I understand that Morris is onto an entirely new series of work, I can hardly wait to see it.

Order this book Now!

There are unquestionably people who won't appreciate Swift's style (check out the customer comments for Gulliver's Travels); but there will also be people who don't appreciate good food, good drink and healthy exercise--all you can do is leave them to their folly and continue apace.

No English language writer has ever matched Swift's chainsaw tongue. His misanthropic rage, vented in Gulliver's Travels, hacks away at the tender, maggoty, easily severed parts of pretense and hypocritical morality.

Nor does Swift anywhere ask for quarter, as he gives none. Those who don't like his reading are free to continue in their superficiality or their ignorance, and his definition of satire--a looking glass in which people see every face but their own--remains the definitive statement of the art.

Swift's lessons on writing are also direct and easy to grasp: write simply. His acid wit eats through everything it touches: academia, politics, literature, modernism...it's a bitter pill, especially if you are one of the few who sees your own face in the mirror.

The collection of Swift's poems are needless; his poetic skills were forgettable. The inclusion of Tale of a Tub, and the Battel of the Books, as well as his major essays, definitely makes this edition worth buying.

Most of the supporting cast is also wonderful. Hats off to the performances by Denzel Washington (Don Pedro), Richard Briers (Seigneur Leonato), Brian Blessed (Seigneur Antonio), Michael Keaton (Constable Dogberry), and a absolutely stunning performance by Kate Beckinsale (Hero). The exceptions in the casting are Keanu Reeves (Don John), Robert Sean Leonard (Claudio) and...yes...Kenneth Brannagh (Benedick). Fortunately Reeves' role is small. Leonard's performance seems too contrived, to the point of distraction. And even though this is Brannagh's baby, Brannagh himself portrays the role of Benedick with a smugness that is a bit nauseating. If you read the play, Benedick is not smug at all. Though I enjoy Brannagh's other work, he seems to use Shakespeare as a way to show superiority. I have seen this in other actors, and find such action reprehensible. Shakespeare wrote plays for people to enjoy and to indugle in escapism...not to give people an excuse to be a snob.

Having said that, this film is very enjoyable, and I've actually had friends become Shakespeare addicts after seeing this particular film. I, personally, particularly love the Tuscan locations, and the costuming is wonderful! No over-the-top lacey outfits in this film, but rather those that would be suited to the climate. This adds another depth of reality that pulls you into the story.

If you are a fan of Shakespeare, or any of the aforementioned actors, this movie is a must-see. It's actually one of the very few film versions of a Shakespeare play that I own. This particular interpretation allows the viewer to become comfortable with Shakespeare's style, thus creating an interest in his other work. Well worth the purchase. And yes, it's VERY funny!

Kenneth Branaugh, Emma Thompson, Denzel Washington, Keanu Reeves, and Michael Keaton give excellent performances in this film that you wouldn't want to miss. Although the film is a period piece and the Shakespearean language is used, you will have no difficulty understanding it perfectly.

The scenery and landscape in this film are exquisite as well. I never thought there could be such a beautiful, untouched place like that on earth. I would suggest watching the film just for the beautiful landscape, but it's the performances and the story that you should really pay attention to.

Anyone who loves Shakespeare would absolutely love this film! Anyone who loves Kenneth Branaugh and what he has done for Shakespeare in the past 10 or 15 years will appreciate this film as well! There isn't one bad thing I can say about this film. Definitely watch it, you won't be disappointed!!!

What he meant by the comment was, humour is most often a culture-specific thing. It is of a time, place, people, and situation--there is very little by way of universal humour in any language construction. Perhaps a pie in the face (or some variant thereof) does have some degree of cross-cultural appeal, but even that has less universality than we would often suppose.

Thus, when I suggested to him that we go see this film when it came out, he was not enthusiastic. He confessed to me afterward that he only did it because he had picked the last film, and intended to require the next two selections when this film turned out to be a bore. He also then confessed that he was wrong.

Brannagh managed in his way to carry much of the humour of this play into the twentieth century in an accessible way -- true, the audience was often silent at word-plays that might have had the Elizabethan audiences roaring, but there was enough in the action, the acting, the nuance and building up of situations to convey the same amount of humour to today's audience that Shakespeare most likely intended for his groups in the balconies and the pit.

The film stars Kenneth Brannagh (who also adapted the play for screen) and Emma Thompson as Benedict and Beatrice, the two central characters. They did their usual good job, with occasional flashes of excellence. Alas, I'll never see Michael Keaton as a Shakespearean actor, but he did a servicable job in the role of the constable (and I shall always remember that 'he is an ass') -- the use of his sidekick as the 'horse' who clomps around has to be a recollection of Monty Python and the Holy Grail, where their 'horses' are sidekicks clapping coconut shells together.

I'll also not see Keanu Reeves as a Shakespearean, yet he was perhaps too well known (type-cast, perhaps) in other ways to pull off the brief-appearing villian in this film.

Lavish sets and costumes accentuate the Italianate-yet-very-English feel of this play. This film succeeds in presenting an excellent but lesser-known Shakespeare work to the public in a way that the public can enjoy.

I must mention that this books language and writing style could be difficult for some people to understand who are not already somewhat familar with biology and biological terms.

There is a reason why this book is still continued to be used today in classrooms as it is on its sixth edition. The authors use of layout in the book is well thought out and organized. His vast use of pictures, graphs, and tables streamline with the text of the book. In addition, the companion CD and web site provide the reader with an even greater study guide-- using interactive flash programs and video to further explain biological processes.

Further, in addition to the basic Biology taught in classrooms, this book goes one step further and explains some advancing fields in the Biology Profession. For example, chapter 20 covers the use of computers in analyzing biological data and gives prime examples from the current Human Genome Project. Further, every section of this book covers an interview with a specific individual in that profession. Such, if one is not aware of what exact field one wish's to pursue, interviews that cover some of the daily activities of these individuals are provided.

I would recommend this book for anyone who is seriously interested in Biology.

There is a reason why this book is still continued to be used today in classrooms as it is on its sixth edition. The authors use of layout in the book is well thought out and organized. His vast use of pictures, graphs, and tables streamline with the text of the book. In addition, the companion CD and web site provide the reader with an even greater study guide-- using interactive flash programs and video to further explain biological processes.

Further, in addition to the basic Biology taught in classrooms, this book goes one step further and explains some advancing fields in the Biology Profession. For example, chapter 20 covers the use of computers in analyzing biological data and gives prime examples from the current Human Genome Project. Further, every section of this book covers an interview with a specific individual in that profession. Such, if one is not aware of what exact field one wish's to pursue, interviews that cover some of the daily activities of these individuals are provided.

I would recommend this book for anyone who is seriously interested in Biology.

Refactoring is a book which details simple techniques of fixing your code to facilitate making changes.

The book's main feature is a large catalog of at least 50 refactoring patterns (presented in a similar way to Design Patterns) with a name, example, and motivation for using it. The patterns are described using UML. There are several other chapters of interest, including one on "Bad Smells" which lists many telltale signs of poor programming and how to fix them.

Maybe I'm just showing my lack of sophistication, but Design Patterns went over my head. I only "got" a few of the patterns. But this book is much more accessible to an intermediate programmer who wants to improve his coding style. If you've ever wondered how to write more maintainable code this is your book. One good thing about this book is it's directly applicable to almost every standard procedural or OO language, whereas Design Patterns are pretty much for OO programming only. Even if you are writing VBScript or Javascript for your web page you could use many of the techniques illustrated here.

Highly recommended. Buy this one.

However, Fowler doesn't stop there. He presents rationales for refactoring (with an eye towards making a case to management) and much detailed, practical insight that comes from experience, but is rarely expressed so concisely and elegantly. I also appreciated the importance Fowler placed on unit testing; in fact, using unit testing makes refactoring happen much more quickly, and leaves you with a lot more peace of mind besides.

I read the book cover to cover and enjoyed nearly every page. The book has added a lot to my value as a developer, and was a lot of fun in the bargain. I don't think a whole lot more needs to be said. Just buy it, you can thank everyone who told you to later.

Fowler suggests refactoring a program to simplify the addition of new functionality. The program should also be refactored to make it easier for human readers to understand at the same time.

He also insists that each step is small and preserves functionality, and on frequent unit testing with a comprehensive test suite.

Half of the book consists of a catalogue of refactorings. He gives each refactoring a memorable name, such as "Replace Type Code with Subclasses". He illustrates the design transformation with a pair of UML class diagrams, and has a standard set of sections: Motivation, Mechanics and Example.

The Motivation is a prose section that describes and justifies the refactoring, showing the relationship to other refactorings.

The Mechanics is a sequence of steps needed to carry out the refactoring, shown as a list of bullet points He expands on some points.

The Example is where the value of this book lies. Fowler takes a fragment of Java code, and takes us step by step through the refactoring. The code is small enough that he can show it all each step of the way without overwhelming us, but is large enough to be realistic.

The code is clear enough for non-Java programmers to follow. He explains his code well enough for the book to function as a Java tutorial where the meaning of the code is not obvious. One or two of the refactorings are specific to the Java object model, and do not apply to other languages. Other languages would benefit from similar treatment, but there are very few language-specific refactorings.

The book is very much of the Design Patterns movement, with frequent references to patterns. The aim of a factoring may be to achieve a particular pattern, or it may take advantage of a particular pattern. The book can be used as a tutorial on Design Patterns.

I have a small number of complaints. Fowler advocates the use of refactoring while studying code for a code review. One needs to be very sensitive to the feelings of the programmer here, especially if he or she is a novice. The reviewer should read the code with refactoring in mind, and possible refactorings recommended, but it is for the programmer to make the changes.

Reading this book has inspired me to refactor some of my own code. My mistakes underlined the need to take small steps, and to test frequently. I spent a day building a useful Delphi testing framework from the description Fowler gives of the JUnit testing framework. The one category of code that does not seem to lend itself to this approach is some highly coupled parsing code. While I can extract small blocks of code, they remain tightly coupled with each other, and it is hard to give them meaningful names. The answer here may be to use the top down approach of recursive descent, rather than the bottom up approach of refactoring. Perhaps recursive descent can guide refactoring. Refactoring is largely a local approach. One can almost say a pinhole approach. Sometimes a global view is needed.

In summary, I would say that this very good book would be of use to Java programmers who have some understanding and much bafflement. It is very good for us older dogs who have become a little jaded and need some new ideas and motivation.

Stylesheets - nearly 40 pages covering CSS 1, extremely thorough

HTML 3.2 - about 180 pages covering all the latest extensions to HTML, Netscape, Explorer

Frames - the best coverage of frames I've seen, even includes ready to use templates

Graphic design - 150 pages covering just about everything you need to know to create great graphics.

Tables - the most complete discussion on the official table specs I've seen

Multimedia - great chapters on Shockwave, Real Audio, and Live Video

ActiveX & VBScript - I couldn't believe Stanek squeezed in just about all of there is to know in less than a 100 pages. Well thought out to be sure.

VRML - covers VRML 2, Java scripting and VRMLScript. I've seen VRML books that didn't cover scripting VR worlds.

Web design - Emphasis on design throughout, literally thousands of design tips. Good follow through in the final chapters.

When it comes to meeting the needs of Web publishers, I haven't found a book that offers more than Web Publishing Unleashed Prof. Ref. The book weighs in at a heft 1500 pages, making it the largest Web book I have ever seen. Webster's Dictionary is large too, but I wouldn't exactly call it a great book, useful certainly but not great. So what makes Web Publishing Unleashed Prof. Ref stand out from the crowd? The answer is the author's clear and authoritative style.

Nothing and no one intimidates Macbeth. He murders all who oppose him, including Banquo, who had been a close friend. But the witches predict doom, for Macbeth, there will be no heirs and his authority over Scotland will come to an end. Slowly as the play progresses, we discover that Macbeth's time is running up. True to the classic stylings of Shakespeare tragedy, Lady Macbeth goes insane, sleepwalking at night and ranting about bloodstained hands. For Macbeth, the honor of being a king comes with a price for his murder. He sees Banquo's ghost at a dinner and breaks down in hysteria in front of his guests, he associates with three witches who broil "eye of newt and tongue of worm", and who conjure ghotsly images among them of a bloody child. Macbeth is Shakespeare's darkest drama, tinged with foreboding, mystery and Gothic suspense. But, nevertheless, it is full of great lines, among them the soliloquy of Macbeth, "Out, out, brief candle" in which he contemplates the brevity of human life, confronting his own mortality. Macbeth has been made into films, the most striking being Roman Polansky's horrific, gruesome, R-rated movie in which Lady Macbeth sleepwalks in the nude and the three witches are dried-up, grey-haired naked women, and Macbeth's head is devilishly beheaded and stuck at the end of a pole. But even more striking in the film is that at the end, the victor, Malcolm, who has defeated Macbeth, sees the witches for advise. This says something: the cycle of murder and violenc will begin again, which is what Macbeth's grim drama seems to be saying about powerhungry men who stop at nothing to get what they want.

The plot does not seem to move along as well as Shakespeare's other most popular dramas, but I believe this is a result of the writer's intense focus on the human heart rather than the secondary activity that surrounds the related royal events. It is fascinating if sometimes rather disjointed reading. One problem I had with this play in particular was one of keeping up with each of the many characters that appear in the tale; the English of Shakespeare's time makes it difficult for me to form lasting impressions of the secondary characters, of whom there are many. Overall, though, Macbeth has just about everything a great drama needs: evil deeds, betrayal, murder, fighting, ghosts, omens, cowardice, heroism, love, and, as a delightful bonus, mysterious witches. Very many of Shakespeare's more famous quotes are also to be found in these pages, making it an important cultural resource for literary types. The play doesn't grab your attention and absorb you into its world the way Hamlet or Romeo and Juliet does, but this voyage deep into the heart of evil, jealousy, selfishness, and pride forces you to consider the state of your own deep-seated wishes and dreams, and for that reason there are as many interpretations of the essence of the tragedy as there are readers of this Shakespearean masterpiece. No man's fall can rival that of Macbeth's, and there is a great object lesson to be found in this drama. You cannot analyze Macbeth without analyzing yourself to some degree, and that goes a long way toward accounting for the Tragedy of Macbeth's literary importance and longevity.