Languages Books

I loved this book. It covers the history of Open Source and explain WHY people do open source and HOW they make it happen!

The Success of Open Source in a not a just wistful paean to Linux as the title would suggest. Rather, it is two books in one.

The first book is one of the very best recapitulations of the open source movement and all of its predecessors. The second book is about how something that just seemingly shouldn't work, works so well, and how those principles behind its working extend to more than just the open source movement.

The author, a university professor, draws liberally from the traditions of historians, economists, sociologists, and psychologists to paint a compelling picture of why the forces behind open source are not going to go away any time soon. Read in best companion with The Cathedral and the Bazaar, which IS a bit of a wistful paean to Linux, it illuminates its subject wonderfully.

Steven's book brings a rich articulation of the social practices innovations unleashed by the Open Source collective: a new understanding of private property that better fit the tech forces and the challenges of the present. His book it is not a model; it is not the list of the 10 reasons why...; it is not the defense of an emerging theory; but an historical account in which anecdotes, facts, historical moment, tentative hypothesis, set the background to allows the reader to reshape her/his own questions. The book gave me a perspective I have been testing with IT architects, programmers, software designers...I feel myself much more prepare to engage in conversations about the future in a meaningful and effective way. Thanks to the author!

For the serious reader (and who indeed thinks open source is hilarious?), Weber provides a detailed history of how this idea developed. He traces it from the advent of unix in the 1970s, and the generous (ie. low fees) licensing terms by ATT. Which led to the BSD Unix that flourished in the 80s. Also during this time, GNU took off.

But the bulk of the book deals with the 90s onwards. Especially as linux grew from Torvalds' seminal contribution. Its intellectual roots in unix and GNU are studied. We also see the rise of the Free Software Foundation and Apache, as articulate enablers and promoters of open source. All of which was aided by the invention and meteoric growth of the Web. This played a vital role in enabling a global audience of programmers to hear of and contribute their efforts.

I'm a commercial software developer, and found the author's history of the UNIX culture and the story of its evolution into what we now call Open Source to be fascinating. That alone made it a good read for me. Add in the thought provoking analysis of the "whys" (the real point of this book), and it's a killer combo.

Warning: the book is *full* of sentences like "Pluralism at many different levels is being enabled by communications technologies and by experimentation with property; together, these are reducing the marginal cost of adding voices toward an asymptote of zero." Despite that, I've been able to read it at the pace of a thriller, not a textbook.

In days past when I was up to my tush in alligators while attempting to drain the swamp (of IBM mainframe applications) I used only one reference each and every day: this book.

This may be the only book in the world that makes IBM's condition code job control understandable.

With this book you can make IBM's JCL rock and roll to your music.

This is the bee's knees.

MVS Job Control Language explained in easy to understand language.

There is lot's more than just JCL. There are, for example, explanations of file Data Control Blocks, MVS Utilities, compilers, linkage editors and many more subjects of interest to anyone working on MVS.

An absolute must if you write JCL. I have it to hand on my desk all the time.

I have used Brown's books since his first 370 edition. Brown explains the often obtuse JCL with clarity not often found in technical books. It is an elegant presentation of the most central tech skill to mainframe systems. His handling of utilities is equally well done.

This book is the "bible" for all Mainframe programmers/analyst. I've had his original book....OS360 JCL decades ago and it taught me everything I needed to know about JCL. The new version is just as good....probably better!

I really like this book and I would recommend it to anyone who needs a reference to JCL and to grasp JCL concepts.

For those not acclimated to the mainframe environment I would recommend reading chapter 21-22 first. They cover ISPF and TSO which is the Mainframe "IDE" in the JCL Context. It is the method in which you code JCL, submit JCL, Debug JCL. I know the focus on the book is JCL, but I would have thought the ISPF TSO Chapters would be in the beginning. Still, a well written book.

I have a 1 year old and a 3 year old who love this book. They go around the house citing phrases out of this book. The 3 year old has it memorized. The beat keeps them really engaged. We have read this book over and over again it is a bedtime favorite.

This book has great text to support syllable development. Pictures are amazing! Children will love it. Good for every early level classroom and home with your children.

My son "reads" this book cover to cover. Chants the rhythms without the book around and plays his dad's drums to the beat when I read it! I can't say enough about how fun this book is. To the author, Steve - keep up the great work!!!

My three year old and I love to sing the book as a song. He remembers the pictures and the rhythms.

My 2 and 3 year old love this book. They both pound out the rhythm as we read it and they get very excited about reading it faster and faster and trying to keep up with the rhythm. Not a great bed time story since it tends to get them riled up instead of calmed down. It's one of the few books in their collecton that I don't get bored reading over and over again. Like another reviewer I kept checking this out at the library and finally decided to buy it. The illustrations are large and easy to see and have helped my kids learn the names of different animals.

This book is about web testing in general, not just performance testing, and is a must have for the professional testing engineer. Chapters 7 and 8, on performance and scalability give a very good introduction to the subject, and include a great sample performance testing plan.

Michael Czeiszperger
Web Performance, Inc. Stress Testing Software
http://www.webperformanceinc.com

Grey box testing is based on a general understanding of a system's architecture and components. This understanding drives test strategy and identifies opportunities to test components in isolation.

The shade of grey can vary from white box testing (full review of source code) to black box testing (no review of source code). You choose what level of information to gather depending on your budget, capabilities and judgment.

This book provides the first detailed approach to grey box testing, focussing on web-based application architectures. These architectures are based on a heavy use of components: application servers, web servers, load balancers, databases and the like. This book describes these components, suggests how they can fail and what you can do to anticipate, trigger, or detect such failures.

This approach is supported by the author's extensive experience testing web-based (and other) applications as president of a software testing company. It is augmented by plenty of good advice on how to communicate test results clearly.

I have been in web testing for 3.5 years and this was the first book I found on the subject. My only complaint is that it took so long to come out, but I won't hold that against Nguyen or Wiley. It is a superb introduction to the complexities of web testing, which despite the protests of standalone application testers, is much more difficult and technical than traditional application testing. Not only does the tester need to know the basics of application testing, he or she has to know about the complex technology behind the site or application, and Nguyen's book is unbeatable. I've recommended that everyone on my team read it, since they are all new to the art of web testing. I read it cover to cover and it didn't really cover anything I had not learned in 3.5 years of experience, but had it been published when I started, I would have been able to ramp up so much faster. I also recommend that application developers read it in order to understand the role of a tester and to develop professional respect for a much-maligned profession.

This is good book. If you test web apps, you should buy it.

Hung Nguyen and I are co-authors of another book and good friends. I am not an unbiased reviewer. On the other hand, I wouldn't write this review if I didn't believe every word of it.

Hung's book breaks new ground. It will be useful today, and I believe it will have lasting value and influence.

Once you get beyond the superficial (not unimportant, but much less difficult) issues of usability testing that dominate so many discussions of web testing, you run into the really tough problems of web application testing. Hung Nguyen's book is about those harder problems.

The web-based application runs on a wider range of platforms than any other type of program in history. It doesn't even have control over its presentation layer (the user supplies the browser and the multimedia plugins, and these applications might change any time). What will the application look like on the changed browser? The application probably also relies on third party databases (which can change any time), third party network connections (which can change any time), third party security systems and other access control (which can change any time), etc., etc. Almost anything in this system can change any time. How do you deal with a system that has so many unknowns?

Hung's view is that web application testers must learn more about the technical details of the systems and understand how external variables can interact (and fail) with the application under test.

To help testers learn about the interaction (and testing) of applications with other system components, he wrote the field's first book on grey box testing.

This book has substantial value for what it teaches us about testing on the web. Beyond that, it teaches about thinking clearly and thoroughly when your application interacts in complex ways with other systems. I think his approach will have lasting value and lasting influence long after many of the detailed issues that he describes have been resolved and replaced with new ones.

Along with the original approach, Hung gives a powerful real-world example. He is the president of a company that publishes a web-based bug tracking system. To illustrate the types of tests that you can run and the types of bugs you can find, he opened his records and described real tests, real bugs, and real testing problems. It's a rare treat to see a discussion of testing experience by someone who knows testing, who also intimately knows the software under test, and who isn't constrained in what he can say by a nondisclosure contract.

When industry leaders such as Cem Kaner and Bret Pettichord extol the virtues of this book you can be assured that it is great - everything they and other reviewers have said is on target. Moreover, you'd be hard-pressed to walk into the testing area in any company and not see a copy of this book on someone's desk.

That said, instead of this book you should get the second edition, which is a major rewrite, and also expanded in scope to include testing mobile systems. This edition is titled, "Testing Applications on the Web: Test Planning for Mobile and Internet-Based Systems" ISBN 0471201006, and is everything others have said about this first edition - and more!

Even with a better second edition, this book deserves the five stars I gave it because of the influence it has had on the testing profession. Moreoever, this first edition is not out-of-date, and is still a great book if you don't need information about testing mobile web systems at this time (although it's a safe bet you will in the future).

I am not sure whether we learn much about the CRAFT of verse from these lectures. But one thing that we do learn from Borges is what a pleasure it is to be able to find beauty in poetry (and prose). Borges was an amazing man - he was almost seventy when he delivered these six lectures, and he did it without the help of notes since his poor eyesight made it impossible for him to read.

For Borges, poetry is essentially undefinable. It flows like Heraklit's river - the meaning of words shifts with time, and readers' appreciation changes over the years. Poetry as he understands it is a riddle because it is beyond rational understanding; it is 'true' in a higher (magical) sense. And what is true in a higher sense remains unfathomable, a riddle: "we KNOW what poetry is. We know it so well that we cannot define it in other words, even as we cannot define the taste of coffee, the color red or yellow, or the meaning of anger, of love, of hatred, of the sunrise, of the sunset, or of our love for our country. These things are so deep in us that they can be expressed only by those common symbols that we share. So why should we need other words [to define what poetry is]?"(18)

Metaphors, according to Borges, are the core of poetry, closer to the magic source of words than any other artistic means of expression. Metaphors are so powerful because for him "anything suggested is far more effective than anything laid down. Perhaps the human mind has a tendency to deny a statement. Remember what Emerson said: arguments convince nobody. They convince nobody because they are presented as arguments."(31)

My favorite lecture is the fourth, 'Word-Music and Translation.' It is a real gem. I will not quote Borges on how word-music can be rendered in translation; just a short quote to illustrate how magnificently language can be translated by an inspired translator of genius. When Geoffrey Chaucer in the 14th century translated 'ars longa, vita brevis,' (art is long, life is short) he chose a stunning interpretation with 'the lyf so short, the craft so long to lerne.' Borges comments that here we get "not only the statement but also the very music of wistfulness. We can see that the poet is not merely thinking of the arduous art and of the brevity of life; he is also feeling it. This is given by the apparently invisible, inaudible keyword - the word 'so.' 'The lyf SO short, the craft SO long to lerne.'"(62) One small word, and it makes all the difference.

And since I prefer translations true to the spirit over translations true to the letter, I was pleased to learn from Borges that all through the Middle Ages, people thought of translation not in terms of a literal rendering but in terms of something being re-created.

I do believe that these lectures speak of the wisdom of Borges; not in spite of, but because of the contradictions in the text. Here we meet a man in full; a man who stresses the irrational in poetry and the immediacy of experiencing it, yet proves by his own example how the experience of poetry grows with the plain, rational knowledge about poetry that we gather over the years. Borges is also a man who lives in literature. He finds new beauty in poetry because he continues to change every day. And this is perhaps the most inspiring message of his lectures: people who continue to enjoy changing with the new things they learn 'turn not older with years, but newer every day,' as Emily Dickinson phrased it.

I don't believe that any one person in the history of letters has lived more fully in books, around books, with books, and through books than has Jorge Luis Borges. Thus I give him the title of Master Borges. It is a title I, myself, do not give him but one that he already bears simply by the person he is, was, and continues to be through his legacy. I'm sure he would modestly disapprove. But Kafka thought himself (at least on some level) a hack, so it would not surprise that one who has inspired me with such a sense of wonder in words, as has Borges, would think that he has not really done anything special at all. And there is the rub. Borges is telling his personal feelings about verse and prose (the same thing according to him) but never onces considers he is giving us the beauty of words merely by remembering them. In his recollections and meditations lie a wisdom that is almost preternatural. I give as example these few quotes:

"What is important, what is all-meaning is the fact that poetry should be living or dead, not that the style should be plain or elaborate."

"There are, of course, verses that are beautiful and meaningless. Yet they still have a meaning - not to the reason but to the imagination."

"Remember that the Gnostics said the only way to be rid of a sin is to commit it, because afterwards you repent it. In regard to literature, they were essentially right. If I have attained the happiness of writing four of five tolerable pages, after writing fifteen intolerable volumes, I have come to that feat not only through many years but also through the method of trial and error."

There are more pearls, many more, and it will take many rereadings to find them all, if such a thing is possible. It makes one desperately wish that they could have had the opportunity to sit and hear the master speak. If (no, when) you read this book, do so slowly. And read as if you were hearing the man face to face. Just as Borges heard Casinos-Assens, Fernandez, and his father speak to him when in search of knowledge and wisdom, I hear, at least I would like to think that I hear, Borges speak, for I have heard him speak from the living breathing pages of this book. Read. Please. See if you can hear the music of his voice.

Ladies and gentleman... Borges is one of my favorite writers, so you can imagine the joy I had when I could finally listen to these lectures.

I tend to find that, when an artist says something great on art, it tends to be more useful than what most specialists have to say.

Borges has many important things to say about art and philosophy, or should I say, on beauty in general. And he says them in the most beautiful way.

Borges writes in this work, " I think of myself as essentially being a reader. As you are aware, I have ventured into writing;but I think that what I have read is far more important than what I have written. For one reads what one likes- yet one writes not one would like to write, but what one is able to write." pp.98
This is not to contradict Borges but it seems to me that his writing is what it is essentially because he is such a reader. And as others have often remarked the most remarkable reader .For he reads from so many different linguistic and literary traditions- and he reads with his own imagination, in effect rewriting and combining all he reads into what he enables us to read- his writing.
In all this one feels that Borges so loves literature that he is making it live more by writing to us about what he reads. He is the writer perhaps more than any other for whom books are the first and primary experience. They are the world before the world is the world. Borges reads and rereads them and presents his rereadings to us.
They often amaze us with their startling perceptions and beauty.
This work is ostensibly about the craft of verse but is really Borges talking about various aspects of his reading, and his writing. And he talks with such wisdom and insight, such original poetry that it is impossible not to take pleasure in this work.
Borges writes of the music of poetry and of the meaning of metaphor and how real literature like Louis Armstrong's 'jazz' must be sensed and felt as its first definition. For people who love poetry and people who love books there is no other writer who more strengthens their faith in what they are doing, than this very great writer and reader, this supreme lover of literature.

Words by Borges are your words. Within those words, that W-O-R-D-S, you will find an enclosed space of infinity (Oh, to be lost in that infinity and surround myself with words). His library of words is your library.

Don't forget to lose yourself in these words. You will soon become someone else. Maybe Borges or Stevenson. Maybe Poe, maybe Schopenhauer. You even might just rediscover (rewrite) yourself into a new eternity...

Enjoy these words...

I am surprised that no one has mentioned that the very first move in the very first game in this book, which was made by no less than a young Siegbert Tarrasch himself as white (vs a Herr Mendelsohn) is...a3!

I have to disagree with another reviewer who praised the high qualify of this Hays Publishing edition. The printing and diagrams are nice -- not those old, faded ones you see from Dover -- but the binding is glued, and the Walbrodt match pages have fallen out in my copy.

Substance wise, this is very good. The annotations aren't move-by-move for beginners, but are precise and word-oriented. The openings are often dated, but a club player can still play them, and it's really the middle and end games that count. Not all of the games are memorable, of course, which is nice, because you get a taste of all kinds of games the way chess is actually played.

The English Language Edition of this book does not cost 120.00. It costs 19.95 and is available from ChessCentral. I mention this only because it's easy to assume Amazon has some sort of sophisticated computer database offering accurate price reports on merchandise. It doesn't.

First of all, about the quality of the work itself enough has been said already. It is simply outstanding. This review is merely intended to warn potential buyers of the English edition that they are going to miss something compared to the German original. Up to now I can only judge from the excerpts available at Amazon.com, but these sadly show the autobiographical sections being heavily truncated which is all the more disturbing as they are the passages which show Tarrasch's great, often self-ironic style at its best.
My recommendation for all English-speaking readers: if you have any knowledge of German, go for the original edition! By the way, the same applies for Nimzovich's My System. This is, if you are interested in the prose sections at all. If you want this book merely for the games and annotations, the English edition will do, but don't say I didn't warn you!

Out of my 500+ chess books, I would say I use this one the most. Tarrasch's annotations are great, succinct, and to the point, they are designed to teach and not confuse, and also shows you the development of his early career. You see many games against sub-GM opposition, and I always feel such games are invaluable to the developing player. (I also love, for this point, the two Euwe books, Chess Master Meets... etc.). Another main reason I consult this book often is that Tarrasch played such good, common sense openings. This book has tons of French Defences, from both sides, Queen's Gambits, Ruy Lopezes, and other things you don't see very often, like the Scotch Four Knights, The Goring Gambit, etc. The book has a nice opening index. It is an incredible book. My only complaint is that my book is getting used soc much that the binding is separating near the front. So, the binding could have been better made. Essential.

...with regards to COM+ before I read this book. A definite eye-opener! Very well written, explains in a concise manner both the big picture but most importantly IMHO the little details, those little holes that prevent you from fully understanding what is going on, what is happening, when, where and why.
I had considerable plain-vanilla-COM experience when I read it, but I believe it can be of immense help even to COM novices (I wish I had read that amazing explanation of COM apartments as a thread affinity issue a couple of years back).
This book is so good, I would gladly buy a second copy!!!
Thank you, thank you, thank you Tim!!!

I'm a professional software engineer with twenty years experience, so I've read my share of computer books and dipped into hundreds more.

This is quite simply one of the best computer books I've ever encountered. A classic.

So many computer books are just rehashes of vendor documentation, vague or misleading or wrong in all the same places the vendor documentation is. This book is different. The author clearly has tested every assertion with his own "spelunking" code. He explores every nook and cranny of COM+, and every sentence is carefully considered, clearly stated, and as far as I can tell, absolutely accurate. There's no "hand-waving", no BS, it's just absolutely solid. Crystal clear, razor sharp.

It's a shame, really, that the title is "Transactional" COM+. I had the book for quite a while before I got around to reading it, because the title misled me into thinking that if I wasn't using transactions then it didn't apply to me. Wrong! This book covers COM+ generally, not just transactions, with particular emphasis on the elements of COM+ that are most likely to affect scalability of middle tier applications. Want to know what threading models to use in components called from ASPs? Want to really understand why? This is where to find out.

It's a serious work and really deserves to be studied with some care, but whatever effort you put into studying it will be amply rewarded.

If only all computer book authors were as smart, as conscientious, and as intellectually honest as Tim Ewald. Bravo!

...What the hell is the IMarshal3 interface?

The previous reviewer seems to be disappointed that most of the book's sample code is written in C++. Alas, at this time (and until the moment, perhaps in the second release of .NET, when the COM+ component services are implemented in managed code) a significant part of the COM+ infrastructure is simply inaccesible from Visual Basic.

As the title and the preface state, the book's focus is on transactions in the COM+ environment of Windows 2000. Perhaps a list of "requirements", and don't take these too serious, will decrease the number of disappointed readers:

The reader should:

-know the basics of COM

-be comfortable reading C++ code (Although VB or JScript is used now and then)

-know, or read up on, the ATL util classes (CComPtr, CComBSTR)

-same thing for OLE DB (& the ATL consumer wrappers)

What the book does not cover (and again, this is stated in the preface):

-LCE (COM+ Events) and QC

-CRMs

-Security topics

The structure loosly resembles "Essential COM". (that's a compliment :-) )

In my opinion the book delivers on it's promises.

One of the great book. Every COM+ developers should keep a copy

Clear, concise and honest this book is for the advanced programmer/architect. It shows all the inners of COM+ and everything is based on serious theoretical background that too many of the developers today are missing.
Excellent.

I often review works which I have read long ago. Upon beginning to write about them I invariably discover how much time I gave to something which seemed so worthwhile at the time, and which I have almost completely forgotten. I then ordinarily do some catch- up learning about the book. And my review becomes an amalgalm of distant past and most recent present impression. And meanwhile the heart of the book is forever unknown to me and lost. And my review is only a minor tracing an impression both of the book itself and what of my mind knew when reading through it.
This certainly applies to my reading of this particular work, ,the one work of Levi- Strauss which I remember reading with any degree of real understanding and pleasure. His making of a life and career as an anthropologist which are a good part of the first part of the work interested me then.
The long travelogue and explorations into Amerindian society and mind, interested me less.
I understand though that the real voyage is into and along with the mind of Levi- Strauss itself, a mind much more complicated than I was ordinarily used to meeting and ingesting .
I do remember however the somewhat majestic tone, the tone of restrained sadness of quiet mourning which seemed to go through the work as Levi- Strauss met with worlds being lost and deterorating , in part through their meetings with the very kind of Western mind he himself exemplified. It is the mind destroying the object in the process of knowing it , as the Western explorers of these tribal societies transformed them out of their own natural state by meeting with them.
For Levi- Strauss and this I remember, the ' primitive mind' is not ' primitive at all' and may be in its linguistic complexity and social structure far more intricate than the ' civilized ' as it were sophisticated worlds we believe we live in.
I read this work as a way of being acquainted with a great mind, a mind which to my mind proved to be quite elusive and even distant.
But clearly the exploration made by Levi- Strauss of his own inner and external worlds is one which calls to the curious human mind and heart in its quest for understanding ' of the other'
Montaigne took a trip in the Brazilian jungle in the twentieth
century, looked in the mirror and saw the face of Levi- Strauss.

I like to travel and to observe the cities, landscapes, the plants and animals and the human inhabitants of the countries I go to. So does Levy-Strauss, and he is a fantastic observer, much more sharp-eyed than I could ever hope to be, and a highly entertaining writer. In this classic he talks about a wide range of observations from a number of corners of the world, but mainly about South America.
The book deals with Levi-Strauss' time as a teacher in Brazil and his trips into the South American hinterland; his escape from Nazi-occupied France; His later expeditions to visit remote tribes in the Amazon; and an assortment of observations about such diverse topics as the frustration of the traveler to never encounter the true, pristine state of a culture, the Indian caste system and the division of public and private space in different parts of the world. The book is full of fascinating anecdotes: My favorite one is how a native chief from observing Levy-Strauss grasped the social importance of writing, but not its role in information storage and transmission. He bluffed to impress his underlings and drew freshly invented line configurations on a paper. This leads Levy-Strauss to observe that from the invention of writing to its universal knowledge a few millennia passed, during which it did not serve to liberate the masses, but to control them. Such wide-ranging philosophical associations are frequent and were very enjoyable to me. The book is, however, definitely not only a collection of anecdotes, but in parts a very detailed description of the life of some of the native tribes he visited in the Amazon. Drawings of artifacts, patterns used in body-painting and photographs supplement the text. We are given both anthropological descriptions of the lifes of these peoples, their social organization, attitudes and material culture, as well as Levy-Strauss' personal experiences when living among them, sometimes his friendships with members of these tribes. Of course these people were strongly affected by the contact with European civilization, often to the worse. We also learn about these developments. There isn't really much direct explanation about his theoretical approaches to anthropology. This is the kind of book which made me wish that I could have been an expedition member of Levy-Strauss' team. Highly recommended.

One way to gauge who's in among fashionable academics is to read the catalog for the "Writers and Readers' Documentary Comic Book" series. Sartre has an entry, and so does Derrida, and Lacan. Thirty years ago, you would have expected to find an entry in this index for Claude Levi-Strauss. No more. Translations of his principal works appear to persist in print, but the sales numbers are look low, and he seems almost to have disappeared from the trendy book reviews and such. This is perhaps a matter for at least idle curiosity: Levi-Strauss is surely no more abstruse than his magisterial contemporaries - but no less so; one is perfectly willing to be relieved the obligation of ever picking him up again.

With one exception. In style and temperament, Tristes Tropiques is so different from almost everything else Levi-Strauss wrote that it is hard to believe it is written by the same man. Oh, the primitive tribes are there, and a brief personal intellectual history, that offers a bow to Freud, and Bergeson, and Saussure. In my own copy, which I first read about 1980, I even have a pencilled notation "structuralism" - this at page 375 (Pocket Books edition, 1977). But there is almost none of the portentous vacuity that you had to cope with in the so-called "serious" works.

What you get instead is Levi Strauss the raconteur, full of travelers' tales. He dines on roasted parrot, flamed with whisky. The termites make the earth rumble. Virgins are made to spit in pots of corn, to provoke fermentation - but "as the delicious drink, at once nutritious and refreshing, was consumed that very evening, the process of fermentation was not very advanced." You almost expect the anthropophagi and the men whose heads grow beneath their shoulders, that you meet in the Voyages of Sir John Mandeville, Knight.

Laced through it all, you get a kind of austere sadness which is either (a) a tragic view of life; or (b) a kind of self-indulgent posturing, depending on your temperament for skepticism. "Every effort to understand," he says, "destroys the object studied in favor of another object of a different nature." Or: "Anthropology could with advantage be changed into 'entropology', as the name of the discipline concerned with the study of the highest manifestations of [a] process of disintegration."

Well, call me anything the like, they say, as long as you call me for dinner. It might even be an elaborate con. But so, for that matter, might the stories of Herodotus were you get the same mix of the eclectic and the tolerant, the surreal and the sly. Herodotus, we may note, is one of the first great works of Western literature. Let's hope that Levi-Strauss is not one of the last.

This is Levi-Strauss most readable book, and it is a fantastic introduction to the "why" behind his interest in structuralism. There are hints of the various methods and approaches that he uses in later works, but this book shows why he was to develop structuralism in later works. The writing is clever and eloquent, and various conclusions he made about cultural diversity address contemporary concerns in a highly articulate and responsible manner. Read this book before delving into the other writings of one of the 20th Century's most important anthropologists.

Tristes Tropiques, surely one of the great books of the twentieth century, is Levi-Strauss at his intoxicating, idea-overloaded best and an elegy for a world that colonialism and then globalisation have doen their rational best to annihilate.

Levi-Strauss, like most thinkers who come up with new ways of describing the world-- those who Richard Rorty calls "inventors of philosophical vocabularies"-- has of course been mis-read and his ideas mis-applied, as we see with the much-hyped "creation" and then "demise" of "structural anthropology." The real pleasure of this book, which mixes fascinating accounts of Levi-Strauss' travels in Brazil in the '30s with autobiography, and adds chapters on the Maya and ancient Hindu (Indian) civilisations, is in its sheer mass of artfully arranged detail and its endless, provocative play of ideas.

Levi-Strauss stays conversational, descriptive and straightforward, avoiding academic jargon and obscure references. He assumes you know the basics about people like Freud, Marx, Darwin and the Buddha, and then shows you a trip through largely non-industrial societies which unfolds from anthropological description into deep philosophical speculation on the meaning of society and life.

In Brazil, Levi-Strauss watches an illiterate but canny chieftain use his anthropological fieldnotes to intimidate his illiterate tribesmen subordinates, and speculates on the parallel origins of writing and slavery. In Matto Grosso, he meets a butcher fascinated with elephants, since "he could not imagine so much meat in one place." On the banks of the Amazon, a non-industrial tribe is dying, hypnotically lost in the symbolic intricacies of an ancient social system that makes its citizens inbreed. In India, Levi-Strauss watches Islam and Hinduism-- the "locker room" and "mother" religions-- wage symbolic and then real war post-Independence.

The book starts as anthropology, turns into philosophy, and ultimately becomes a critique of the West, driven by "reason" and technology to shake off what Levi-Strauss calls the "thick blanket of dreams" with which non-industrial civilisation arranges the Universe into Meaning, which remains for the industrialised world the greatest and unanswered question.

But Levi-Strauss does not idealise the primitive. His point is that through the study of those and that which are different, a kind of "ideal model" of society-- one which will never exist-- can be built in the imagination, and people can evaluate their world by reference to this community of mind.

This is a remarkable book-- easy to read, engrossing, and endlessly thought-provoking.

allright, i havent read this book, but reading other reviews guarantee its a good book. my question is i can't seem to find this book anywhere; amazon doesnt carry it, nor do any other bookstores i've checked. i've gone online and looked hard for it, but all i come across is the original spanish version, whereas i dont speak spanish. the review states that this book has been translated into most languages, but where are the english translations. if you have information where i can purchase this book please email me at josecruz@sfsu.edu, thanks.

Mind's labyrinth has reached very few times such level of anxiety, desperation, loneliness, introspection and madness as you will experience with this story.

Ernesto Sabato wrote one of his three masterpieces with such eloquence and conviction that you will wonder after having read it why this monumental work is not better known.

This notable writer and thinker, not only paid his personal debt to Poe, but all a gallery of inquisitions, observations and statements about the human nature, will integrate this colossal portrait of Castel and Maria.

E.S.belongs to that dynasty of major Latin American novelists with admirable figures such Borges, Cabrera Infante, Cortazar, Quiroga, Asturias. He has been a man of sharp intelligence, astonishing erudiction and refined culture. I really hope you to read this book and from the first page you will be struggled by an invisible arm that will envolve you in this passionate and extraordinary portrait.

In last instance there was only a dark and lonely tunnel: mine!

juan pablo castel is the mind of men who strive to find a meaning to their existence. juan pablo's mind is a world of fanatasies that puts him on the verge of reality. here we have to examine the labyrinth of his mind and find that all he was searching for is merely the return to his infancy. we shouldnt be surprised that every men with an extraordinary intelligence, finds himself trapped in this purposeless universe. when men discover that they're left alone responsible for their actions, they seek nourishment from an idealized concept. in this case, this concept is maria iribarne. knowing that god doesn't exist (at least in the way we wish to beleive) juan pablo travels backwards in time to the origin with the hope of understanding his chaotic existence. this is where juan pablo becomes an existentialistic individual who simply wishes to be non-existential. the tunnel here refers simply to his mind. castel finds himself in the middle of nowhere, with no purpose at all. the paint refers to the door that will open his mind to maria that represents an illogical mind. though from the surface, we might think that it is castel's mind that's twisted, unpredictable and perhaps deviant, i must say that there exist order, pattern, and lucidity. it is maria's mind that is illogical with a lack of sense of the world that surrounds her. castel is the only victim of a cruel and insensible game that leads him to the deepest state of mind that could be nearly impossible to recover from.

Ernesto Sabato is best known for the second of his three novels, ''On Heroes and Tombs,'' a massive, intricate chronicle of murder and passion set in the Argentina of the 1950's. In his 1948 debut novel, ''The Tunnel,'' these themes are already on display, but in a simplified, almost fabulistic form. Mr. Sabato's narrator introduces himself, his crime and the object of his passion in the very first sentence: ''It should be sufficient to say that I am Juan Pablo Castel, the painter who killed Maria Iribarne.'' He then launches into an account of his affair with Maria, a married woman who first draws his attention at an art exhibit. Once their affair begins, however, her elusiveness provokes his jealousy, plunging him into a ''personal hell of analyzing and imagining.'' Does she see other men? Does she actually love her frail, blind husband? Does she love Castel himself? His attempts to answer these questions grow increasingly contorted and obsessive; finally, his crazed solipsism displaces romantic passion as the real subject of the novel. While Castel crouches, knife in hand, in the shrubbery outside Maria's weekend retreat, he makes his condition explicit: ''After all there was only one tunnel, dark and solitary: mine, the tunnel in which I had spent my childhood, my youth, my entire life.'' When it was first published in Spanish, ''The Tunnel'' won the applause of Thomas Mann and Albert Camus and was described as an existentialist classic. Still, in this fine new translation by Margaret Sayers Peden, Mr. Sabato's novel retains a chilling, memorable power.

Juan Pablo Castel is a tormented and insane painter who falls for Maria, a woman he meets at an art exhibition. She is married to a blind man -the subject of Sabato and Saramago's obsession- and has a house in the countryside. She is also the mistress of her own cousin. Castel discovers this and goes mad with jealousy. We have no way to know the truth, because everything in the novel happens inside Castel's mind.

When I first read the novel, in 1989, I thought it was a great psychological thriller, a true gem of existentialism. My praise for it has diminished, though, as I have come to dislike the guy. On a superficial level, it's just about the mad obsession of a lonely and depressive loser who is unable to cope with his passion and that leads him to commit a crime. If you find it profound and revealing, then enjoy it.

This is the most complete HTML reference I have ever seen. While it is not a textbook, it certainly lives up to being the Ultimate HTML reference. It is as valuable of a recource as many of the other reviewers have said.

Years ago, I created my own website from scratch using HTML. It was an extremely simple format with no bells or whistles. Over the years, I have tried to keep up with all the new options in HTML and XHTML. The ability to do more with the code has given me far more options. Now I can use code to do what I envision my website rather than work within strict parameters of what the text will allow.

With this said, I am not a professional website designer by any stretch of the imagination. I'm not sure if I'm following proper HMTL (or XHMTL) protocol or if I'm using a lot of code that is just confusing my viewers' browsers.

The Ultimate HTML Reference can be used in a variety of ways. The first chapter explains the differences and uses of HTML versus XHTML. The rest of the book is separated into intuitive sections so that those new to HTML can learn step by step. Finally, the author has added a variety of extremely useful appendixes: for code that is rarely used anymore (and often no longer supported by common browsers), for non-standard elements, and code in alphabetical order for easy reference.

Great reference as I'm using HTML on our website and with job postings. I needed something a little more in depth so that I can do fun things with them and this has been great. Some of it's a little over my head which is why I purchased a second reference. What can I say, I'm kind of a techie, office geek and I like to learn. :^)

HTML is the root and powerhouse of every site, and the only language key to every web site's existence. So THE ULTIMATE HTML REFERENCE is also a key source for any who would master HTML programming. One of the world's experts in HTML produces a comprehensive reference on the topic, packing scripting notes with explanations and examples. Any library catering to programmers - and any working Web programmer - as well as many seeking a clear reference introduction need THE ULTIMATE HTML REFERENCE.

Diane C. Donovan
California Bookwatch

For over ten years, I have enthusiastically promoted Dave Taylor's "Creating Cool HTML 4 Web Pages" book as my favorite HTML reference book. Its organization, code examples, and writing style are first-rate. I think I may have found a worthy replacement in Ian Lloyd's new "The Ultimate HTML Reference", though I say this with the understanding that this book is really intended for the hard-core HTML coder who needs a handy reference for one of those weird commands that didn't come immediately to mind. This can be a really useful reference for the super-advanced coder, though beginners can get a lot out of this book, too.

Unlike Taylor's book which was laid out in a format that permitted the user to start with simple tasks and build on them, The Ultimate HTML Reference is organized by HTML elements (Structural Elements, Head Elements, List Elements, Text Formatting Elements, Form Elements, Image and Media Elements, Table Elements, Frame and Window Elements, and Common Attributes) and the attributes within the elements (for example, Chapter 4, List Elements, is divided into the various attributes like dl, dd, dt, dir, li, menu, ol, and ul). It even provides a little instruction for basic Javascript commands like onkeydown, onmousedown, ondblclick, and others.

One of the appendices covers deprecated elements - that is, those elements and attributes that are no longer supported by the newest HTML and XHTML standards (but most browsers still permit their use, just the same). Another covers some of those special (read that annoying) proprietary and nonstandard elements (remember the "blink" command in Netscape--that only worked in Netscape?).

The organization of the book makes it very easy for individuals with at least some HTML coding experience to locate the elements and attributes they need, and describes in just enough detail how to apply them. While there aren't as many examples as I might like, there seem to be enough for most users. What I do like is the compatibility chart that goes with each attribute. The chart displays compatibility (Full, Partial, and None) of the attribute against several versions of the most currently popular browsers: Internet Explorer, Firefox, Safari, and Opera.

Within the book's first 25 pages, readers receive preparation for upcoming changes to the HTML standards, as XHTML (eXtensible HyperText Markup Language, a hybrid of HTML and XML--eXtensible Markup Language--a highly structured, rules-based markup language) begins to take over. XHTML tightens up some of the structuring that was missing in HTML, which makes the code much more readable and easier to modify as needed, and if you need to transition to full XML (for things like content management systems), much of the work has already been done. HTML 4.0 and earlier code, in comparison, can be really sloppy, but it still renders just fine in most browsers. For example, in HTML 4.0, capitalization is optional, and line endings don't need to be terminated in a formatting attribute, like "".

XHTML also imposes more stringent rules on quoting. Every attribute value must be quoted. For example, quoted attributes like class="gallery" are mandatory in HTML 5.0 and newer. HTML 4.0 code permits code like class=gallery.

The author takes pains to differentiate the older HTML vs the new XHTML, and if you haven't started coding in XHTML, be prepared to break newer browsers on their way to a computer near you. Not today, but maybe a year or two (or three) from now, the older HTML formats will begin to disappear as XHTML becomes the new standard. If you want to read more about the differences between HTML and XHTML, check this page out. But I digress...

What surprised me were the number of new attributes and elements that I had not used before that are a part of XHTML as well as newer releases of the HTML specification. It turned out to be very useful in a recent office project where we converted one of our product manuals to HTML--a project that had plenty of tricky points to deal with.

What this book only briefly touches is Cascading StyleSheets (CSS), which are used to apply more advanced and creative formatting to web pages. That said, CSS is completely out of scope to this discussion, though it may be good to know that the same publisher, Sitepoint, has a companion volume, "The Ultimate CSS Reference", by Tommy Olsson and Paul O'Brien, also $44.95. I was so impressed, I bought a copy for myself. I've already discovered that The Ultimate CSS Reference is equally valuable to a web programmer's arsenal of reference materials. A Javascript book from Sitepoint is also in the works.

A companion website contains everything in the book, fully hyperlinked and searchable, as an additional valuable resource. It's free, to boot. The free companion site to the CSS reference book can be accessed at http://reference.sitepoint.com/css.

What can I say? This book replaced Taylor's book as my primary HTML reference at home and at the office. It's well worth the 45 dollar price-tag. I can only find fault with the fact that it doesn't have enough chunks of sample HTML and illustrations of how the HTML will render. Most of my loyal readers (?) know that I'm pretty tough with my ratings, but taking that really small negative into account, I give this book the MyMac Magazine rating of 4.5 out of 5.