Languages Books

I was looking for a writing guide that dealt more with plot and characterization as opposed to technical issues (grammar, syntax, etc), and this is exactly what I wanted. It helped me figure out why my character wasn't working and why the plot was flat.

So this, instead of teaching about why a sentence seems off, tells you why the *story* seems off. It's one of two writing books I've actually kept to read again.

Fiction First Aid, by Raymond Obstfeld, is packed with practical, no-nonsense tips for troubleshooting a manuscript that "needs something." It's organized simply, with chapters about plot, characterization, setting, style, theme, and the writer's life. Each chapter has sections describing symptoms, the ailment, diagnosis, and treatment. Because the author's approach assumes that the reader has already written a manuscript, I wouldn't recommend Fiction First Aid as the very first "how-to" book for a novice. But this one is high on my list of favorites.

This book is easy to read, well conceived and incredibly helpful. Obstfeld knows his stuff and he writes from the perspective of one who has been in the trenches and knows what writers need to know. Highly recommended.

I've read many other fiction writing helping books (2!), and I can solemnly swear that this one is the best. Instead of destroying your dreams of being a writer by constantly reminding you that writing is a hard business to get into (as if I didn't know that), it offers you hope. The author obviously is experienced at writing fiction, as he teaches a class. This book is well garnished with many interesting and helpful anecdotes. The problems he adresses are things that I've been concerned about in my writing, but had not been able to find answers to in other books. It's written in a very easy to read and noncondescending manner, and has good eamples. I wholly recommend this book!

I'm an editing book junkie, and this is hands down the best one I've ever read. It gives specifics on trouble spots and what to look for, and actually tells you how to fix them. So many books I've read just advise of what to do, but never show you how. I read through the pages thinking, "I do that. Yikes, I do that too." My work has improved trememdously since I read this book. I think every writer who wants to polish his work or give it a final once over before submission should read it.

This book has great content for use with a home school speech and rhetoric program. Not to lengthy, it is an interesting and easy read.

"Fair is foul and foul is fair."

"Circumstances rule men; men do not rule circumstances."

"Ye have not chosen me, but I have chosen you."

By now, you may have noticed the similarity among these three phrases: an inverse repetition of words. But you may not know this style has its own technical term (epanados). Figures of Speech: 60 Ways to Turn a Phrase, a tiny tome, lists and explains the technical terms of 60 such style devices.

Rooted in Latin, these terms are not important in that each and every one should be memorized. In fact, the author himself notes the foolishness of such a pursuit. But writers (and editors!) should know how to recognize them, and, ideally, experiment with them in their own writing.

Arthur Quinn does a solid job of explaining how to use these figures of speech. He provides brief definitions and illustrates them by listing examples from eminent writers and the Bible. However, I do have a few complaints. Sometimes Quinn glosses too quickly over a term, not giving it a full definition. He also often does not explain how his examples show a particular style device (it would be nice if he bolded them, when possible). Sure, sometimes the examples are self-explanatory but for the confusing concepts it would aid comprehension. His glossary is also a little erratic, sufficiently explaining one term while insufficiently explaining another.

Overall, however, Quinn has created a valuable resource for creative writers. It's a gem of a book in its brevity, and I wish another edition would come out to renew people's interest.

I recommend this book for anyone who would like a few more clues on the many ways masterful sentences are put together. If you have the soul for good writing, but need a little more concrete guidance on how powerful phrases from the Bible to Virgil to Shakespeare to Churchill are constructed--this book will be a delightful little teacher.

I was impressed by the lighthearted and humble approach of the author. Although he gives the formal (and quite forgettable) names for the figures of speech, he says he doesn't expect readers to remember the names, but rather to "taste" the examples he cites, and to get a feel for how to apply these patterns in their own writing. He repeatedly stresses that knowing how to use words and rhetorical patterns is far more important than memorizing their names or even agreeing upon their proper classifications.

The author also cites classics ancient and modern in making the unconventional and refreshing point that we need not slavishly follow the dictates of the now-popular rules of usage as promulgated by Strunk and White and other like-minded authorities. For example, while contemporary authorities repeatedly (yes, ironically) stress the importance of avoiding any unnecessary words, the author of Figures of Speech cites many passages from the Bible, Shakespeare, and other sources of distinction, that clearly do not follow such strictures--and choose elaboration and repitition over spare economy.

Overall, the book is informative, accessible, generous-spirited, and, in places, even humorous and playful.

When I got to the end of the slim volume I found myself wishing there was more.

Short, easy to read. Full of great examples. Will make you a better speaker and heighten your appreciation of great literature, as well as showing you the techniques used by playwrights, poets, politicians, lawyers, clergy, and all others who earn their bread with their tongues. An eye-opener.

Professor Quinn's slim volume is perhaps the best treatment of the subject of rhetorical devices that I have ever read. I say "best," not because it is the most extensive, nor because it is the most detailed coverage of the subject. I say "best" because I feel it is the most *useful* coverage I have ever encountered.

In concise fashion, Professor Quinn takes the reader through many of the most common figures of speech, tells us the formal names, and provides numerous illustrative examples.

It is true that simply knowing the name given to a particular turn of phrase will not guarantee that one can effectively employ it in one's writing. Nevertheless knowing the
forms and having names to identify them makes it easier to see them in use in the writing of others. By thus making them memorable, they also become a more ready part of one's writing toolkit.

The engaging and entertaining style which Quinn uses throughout the book makes even the most daunting technical terms readily accessible. His well-chosen examples are also entertaining and informative, and most are quite memorable. I can't be certain that merely reading this book will improve every reader's writing, but I believe that most folks will benefit from reading it.

Took a workshop with a teacher of the Linklater method. I was hooked. A former singer and actor, a car accident left me with a permanent trach and very little speaking voice. These exercises are helping me to recover volume and expression in my voice. I watched the effects of the exercises on "normal" participants and was blown away.

Don't try to reinvent the method- give it a real try as is. I think it would be extremely valuable when working with new actors. Teaching projection can be tough but this leads right to it.

While nothing can compare to the real deal of a professional Linklater voice instructor, this freshly updated and expanded 2nd edition (from the 1976 inaugural printing) brings with it 20 years of Kristin honing her voice exercises, and it truly shows in the meticulous explanation, improved illustrations and the careful word choice.

And when the book cover says expanded, it isn't kidding. Many warm-ups have been extended with additional exercises, and one useful feature is the commentaries at the end of exercises, which manage to put the exercises into a real world perspective that makes easy sense.

This book's language never gets caught up in intellectual logic. Instead, the text is so well laid out that exercises move from explanation to actual practice, and then to the next exercise before you realize it. The text is a definite improvement from the 1st edition, and that says a lot considering that when it first came out in the 70s, Freeing the Natural Voice became a staple in the voice acting industry and in many American acting curriculums.

When read, the text feels like Kristin is there having a conversation with you, and that is impressive considering that it is an exercise book, though so much more than that. It should be used as a helpful reminder and refresher for every instructor and student of acting (not just voice), as I myself intend to refer back to it on a regular basis.

Another thing that should be said that the text and exercises make the whole warm-up purpose simple by breaking down the body-emotion-voice connection to its most basic level. If you pay half-attention, you'll learn more that you could possibly be prepared for about not just your voice, but more importantly about your body, and how common habits of tension and emotional restraint truly affect everything you are.

This book is about the deconstructing of the physical and mental self-made blocks that inhibit the natural voice and the natural body - seeking to instead rebuild a direct emotional impulse essential for great acting.

This new and expanded second edition is a gem. Hundreds of pages of clear, easy to follow exercises and commentary are presented in a step-by-step format that allows actors (and speakers in general) to progress at their own pace no matter what their level of experience. The vocal exploration is made even more enjoyable by the lighthearted and effective drawings found throughout. This is required reading for anyone interested in developing a more free and expressive vocal instrument.

As a teacher, I
find this new edition invaluable for students of all levels. It is complete, available and thorough. After working with many different books on voice, this book is the one I keep coming back to. My students love it.
The exercises are specific and continually return the student to the purpose of developing their voice- communication and the revelation of thought and feeling.

As a theatre director, I have read a lot of books about other directors and stagecraft, and far fewer about the intimate work of the actor. I never got around to making a close study of voice until now, and FTNV has been a wonderful revelation for me.

Not only is Linklater's work imagistically strong and physically clear, but the thoughtful and careful way she approaches "release" seems a metaphor that extends well beyond the borders of the voice. It has inspired me in all facets of my artistic work. Wonderful, insightful, highly recommended.

I admit that at first I was thinking this book would focus more on the game engine part of the toolset development in its title. I knew it wasn't REALLY about developing a game engine but even so, make sure you understand what you're getting.

That said, I really liked this book. I'm halfway through it already (it's a very quick read given how discrete each chapter is and the clear and easy to read print and examples).

I've read a number of game development books and you rarely get everything done right. This book gets close. The author describes the particular problem the chapter seeks to solve (e.g. encryption, batch processing, etc.) and goes through the steps of solving it.

The book is similar to those programming gems types of books that aren't organized in some linear fashion but are discrete chapters on specific topics that can be picked and chosen as you see fit.

The author does a very good job of putting the examples together and many of the chapters have been useful to me (I plan on implementing a number of the tools/frameworks he mentions).

If you're working on a game engine, I really suggest trying this book out. This assumes you're not already an expert game programmer who already built a lot of these sorts of tools before.

If you're looking for something that will help you build a full-fledged game engine, look for another book...then come back to this and get it to help you flesh out your toolset.

I bought this book thinking it would help me write a new tool for, say, building 3d models, or some other general tool. When it arrived I got excited just by the shear size of it, it's huge!

However, I started flipping through it browsing each and every chapter (didn't read them all in detail of course, but quite a few) and it doesn't teach you how to make a NEW tool for your game, it teaches you how to make an EXISTING tool better. While that knowledge is extremely valuable (and the reason I gave it 4 stars instead of 3), it's not what the description of the book stated: "Readers are not required to have any experience developing game engine tools." If you have no experience developing a tool, you're going to have a little trouble getting started. If you know enough math and have good enough coding skills to get a game engine going, you'll be able to write a tool for your game, but you don't need this book to do it.

Now, with that said, this book IS quite good and worth your money so long as you don't expect to read this book and then write a tool, you're going to need more info. Get the book anyway and use it as a guide, it's usefull in that aspect.

This book is so good at making a tool better, most of it's "gems" can and should be applied to ANY application, game tool or not. Also, it covers some good highlevel (or lowlevel, depending on how you view it) .Net functionality such as interfacing with COM and code documentation, as well as few other excellent techniques. These "gems" are quite valuable on their own.

So, in conclusion, if you know nothing about writing a tool, or you don't know C#, hold off on buying this book (make sure to put it in your wish list however). If you have a tool but find it's difficult to work with, or you want to broaden it's appeal, or just simply make it better, get this book, you won't regret it.

I just received my copy of Game Engine Toolset Development and I have been unable to put the book down. The author gives a good introduction to .NET 2.0 and relates it to toolset development for games. The chapters are easy to read and follow and he gives good advice on how to build good tools. He could have looked at other toolsets to make the book more complete, but I see this book as a way to introduce students to game programming who have a basic programming background (Java, C++, C, Alice 2.0, etc.).

This is an excellent book, which covers a lot of important aspects of game/engine tool development, but it is more like a recipe book, as each chapter subject is almost stands on its own - just like game programming gems series. My favorite is how to integrate native code into a managed application. The book is well written (one of the best I've read recently), and the only thing i missed is a few chapters on how-to integrate into an existing pipeline - like importer/exporter for a common 3d package at least. A better title for this book would be "(game)tool programming gems"

Then, as a hobbyist, I'll just let you know that this book not only teaches, but flat you gives you some great modular code that you can work into many different types of tools.

There's also some great design principles covered that have improved my workflow, even though i'm currently working solo.

This has been a fantastic addition to my 6th grade Language Arts classroom! I'm amazed at how well my "reluctant" students are doing with it and surprised at the general enthusiasm to continue the "story" each day. It allows the students to have a consistant "bell ringer" that isn't just busywork. It is also a great way to interact with the students on an individual level and assess needs as far as GUM (grammar, usage, mechanics) goes. I love the CD--I put the daily Caught 'Ya it on a Power Point and have a seperate slide for each period so I an correct in each period without having to rewrite.

This was a great buy and I can't wait to see how it works through the year!

I have used another Caught Ya for several year, but have moved from high school to middle school. I am really enjoying the Caught Ya specifically for middle school. I can tell a difference in my students' writing, especially in the area of punctuation and more varied sentence formation.

Sara Sherrill
Hurricane Middle School

My gifted class will not sit still for a traditional (boring) grammar lesson, but their writing skills aren't keeping pace with their creative ideas. The "Caught'yas" in this book keep my kids focused on doing their grammar...everyday! The lessons help them with their writing and introduce $100 words into their vocabularies. With the included CD, I don't even need to type or write the "Caught'yas." I just copy and paste into a powerpoint and put the daily work on the projector. Truly a great find!

The service I received was excellent. I received the book within 3 days in perfect condition.

This is the third "Caught 'Ya" book I've purchased - my kids LOVE this idea, and they are LEARNING!

A wonderful resource book with easy tab reference locations

I discovered The Gregg Reference Manual as a student in an Executive Secretarial curriculum at a local community college. It was a required textbook at that time. Not only did I come to depend on the book for everything, it has become a permanent fixture in my library of books, and I continue to use it daily. It truly sharpened my grammar and punctuation skills, and I now have excellent verbal and written skills as a result. It has been ten years since I purchased the book, and because the world has advanced in such a short period of time, I decided I needed a more recent edition. I began searching for the Gregg Reference Manual, but I had no success. I had just about given up when I discovered the Amazon.com website. I was really excited to find the book via website, so I quickly ordered it.

I used this book for years while working at a university bookstore. No matter what rule of punctuation or grammar I needed -- and no matter how unusual the application -- I could always find the answer in the Gregg Reference Manual. It's the most complete writing reference I've ever found.

This manual is really excellent: clear, succinct yet detailed, and very user-friendly. It is a much better guide for the everyday or business writer than the Chicago Manual of Style. In particular, its organization and layout make it easy to quickly find the answers you need. Definitely recommended by this average writer.

I'm buying my second copy of The Gregg Reference Manual today since my old one has apparently disappeared. I purchased my first copy of this book as a secretarial student in the early 1980's and have used it regularly for both professional and personal writing and editing ever since. I feel lost without my Gregg Reference Manual. My kids will get lots of use out of the new copy as they write reports and business letters in junior high and high school. I can't wait to receive my new book. It's too bad it won't come with the dog-eared pages I used to mark the most frequently used subjects in my old copy.

This is an excellent book, Great artwork and the poetry sings with all the magic of God's creation, a great book for all ages.

This boook is full of fun colorful poems. I've only seen the the original copy. The only bad thing about it is the pictures which look very 60s and poorly done. Still I love the poems.

This was one of all time favorite books as a child. It's not a story per say, however, its' value lies in its' ability to teach even the youngest of kids about feelings, emotions and "color" through poetry. Each page dedicates itself to a different color and describes the essences and feelings that those colors evoke in us. It's a very useful teaching tool for young children in the primary grades.

This was my absolute favorite book when I was in elementary school. Now that I have 2 small children of my own, I have rediscovered it with them. The poems are soothing to hear on a lazy afternoon and the colors are as fresh as watercolor can get. After reading it to the kids, I go back and indulge myself and read it again. Definitely a rainy day pick!

This slim book was originally published in 1961 and by now, we may safely call it a classic. The title is taken from her poem "What is White?" A series of poems each entitled "What Is--- (Green, Gold, Red, Blue, etc.)" describes in ways you have never thought of what exactly the color is. I have never found the child who was not fascinated by the ideas presented and usually had a few additions of his/her own to add. I always thought this vivid book would bring much pleasure to a blind person who had never "seen" a color. Ms. O'Neill brings the feel, the taste and the mood of each color to a shimmering life of its own.

--the purple feeling

is rather put out.

The purple look is a

Definite pout.

But the purple sound

Is the loveliest thing

It's a violet opening

In the spring.

I'm studying for my doctorate in Spanish Literature so by this one can note that I've been using and going through a slew of Spanish dictionaries for many, many years. This dictionary is the best one I've ever used for many reasons.

For one, I'm referring to the 'hardcover' edition. It's so wonderful to be able to open the book to a specific page, and have the book lay down flat without my having to keep one hand opening the dictionary and one hand opening my book. This is a small and frivolous detail, but when having to read dialectal Spanish from the Caribbean or Old Spanish, one must constantly refer to the dictionary. Having a dictionary that lies flat when opened is a tremendous help.

Secondly, it's indispensable if you are reading literature from other Spanish speaking countries apart from Mexico and Spain. I've found Cubanismos that I've never found in other dictionaries -- this saves valuable time from having second rate dictionaries and having to look for these obscure words on the internet.

In the middle of the dictionary is a comprehensive grammar and communication guide in Spanish and English. Everything from a clear explanation of key grammar points to standard models for everyday correspondence, resumes, invitations and email. It's an investment, it's expensive, but it's well worth the price.

Concerning the comment of a reviewer never having heard the /ll/ pronounced as /li/ as in "¿Cómo te 'liamas'?", this pronunciation can be heard among many speakers of Argentina, I've heard it myself from an older Argentine woman who taught this pronunciation to the students she instructed in Spanish. This serves as additional proof of how thorough and complete this splendid tome is.

This is the best dictionary I've used. I also have the Simon & Schuster International Dictionary (hardcover), but I prefer this one. Besides the added sytlistic hints, it has the most comprehensive regionalisms and slang of any dictionary I've found. Extremely useful reference tool!

This is an excellent dictionary. I could see just by glancing at it that it was a far better product than all the others, but when I actually sat down with it and took it for a spin I was amazed.

It includes such colloquialisms as heebie-jeebies, traipse, snoop, zit, and nosh. It includes such technical terms as theodolite (which the MS Word dictionary does not recognize), sprocket, and pixel. All the curse words and vulgarities I've ever heard are there, plus some additional ones I've never heard. And they have a special three-dot system whereby you can tell just how bad the word is considered by native speakers.

In the center of the volume is a very useful section on grammar and usage which has an abundance of the sort of examples you need when you're grappling with a new word.

While the coverage of Latin American Spanish is very good, there are still discrepancies and omissions that seem to stem from an Old World point of view. The letter(s) ll is said to be pronounced like the lli in million or like j in Latin America. But in over a quarter century of travel in Central and South America, as well as in conversations with Spanish speakers in the US, I have never yet heard anyone say "Como te liamas?" instead of "Como te yamas?"

Should you be planning a climb in the Andes, you can find the words for cairn and crampon, but you'll have to look elsewhere for carabiner and gabion (neither of which the MS dictionary recognizes). Considering all the Mexicans working in the US construction industry, you'd think the editors would include words for a wooden stud or 2-by-4, but they don't. A large percentage of these guest craftsmen specialize in concrete work, but Harper Collins doesn't have a listing for rebar. And whether you're using a carpentry tool or a networking device, you won't find the Spanish word for router.

Going for a hike in the desert of northern Mexico? Ask a doctor before you go what the word for antivenin is, because though it seems like a pretty important word, especially to someone who's just been bit by a serpiente de cascabel, it's not in this book.

It may sound like I'm finding fault with Harper Collins, but I'm not. I sincerely admire this dictionary and these are instances in which it could be made even better. An email address on the back cover could get these and other useful notes to the editors pronto.

My first Collins was copyrighted in 1971. Over the years I have used all of the other excellent bilingual dictionaries (Larousse, Oxford, Simon & Schuster) and even the lesser ones, but Collins, then HarperCollins, was always the best. I agree with all the previous reviewers. After more than 30 years using dictionaries, I can say that HarperCollins is still the best.

If you don't mind the British English slant, this is an excellent dictionary (and FAR superior to its abridged cousins). I do prefer the Simon and Schuster's for more technical and precise translation; but this is nevertheless an excellent dictionary which will not dissapoint you.

Kate Bloomfield, a Canadian teenage girl, records her thoughts and feelings through a series of poems and vignettes. The very first page quickly sets the tone of Kate's story - she announces her arrival to the World, but when she gets no response, her Self celebrates with somersaults. The World had its chance, but now it's Kate's turn! Simple stories, like not being able to eat parsnips or being proud to be Canadian, are mixed with longer portraits of Kate, her friends and family. Kate struggles with becoming a teenager and learning more about her parents and neighbors. The reader gets an intimate portrait of Kate and may discover a kindred spirit.

Kate has already appeared in two book, Kate and Look Through My Window, but Hey World, Here I Am! certainly stands on its own. Little's writing style capture the teenage voice perfectly, without any of the angst or drama found in so many other books with a teen protagonist. Kate is caught between a world where she is old enough to have experience and reflect on her opinions, but still new to the world of adults. Truesdell's illustrations, wobbly black and white drawings, are both silly and sentimental. The drawings interact with the poems, somersaulting around the words. Not only will younger readers find a companion in Kate, they will be introduced to poetry and the short story format.

This is my very favorite book. It was delivered in a very timely fashion and it is so great. The main character grew up in Canada and is Jewish and I'm Hispanic and in Southern California, but I so get her!!! The style that she writes with is so simple, understandable, and creative; it's poetic. It would be a great book to read at bedtime with your child or by yourself.

This is such a great book! It's perfect for any young girl. The book has short poems and stories told from Kate's point of view. It's fun, it's happy and it's sad. It talks about friendship,parents and life. I cannot recommend it enough! I read it when I was in middle school, probably. Rereading it reminds me of how much I enjoyed it. Really a great read for anyone at any age, but will speak to a young girl's inner voice. GET IT!

I was about eight years old when my mom first brought this book home for me. I was so thrilled because I shared the name of the character in the book, Kate. I absolutely devoured the book, enjoying it more for the humor Jean Little displays impeccably in her writing, and the utter appropriateness of Sue Truedell's wonderful illustrations. Later, when I was a teenager, I went back and read the poems again because they seemed to describe the utter tumult and solitude that I felt during such a trying time. Poems like "Today," "Alone," and "Yesterday" capture perfectly feelings and emotions that nobody ever thinks to capture, yet Ms. Little does it in such a fabulous way that one instantly understands just what kind of mood she is describing. Now that I am a young woman, near to having a family of my own, I treasure my battered old copy of this book, nearly worn to pieces from repeated readings. Even today I can still find wisdom in every poem and piece of prose. The writer, Jean Little, is blind; I can only say it has sharpened her other senses and her intuition of basic human emotion powerfully. Bravo!

I purchased this book at a library book fair in the second grade. After one reading, I fell in love with the goofy pictures (I like Kate's hair and messy bedroom) and poetry. It combined poetry and pictures, my two favorite things in a book at that time. Over many years, I have gotten rid of the old books of my childhood, but I have never parted with this one. I take it off the shelf about once a year and read it (since I was seven I've read it ten times). I can empathize with Kate and her love of books, spats with her mother, and her dislike of interpreting poetry. Even though I am not Jewish like Kate, after reading the Diary of Anne Frank like her friend, I felt Jewish too. I also write poetry, but they are usually about my cat and nature. After reading this book many times, my love for Hey World, Here I Am! has never faded.

This order was handled above and beyond the call of duty. They handled everything, including the problem of USPS losing the package. No questions were asked and the book was reshipped immediately. Thank You for the great service.

Great book! I liked the way the author approaches how to begin designing programs. I am half-way through the book and I am finding it very entertaining. Yeap! I recommend this book.

This book opened my eyes. I'd finished a Ph.D. in computer science, and had a decent exposure to quite a few programming languages and paradigms, before coming across this book. I was surprised to start working through this introductory book, and find myself learning new things! The book transformed my approach to programming.

From page one, HtDP starts talking about good program design, and gives a methodical approach. Until this, I'd always thought programming books were "here are ten small example programs; go write ten more." That's hardly teaching. But HtDP builds up a straightforward design recipe, to guide programs along. If I get stuck or have a mistake in my program, 90% of the time I realize it's because I strayed from the book's recipe. The approach is language-independent, although some programming environments make it much easier to implement the design recipe; the book provides links to a good (free) Scheme environment, which it uses for its code examples too. (I've come to use that environment day-to-day). My code--in any language--has become much more robust, and when I do have a bug I usually locate it early, thanks to this book.

In addition, HtDP made me think about things I'd taken for granted: How is assignment to a variable fundamentally different than assignment to a structure's field? Even, *why* do I use assignment statements in certain situations, instead of choosing a functional approach? How often do my programs actually need the efficiency of imprecise floating-point arithmetic, vs using bignums which totally liberate me from numerical inaccuracy?

Although the text is available on line, I cherish my hardcopy. This is a book to first learn programming from, and one to revisit every five years.

As a programming do-it-yourselfer I've had many conflicting responses to this text -- it's didactic style, its attention to detail, its sometimes patronizing tone, its rigor and broad scope and at the same time its immersion in minutia and quiddities I have never encountered in 'computer books' I had ever perused. Perhaps it's my liberal arts background, or love 'em/hate 'em sensitivity to all those broad stiff-spined textbooks I had carried in back-packs since childhood, combined with a disdain for the authoritative stilted style these educators exude -- despite their patent love of their subject. I felt at once both patronized and condescended to.
From the very start of their journey into a detailed six step-by-step process that show the reader how to analyze problem statements, how to formulate goals, make up examples, outline a solution, and test a solution the authors proclaim their pedagogical ends: "We [...] believe that the study of program design deserves the same central role in general education as mathematics and English. Or, put more succinctly, everyone should learn how to design programs..." This is not a textbook, this is a revolutionary pamphlet calling for educational reform. I had read nothing like this in the tens of 'Dummies' and 'In 24 Hours' books I had exposed myself to. One part priggish, two parts pedagogic. I often found myself asking for whom was it written? First-year college student?, ambitious would-be high-school programmer wanna-be? Math mavens? Surely not a middle-aged bookish clerk who tastes run more to Turgenev and Dostoevsky than Turing and Dijkstra. But then I demanded more than mere anonymous web-lurking from my lowly pc. I remember myself many years ago trying to learn BASIC on a massive time-share computer and telling myself surely there was had to be more magic to computing than this. Well, after reading more texts and having had to unlearn the 'Dummies' and the 'In 24 hours' style of disinformation I had finally found the marrow of a discipline that is as demanding as any I had ever come across and as vexing as any artistic rigor I had ever been inspired by. Come be confused, come be amused, amazed and intellectually abused. Sorely, if I find I have little talent for this excruciatingly logical endevour, I have also found a full-blown appreciation of such daunting computational cheekiness. Much to learn here, and this is only the "core subject of a liberal arts education." What had I been wasting my time on all those years as a professional student?

I have been professionally developing software for about 5 years. I found this book to be one of the most useful and helpful books to help my coding skills. Even though I have been programming professionally for a few years and have a computer science degree, I learned a lot of new neat concepts from this book. It also helped to me to remind me of all the basic good practices that I have forgotten.

It is also an excellent book for beginners. The books doesn't use a popular programming language like Java to accomplish its goals. Instead, it uses Scheme so the student can focus on the concepts rather than syntax. It also teaches great concepts and breaks the problem down on how to solve various problems. Also it isn't "hardcore" like SICP-- it is very friendly to non-MIT level people.