E. E. Cummings Books

This collection utterly brilliant in many ways, but the poems do not contain the same multi-toned language or endless imagery of so many of his earlier ones, or the satirical tone of others.
He does however, explore a wider range of subjects and sentiments.
All in all, it certainly outdoes the later work of authors like Lawrence Ferlinghetti (who is actually still alive), Allen Ginsberg, and WIlliam Wordsworth.

if poetry were fun
and not crushed
(english classes say
desks should be small
and never written on)
and not cramped
by rules or meter
or other things you can
(feel)
only talk about

if poems were made
(only as cups are made
to hold water and wine)
only to hold images
and feelings and
the feeling that
things will only end
(when they should)

and if you were meant
to read these
and they
--rustle; quiet; rustle--
to read you

then you
would find this book
(this incomparably beautiful
little book)
and you would a
find a tree
(together)
and you would sit down
beneath it
and lock eyes
and be happy

This outstanding textbook on "algae" provides a solid reference for learning more about the diverse photosynthetic forms that occur in aquatic habitats. Graham and Wilcox summarize a diverse range of topics for the major Divisions, including taxonomy, cell structure, biology, reproduction, life history, and ecology. It has an excellent section on coccolithophorids, including the steps in coccolith formation. It also includes practical uses of algae and chapters devoted to phytoplankton and seaweed ecology. The lack of color photographs may be attributed to the inclusion of numerous images taken with electron microscopes (the only way to "see" most microalgae) and probably to the fact that this book is not intended to be a field guide. However, it makes a perfect complement for learning more about and understanding phytoplankton and seaweeds that you may identify under a microscope or in the field using any of the widely available field guides.

I haven't found many good books on algae that have come out in the past few years. This book is a great one with lots of information and pictures. It would be better if some of the pictures were in color, instead of all of them being in black and white. Some algae are indentified by color so color pictures would be helpful. It has really good information on diatoms also which is nice.

Features

First bioinformatics primer for undergraduates. Personable writing style and numerous analogies make this text accessible to undergraduates.

Focus on fundamentally important algorithms at the core of bioinformatics.

Easy-to-do "paper and pencil" calculations make fundamental algorithms unintimidating for biology students and accessible to students with limited experience in computer programming.

Combined expertise (biology and computer science) of author team ensures an integrated approach and an appreciation for the biology and computer science tools and perspectives.

End-of-Chapter summaries tie together key concepts and provide real-world examples of the algorithms presented.

Detailed solutions to selected text questions are provided in the back of the text so students can check their answers.

Annotated Reading Material sections at the end of each chapter direct students to additional resources for further explanation.

Questions and problems at the end of each chapter help students apply their understanding of the material.

Contents

MOLECULAR BIOLOGY AND BIOLOGICAL CHEMISTRY.
DATA SEARCHES AND PAIRWISE ALIGNMENTS.
SUBSTITUTION PATTERNS.
DISTANCE-BASED METHODS OF PHYLOGENETICS.
CHARACTER-BASED APPROACHES TO PHYLOGENETICS.
GENOMICS AND GENE RECOGNITION.
PROTEIN FOLDING.
PROTEOMICS.

Bioinformatics is a burgeoning interdisciplinary field that holds great promise in handling large scale biomedical data by computational approaches. The book "Fundamental Concepts of Bioinformatics" is a very important textbook and reference book for both biology and computer science students and researchers, as well as for those professionals in medical science, and the pharmaceutical industry. It goes with saying that many laboratory approaches are expensive and time consuming, and cannot hope to keep up with the rapid growth of available data, making computational approaches indispensable. While a number of books dealing with bioinformatics, most of them are generally limited in scope, and very few of them provide a comprehensive but easy understandable treatment from both computer science and biomedical principles. This book is unique and is well-organized, and provides a systematic but straightforward treatment of the various techniques used for bioinformatics. One of the attractive features of the book is the comprehensive coverage of the various types of data use in bioinformatics analysis, followed by computational approaches that are most suited to the particular data type. This book also helps researchers entering bioinformatics. The reader can quickly identify the chapters that are most relevant to their own interest. It could also be used as a textbook for a senior undergraduate or a graduate level bioinformatics course. It is a valuable resource to both students and researchers, no matter whether they perform experimental research or computer science studies. Computer scientists, mathematicians, and statisticians seeking to discover how bioinformatics is related to well-defined paradigms in computer science could also benefit greatly from this book. Professors Michael L. Raymer and Dan E. Krane have authored many research articles in both computer science and biological science. I highly recommend this book as a great textbook and reference book for both students and researchers.

I highly recommend Simpson's book. It provides clear, accurate information on all those things that we may have missed (or forgotten). His treatment of solid state devices is detailed, but accurate (too many other books gloss over the SS theory).
The only reason that I can't give it 5 stars is it's age. I would prefer an updated edition. If you have a copy, keep it.

As a second year undergraduate Biomedical Engineering student I used Simpson's text for my first Biomedical Instrumentation class at Duke University. At the time the professor told us that we would have a tough time with the book, but over time we would find that it was an outstanding reference and as our sophistication grew we would come to appraciate it more. That has certainly been the case!

As a professor now, teaching my own Biomedical Instrumentation class I still find this text to be the best on out there. It provides a thorough background on many of the key concepts of Electrical Engineering including AC and DC circuits, Fourier analysis, Semiconductor Physics, Transistors, Op Amps, Op Amp Ciucuits, Digital Logic, and even microprocessors. Some of this is admittedly dated, especially the digital sections, but the fundamentals are all there and I have not seen another book that covers so much, so clearly.

One of the great features of this text is its practical bent. There is a whole chapter on noise; describing phyical sources and some ways of dealing with probelms. There is also an excellent appendix describing various types of capacitors, inductors, and resistors. It answers great questions like: Should I use a ceramic capacitor in my design or an aluminum electrolytic?

Of the roughly 50 books on the shelf in my office, this is the one that is most commonly missing. I recommend this book as an excellent reference in an area where there are a lot of books available.

(I know, how predictable, right?)
Anyway, this is a wonderfully fun little book of poems. E.E. Cummings' style will not and can never really be duplicated. But it's not just a gimmick, this guy was one of the best.

This may not be the all-time greatest collection of poems from the fabulous Mr. Cummings, but it still contains a lot of gems, and is (quite simply) quite wonderful.

"ViVa," by E.E. Cummings, is a collection of 70 poems numbered with Roman numerals. The afterword by George James Firmage notes that an earlier edition of the book (one riddled with errors) was published back in 1931.

"ViVa" shows Cummings to be one of the most distinctive and inventive poets in the English language. He uses a lot of eye-catching, and apparently made-up, words: "fasterishly," "infrafairy," "uneyes," "firsting," "nonglance," etc. In many of his poems he experiments with punctuation, word structure, word order, and capitalization in startling ways--he's like a sculptor playfully molding the English language into strange new shapes.

But I must admit that I found some of his poems too experimental--to the point of incomprehensibility. Still, even his most impenetrable poems are stimulating in odd ways. Many poems imitate people's speech; some raise theological questions. There is a sadness to much of the book in the form of poems that touch on the despair, loneliness, and dislocation of modern life. But these are balanced by some truly striking and beautiful love poems. There is also a satirical element present in the book.

When Cummings' experiments succeed, he really dazzles; consider poem XXXVIII, where the words seem to really dance and crackle across the page. His imagery at its best is fresh and invigorating. "ViVa" is not an easy read, but it's a remarkable work from a true original.

While I was not familiar with many of the works of e.e.cummings, I heard a poem used in a scene in the movie"Hannah and Her Sisters". A beautifully touching love poem"Somewhere I have never travelled". It affected me so deeply I had to find out who wrote this piece.I researched it and found it in Viva. This collection by e.e.cummings is so intensely beautiful,complex and challenging,you may think your'e in over your head. It is not for just its lyrical complexity but even the way it is typed it is a puzzle worthy to piece together and watch its beauty unfold in your hands.If you love poetry on levels beyond the rhyme this is the reason to get Viva. Viva la difference!Exquisitely done.

Fast shipping and delivery. It's not what i was expecting, but was pleasantly suprised anyway. Thanx.

I could never understand why this film flopped. I saw it opening weekend in the theater and it was packed. Everyone there was really into it. I went back twice more while it was in the theater, and while it was never as full, most of the seats were occupied. And people were just as enthusiastic. It is still great at home, although not as fun. The music expresses what simple words couldn't, it sets the mood. I wouldn't sit around and listen to it away from the movie, but it works. It's really too bad that fox animation went under. I hate the way that Disney "disnifies" every film they get their hands on, and it would have been nice for them to have some competition.

I saw this movie in theater, obviously it's cool.
But wondering, the story in the video seem like... it had a little bit different over the movie in theater although when I search in deleted scene, that missing scene had never found.

My sons and I love this movie, so do the neighbor kids.
It's got a great story, wonderful characters, and impressive
graphics. It'll be in our Sci-Fi movie collection for years
to come.

I've seen where people put this movie down a lot but let me tell you I really enjoyed it. If your one of those people who likes to sit back and pick apart a plot, then any movie is hard pressed to make you happy. If you let yourself be immersed in the universe this movie takes place in, you'll really enjoy it. I am a big fan of the post apocalypse genre and this movie is a refreshing new take on it. I'm not going to give you a synopsis of the movie but it is a good epic space opera worth seeing.

Whats better than taking a course where the professor actually wrote the book. Well I did just that and was disappointed. The class had many visual demonstrations but the book had very few pictures which made me wonder why his teaching style did not reflect the textbook.

Did they even have an editor for this book? I took a class with Dr.Berg and his class was interesting but the book was not helpful nor was it well organized.

Haven't read the book, but Mr. "bites my wacker" shouldn't be allowed to lower the average score.

Acoustics is an interesting subject, at all levels, and very important of course due to the human love for music and the need for high fidelity sound reproduction. This book is written for a readership that does not have expertise in physics or mathematics beyond the high school level. The authors do an excellent job, and the book could be used in classes on music theory or a class in physics for the humanities. The audiophile reader will gain a greater appreciation of the physics behind quality sound reproduction. Heavy use is made of demonstrations to illustrate the properties of sound, and most of these are easily set up in the classroom. I have used most of these demonstrations in the classroom, and can highly recommend their use to reinforce the understanding of the physics of sound.

The book opens, appropriately, with a discussion of simple harmonic motion, with the properties of this type of motion related to sound waves. The nature of simple harmonic motion as periodic, in contrast with noise, which is nonperiodic, is pointed out very early on. To introduce the concept of resonance, in particular the concept of coupling resonance, the author use the coupled pendulum system. This demonstration is easily constructed for classroom use and very effective in illustrating coupled resonance. Lissajous figures, which arise in the study of the relationship between two waves, is discussed in some detail.

The difference between longitudinal waves, which sound waves are, and transverse waves (such as light), is illustrated in chapter 2. To reinforce the difference between sound and light, the authors use the "bell in vacuum" demonstration. A demonstration for measuring the speed of sound is also described. Ripple tanks are used to demonstrate Huygen's principle, interference, and parabolic reflectors. The origin of beats, so important in music theory, is discussed, along with a very detailed overview of the Doppler effect. Ultrasound, very important medically, is treated also. A very brief discussion of infrasonic waves is given. Infrasonic waves, which are outside the range of hearing since they are below 20 Hz, are only experienced as vibrations. They have recently been discussed in the popular press as being explanations behind "haunted" houses. The anxiety felt in some old houses is thought of as being due to infrasonic waves.

The origin of the overtone series, so very important in music theory, is discussed in chapter 3. The three laws of Mersenne, which govern the fundamental frequency of stretched wires, are also treated. The Kundt's tube demonstration is used to describe the properties of longitudinal standing waves, and the famous Chladni plates are used to demonstrate standing waves in two dimensions. All throughout the chapter the properties of standing waves are related to music and musical instruments.

Fourier analysis and synthesis, which is typically very formidable mathematically, is presented in chapter 4 in a manner that is very understandable to the targeted readership. The Fourier synthesis of triangular, square, and sawtooth waves, along with a pulse train, is discussed. After a treatment of Fourier spectrum of these waves, the authors discuss the factors contributing to tone quality.

In chapter 5, the authors turn to more practical considerations, wherein they discuss how to create electronic music. Analog synthesizers, although very antiquated by modern standards, are used to illustrate how to combine waves to obtain special sounds or effects. The authors then immediately turn to digital synthesizers and keyboards. They discuss the Musical Instrument Digital Interface (MIDI), but the equipment they illustrate in the chapter is considerably out of date.

The anatomy and physics of the human ear and voice tract are discussed in chapter 6. The diagrams they include are useful, and they discuss the "place theory of hearing" , which is based on the correlation of sound frequency with position of response along the basilar membrane. The critical band, just noticeable difference, and the limit of frequency discrimination are all discussed in the context of this theory, with several different experiments proposed to illustrate these concepts. Most interesting is the discussion on periodicity pitch, which musicians seem to have a knack for. Also interesting is the treatment of vocal formants, which are frequency regions in which harmonics have large amplitudes. Due to the element of subjectivity in hearing and listening, the connection of the material in this chapter to "psychophysics" and "psychoacoustics" is readily apparent.

Most of the next chapter is out-dated since the authors discuss sound reproduction using LPs and tape recorders. However, the authors do discuss how this is done using compact disks, which though are themselves on their way out, due to the rise of the Internet, MP3 formats, and digital music files. Chapter 8 is timeless though, as the authors discuss the acoustics of auditoriums and rooms, detailing the most important acoustical characteristics that contribute to a pleasant musical experience, and some of the problems that arise in acoustical design. The last section of the chapter gives a fairly good overview of what is involved in setting up a home listening room.

In chapter 9, the authors take the plunge into music theory, discussing temperament and musical pitch. The history behind these concepts is detailed, emphasizing in particular that an ideal temperament is not available, its choice being dictated by the musical requirements at hand. Arithmetic descriptions of the Pythagorean, just, mean-tone, Werckmeister, and equal temperaments are given.

The last five chapters are specialized to the principles behind woodwind, brass, string, and percussion instruments, and the piano. The discussion is purely descriptive, but some of the physical principles studied in the first chapters of the book are applied here to give an understanding of the acoustical and musical properties of these instruments.

The Physics of Sound is a great book for both musicians and nonmuscians alike. Its not a book for anyone who is afraid of a little mind work. I recommend Physics of Sound because immediately upon after reading it I gained a whole new perspective and deep appreciation for the fundamental elements,and principles that govern this wonderful phenomena we call "SOUND".

Ever wondered how fast sound travel? What about how various sound frequencies react to each other,and in rooms? What exactly is sound? All these questions and more,are answered here. Physics of sound even gives you basic formulas that allow you to manipulate sound in the real world.

Gain Knowledge,Gain Insight,Gain information.

This new biography is the first based on complete access to Cummings's papers and also quotes extensively from his poetry in exploring links between his life and work. It is quite readable and makes a good case for the significance of Cummings's poetry without claiming too much.

Before reading this great slab of a book, I had little idea of who E.E. Cummings was, besides knowing he had an unconventional attitude towards punctuation. Thankfully, Sawyer-Laucanno manages to shed much light on the poet and his work in a way which is both accessible to newcomers and meaningful to more seasoned Cummings enthusiasts.

In particular, I liked the way in which the author juggles so many competing demands. He had access to a wealth of archive material and Cummings had a long and eventful life. Yet S-L manages to give play to all aspects of Cummings' activities whilst maintaining the pace and flow of his narrative.

I especially appreciated the almost equal weight given to critiquing Cummings' work as opposed to describing his life. An analysis of how "Buffalo Bill's defunct" came into being, based on early drafts of the poem, gives a particularly rare and precious glimpse of how a fully-formed poem is grown from a few choice phrases.

Another dilemma which L-S addresses, is the fact that Cummings was an enthusiastic and successful painter. It would have been easy to overlook or underplay this aspect but here the paintings are seen as an integral part of Cummings' artistic achievement.

I spotted one or two faults. I don't think Dylan Thomas would relish being called an English poet - he was a Welsh one - and there is a misplaced bracket (horror!) on p.533.

I think E.E. Cummings would have appreciated the way this biography manages to find space for a number of small anecdotes aside from the great sweep of the life story. I loved the description of the humming birds bobbing goodbye before migrating south from Joy Farm. This was both heart-warming and highlighted Cummings' love of natural history.

Overall, I found "E.E. Cummings: A biography" to be absolutely compelling. At first daunted by its length I soon found myself regretting it was so soon coming to an end. Christopher Sawyer-Laucanno more than meets the challenge of enlightening us about Cummings' life. He is no mean story-teller and this work is a masterful achievement.

I read poems by E. E. Cummings before I went to Harvard, and might consider him my favorite American poet if Richard Brautigan had not written so many great little novels that seen far more comic to me than any mere poem. Cummings has the breadth, though, to require some small print for the index of poems by first line on pages 602-606 of this book, which must be a couple hundred poems at 53 lines per page. The items in the usual index on pages 591-601 have 54 lines per page, but with many more capital letters and the two columns of text covering an extra quarter inch of the page, items in the index do not seem so tiny. 31 of the 32 photographs are printed by permission of the Houghton Library, Harvard University, and the photo on the cover, taken by Manuel Komroff, was by permission of Columbia University's Rare Book and Manuscript Library. The pictures in black and white include a major abstract oil painting by Cummings in 1925 and numerous sketches.

The index does not attempt to capture every mention of each name in the book. The entries for Ernest Hemingway do not include page 389, on which two poems in NO THANKS are called "really nothing more than a swipe at Hemingway" playfully "provoked in part by Cumming's reading of Hemingway's celebration of bullfighting, DEATH IN THE AFTERNOON:

what does little Ernest croon
in his death at afternoon?
(kow dow r 2 bul retoinis
wus de woids uf lil Oinis ".

Author Christopher Sawyer-Laucanno also calls this "a parody of Longfellow's line in A Psalm of Life, `Dust thout art, to dust returnest.' " Modern versions of Genesis 3:19 have "you are dust, and to dust you shall return" for the familiar curse on Adam, but the King James version might have used a poetical thou, not thout. No doubt there are a few mistakes somewhere. I tried to find the verse with that line on the internet, and what Longfellow wrote was:

Life is real! Life is earnest!
And the grave is not its goal;
"Dust thou art, to dust returnest,"
Was not spoken of the soul.

There are 12 lines for Harvard entities in the index, between Harry Wadsworth Clubs and Anthony Haswell, of HASWELL'S MASSACHUSETTS SPY OR AMERICAN ORACLE OF LIBERTY fame. The Preface reveals that the author shares the anti-war feeling found in many of Cummings's most famous poems, and reports that "At one of the early [fall of 1969] California Moratoriums against the war I whipped up a crowd with `my old sweet etcetera,' `plato told / him,' and `the bigness of cannon / is skillful.' When I got to `i sing of Olaf glad and big' a number of young men at the gathering set their draft cards on fire." (p. xiv). People who have some copies of poems already will want to have them nearby while reading this book to remind themselves of all that the original said, especially about his aunt and Olaf. Cummings was forty-seven when World War Two took the United States by surprise and Cummings wrote in his notes, among his definitions of War, "when the angry Jehovah gets back His Own." (p. 441). This book offers translations into English of the phonetic poems written in "a parody of bigoted (probably drunken) speech" on pages 442-443 before putting the entire `plato told' poem on pages 443-444.

E. E. Cummings developed some unique spacing and punctuation techniques that are constantly quoted throughout the book. It is inspiring to read about so many people who admired what he did and supported his work, but he could also be highly critical of such friends. The English philosopher A. J. Ayer is only listed in the index under Morehouse, Marion, affair with A. J. (Freddie) Ayer, 414, 423-424. Back in June, 1937, things like that were starting to happen a lot in Europe, and modern readers shouldn't be as surprised as someone like E. E. Cummings's father, who had been an Instructor in Political Economy offering Harvard's first course in sociology, (p. 3), but then became an assistant minister at South Congregational Church when Cummings was about six, but lost his position in a church merger in 1925, and then became a director of the World Peace Foundation. (p. 284). People who are suspicious of pointy headed intellectuals who try to believe more than they read in the newspapers might not like this book, and people who watch TV all the time will find nothing in this book that is familiar, not to mention fair and balanced, but anyone who believes that an intellectual life can be the bedrock supporting future generations might find this book educational as well as enjoyable.

Cummings is a wonderful poet and three cheers for C. Sawyer-Laucanno for attempting to give us a full-scale new reading of the complete works, while trying to clear a space so we can understand his complicated life a bit better.

I wound up seeing the life clearly, and noticing for the first time the extreme high reaches of class privilege that made Cummings' poetry possible. I suppose I had been reading this through the screen of Cummings' novel, THE ENORMOUS ROOM, with its bleak descriptions of prison poverty and deprivation, so without really thinking about it I just assumed that EE Cummings was sort of our American Genet, born of poverty, a hero of the underclass, an outsider artist who just scraped by, like Darger. Far from it, Sawyer-Laucanno reveals. Everything he did seems to have been paid for by generous friends or family, and even in the French jail he was able to buy cartons of cigarettes, razors, books, and fruit from the concierge, because he had a huge trust fund.

Later, during the 1920s when he was writing all his masterpieces, the discerning Scofield Thayer became his patron. Thayer was a complicated case; as editor of THE DIAL his taste helped usher in a new American modernism. He married a beautiful and refined heiress, Elaine, and when Cummings fathered her daughter through an adulterous union, he assumed paternity of little "Mopsy" in a an act of upper-class generosity. A few years later, he granted Elaine a divorce and she married Cummings, although only for two months. Thayer began a descent into madness that lasted until his death in 1982. He had apparently been gay the entire time and nurtured a secret passion for underage boys which got him in hot water from time to time, and perhaps he was in love with Cummings himself. Why not, everyone else was. Cummings must have had something, erotically speaking, for many women were drawn to him and not a few men. In any case we can see, bleakly, how spoiled and privileged Cummings was. No matter what harm he did to others, or to himself, someone would come along with a large checkbook and clean up after him. It's appalling the selfishness, and yet if great poems come in the wake of such self-love, what real harm and what real benefit? It's a stumper.

Sawyer-Laucanno argues that Cummings' play, HIM, is a major ignored work of the American theater. Such is his conviction that it fairly sweeps the reader into feeling the same way, or at any rate wanting to see a first rate production. My idea is that HIM might make a really good movie--by Lars Von Trier perhaps. I can see it on the screen of my imagination, thanks to Sawyer-Laucanno's persuasive, always elegant argumentation.

As for the reviewer in the Washington Post Book World, I honestly don't know what to make of someone whose idea of the three great American poets is Whitman, Frost and Cummings. What kind of mind comes up with that combo? It's like the boys who formed the "Troika" in the later episodes of BUFFY.

Accusing someone of plagiarism in public is always a difficult issues. In other words, you'd better be pretty damn sure before you say anything. That's why I was so surprised to see the recent review in Harpers claiming that this book was, for all practical purposes, ripped off from a previous Cummings biography (by Kennedy) which is still in print. I won't recap the entire thing here, just issues this review as a warning and suggest you read the May 2005 issue of Harpers. Sawyer-Laucanno, while he wouldn't exactly admit that he stole material from the oprevious book, he did admit that he couldn't explain how the similarities occured... and Sourcebooks also refused to take any responsibility. It's an interesting read, but my advice would be to just go with the original biography by Kennedy since he's the one who seesm to have done all the original research for both volumes.

I buy and collect CALCULUS textbooks. I read them like story books. I admire most authors of calculus, especially Howard Anton and James Stewart. People have various ways of presenting things. I would find Loomis's Calculus interesting in one sense. It depends on how you look at it. At times you like something very theoretical, that's where Loomis comes in. Try reading Small & Hosack's Calculus, you can get quite bored. For those who would like to get something quickly, I strongly recommend James Stewart's Calculus. The Thomas & Finney text is not the best in the market but it does deserve to be praised. Good luck.

I used the 3rd edition of Loomis when I took Calculus. The book explains the material so well that I taught myself reading the book. (I did not learn anything new in the class because I read the examples in the book before the class, and everything was clear. And I am not a super genius.)

It is surprising to read the reviews that think this book is a bit abstract. It has a plenty of examples, of varying degrees of difficulty, and they are worked out in reasonable detail. In fact, that is what I like about this book. I have seen some inferior calculus books or math books in general where the author works out only simple examples or insufficient variety of difficult examples. If a person is having a trouble with this book, I recommend a serious review of algebra 2.

Looking back at the book now, I prefer what Swokowski did with the series chapter better (Loomis has interesting discussions on irrational numbers etc, but at the expense of losing the focus slightly). But the chapters on vectors and multivariables are one of the best. The chapter on multiple integral starts out by stating that it is only an introduction to a vast subject. (The depth is comparable to most other books at this level.) It (wisely)does not discuss Jacobian, div or curl. (In most books at this level, only a section is devoted to those topics, if at all.) Now I realize that to master those concepts, we have to move on to "advanced calculus" or "vector calculus". After this book, I recommend Shuey's "Informal Vector Calculus". After that, perhaps Buck's "Advanced Calculus". Then there is "Advanced Calculus" and "Abstract Harmonic Analysis" by Loomis.

This was the most horrible Caluclus book I've ever used. I used it for an honors Calculus class at Cornell University in the Spring of 1996, and it was TERRIBLE! There are little or no examples, and the author relies on the reader's understanding of purely theoretical concepts at the first glance. The pages are even boring to look at with little or no illustrations showing the applications of the concepts at hand. Thomas & Finney's "Calculus and Analytic Geometry" is the best Calculus book I've ever seen and is a much better choice.

I used this book for an honors calculus course at Cornell University in the Spring of 1997, and it's not nearly as bad as some have said. I found the statements of theorems to be very clear and precise. I suppose the level of abstraction is a little high for an introductory calculus course (that's why they used it for the honors version!), but if you walk through the examples and do the exercises, it's not that tough. Besides, this book has hand-crafted figures -- you can't say that for Thomas and Finney!