Reviews Books

I really enjoyed the layout and study guide supplied by this book. The study guide is really easy and works very well.

This book has been very useful in my college class. I think that it is written well and it makes the information easy to understand.

this book has helped very much in studying for my class. It hit alot of the main points that I get tested on.

Where was this book at the beginning of nursing school?? The first textbook I had for pharmacology was a nightmare!! And the instructor made it worse. I searched high and low for a pharmacology textbook that I can understand, and now, in my third semester, I find this goldmine! I suggest this for anyone for the quick and easy way to study the drugs, and now, I feel better about entering into med-surg 2, and then the boards. Thanks, Mosby! You've done it again!

product in good condition, delivery was quick. product was as advertised. thank you

Judge Bork is a brilliant thinker. Book is a masterpiece of brilliant deduction and understanding of critical political, educational and judicial issues in America, and provides the reader with a foundational grasp of why there is such volatile division between political ideologies in America. We need more thinkers and writers like Judge Bork.

The Tempting of America is the finest book ever written in defense of the judicial theory known as 'original understanding.' In this brilliant tome, Bork enunciates the dangers and abuses (by activist judges of the Right as well as the Left) inherent in rejecting the original understanding, shows the logical impossibility of constructing an unbiased alternative and shows that the original understanding is not only what the Founding Fathers intended, but is the only safe and non-partisan way to allow a free people to govern itself.

Complaints? This book is a heavy, intellectual read, not for the faint of heart. It merits attention and study--but it will reward your efforts ten-fold.

Now for the good stuff: After I read Bork's book, I told fellow law students there were few law school courses I would not trade for it. I only wish I had read it before sitting through Constitutional Law.

Yet the book would be worth the reading for anyone interested in the law. It is likely the most complete and well-reasoned statement of the conservative position (and arguably the historical "American" position) on judicial philosophy, legal practice, and several key political doctrines, including the separation of powers, federalism, and the Madisonian system. He begins:

"In the Past few decades American institutions have struggled with the temptations of politics. Professions and academic disciplines that once possessed a life and structure of their own have steadily succumbed, in some cases almost entirely, to the belief that nothing matters beyond politically desirable results, however achieved. . . . It is coming to be denied that anything counts, not objectivity, not even intellectual honesty, that stands in the way of the `correct' political outcome."

He goes on to describe the greatest threat to the law today:

"In the law, the moment of temptation is the moment of choice, when a judge realizes that in the case before him his strongly held view of justice . . . is not embodied in a statute or any provision of the Constitution. He then must choose between his version of justice and abiding by the American form of government. Yet the desire to do justice, whose nature seems to him obvious, is compelling, while the concept of constitutional process is abstract, rather arid, and the abstinence it counsels unsatisfying. To give in to temptation, this one time, solves an urgent human problem, and a faint crack appears in the American foundation. A judge has begun to rule where a legislator should."

Bork argues that these result-oriented decisions have moved holdings steadily to the left for the last half century. As a result, many Americans do not like those outcomes and are no longer "deceived by the claim that those results are compelled by the actual Constitution." Soon the law may go the way of the press, Bork fears, losing legitimacy with a large part of the public. And conservative activism would only make it worse.

"Conservatives . . . may decide to join the game and seek activist judges with conservative views. Should that come to pass, those who have tempted the courts to political judging will have gained nothing for themselves but will have destroyed a great and essential institution. . . . There are only two sides. Either the Constitution and statutes are law, which means their principles are known and control judges, or they are malleable texts that judges may rewrite to see that particular groups or political causes win."

Bork answers a likely question: "What does it mean to say a judge is bound by the law?" It means he is bound by the only thing that can be called law: the principles of the text, whether Constitution or statute, as generally understood at the enactment." He notes that the lay reader may wonder at this statement. Isn't that obvious?

"Of course, the judge is bound to apply the law as those who made the law wanted him to. That is the common, everyday view of what law is. I stress the point only because that commonsense view is hotly, extensively and eruditely denied by constitutional sophisticates, particularly those who teach the subject in law schools."

Here, Bork argues, commonsense is sound. He quotes Justice Story. "A constitution of government is addressed to the common sense of the people; and never was designed for trials of logical skill or visionary speculation."

Bork resumes: "Story might have been addressing today's constitutional cognoscenti, who would have judges remake the historic Constitution from such materials as natural law, conventional morality, prophetic vision, the understanding of an ideal democracy, or what have you. No matter the base from which they start, they all wind up in the same place, prescribing a new constitutional law that is much more egalitarian and socially permissive than either the Constitution or the American public. That, surely, is the point of their efforts."

Some of my most engaging law school professors saw everything as relative, and the law as an evolutionary force, changing the times and changing with the times. Any appeal to original intent is an appeal to something not only irrelevant but also unknowable. (Of course, the original intent of a contract is evident from the four corners of the document, right? But that's not possible with the Constitution apparently, nor are the numerous speeches and ratifying conventions any help.) Here Bork concedes a distinction. For hair splitters, sure--original intent "calls for speculation." But the ORIGINAL UNDERSTANDING is not at all hard to determine. The reason so many are unhappy with the doctrine of original understanding is not--as they claim--that they have philosophical questions about epistemology. Activists deride appeals to original understanding because they fear such a rule would never have won for them the great civil rights cases of the late 20th century--and those they hope yet to win.

But Bork disagrees. Here his book becomes a tremendous resource. He examines the history of the Court and most of the great cases, explaining that many revisionist cases could have reached the same results through an appeal to original understanding and would have strained logic less in doing so. BROWN V. BOARD OF EDUCATION is the most stunning example Bork cites of a case in which the Court felt compelled to look outside the original understanding of the Constitution when it did not need to. The result is that the century's most immediately, even dangerously controversial decision was based on an argument few could accept. It need not have been this way. Bork's discussion of the this point alone will be worth the price of the book for some.

Bork has no raging desire to see the poor cases overturned, however. Out of respect both for stare decisis and the integrity of the Court itself, Bork would not even reverse the most badly reasoned case of the 20th century, ROE V. WADE. To be more precise, Bork places Roe in a group of cases "so embedded in the life of the nation, so accepted by society, so fundamental to the . . . expectations of individuals . . . that the result should not be changed now." (*I believe he has since modified this position.)

This brings up another interesting issue. Bork makes the case for judicial integrity, the most important commitment of any judge. The temptation to fudge the law to help bad facts is one the judge must resist, because any time the law is compromised, it is weakened. The judge's task is simple:

"In a constitutional democracy the moral content of law must be given by the morality of the framer or legislator, never by the morality of the judge. The sole task of the latter--and it is a task quite large enough for anyone's wisdom, skill, and virtue--is to translate the framer's or the legislator's morality into a rule to govern unforeseen circumstances. That abstinence from giving his own desires free play, that continuing and self-conscious renunciation of power, that is the morality of the jurist."

WHO IS ROBERT BORK TO TALK ABOUT A DISCIPLINED JUDICIARY, ABOUT PERSONAL OR PROFESSIONAL INTEGRITY, some will ask. The second half of his book addresses just that. He describes in detail the nomination process he endured and the lies told about him in the campaign to keep him off the bench. For example, his position in a number of cases was exactly the opposite of the way it was described in the hearings. He received a ringing endorsement from the ABA before taking a seat on the D.C. Court of Appeals. Once there he decided a number of cases in favor of women and minorities. But in the Senate confirmation hearings he was asked, "Why are you against women?" He repeatedly directed Senators Kennedy, Biden, and others to the pages in the opinions proving he had in fact held exactly the opposite. But as they say, a lie told often enough begins to seem true--and such was the case with the lies told about Bork. During one private moment of peculiar candor, Ted Kennedy shook Bork's hand and said, "Nothing personal." Then they vilified him.

Bork's book then, is his public defense. In that it is unique. Not only did the Reagan administration do little to defend him, so unprepared were they for the unprecedented campaign to destroy a judicial nominee, but Bork himself made no public defense.

"The public interest generated by the enormous campaign against me caused dozens of reporters to seek interviews, and television and radio talk programs repeatedly asked me to appear. Despite the unanswered hostile campaign, I decided that it was improper for a judicial nominee to wage a counter campaign by discussing his views on substantive issues anywhere before the Senate, even if it meant letting slanders go unanswered."

Toward the end White House strategists plead with Bork and his wife to appear on a Barbara Walters special. "But . . . we decided we would rather go down than compromise ourselves with what would be, in effect, a personal media appeal." White House advisors thought this a serious mistake; some thought it cost him a seat on the bench. "However that may be, I continue to think that was the right decision.

"The entire process of a judicial confirmation was politicized more than ever before in America's history, but at least I did not contribute to that."

In 1987, President Ronald Wilson Reagan nominated Judge Robert H. Bork to the United States Supreme Court. Leftist pressure groups immediate launched a strident attack on Judge Bork and his record, including such tactics as printing his video rental history in newspapers. The ensuing firestorm gave the American lexicon a new verb - to Bork.

In 1990, Robert Bork first published this book as an explanation of his judicial philosophy, attempting to clear his name. The book has three parts. The first part gives a history of the Supreme Court, showing how the use of judicial activism (judges ruling based on the biases of their own class, rather than on the wording of the Constitution) has been a part of the Court since the early days of the Republic. The second part of the book deals with various theories of Constitutional practice. And, the third part is Judge Bork's memoirs of his nomination battles.

Overall, even after all these years, I still found this to be a fascinating book. In particular, his history of judicial activism was highly enlightening.

What I couldn't help but wonder is how things have changed since this book came out in 1990. The recent firestorm of criticism of the Supreme Court's radical expansion of the power of eminent domain in the case of Kelo v. City of New London, have produced no great groundswell of support for reigning in the Court's activism. Indeed, after the initial criticism, most Americans accepted the new rules of eminent domain as the new law of the land. The activism of the Court was accepted.

So, was this a highly influential book? I suppose that only time will tell. But, I must say that as a history of the United States Supreme Court, and as an explanation of the theories of reasoning used by judicial thinkers, it is absolutely excellent. I loved this book and highly recommend it.

This book may be heavy going in places, but this is because the author deals with a complex and important subject. The single most compelling lesson is how an intellectual elite has become forced to rely on the least democratic element of our government in order to negate the results of free elections, all in the name of "liberalism"! It should be a basic text of any American Government class.

If you enjoy That Girl you will enjoy reading this book. It has the making of the show and lists all the shows in order. It is interesting to see which tv unknows were guest stars on this show. It also tells you who got to say That Girl in each show. It talks about the show came about. It is a nice companion to have along with the DVD set.

I have to say I was very impressed with this book wonderfully written and assembled by Stephen Cole. It was recommended by a friend and I was pleasantly surprised with the care that was put into what should be called the "Official" book on THAT GIRL. This is perhaps the BEST book written on a classic television sitcom! There is something here for everyone. If you are even slightly interested in reading about the series and Marlo Thomas, I suggest you pick it up. Well done Stephen!

I remember watching Marlo Thomas's entertaining sit-com in the late 60s and early 70s and thoroughly enjoying the trials and tribulations of a young struggling actress trying to make it big in the big apple. Being re-acquainted with this delightful series via cable has made it all the more enjoybale and pertinent in the themes explored and in the witty, challenging and humorous encounters an independent woman can face. Stephen Cole has added enormously to an appreciation of this ground breaking show through great research (interviews with Thomas and the writers) as well as providing an episode-by-episode guide to what made each show so special. You will find in this book references to the time, the fashion and the special chemistry between the leads in what is one of my all time favourite television shows...Thanks, Stephen for the love that shines through every page.

While many observers debate the origins of feminism on television, I believe that "That Girl" was the FIRST show of its kind; to portray a single career woman defying convention and starting out on her own. Strip away the humour from this show and you see the predecessor of many of the supposed ground breaking feminist tv shows of the 60's and 70's!

Mr Cole has done an OUTSTANDING job in assembling the history of this show and while recognising the show's clever scripting and acting, draws attention to the groundbreaking issues it tackled for its time. Selected quotes from Gloria Steinman and from Marlo Thomas herself verify the credibilty of his research.

Having said that, don't let me make you think this book is necessarily a feminist manisfesto for the new millenium. It's a funny, clever and insightful companion for anyone who ever loved the show and I found myself laughing out loud as I fondly remembered moments in a show that I grew up with but have never forgotten! Well done to the author: his love of the show and its characters comes through on every page!

Well worth a read!!!

Before Mary had bad parties, before Lucy Carmicheal and Viv had their screw-ball adventures, before Janet and Chrissy stood up to Jack. And before Blanche, Rose, Dorothy and Sophia toughed it out through old age and countless dates; there was "That Girl."

Lovable Ann Marie, her nerdy yet very strong (he always seems to be punching other guys out on a count of a misunderstanding) boy friend Donald, and her worried parents are all characters in "That Girl". Ann is a girl, living on her own in NYC for the very first time. She is a struggling actress who is smart, talented, witty and determined...yet she still manages to have the poise and serenity of Samantha Stevens (when all is well on Morning Glory circle, of course).

"That" is where "this" book comes in, it was very informative in all aspects of the history of "That Girl". It went into such detail as original names of characters and original actors..etc. Marlo Thomas really seems to be a true rolemodel, she was strong, independent, and still managed to keep her poise. The actors/producers were interviewed honestly and well. A true monument to the history of TV, and one of its most ground-breaking shows.

I am a BIG fan of Ludwig von Mises. I am aware of what his great contributions are to the science of Economics. All free-market believers are indebted to him for his work. That is precisely why I bought a copy of his Theory of Money and Credit.

I found it VERY DIFFICULT to read, even with a dictionary in hand. So much so that I never finished it. And this even though I have read Rothbard's classic "America's Great Depression" twice.

Admittedly, von Mises wrote the original in German (I think), and translating technical material from another language may be quite difficult.

I give von Mises 5 stars for his Theory, (which really isn't a theory, but FACT). But I must subtract one star for it's lack of readability.

--George Stancliffe

Von Mises' "The Theory of Money and Credit" is a great work in theoretical economics. Its key insight is that money has an influence on the real economy.

Monetary financing of deficits leads to inflation, but this inflation is never proportional, that is variations in the money supply produce variations in relative prices and therefore have distributional consequences.

MV = PT is an identity. The 'V' reflects the money demand of individuals for whom a $ has a subjective value. What happens to PT is dependent on who how the new money will ripple through the economic system. Every change in the amount of money is different. Apart from subjective factors the velocity of circulation will depend on trends in population growth, the division of labour and financial innovation all of these tending to accelerate it over time.

A key price in any economy is the real interest rate. Within a stable monetary framework these would reflect time preference and the (perceived) profitability of investments. By artificially reducing the rate of interest investment booms are provoked by making longer processes of production seem more profitable than they are and when finally because of a intolerantly high rate of inflation the monetary growth is halted a sharp recession occurs, in which firms go bust and the some investments are liquidated. Hence business cycles.

In essence it a manifesto for sound-money which in Mises' view amounts to adopting the gold standard. Inflationary deficit finance is dishonest and arbitrary on people's incomes and should be replaced by explicit taxation.

The late great Murray Rothbard described Ludwig von Mises's _The Theory of Money and Credit_ as the best book on money ever written. And so it is.

It is probably best known as the volume which first set out the distinctive Austrian theory of the trade cycle. For that alone, it deserves a place on the bookshelf of everyone who cares about such things (and more people should).

But there's much more to it than that. This volume sets out a complete and groundbreaking theory of money itself: what it is, where it comes from, what it means to speak of its "value," the differences between commodity money and fiat money, the demand for money and what it has to do with banking, and -- crucially -- the jiggery-pokery that becomes possible when the State starts messing around with unsound monetary policy.

This edition also includes a section on "Monetary Reconstruction" written in 1952 (and first included in the 1953 Yale University Press edition).

Plus there's a foreword by Murray Rothbard. And, finally, it's another beautifully crafted volume from the Liberty Fund, practically a steal at the price posted above. You'd have a hard time buying most such books _used_ at this price.

So what are you waiting for? Throw your Samuelson and Keynes in the trash and pick up a book of _real_ economics.

Murray Newton Rothbard has been quoted as saying this book is THE best book ever written on Money & Credit. So having found Rothbard's writings to be outstanding in their own right, I moved on to this Mises classic!

The first thing to note is that this book was first published in 1912 and in German, and although the translation has been accomplished superbly, the style of writing has somewhat of an antequated feel to it; not quite the same free flowing prose you get with Rothbard. Once you get into the feel of it though, this in no way detracts from your understanding of the theory presented.

It has an excellent new Foreward by Rothbard himself, extensive footnoting and index and is hardbound beautifully by the Liberty Fund Press, with dust jacket. There is also a nice Appendix: On The Classification of Monetary Theories, that is very useful and informative.

The book itself is divided into four main Parts:
Part One: The Nature of Money.
Part Two: The Value of Money.
Part Three: Money and Banking.
Part Four: Monetary Reconstruction.(This part was added in 1952).

For me the book really took on a story of two halves. In the first half of the book, Parts 1 & 2, the bulk of the theory is really laid out. It can be slow going as it is extremely in depth but I highly recommend you stick with it as this pays off in the second half of the book!

In Part 3 Mises really starts putting flesh onto the theory when we get into Money & Banking proper with discussion of demand for money, credit, fiduciary paper, rate of interest etc. But towards the end in Chapters 19 & 20 things get MUCH more interesting as equilibrium rates and interest are discussed in detail and he finally talks about gold, the gold standard and banking freedom.

Part 4 is where my heart lies. Here we have the discussion of the principles of sound money versus contemporary currency systems. There's then an excellent discourse on the Return to Sound Money, ie the Classical Gold Standard.

The second half of this wonderful book certainly flowed better for me, but that may also be just because I am more of an investment manager/trader and less of an economist! You feel like you have had Mises teaching you in fine detail and that he has left no stone unturned in your understanding. Mises doesn't read as easily as the prose of Rothbard but that does not detract from the excellence of the material. Superb!

It really IS a truly outstanding work and if not the best book ever written on the subject, it surely has to be at the very least, one of the very best, and as such is certainly a "must-read"!!!

This wonderful, beautifully bound, classic is an absolute "steal" at $20. I still cannot believe it is sold for so little. My recommendation is to buy it while it is still available in this beautiful hardbound edition!

Enjoy!

The Theory of Money and Credit is the foundation of modern Austrian Economics. The central contribution of this book is its application of marginal utility theory to money. Mises takes a micro-analytic approach to money that differs from the Hume-Fischer-Friedman Quantity Theory significantly. Of course there is some truth in the Quantity Theory. The Quantity Theory also teaches some lessons against inflation.

Mises set the groundwork for Austrian Business Cycle theory, as later developed by Hayek and Garrison. Both the Quantity Theory and the Mises-Hayek theory of trade cycles point to the same root cause: inflation. However, the Mises-Hayek theory explains trade cycles in terms of intertemporal dis-coordination. Hayek owes his Nobel Prize the groundbreaking work of Mises.

The Theory of Money and Credit also served as the basis for the calculation critique of socialism. Mises began to see the significance of monetary calculation in this book. The Austrian theories of the trade cycle and monetary calculation are the two main lines of modern Austrian research. These were the two critical debates of the Interwar Years. Also, Mises formulated his `Regression Theorem' in this book. Without this book, the modern Austrian paradigm would differ beyond recognition. Anyone who wants to learn Austrian economics should read this book.

A fantastic book about the fastest growing area of DVD releases at the moment, TV series! With breakdowns of cast and guides to the best episodes and releases I only hope enough credit goes to the website [...] who helped TV Guide put this book together!

Fantastic resource for anyone who likes watching reruns and is interested in contemporary tv culture. There are loads of forgotten facts in this book for all the classic tv shows and new ones for current programs. This is an inheritently readable book that belongs next to everyone's tv!

The descriptions of the shows are priceless--they brought back so many memories! And the guide covers a lot of shows that are new or still running, like 24 and ER. I'm not even a serious DVD collector, but the book gives great trivia about all my favorite shows (when they aired, what the names of the original stars were, which episodes went down in TV history). This book is really a history of TV in America, and it covers so many different categories that it really does solve the gift problem for just about everyone on my Christmas list. They won't be able to read just one or two of the listings; once they start in, the trivia will have them hooked. It's organized like a reference book, but It reads like an entertainment magazine.

If you are a tv junkie like me, this book is a blast. It's a handy offline reference to all the shows now available on DVD, and it's filled with lots of trivia and lists. Be ready to shop because the book will make you want to buy even more DVDs for your home library...

This book isn't perfect (I'd rather have more pictures of DVD set covers than old TV Guide covers, for instance, and the descriptions are a bit dry in places), but it IS cool to have a handy-dandy reference like this to use when you can't get online to look up the info. Good to take to the store or keep next to the TV. And if you read the fine print, you'll see that this book was made with the help of data from TVshowsonDVD.com, which is the best place I've seen online for that sort of info. Cool 'dat, and maybe for the next edition of the book TV Guide will work more with that website's staff to talk more about what's new, what's not out (any hints as to why), and what's expected to come soon. You know, show more of the TV-DVD enthusiast in this book...there's a lot of us out here!

This is an excellent review book, whether you want an overall review to "brush up", or whether you need to focus on some specific problem areas. The focus is on grammar, but with a medium-small vocabulary base, you will successfully use it to build common vocabulary, as the exercises are focused on everyday events. I did every exercise in the book and then bought the Spanish version!

This is a great French review book. It is a very useful reference for anyone trying to better their French. It includes easy to follow grammar lessons along with corresponding activities. Answers are provided in the back of the book so you can easily check your work. Anyone trying to really keep up with the language needs a great handbook, I recommend The Ultimate French Review for this purpose.

This is one of the best french grammar books I've seen. It is outlined beautifully and easy to comprehend. It describes things in the simplest of terms, therefore making it easy to understand.

I tutor a high school student and I had her buy it. We usually teach the grammar from this book, not her class french book. The CD is superb. The exercises are great. It allows one to practice constantly. It definitely helps.

I love this book. I recommend this to someone who is just starting out and the accomplished speaker.

The Ultimate French Review is the single best book I know for learning and reviewing basic principles of French grammar. It uses multiple and increasingly complex illustrations, and comes with a series of well presented CD's with French speakers. For those who have had some initial training in the language, this volume is the next logical step.

I cannot rave enough about this book. First, it is extremely engaging and well-organized for a French grammar book. It is geared toward the Intermediate student (as, for example, the lesson instructions are in French). However, if you are an advanced beginner looking for a challenge, don't shy away. There are tons of exercises to reinforce your learning, including a CD with a diagnostic test and other learning tools (including some auditory dialogues). If you are looking for an excellent grammar book to supplement your auditory learning, I highly recommend this one!

I have read many books on this topic, and this is the most thorough (BY FAR!!) and definitely the most interesting. It tackles the subject from a million different angles, and I couldn't breeze through it in an evening (like I can with most books).

Five stars!

I thought this book was so much fun and quite handy!

I especially thought the pop quiz section was a lot of fun. I've already played with my girlfriends. And I love the "chick flick" recommendations...I would have thought I had seen all "chick flick" films, but boy was I wrong! I better get my butt to Blockbuster....Happy renting Gals!

i think the best part about this book is that it has movies for everyone cuz usually it's just like for people who are older and stuff. why don't more books have stuff for people who aren't like a million years old and things that's why this book is cool because it has movies for people who like weren't born in the 70's. what's up? this book rocks.

Word on the street is that "The Ultimate Guide to Chick Flicks" is a worthy companion to Ms. Adelman's other critically acclaimed books. I was very pleased to have this exhaustively rearched book handy when looking for movies to add to Netflix. I will not have to suffer through another bad Ashley Judd film...thank you Kim!

What's a chick flick? If I have to explain, this book is NOT for you. Most women know intuitively what they think makes a "chick flick," but after reading this Guide, they will understand what elements make up the best chick flicks; the ones we gush to girlfriends, "You have just got to see!"

American's movie sweetheart (someone women will love as much as men do) today is Julia Roberts, with Meg Ryan and Sandra Bullock close behind. Can we think of Meg Ryan without remembering the scene in "When Sally Met Harry." We ALL wanted what she was having.

Did you join millions of women who bought a polka-dot dress after seeing a bad girl become a fashion plate in "Pretty Woman"? You get the idea. We buy into these heroines, what they wear and how they treat men (and are treated by men).

I loved these subtitles under How to Create the Perfects Romance.
1. Create a sympathetic heroine.
2. Offer up a love-worthy hero (we know, the Tom Hanks type).
3. Don't forget the best friend.
4. Something is wrong with the heroine type.
5. They meet.
6. Toss in impediment to the romance.
7. They dance.
8. Memorable moment (like Angela Bassett torching her wandering husband's car in "Waiting to Exhale." You go girl!).
9. The hero employs the three magic words.
10. Achieve the ultimate happy (or unhappy ending).

I highly recommend this book as fodder for girlfriend conversation over a fudge brownie sundae. It made me check out my video (yes, video) supply. There I found almost every one of the often-watched movies mentioned in the book. Am I into chick flicks, or what?

This book is so informative and not a drag to read. It's helpful to nursing students of all levels; high schoolers thinking about nursing school, those in nursing school now and new graduates.

Dr. Chandler pulls it all together! As a practicing advanced practice nurse and educator, prospective students often ask what I need to do to gain entry into a nursing program. I no longer need to worry that I forgot to provide all the important details. Now, I refer them to this publication as it provides them with excellent advice and helpful hints. Moreover, they have a ready reference when they begin to pull information together for the application process and that all-important essay.

Dr. Chandler's book is a wonderful tool for prospective nursing students. With a wealth of information about the nursing profession, insider tips on the admissions process (including suggestions on how to make your application stand out!), and interesting anecdotes from nursing students and practicing nurses, it is a MUST read for anyone interested in nursing.

Nursing is a fascinating career that requires many competencies, and even though I have maintained an interest in the profession for some time now, I learned a great deal after reading this book. Dr. Chandler's examination of the nursing roles/functions provides a good synopsis of the skills and responsibilities required and utilized daily in the profession.

Personally, it has been difficult for me to relate my own skills and personal strengths directly to the profession because I lack work-related experience in the healthcare field. There is one entire chapter in the book dedicated to self-assessment, and as Dr. Chandler reveals, you must have a strong understanding of yourself in order to be an attractive, outstanding and successful nursing candidate.

This book is an eye-opener on how to write an essay. In the past, I just pick up my pen and write and probably read through once or twice. This book shows the importance of making drafts, reading through a couple of times and even reading it to somebody. I usually take for granted the reference/letters of recommendation aspect of my application . Now I know better. I applied to a couple of nursing schools and was unsuccessful in getting in. The essay, and reference part of the book, contributed immensely towards getting me into my current nursing program and particularly prepared me for what lies ahead in my nursing career. I strongly recommend that prospective applicants read this book before applying to any nursing program and other related programs.

Bola

This is a great guide for ANYONE considering nursing as a first career, second career or those continuing their nursing education! A dozen or more former students give real world advice, testimony and share their experiences breaking the ice for readers with important questions.

At the end of each chapter readers are invited to reflect on the content, their own ideas about nursing, and to "rehearse" their ideas and scripts for exploring this profession.

I highly recommend this book to high school guidance counselors, college admission counselors and continuing education directors!

If your 'bag' is classic horror films of the thirties and forties, especially Universal films, this book is a must-have. To many baby boomers that saw these movies when they were released for television in the fifties, this book will bring back a lot of memories. The book is great, but like all McFarland books, it is pricey. But for the true fan (which is short for fanatic) the price won't matter!

An amazing source of information for anyone who ever stayed up watching the late late show on a Saturday night. I am truly impressed at the thorough research that went into this book; many factoids which have escaped even the most die-hard of fans will be brought to light. I commend McFarland Press for providing fans of such an "un-hip" genre with consistently fine sources of in-depth information, especially keeping in mind that with each passing year the facts directly from those who were there are getting more and more difficult to find. This book probably does not hold a lot of interest for anyone who does not hold a special place in their heart for the studios' genre work prior to buying the book, and the authors do tend to often drift into becoming overly opinionated and putting much too much thought into subject matter that was never intended to be overanalyzed. Nonetheless, this is still an extremely fun read for any fan.

This book has it all for the serious student of classic horror films. Choose from a wide selection of bios, cast lists, plot summaries, anectdotes and more compiled by these mavens of the genre, Messrs. Brunas and Weaver. Thrill as they explore the nooks and crannies of the House That Universal Built. This comprehensive work is obviously the result of exhaustive hands-on research and deserves an honored spot in every true horror fan's library.

If your 'bag' is classic horror films of the thirties and forties, especially Universal films, this book is a must-have. To many baby boomers that saw these movies when they were released for television in the fifties, this book will bring back a lot of memories. The book is great, but like all McFarland books, it is pricey. But for the true fan (which is short for fanatic) the price won't matter!

The classic horror films of the 30's and 40's have never been as popular as they are today. Baby Boomers who grew up watching the old Shock Theater packages in the 50's and 60's hold a tremendous fondness for the films that terrified them as children. The Boris Karloff Frankenstein and Bela Lugosi Dracula are still the most recognized images of those two classic monsters...so much so that their families had to move to legally trademark their images to protect them.

The Universal horror films are the subject of Universal Horrors, the second edition of this outstanding book by noted classic film historian Tom Weaver and Michael & John Brunas. Throughout the massive 608 page hardcover, the authors cover each one of the 85 horror films made by Universal from 1931 - 1946. Just do the math...that's an average of about seven pages spent on each film during this period. This is no mere listing of actors with a one-page synopsis. Rather this is a definitive guide to these 85 films with complete cast and credits, detailed storyline synopses, production history, behind-the-scenes information, critical analysis, period reviews, and commentary by cast and crewmembers. Most of the comments come from the voluminous numbers of reviews that Weaver has conducted over the years.

The films are listed chronologically beginning with Dracula in 1931 and ending with The Brute Man in 1946. It even includes the Spanish version of Dracula which was filmed on the same set as the original at the very same time! White The Lugosi version was shot during the day, the Spanish crew took over at night. In many ways, the Spanish version outshines the Tod Browning directed original.

One of my guilty favorites of the Universal Classic film era is 1932's Murder in the Rue Morgue, presenting Lugosi in truly one of his most sadistic and macabre roles. This film ended up being the bone that both Lugosi and Director Robert Florey received for NOT getting their respective parts in Frankenstein, which instead went to Karloff and Director James Whale. This rather film features Lugosi as Dr. Mirakle, who injects the blood of an ape into women he captures. When the experiments fail, he dumps the women into a river. It's a highly underrated film and one of Lugosi's best roles.

Weaver and partners don't give a short shrift to lesser-known films. While the most popular films do get more coverage, even the least well-known of the Universal Horrors gets several pages devoted to it...and there are a number of lesser known films. Unfortunately a number of these are not on DVD or even VHS for that matter meaning that the entry in this book is probably the closest you'll get to the film without actually seeing it.

Many of these lesser-known films are not true horror but often murder mysteries with horror trappings such as "old dark house-style" films. These films include Secret of the Blue Room, Secret of the Chateau, The House of Fear, and The Black Doll. The appendix goes on to list several dozen more films that were borderline exclusions...close, but just not making the cut to receive a full write-up for various reasons. Actually it's somewhat difficult to figure out while some of these were left out of the main listing since many are quite similar in plot and tone.
This book is simply fabulous. Everything that Weaver does is always meticulously researched and extraordinarily entertaining. This is THE Bible to fans of Universal's classic horror films, and one of the finest film reference books I've ever read.


REVIEWED BY TIM JANSON

After reading Cortazar's The Winners (1960), I've decided that what makes a novel a classic is that the author writes about the worst of human behavior in a style that assumes every reader is a genius. This novel called on me to use all of my perceptions and knowledge as a person, as a reader.

By now, you will have learned that this novel is about a group of people who win a lottery and the prize is an ocean voyage, and that once settled onboard, several of the passengers behave badly, and the ship's crew is such--well, I won't give it away--that the voyage comes to an end only three days after it began. You will also have read from other reviewers or the publisher's notes that the character Persio has clairvoyant abilities; in a way, Persio is the higher consciousness of the novel; his thoughts lead the reader into self-examination (or not). For me, this novel was not a simple, summer read--but don't let me stop you.

The Winners is highly metaphorical: is the ship life itself? I think so. But the writing is more beautiful than life: many of the characters have the most sensitive, humane, and literate conversations, like Claudia and Paula, or Paula and Carlos. Surely, if this novel is Argentina, then people from Buenos Aires are living among the gods of culture and human potential. In that regard, this novel is hardly the Argentina I've heard about: breathtaking landscape, and women and men who love culture, but every now and then a dictator who murders people. The ship's crew is secretive and cunning like that. Read and see.

Appropriately, there is a sinister feeling about this novel from page one; something terrible impending, something beneath the surface of these polished people. I was totally fascinated, intrigued by many of the "characters": Claudia Lewbaum and Gabriel Medrano, Raul Costa, Carlos Lopez and Paula Lavalle, and Don Galo and Dr. Restelli, and the unforgettable Felipe Trejo, the 16-ish student, passionate for life, but without parental guidance, "lured" into the depths of the ships lower cabins where the crew seem alien and unpredictable. What a textual voyage--one in which the characters had to learn so much about themselves!

Cortazar places his characters in categories I've found people all fit--one or the other--like it or not--we are each either a duck or an eagle. Ducks follow of course and eagles set new paths. Ducks may have easier less lonely lives. Unless of course they inherit wealth and power--in which case they must be very confused and inflict chaos on the less entitled. Eagles succeed in endeavors against all odds and are therefore resented by those they seek to please. None of us has an easy time co-existing with others. No one wants to admit this of course! This book encourages reflection that may have social value, but it doesn't offer much in the way of a hopeful outcome for the social redemption of mankind--at least not in this generation. Therein lies its depth. We must expect less from our companions in life. We're all horrifyingly flawed. Somehow we must find the path to honesty and forgiveness. The book--?--I couldn't put it down. Now I can't get it out of my mind. If you want to live in denial don't read it.

I enjoyed "The Winners" though at times I found it a bit "heady". Its a novel that requires you keeping track as you go along. It took me while to figure out the setting, and what was happening (which means Cortazar did his job). There's so much symbolism and historical significance in his writing. I highly recommend the short stories collection "Blow Up" if you liked "The Winners."

What to say about this sardonic book that won't sound like an essay from the journal of the Modern Language Association? Yes, it's liminal. Yes, it's Lacanian. Yes, it's an existential comedy. Oy! Poor Julio Cortazar put himself in the sites of all the scholars of pretentious post-modern interpretation - just check out the amazon list of articles and books designed to take the fun out of reading him - and it's just about spoiled his reputation. But The Winners is a wild ride, my friends, an outrageously entertaining book in which a whole zoo of oddball Argentinians wind up together on an ark of satire.

There's an old tradition of books depicting a "ship of fools", from Erasmus to Sebastian Brant to Katherine Porter to Cortazar, and I suspect Erasmus had a classical model. They're all fun; I've never read a ship-of-fools book I didn't like, though I wouldn't mind NOT being a passenger on that ship myself. Reading The Winners reminded me strongly of Herman Melville's most experimental novel, The Confidence Man. None of the critics, so far as I've noticed, draw any connection between Cortazar and Melville. Heads up, PhD grubs! There's a thesis topic for you! Likewise, lovers of reading just for its own sake! I'm giving you two recommendations: The Winners & The Confidence Man. In the climate of the upcoming American elections, books about bunko and deception are bound to be comforting.

I read and enjoy Cortazar in the same way I enjoy Luis Bunuel films, in fact I think Bunuel could have made a wonderful film of THE WINNERS. Like Bunuel, Cortazar finds the things we accept as normal to be quite absurd but also like Bunuel he has a certain affection for those he makes fun of. All those on board the Malcolm are guilty of some sort of petty prejudice or limited world view but they all mingle and tolerate one another to a point. When things go absurdly wrong the lottery winners begin to wonder what it is they've actually won. Cortazar is an existential comic. A book which succeeds because it never forgets that despite our differences we are all bound together by our not knowing exactly what is going. With a little help from Cortazar we can see that knowing is just a pretense.
Perhaps the novel like Camus Plague is a parable with many possible levels of meaning. Not the least of which is the political level. After all Cortazar left Argentina under Peron to live and write in exile.