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Permite adquirir el idioma y los elementos suficientes como para hacernos entender y entender lo que nos dicen.
Me gustó !

PARA APRENDER INGLÉS !
A mi me ayudó a convertirme en Secretaria Bilngue y ahora gano el doble !

PARA APRENDER INGLÉS !
A mi me ayudó a convertirme en Secretaria Bilngue y ahora gano el doble !

nos permite adquirir el idioma y los elementos suficientes como para hacernos entender y entender lo que nos dicen.
Me gustó !

my first elements of English when I didn't understand or speak one word of it...

If you read the first book this is an excellent followup to help you increase you understanding of how to build a robot of your own. If you did not a good place is start with the first book Robert Building for Begginers. These books help get you in the thought process needed to build decent robots wather small or big.

The only thing I can say is I bought it for my 16 year old grandson and he said it is awesome.

This review is by my ten year old Robot fanatic:

This book introduces the most common parts (in a beginner type robot) step by step by defining them properly. So far I have made a line following robot almost from scratch. This book sets you up with many different options. It starts with safety and where to obtain parts then moving on to introducing parts. After that you are shown how to setup a solder-less breadboard.

This book (and it's prequel, Robot Building for Beginners by the same author) is extraordinarily good. It picks up where the previous book (which is the best book in existence for the beginning roboticist, in my opinion) leaves off, getting into details of milling parts, microcontroller circuits, and such. A truly wonderful book. If you read the previous book, and then read this book, you will have an excellent grounding in robotics, and have a very entertaining time doing it. Highly recommended!

I am a novice robot builder. I appreciate the thoroughness and practical approach of this book. I have understood and implemented several circuit ideas from this excellent book.

Books like this are refreshingly down-to-earth after reading the usual college text books.

This book can get you started just in the way you would like to. Mike understands what PB developers need to get started with Web development and Jaguar. Although EAS versions have changed, but the basic concepts suc as "stateless/stateful, instance pooling, transaction support, connection, etc" remain the same. This book is not for Java with EAServer - this is PowerBuilder with EAServer - as the name suggests.

This book was written for PowerBuilder 7 (now 7.03) and Jaguar CTS 3.0 (now Sybase Enterprise Application Server 3.6.1.08). While PowerBuilder hasn't changed much EAS most *certainly* has. When Jaguar 3.0 came out there was no database persistence standard for the Java platform, EJB was barely a spec (v 0.4), and a lot of things that we take very much for granted in the J2EE Specification simply didn't exist. Also, Jaguar 3.0 was a much 'clunkier' system to administer than that newer 3.6.1 release that Sybase has done. While many of the concepts discussed in this book from the PowerBuilder side are still applicable, some of the screen shots and processes are dated on the Jaguar side. Still, the book represents a good history lesson if nothing else. Being that this is the *only* book on the subject of using PowerBuilder as a front end to your Jaguar/EAS server-side code I'd say get it. But it's quickly become in *dire* need of a revamp. Are you listening, Mr. Barlotta??

The site was going to use PB7 and Jaguar - exciting! I ordered the book, read it, used the many fantastic code bits to get an n-tier PB7 app up and running. Fantastic book.

4 months later, the client decided to use Java, scrap PB development and sacked me without even a day's notice. Oh well. I still think Jaguar and the book and PB7 are tops! But the lesson learned is that Powerbuilder is on the way down and out!

I've been developing applications for over ten years. This book stands out as one of the best I've ever owned. It's very honest about how familiar you'd better be with PowerBuilder if you expect to use this book. The author takes into consideration the probability that you're new to Jaguar and yet doesn't 'dumb down' his guidance. It takes you through an explanation of CORBA, distributed processing, and gets you using Jaguar immediately. Excellent coverage of the administration of and development using Jaguar. If you plan on using EAS to build distributed apps, I highly recommend you read this book.

Excellant guide to getting started with Jaguar. Written for those users who know PowerBuilder and need to move to Jaguar. No distributed PB knowledge is required - Barlotta explains everything you need to know in plain english.

The time it will save you in figuring out what you are doing is well worth the cost of the book and more.

The examples in the book are good and source is available on line. The only complaint I would have is the code on the web is not organized in the zip file as well as it could be, but the author mentioned he was going to work on that. A little searching will find the code you need.

If you are thinking of doing distributed or web based applications using Jaguar, buy this book today.

James Mooney's treatise on Cherokee culture is comprehensive and quite voluminous. From his description of the Cherokee ballgame to the expose on the Cherokee Ketoowah secret society. Some people believe the Cherokees sold out in regards to land cession but this book tells the true story of the Cherokee's bitter opposition to land cession and removal. Many brothers and sisters from Tennesse to New York have Cherokee blood, this book should be a must read for them as well as anyone wanting information on the Cherokee's and their heritage, on a whole.

This book is truly a must-own. It is the best reference around for Cherokee myths, culture, history and more.

I recommend this book as the 'bible' of Cherokee Shamanic Wisdom, its history and that of the original author, James Mooney.

It is even more informative than the book it was based on, Myths Of The Cheroee and Sacred Formulas of the Cherokees by James Mooney.

I have purchased both books.

It seems that the latter is totally included in the former, with an informative 'bio' of James Mooney and his photo as a bonus!

From a perspective previous to some of our current stereoptypical thinking about native Americans. Rich in historical detail and (to me) surprising details about the Cherokee.
I particularly enjoyed the Cherokee mythology.
My thinking about native Americans is changed.

I read this book after reading a series of fiction books by Tom Dietz who based alot of the mythology in the books on this book. The book was fantastic both in uncovering history that would never be taught today or even referred to; and in getting someone in touch with what and how The People lived. I have a larger appreciation for simple things like perhaps why pine trees are green all year .. as well as why the Trail of Tears is something that isn't discussed in schools much anymore.

If you like reading for the sake of learning and enjoying I recommend this book.

Kaddish for a Child Not born is not an easy read. For being less than 100 pages, it offers some of the most drastic and emotionally raw thoughts from a character I have ever read from any work of fiction. I highly recommend it.

Anyone who reads the poor first translation of Fateless and the shamefully bad translation of Kaddish cannot even get close to the true spirit of the original works.
Thanks to Tim Wilkinson English speakers can finally enjoy these excellent books.
Look for the titles "Fatelessness" and "Kaddish for an Unborn Child", both translated by Wilkinson. These new editions are at last worthy of the originals and the Nobel Prize.
(See also October 16, 2002 review by Marton Sass)
A movie based on the novel Fateless is also out with English subtitles; don't miss it, if you have a chance. Beautiful work.

Sometime, last year, an article appeared in local newspaper listing few of the most influential European intellectuals of the times to come. One of them was Kertész. I was rahter sceptic about it, but that scepticism came from the lack of knowledge of Kertész's work. Up to that time I only read his short story that was, in my country, published together with Peter Esterhazy's, under the title "Same Story" which didn't impressed me much, at least not in the ammount necessary to confirm newspaper writings.

Some time has passed and I finally got hold of Fateless, then Liquidation and now time came for Kaddish...Suffice it to say that with each reading of Fateless, my oppinion of Kertész as a writer and intellectual changed. And it only grew higher.

Continuing his tetralogy which began with "Fateless" Kertész introduced a character (much of his own resemblance) of a writer/translator who, for the first time, tried to explain to his wife, why he cannot make himself to be part of the creation of another human being, and be responsible for bringing him into this world, giving him, automatically, so painful stigmata of Jewishness.

You should be warned that there is no story line in this book, at least not in the manner of Fateless or Liquidation. Kertész wrote Proustian kind of monolouge, almost stream of consciousnes which flows and flows as the lamentation goes by. But, since the times of Camus and his Siziphus there has been no greater existentialist work, though Kertész wouldn't call it like that. Questioning possibilites of existance, what of individual, what of the collective, Kertész has written major work of art, corresponding with poetry, philosophy, and sad fates of Holocaust survivors.

Questions presented in this book are the questions of our generation, that should be answered before we should be allowed to venture further into field of rational understanding and emphatic social life.

My four stars aren't meant to detract from this novella's favorable reviews. Rather, I'd like to suggest that readers tackle this work after they read "Fateless." There's allusions to this more accessible novel in the novella; the latter seems to me more the interest of a philosophically inclined reader's group. While "Fateless" can be read on one's own and grasped, I believe that "Kaddish" would be better suited for collective study and discussion.

It offers few of the pleasures of fiction. Rather, with its considerations of Adorno, Hegel, and Bernhard, and with its nods to the prose of Beckett, Camus, Sartre, and perhaps Kafka, it's more a meditation/fulmination than a novel with an easy plot trajectory. It offers food for thought, but may be rather indigestible if gulped in one sitting. This is more the type of work that Nobel laureates get rewarded for late in their careers; the popular acclaim granted "Fearless" by contrast would first gain an audience for this author, in my estimation.

Again, this is not to detract from Kertesz' achievement, but simply to point out that (at least in English), this compressed, concentrated message may better be shared if taken in smaller, diluted portions among like-minded friends. (My impression is that in the original Hungarian, the agglutinative nature of that language would make this an even heavier, more weighty lump of prose.) It would serve as a fitting challenge after you've all read and discussed "Fateless." As I suggest, this novel can be contemplated with profit by one's self; this smaller work is best divided, nibbled, and ruminated over bite by bitter bite.

I just read this book by Imre Kertesz, he has an accent over the second "e" but be sure you don't count the "e" in his first name because then it would be wrong and you might misprounce it if you were speaking to other people and that could happen because I was just talking to a man this weekend who mentioned his name except that I didn't realize until later that it was Kertesz because I think the man mispronounced the name or at least I think he did or else I had been mispronouncing it which could happen if I wasn't using the accent properly. He mentioned something about Kertesz and I kept expecting to find what he was talking about in this book except that I never found it in this book so it must be in another one of his books except that I don't know if any others besides "Fateless" has been translated into English although I suppose my friend could have read it in Hungarian if he knows Hungarian which I doubt he does. Did I mention that the title of this book is "Kaddish for a Child Not Born" because, if I didn't, I should because it's important to do so, or so I think. Anyway, I started reading this book and I had some trouble with it because the author (Did I mention that his name is Imre Kertesz?) has an interesting yet challenging style that comes across like someone who drank five cups of coffee speaking into a tape recorder for several hours and then giving the tape to his publisher (skipping the editor in the process) who had the entire rant transcribed into print and published without review (except for spelling of course because I would have noticed that I'm sure, or I think I'm sure) and all of a sudden we pick it up and listen to this uninterupted self-conversation. It gets really hard to follow at times and then you come across pearls of wisdom that you just have to underline partly because you don't want to have to go back to the beginning again to try and find it later. I probably underlined as much in this book as I have is a good Shakespeaean play although I certainly not trying to compare this to a Shakeperean play or even a sonnet. Anyway, I kept coming across these gems and touching stories that I underlined for later reference and I was glad that I kept reading this book non-stop just as the author seemed to have written it (non-stop, that is). Much, but not all, of it was how his childhood experiences in Auschwitz had affected him and a lot, but not all, of it was about how it affected his relationship with his once and former wife who ended up becoming a prescription-writing dermatologist or something like that. I had a hard time getting started on this book because it was sometimes 10-12 pages before paragraphs came to an end and I like to come up for air occassionally which is probably why I keep putting off reading "The Autumn of the Patriarch" that is, because of the pages-long paragraphs. Anyway, that's what I think about "Kaddish for a Child Not Born" or did I say what I think about "Kaddish for a Child Not Born" (I'm not sure I have yet) so if I didn't say then I will say that I found much to enjoy in this book but even though it's under 100 pages it seems long because it doesn't give a reader a time to take a break because it never stops and a lot of the words meander all over the place and often make you wish you could go back and get the author to talk about what he was talking about which he sometimes (but not always) does and then it ends.

I was never a great writer, and a scoffed at the thought of grammar. When I decided to take the Sat 2 Writing Test I bought this book. I expected the test to be a "piece of cake." Was I wrong. I took the first practice test in this bookand I got a 490. I read the chapters apathetically and then I got my score up to a 550. With a week to go I beared down and really studied this book. In no time I was scoring mid 600s. I just got my scores today and I got a 710, thanks to this book. If you are not taking the Sat 2 writing test I definitely recommend this book for the Writing portion of the New Sat or the PSAT.

I took WRITING CLASSES and only got a 670 on the test (I took it TWICE) but after two weeks with this book, I GOT AN 800!!!! I recommend this to anyone who is frustrated with increasing his/her score. The practice tests are incredibly helpful but the Barron's exercises are pretty good too. Either way, this is a GREAT book!

I used only this book to prepare for the last administration of the SAT II writing test. All of the concepts that were on the actual test are covered in this book. The review questions are a good deal trickier than the questions on the actual exam, but they will get you attuned to looking for just what the College Board wants you to see. In fact, the errors on the actual test become ridiculously obvious once you know what to look for. Since the new SAT I writing section is the same as the SAT II writing, consider using this book to review for the SAT I.
I was pleased to receive an 800 on the real exam.

I'll be taking the SAT IIs in October and I'm glad I ordered this book now, mostly because it's so huge! But I've looked through it (not thoroughly yet, of course) and it looks very informative. It should be, shouldn't it? Since the people that wrote it also write the test!

You don't believe me?

A week before the real test, I took a Princeton Review practice SAT II Writing test and got a FANTASTIC 550. I even cried because I'm an "A" English student. With only 4 days left to fully dedicate myself to studying (I had to study for finals too), I feared my fate was sealed. Personally, I always buy Princeton Review books to study for standardized tests, but this time I chose the Kaplan book. This book is great. If possible, just memorize all of the writing rules and errors that Kaplan goes over, write a coherent essay, and you're looking at a 700 or above. You don't need to study out of this book any more than 2 or 3 weeks. But if you don't have that much time, like me, get this book and take one practice test and have someone grade your essay (an English teacher would be good). Go over the writing mechanics section. Don't spend more than a day on the essay section unless you get a 2,3, or 4 out of 12 on the practice essay. And if you have no idea where to begin, just remember that all you need is four days. With four days, I got a 790!!!

The editor's introduction delivers a very engaging and useful introduction to Burke's work that contextualizes the selections while giving the reader insight on Burke's background and career. The introduction prepares the reader for Burke's style and wit, while situating and commenting upon some of the reasons for Burke's somewhat fringe status in the critical canon and overviews the reception of his commentaries on Shakespeare and their acknowledged and tacit influence in how Shakespeare has been read by others.

Newstock not only did a great job of gathering and situating these scattered essays and bringing together Burke's intent of collecting all of his Shakespearean writings in one place, he also has added a valuable appendix of which offers a nice addition of other prominent discussions of Shakespeare's work in Burke's other writings.

Burke's essays themselves clearly demonstrate his affinity for the works of Shakespeare and to my mind show a level of interaction with the plays that cuts beyond common textual criticism.

Burke throughout draws references to philosophical matters and figures, social and individual psychology, cultural critique, history and also political issues (including biting commentary, such as his asides to the war on Vietnam, as in his King Lear essay). These make his essays even more broadly entertaining and engaging as he is adeptly able to step out of the context of the works in order to bring the Shakespearean works into a broader discussion, and also to play out these external discussions and intellectual considerations in the context of the plays.

Stylistically, Burke proves to be more fun and of broader interest to the non-specialist than one might expect, and for students of Shakespeare, Burke's essays offer a wealth of insight and perspective that will surely spark discussion and reconsideration of the plays themselves.

Kenneth Burke was a restless thinker ever-alert to what makes Shakespeare's plays work. Scott L. Newstok, with admirable bravura in a profession that tends to undervalue the editing of collections, recognized the importance of committing himself to the painstaking project of recovering Burke's writings on Shakespeare. The result is a treasure-trove both of some landmark essays in his career (most notably the 1951 Hudson Review piece on Othello), and also of the bric-a-brac of intellectual history scattered throughout Burke's work from the 1920s through the 1980s. Newstok unearths and reproduces sections that Burke crossed out from a lecture, thus offering windows onto his compositional process. Among other works never fully revised for publication, he edits and annotates the typescript of Burke's response to a graduate student's paper on Troilus and Cressida. As importantly, Newstok gathers what appears to be every excerpt from Burke's lifetime of writing that mentions Shakespeare. The process of obtaining permissions alone is staggering, but it is a further tribute to Newstok' s professional integrity and passion for the project that he gained full cooperation from the Burke estate and the endorsement of surviving family members.
The volume begins with a cogent survey of the key issues and terms (including a glance at Aristotle, "Burke's classical mentor") that played a generative role in Burke's Shakespeare criticism. He ends with suitably terse yet remarkably helpful notes; for example, indicting where precisely in Coleridge's Biographia Literaria we can find the reference to which Burke alludes in passing. Newstok gives sufficient identifying tags of dramatists, writers, philosophers, and artists whom Burke assumed his audience knew, and covers in detail the original settings of the works discussed and, when applicable, where they were printed previously.
This much having been said, the larger question still looms: Do we need so much--indeed all--of Burke's Shakespeare criticism gathered in one place? The answer this volume convincingly urges is: yes. The Editor's Introduction establishes the impressive influence Burke has had on a number of critics and dramatists, as well as on important movements in literary scholarship and dramatic criticism. The claim of kinship to Burke's work is wide and diverse, ranging from Edward Said to Angus Fletcher. In a long note Newstok gives an initial roll call of upward of fifty Renaissance literary scholars who have profitably engaged Burke's work. He goes on to point out that Northrop Frye annexed Burke as one of his antecedents in "the archetypal approach," and Harold Bloom called Burke "my heroic precursor." And yet it is often through indirection that debts to Burke's ideas are acknowledged. Buried in a footnote, for example, Stephen Greenblatt tellingly relates: "As so often happens, I discovered that Burke's brilliant sketch had anticipated the shape of much of my argument."
In part this reluctance to give Burke pride of place in one's own scholarly work is the result of the unmistakably Burkean tone and trajectory of thought to be found in his often idiosyncratic approach. Unlike literary critics who develop systems that others dutifully can follow, Burke does not leave a coherent methodology, notwithstanding his "Pentadic analysis" and his, at times, deeply moving readings of Shakespearean scenes. Rather readers receive insights--the kinds that he left for a general audience rather than a coterie of the initiated. Although he "appreciated the favorable attention from academia," finally he was more concerned with inspiring "others to join his ecstatic readings of Shakespeare, and gain contact with the energy at the heart of Shakespeare's plays."
One example illustrates just how useful having access to these essays can be, especially in a properly edited edition. Recently when teaching Timon of Athens to undergraduates, I turned to Burke's typical mode of beginning an investigation as presented in Newstok's book. It supplied just the heuristic jump-start required: "First, let's force ourselves to decide exactly what Timon of Athens is about." Written originally as the introduction to an edition of Timon, Burke intelligently recounted the main strokes of the play, act by act. He then treated the main characters in turn and examined their function in the drama: "Apemantus serves to keep the play from falling simply into contrasted halves." He also considered relations among the sexes, showing how women in this play function "only in a supernumerary capacity." That there are only courtesans and no mothers, sisters, or wives, fits well with Burke's judgment on Timon as "an almost brutally end-of-the-line character, his life coming to a close in rabid talk of total human rot." The one moment of pity, supplied by the faithful retainer Flavius, is a touch that Burke sees as "quite Shakespearean, at least in the sense that a Shakespearean tragedy has a scene that softens the audience with tears of pity just before the final outbreak of victimage." He compares Flavius speech instructively to Desdemona's willow song, a connection discussed at greater length in Chapter Six, Burke's landmark essay on Othello (another reason why it is good to have all of these essays collected in one volume). When all is said and done, Burke is a reliable and subtle expositor of Shakespeare's plays.
The second part of this essay turns to consider the nature of Timon as a dramaturgic invention. With all of the rigor shown in his Rhetoric of Religion (1961), Burke explores "invective," "lamentation," and "praise" seen as "the three freedoms." Fortunately Newstok restores paragraphs apparently excised by Burke's editor, Francis Ferguson. These are instructive paragraphs indeed, as they make clear why these three are linked and how they help explain the ineluctable humane movement charted out in Timon of Athens. Granting the disputation of authorship, Burke makes a solid case for Timon's "radicalism"--in its usual, literal, and etymological senses--and concludes that, although it "is not pretty," it is "extremely thorough."
Likewise Burke is thorough and radical in his approach to the plays as a whole. He covers all of the chief topical issues and he seeks to dig to the root of things that often remain undetected by virtue of alluring speeches and the fast-paced sweep of a drama's action. Consequently this is a book that should be placed next to The Riverside Shakespeare on one's bookshelf. As a teacher I anticipate returning to it often, especially when sorting out what should go into an introductory lecture on a given play. And it is for this same reason that people outside the academy will want to have ready access to Burke as well: he gets to the bottom of things.

This work gathers together all of Kenneth Burke's writing on Shakespeare, thirteen major essays and a host of notes and remarks scattered throughout his writings. It contains an introduction by its editor,Scott L. Newstok which explains his own work on the volume, and Burke's general approach to Shakespeare criticism. The book also contains on its back cover laudatory words from among others Harold Bloom and Stephan Greenblat, that is from among the most distinguished literary critics working today.
Burke is an original in his approach to Shakespeare. He focuses often on the opening of the play, and is very concerned with the effect of the play on the audience. He again and again shows how Shakespeare is master playwright creating the effect he wants the work to have on the audience. For Burke whose basic view of drama derives from Aristotle 'action' plays the central role.'Character' is if not subordinated then not given the central place in his analysis as it has in the work of arguably the greatest Shakespearean critic of all A.C. Bradley.
While understanding Burke's brilliance and originality I have never been a strong fan of his writing. I have always found it somewhat difficult and academic. His learning is vast and he makes sudden shifts in his discourse which I find hard to follow. I too find often that the kinds of dramatic questions, the questions relating to how the dramatist achieved the effects he did, are not those which primarily concern me.
However the volume as scholarly collection and edition of Burke's work is comprehensive and carefully referenced. It is a real contribution to Burke scholarship and should be made good use of by all those who take interest in his scholarship.

The most valuable aspect of Scott L. Newstok's recent "Kenneth Burke on Shakespeare" is his inclusion of a talk, delivered by Burke, entitled "Introduction: Shakespeare Was What?," which serves as a useful primer to Burke's system of reading Shakespeare. As the lecture establishes, Burke is ultimately concerned with what literature does (i.e. how it functions). Accordingly, Shakespeare is, in Burke's mind, an artist who "spontaneously knew how to translate some typical tension or conflict of his society into terms of variously interrelated personalities." As Burke explains, Shakespeare's ability "was to let that whole complexity act itself out, by endowing each personality with the appropriate ideas, attitudes, actions, situations, relationships, and fatality" (18). Shakespeare, above all other dramatists, constructs plays in which his characters' engagements with each other constitute the play's movement while dictating meaning to its audience. And Burke, perhaps above all other critics, articulates the anatomy of these engagements for us.

Without a doubt, Burke scholars will find Newstok's compilation of additional references to Shakespeare invaluable. While the sections that Newstok provides can't possibly offer full context, the well-versed Burkean will certainly have the texts in question (A Grammar of Motives, Attitudes Toward History, and so on) at hand. An impressive piece of scholarship, Kenneth Burke on Shakespeare will prove to be an essential work for a variety of audiences, including Shakespearians and Burkeans.

An iconoclastic American intellectual, the late Kenneth Burke (1897-1993) was an exceptional and prolific literary critic whose writings and commentaries were respected -- even by those who occasionally disagreed with either his assumptions and conclusions. In the pages of "Kenneth Burke On Shakespeare", academician Scott L. Newstok (Assistant Professor of English, Gustavus Adolphus College, and Andrew W. Mellon Post-Doctoral Fellow at Yale University) has gathered together under one cover all of Burke's Shakespeare literary criticism (including previously unpublished notes and lectures) that had such wide-spread influence on his contemporaries. Drawn from a profusion of sources, including literary magazines, academic journals, Newstok has accomplished a truly impressive task of research and recovery. The result is a compendium of analytical commentaries on Shakespearean dramas and comedies. Enhanced with the inclusion of an appendix (Additional References to Shakespeare in Burke's Writings), extensive notes, and 'Index of Works by Shakespeare', and a general index, "Kenneth Burke On Shakespeare" is a welcome and enthusiastically recommended addition to academic library Shakespearean Studies reference collections and supplemental reading lists.

regards from Panama, Central America! I bought this book a little bit nervous about the the fact that it's originally written in English, so I thought i could get lost in translation Or that it would be too regional (for example with mexican slangs). But both my kids (7 and 3 years old) have enjoyed it so much that I have to read it at least twice a week as a bedtime story. My older son enjoys the irony very much and the little one loves the illustrations that are rich and original.
Definetely a good addition to any collection!

I really enjoy this book. I think that it is pretty funny. My favorite part in this book is when the 3rd little pig calls the police and they arrest the wolf because they thought that he was trying to eat the little pig for supper.

I loved this take on the "Three Little Pigs" as did my kids though for different reasons. My daughter enjoys this book because it is a humorous Wolf's versions of the "Three Little Pigs" her favorite children's classic. I like it because it presented a great sarcastic though honest parady of contemparary Media and American culture. You see according to the wolf, He really didn't mean to blow down the little pig's houses it was all an honest mistake, and the part about him being a big bad wolf? Just a media creation to jazz up his trial and sell more newspapers. Its rare to find a childrens book now a days that are even a little bit creative but this one is pure genius both in it's simplicity but also in the way it portrays the world around us. An outstanding childrens book for the whole family.

A funny book told from the wolf's point of view.

Note to the Teacher: Good book for a mini-lesson to teach benchmark on Point of View.

This cleverly written and illustrated picture book gives the wolf's version of events to the classic nursery rhyme. The wolf vehemently proclaims his innocence and evokes reader sympathy as he relays his story, oblivious to the bunny ears in htis cake mixture or the rat body parts hanging from his cheesburger. The wolf says one thing, while the illustrations say another. The traditional rhyme of 'The Three Little Pigs' is retold in a conversational and contemporary style that has an underlying tone of misguided innocence. The story assumes prior knowledge of 'The Three Little Pigs' and 'Little Red Riding Hood' and mixes traditional tales with contemporary visuals. This books us suitable for children aged 3-8yrs, although readers of any age would enjoy the humerous twist the wolf tries to give the story. I thoroughly enjoyed this book, its illustrations were humerous and afterall, innocent before proven guilty. Right? Perhaps he's not such a big bad wolf afterall, just misunderstood.

I bought this book because I am taking a medical terminology course online. I really like the way this book is laid out, how it teaches. You learn the roots and suffixes and prefixes of the words - not just the word itself. This way you can look at almost any word and figure out what it means because you know what each part of the word means. I would recommend this book, but you might want to build up your wrists first - my wrist is sore from lugging this HUGE book around - but it is worth it!

This book is very interesting and captures your attention to the point that it makes it interesting to memorize medical terms.

I highly recommend this book to anyone trying to enter the field of health or medicine!

This is an awesome book to help study for your CMT. I am finished with the study guide for work and using this book to keep me from forgetting what I need to know for this exam.

I purchased this book to help me study medical terminology. It is very useful and extremely informative. I especially like the illustrations. The book is easy to use, and I highly recommend it to anyone who needs to learn about the human body and all of its systems.

Ghalib lived in very turbulent times. The Mughal empire in India was on its last legs and the British empire had tightened its clutches over India. Ghalib even lived through the horrendous 1857 "Sepoy Mutiny" of the "First War of Independence" (depends on whose view you believe in) and saw decimation of Delhi, a city he loved. The anguish of his poems is extremely hard to convey in a sterile language such as English. In any case, Robert Bly and Sunil Dutta's translations are over and above what else is available in the market. Excellent job.

Although Ghalib is not as well known as the famous Sufi poet Rumi and great Persian poet Hafez, in my view he is even better in some ways. His Urdu poems are sometimes very complex and he was a master at exploiting subtleties of Urdu - a language in which one can write couplets that can be interpreted in several different ways. Furthermore, Ghalib could exploit the Urdu by using ambiguities - one doesn't know whether he is longing for God or his lover in his couplets. Several people have attempted to translate Ghalib and I think it will be next to impossible to get the same color and taste once an Urdu couplet gets changed to English - In my opinion English doesn't have the poetic capacity to absorb the richness of Urdu. Despite these limitations, Bly and Dutta have done a great job. I understand both Urdu and English and therefore I can say with confidence that this book contains the best translations of Ghalib's poems.

Ghalib's playful poetry in Urdu is fascinating, such as the line in the caption of this review, a fact most Indians are privy to. But having his quirky, self-effacing romantic gems in English is a delight of a different order altogether. The translation is thankfully quite interesting in and of itself which lends this book an amusing, page-turning quality.

Couple of notes:

(1) Get the Ecco Press version if you can find it, the paper quality is less annoying. The Amazon site (this page) advertises a publication from "Rupa Co." which has crummy pages that I regret buying.

(2) Also, the Ecco Press version of the book contains interesting translation notes from Sunil Dutta, which are fun to read. Robert Bly is listed as the editor, and while he hogs the credit, he simply performed the role of revising and redecorating Dutta's copious translation notes.

Either way, I highly recommend this thin volume for people who appreciate poetry in general or "shayari" in particular. I'd gladly pay for more than 30 samples of Ghalib's prolific work.

The paperback version of this book contains the Ghazals in English, Devnagari, and Urdu script. Go for the paperback and see how the original poems look in Urdu. For those of us who can read Urdu, it is a delight to read the original verses and match them with the English translation.

Ghazals are Urdu poems that have at least five couplets. Interestingly, the couplets within a Ghazal generally are not related to each other and stand on their own. Ghalib is probably the most loved Urdu poet. He was a master of Urdu poetry and his considerable linguistic skills in Urdu and Persian allowed him to create subtle and extremely complex metaphysical, existential, romantic, sad, and biting poems. One reason why Ghalib is not as well known as Rumi (though, a better poem, in my opinion) is the fact that his poetry never received good treatment from other translators. In fact, when I read some of the translations of Ghalib's poem, I sometimes laugh at the idiotic interpretations and mediocre quality. Even when an Urdu scholar translates Ghalib's poem, the problem is that this scholar is often mediocre poet and poor in English penmanship. The results are horrendous (read the translations by Ghalib Academy, New Delhi and see what I mean).

This work by Bly and Dutta is simply marvellous. I think the credit probably goes to Bly as he is not only a great poet, he also has deep experience in translating poetry. I doubt anyone else could have done a better job than this. Well done and thanks.