some level they do find a purpose to life and do trust in the capacity of their own voices to influence other people and the future. Borges shares a fascination with suicide or at least the acceptance of death with the Existentialists, but like them, he kept on going. Their actions speak louder than their words.
Perhaps because of this central paradox in his work, I found it a little difficult to read the whole set of stories straight through. I got a sense that the author didst protest too much. If everything is mere illusion, why'd he bother to write all of this & why am I reading it? On the other hand, if you read them one at a time and let each roll around in your head, you really get a chance to savor their playfulness and ingenuity and to ponder the questions they raise. I certainly recommend them, but suggest that they are best when read over a longer period of time. Don't get stuck on an airplane with just this book.
GRADE : B
The nature of the stories which Borges crafted is so unique and subtle that it defies description. He portrayed unusual occurrences, and peppered his stories, narrated in a faux-scholastic style, with references to colourful sources that, while sounding plausible, are of Borges' own invention and can be found in no library. In the first story of FICCIONES, ''Tlon, Uqbar, Orbius Tertius," he imagines an encyclopedia mysteriously containing a entry for a country that is not to be found - at least not in our reality. ''The Approach to Al-Mutasim" is a review of a book which doesn't exist; here, in a reversal of the usual order, the review brings the book into being. ''The Babylon Lottery" and ''The Library of Babel" are both clever metaphors for the human world. In the first, Borges describes an ancient society which lets all things be decided by chance. In the second, which introduced the concept of the infinite library, the story's setting is an unimaginably vast archive whose librarians from birth to death care for books whose meanings cannot be deciphered.
Jorge Luis Borges often used several key motifs in his books, such as mirrors and labyrinths, and it is this reuse of symbols which has created the ''Borgesian" genre. These symbols and the offbeat constructions which Borges almost singlehandedly invented went on to inspire legions of writers, including Gene Wolfe and Salman Rushdie.
The translation of FICCIONES has long been a divisive issue. While some, such as myself, believe that this versions of FICCIONES follows the original Spanish closely and, in any event, Borges' genius is found not as much in his language as in his concepts, others detest this 1962 version. Andrew Hurley has recently translated all of Borges fictional stories, including FICCIONES, in COLLECTED FICTIONS published by Penguin, but even his translation has sparked new battles. Should one wish to read FICCIONES in English, however, I'd suggest getting this translation. It is less expensive than COLLECTED FICTIONS and contains only Borges' finest work. For those who can read Spanish decently, I'd recommend even obtaining the original language, as Borges' stories do not use vocabulary much outside what one gets after four-years of high school Spanish.
While some readers may not "get" Borges (he can be compared to H.P. Lovecraft in possessing great influence on some but total obscurity to others), I'd certainly recommend trying FICCIONES.
To try to capture the essence of Borges in a handful of words is like trying to capture the Lochness Monster on film: impossible, but frequently attempted. With that understanding in mind, here's my assessment:
All of Borges's stories are very different, and yet they all share a common sensibility, one of understated but very deeply felt anguish. This is not the anguish of an ordinary writer feeling sorry for himself and his fate. This anguish is deep, metaphysical. You get the sense that Borges views life and his fellow human beings at a distance, and yet is able to see more and understand more from this distance. He does not attempt to explain; he simply wants to impart his sense of awe, wonder, and inevitability.
The subject matter varies widely: an infinite library, a scholarly review of the life's work of a fictional writer, a boy with a perfect memory. Some of his stories are Kafka-esqe in a nightmarish sense, while others have the intellectual playfulness of an M.C. Escher drawing: what you thought was 'up' is really 'down,' and yet once you see the big picture you realize that this is the only way it can be. The endings are as inevitable as death, and yet you rarely see them coming.
I'm not so sure that Borges wrote his stories with a specific point or message, although many of them seem to have one. I believe that most of these stories are simply meant to inspire thought and contemplation of the very issues that Borges had been thinking of when he wrote them. One could do a lot worse than to see things through the eyes of this great thinker.
My only complaint is that his stories are not as accessible as they could be, and his scholarly manner may be problematical for some. But the most effective pills are often the hardest to swallow...
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Though he makes a lot of important points (with which I agree), I was extremely annoyed with the tone of the book. I felt like I was reading some spiritual self-help book. Though this may be the author's style and may also attract an audience, it was a little too dumbed down for comfort.
Still, Robbins has spent much time on his meticulous research (even if some of his sources are biased), and there are many arguments in here whether valid or not, that you might want to think about when you decide what to eat. Small actions like buying food at a grocery store or restaurant really do matter, and the possible consequences of your decisions might shock you.
FOOD REVOLUTION will surely make vegetarians feel good about what they do, provide them with some arguments for anti-vegetarians, and will probably change the way some readers eat. But there's really nothing new here that you can't read in other books. I think Erik Marcus' VEGAN: THE NEW ETHICS OF EATING is better at discussing the reasons why people choose to eat plant-based diets, and Virginia Messina's VEGETARIAN WAY is indispensable for understanding the nutritional aspects of vegetarian diets. And these books don't try so painfully hard to pull at your heartstrings.
A die-hard carnivore would need more than this book to be convinced that vegetarianism is a wise decision. One of John McDougall's or Dean Ornish's books perhaps. But it's still persuasive. The Food Revolution puts the argument for environmentally-motivated vegetarianism into scientific and common-sense contexts, something that sorely needs doing. The animal rights context just doesn't do much to persuade people who already know their hamburger comes from a cow, and still want to eat it. After this book they might better understand the implications of that decision.
As for biotechnology and genetically engineered agriculture, there's some scary stuff in here. This book will cast a permanent shadow of doubt over the mind of even the most dedicated biotech fan. You can't be hit with arguments as good as this without doing a double-take. I'm a computer guy so technology (admittedly a very different branch) is my bread and butter, but I know the first thing we techie types should be aware of is our own limitations, and I know how often we aren't. If you think Europeans are overreacting to genetic engineering, you need to read this book.
Twenty chapters, with over nine-hundred footnotes, track the studies and statements of top researchers from around the world as they respond to the public relation claims of the meat and dairy industry. When we see the industry claims refuted, time and again by the best minds in the diet and environmental community, we start to see why there is a revolution going on.
I cannot count the number of times I have been asked to provide the study that supports the facts I use. The Food Revolution provides a convenient method of proving issues that the majority of Americans have never realized to be true. It is not what we know that is the problem; it is what we know that isn't so, that is the problem.
The Food Revolution will shine light on those "facts" that industry hopes you won't believe. Interesting facts such as: half of all the fish caught in the world are fed to livestock or that 2.5 acres of crop land can produce enough vegetables for twenty people, enough grain for fifteen people, enough chicken for two people or enough beef for one. These revelations really make you stop and think about how we are using our resources.
Dr. Patricia Griffin, a government official, from the Center for Disease Control and Prevention states, "It is reasonable that if a consumer undercooks a hamburger that their three-year-old dies?"
Placing the total responsibility on the shoulders of the consumers for food safety explains why USDA would accept test results indicating that 89% of hamburger tested containing E.coli 0157:H7 to be accepted as normal. This bacterium is known to kill young children.
If your main interest is the environment, The Food Revolution has something for you. For instance cattlemen claim that global warming evidence is inconclusive while at the same time forty -nine Nobel Prize winners, in a letter to the President, stated that it is the most serious environmental threat of the 21st century. We must educate ourselves and as the Prizewinners state, " Only by taking action now can we insure that future generations will not be put at risk."
John's first book, Diet for A New America, changed the way many folks were eating. The Food Revolution will give those who are still eating the standard American diet documented facts about their junk food addiction while there is time for a change.
John Robbins has written a book that can save more people from an early death than were saved by the use of penicillin. Do yourself a favor and read, The Food Revolution and pass it on to someone you love before it's too late.
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I think the highest accolade I can give (and this series certainly deserves it) is that I will be reading these books with my own children if I am lucky enough to have them someday, and I recommend them to anyone looking for great stories of childhood, family, and the struggles and joys contained therein. Well done, Mr. Fitzgerald. My only regret is that I can't seem to find a boxed set of the entire collection.
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Erna Zint, Hong Kong
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The third edition is longer by at least 60 pages, and the pages devoted to each body region are now color-coded for quick access.
Each section devoted to a body region now begins with a surface anatomy plate. In addition, a significant number of normal radiographic images are included.
In the foreword, Consulting Editor John T. Hansen states the following:
"We balanced the addition of new surface and radiographic plates largely by eliminating several plates that contributed little to the quality of the [Second Edition]. Several plates from The Netter (formerly CIBA) Collection of Medical Illustrations were added and several plates were altered slightly to correct anatomical errors consistent with our current knowledge.... Finally, the References and the Index have been updated.
"The anatomical terminology is consistent throughout the Atlas and conforms to the International Anatomical Terminology (Terminologia Anatomica) approved in 1998 by the International Federation of Associations of Anatomists. Common eponyms are retained parenthetically, and the leader lines and labels have been checked, and where necessary, corrected to ensure their accuracy."
I plan to get the third edition for my reference library because my 2nd edition got gooked and dripped on in the lab as I'm sure yours will.
Netter is excellent in book form. However, whatever you do don't get the cd. It is poor in terms of clarity...
Nobody comes close to Francis!!!
Just beautiful art, you'll appreciate him once you start dissecting.
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So if you've just bought a "new" Beetle or Bus that needs a lot of repair, buy this book -- but get the Bentley shop manual for your model and year at the same time as you will need to refer to it a lot. I recommend the Haynes manuals, too; they give the same procedures but in a highly effective "steps + pictures" format.
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The Thompson Study system is very helpful and they've graciously spared us from a myriad of religious cliche and personal opinion. The page layout is smart. The Bible text actually fills the page and all study helps and references are relegated to the side margins. There are so many ways to use the studies and references, I am unable to number them here. The concordance is as extensive as any I've seen. The 14 maps are colorful and very well done. Simply put, it's a complete, Jesus-exalting study Bible designed with excellence.
The construction of these Bibles is equally impressive. The paper is just right--not too thick, not too thin. The print is dark and sharp. Their font is subtil and very appropriate for the Bible, if you ask me. The red words of Jesus are RED. They're not muddy brown; they're bright, deep, beautiful red. They are printed consistantly page to page, not some pages lighter or misprinted, as the Thomas Nelson folks are plagued by.
Now that I own three Thompsons, I feel about them the way a good ol' boy down in the South feels about shotguns. "I have more than I need, but not as many as I want!"
I was a little concerned about the "new" TCR's as several reviewers mentioned degradations in quality and I certainly didn't like the thin glossy paper I saw in the hardbacks in the bookstore. I was delighted today when I received my large print deluxe leather edition Bible.
The Bible I received has excellent flat, opaque Bible paper perfect for note-taking. And, the binding appears to have stitching in addition to the glue, so I'd say the quality of the binding is fine and should serve one well for years.
One caveat in regard to the large print edition--It is LARGE! Not the print (it's 9 point instead of the regular 8), but the Bible itself. It's not so unwieldy that I would think twice about using it, but if size is an issue for you, check the dimensions and choose accordingly.
I can't say enough good things about this Bible. It has my highest recommendation; you won't be sorry in choosing this Bible.
As you probably know, Smith was actually Dr. Paul M.A. Linebarger, a Johns Hopkins professor and specialist in Asian affairs. He was a master of psychological warfare.
His stories fit no easy category. They are not fantasy, they are not hard science fiction, they are not alternative history. They incorporate bits and pieces of Asian culture and myth. They are often troubling, haunting. "The Dead Lady of Clown Town" ends with most of its characters dead or with their minds wiped, yet it is a happy ending for all that, with Joan's views obviously spreading through the underpeople. "Under Old Earth" is a fascinating tale, filled with allusions that must be beyond the scope of this note. Even "War No. 81-Q", the original version of which was written by Smith as a teenager, is an excellent story. "Alpha Ralpha Boulevard" is simply one of the great SF short stories of all time. I could go on, but . . .
The volume also includes the Casher O'Neill trilogy, that I had read of, but not seen before.
If you haven't read Smith before, this is how to buy his stories, so that you have them all. If you have--well, again, you'll have them all.
It's worth it. Buy it.