Edward Books

For anything related to training, I find Mager to be the best source. He speaks plainly and his books are easy to read.

Dr. Robert F. Mager may be the master of understatement. When you read his precise recipe for creating successful instruction, you are left with the realization that your life could have been much simpler had you encountered this wisdom earlier in your existence. Dr. Mager is not recounting some brand new theory or blinding discovery. He is communicating a logical and systematic process for defining what instruction can do. In the process, he helps you determine if instruction is the solution for your performance problem. He shows you how to set goals, identify task objectives and task sequences, identify the skills and characteristics of the persons you are teaching, and develop and refine your instruction into an effective change agent.

An easy reading reference for training professionals. It breaks down into simple terms, the complex process of developing training.

The 1988 edition of this book was the course reference text in my college classes on "training development, implementation, and evaluation ". I am still working in the training industry, and refer the the book frequently.

Mager has written an outstanding book for the beginner to intermediate trainer/curriculum developer. He addresses the skills and procedures necessary for designing instruction. The book is an enjoyable read, which guides you through each step of design, development, implementation and evaluation!

Some of the real life business cases in this book puts emphasis on the different behavior in every organization. How an organization react to the unstable economic condition of the country, How an organization maintains the M's of Management namely: Man, Machine, Money. How's the TQM of every organization, How sensitive an organization to the needs in the market, How they accept upcoming competitors and investors.Lastly,a must to read book Because everything you want to know about today's business environment is here!

I've read this book way back 1997, in one of my MBA subjects. This book comprises of real life business issues and what really is happening in the external and internal environment of an organization. Management does not only mean the people but also, time management how we budget and allocate our time to different areas of responsibility.

I've read this book way back 1997, in one of my MBA subjects. This book comprises of real life business issues and what really is happening in the external and internal environment of an organization. Management does not only mean the people but also, time management how we budget and allocate our time to different areas of responsibility.

This book has something to do with today's business world, some of the featured real life business cases puts emphasis on how the M's of Management namely Money, Man, Machine, Materials interacts and how we utilize them to function efficiently and effectively.

A rare an astonishing book that is criminally out of print.

Excellent and enlightening in every way.

Statistical science came from gambling. Thorp takes us full-circle and explicates modern (well, pretty modern) probability for different gambling games.

I obtained this book shortly after it was originally published. The writing is clear and to the point. And he makes swift work proving that you can't be a winner in a losing game.

But, in this book he also proves that there are always areas of potential advantage that can get overlooked because they are "so obviously" not productive. So he treats unlikely areas that actually have incredible potential because no one is looking there.

Like horse racing and the "Wheel of Fortune" in the casino.

I've been highly appreciative of E. O. Thorp's material for years. This book, though limited in scope concerning casino gambling as a whole, primarily treats the areas of gambling where there is a greater chance of obtaining an edge to monopolize as a professional.

In 1980 I became a professional card counter primarily due to Thorp's work in the '60's (Beat the Dealer) and was able to take advantage of the best opportunities due to use of the Kelly criterion which he promotes in this book. And made great money for the time period. For that alone I'd thank him.

In "The Mathematics of Gambling", he mentions different strategies that could be possible to exploit in the world of horse racing. Thorp had already joined another math wiz, William T. Ziemba in promoting "Beat The Racetrack: A Scientific Betting system", also mentioned in this book.

After a year getting tired of smoky casinos and being surrounded by losers, I channeled my honed math skills into trading futures and derivatives. Hearing about Thorp's positive mention of Ziemba's book above and obtaining a "Beat the Racetrack" computer, I spent a month after hours at Chicago's Arlington Park and averaged more than $350/day starting with less than a $600 bankroll. He was right again.

No matter how you use the information contained in this book, even just as a reference and guide to thinking out of the box; you should profit. When you get this book, you are in possession of intelligent writing from a man who has no peer in managing money on a large scale. Just do a search on the author in Google.

It would be difficult to not be amazed.

... only if you really want to sit down and read it. You can see this book in it's entirety at http://www.bjmath.com/bjmath/thorp/tog.htm

It's posted by the author and in PDF format.

Good Luck at the tables!

This book gives a quick overview of making money, or losing money more slowly, at various games of chance. Thorpe was best known for "inventing" a system of card counting for blackjack and basic strategy. He wrote the 1962 book "Beat the Dealer" which spawned a whole genre of win-at-gambling books that continue to this day.

"The Mathematics of Gambling" is quite different from those other books. For instance, it does not focus on just one game like most of the others. In fact, it barely explains a game at all. Instead, it describes the mathematical methods that might be used to win at the game more consistently. Think of this book as a starting point to understanding gambling theories.

The book starts with Blackjack, of course, and gives a very brief overview the game and betting strategies. This is mathematically heavy and many details are left out. It is followed by a counter-point of Baccarat which Thorpe concludes mathematically has much less room for winning strategies.

At this point, the book is just getting started. Although most gambling books focus on card games, or just casino games; Thorpe also gives mathematical insight into Horse betting and Backgammon. There are no clear-cut strategies forced upon the reader, just a general pointing in a direction that might prove helpful.

And that is the whole issue with this book. If you are looking for the one-true-path to gambling winnings, look elsewhere. If you want, instead, to read about mathematics applied to betting games this is the book to start reading. The writing is precise and clear and the math is not too horrid. Especially helpful is the time Thorpe spends setting up the underlaying math to working out a potentially successful strategy. Also, the final section on money management is excellent even if your game of chance is the stock market. A game Thorpe also wrote about in "Beat the Market".

Very unusual volume: stark cover; Table of Contents consisting of "Paint," "Sound," "Space" and "End" with chapters named A-Z; no Preface--though quite extensive Bibliography. Symmetrical structure--about 135 pp. each on music and art, with the central "Sound" flanked by shorter sections on painting and sculpture, flanked in turn by an engagingly lucid intro and suggestive conclusion: the resonant last words of the book are "no one, by definition, knows."

"Paint" is organized by artist while "Sound" is mainly chronological, since Strickland argues for musical lineage from Young to Riley to Reich to Glass, while his heterodox view of Minimalist painters, most Abstract Expressionists in any other book, presents Newman, Reinhardt et al. as working independently and at philosophical odds with one another. Strickland's sympathy is clearly with Reinhardt's anti-manifestos and against Newman's high-flown theorizing, though he praises his art.

In fact the author seems to have an ingrained suspicion of theorizing in general. An excellent cultural historian, he is not a philosopher, unless maybe a Sceptic confronting the conventional wisdom of art critics. As a music prof, he gets A+ for chutzpah with his "Emperor's New Clothes" approach to mainstream art critics and the commerce of the art world, which he describes on p. 2 as a "futures market." By the time he gets to the sculpture, Strickland's scepticism extends to the artists themselves. That section leads to a conclusion verging on a retraction in its ambivalent review of the Minimalist enterprise.

His views and often droll style are refreshing. His formal dissections of the painting are more detailed than those of the music--establishing his bona fides?--and I'd like some more of the structural analysis he devotes to the transitional Glass Quartet, and more repros of the art and scores--but downloads are generally easy to find, so no big deal. I'd even like some more philosophy, e.g., a discussion of the work in terms of Jamesonian postmodern depthlessness. Since Strickland dismisses the very term postmodernism as "vulgarity" by p. 3 (along with Glass' commercials on "the boob-tube," ersatz-Minimalist advertising and "well-heeled culturophages") you get the feeling that's not on his agenda any more than campaigning for Mr. Congeniality. There are fine books by other music profs dealing mainly with their subject (Potter musicologically, Fink sociologically), but this remains far and away the most comprehensive survey of the artistic/musical movement as a whole, and you can't ask for everything...from A to Z?.

Mr.Stricklands' essays are very insightful with regard to the rise of minimalist music. I was intrigued enough about Terry Riley after reading about him that I went to his website and purchased "In C". I am a fan of Reich, Glass, Young, and Adams, but had somehow let Mr. Riley slip through the cracks. The 25th Anniversary reissue of "In C" is well worth the effort. It was very refreshing to read about these people, and Mr.Strickland shed some new light on a sometimes confusing era. The same cannot be said for his handling of the minimalist painters. His essays were often repetitive, and he seemed to be struggling to find metaphor behind every zip and brush-stroke. I am not a fan of minimalist sculpture, and so recuse myself from entering into a discussion about the third, and last, section of his book.

Strickland has situated Minimal Music within a vigorous and complex context here finding useful parallels with the minimalist canons and credos in the visual arts, and the bridges found there I think are many times tenuous and self-congradulatory for it is not a proven affinity, as Badiou might have found in the consistent modality within artistic movements.Within the visual arts that considers itself "minimal" began their gestures toward the search for a "purity",a "spirit" an "unadulterated" concept in the form of reducible shapes and geometries many years prior as with Barnett Newman(working simultaneously within the mileau of the maximal gestures of Jackson Pollock)and Ellsworth Kelly.So there has been a longer shall we say "gestation" period for it in the gaze,not the "ear".Although LaMonte Youngs long-sustained lines from his "Brass Octet" dates from the early Sixties, as other Fluxus expressions of the "minimal" event but that is more Dada in effect. The visual arts scene however was an early enthusiastic supporter to this repetitive music,more so than academia or the established concert venues,until it became popular.
So the "minimal" in music slowly made pathways into establishment venues,opera,and performance art,and it was well-suited with the post-modern canons of the apolitical passivity(only Fredric Rzewski bridged this gap to the political subject) and today it is commonplace,the fashionable circuits mixed with the strains of expression of the popular avant-garde, obsessed with the market and popular culture, the buzz and being loved.
Interestingly the structure of this book is divided for this emphasis into Paint, Sound, Space, and Strickland keeps this dialogue intact. So we find such geometrical creations by Donald Judd,identical size boxes descending downward along a wall,or simply cubes of varying shapes or the aluminum,plexi-glass,cubes,boxes situated as for eternity in Marfa Texas, a minimalist shrine in an old Army Base he purchased has no real equivalent in music. Likewise the powerful impersonal spirituality of the florescent lighting schemes of Dan Flavin or the shaped steel plates, and torqued ellipses of Richard Serra or floor covering, and fifty yards long wood planks and floor steel tiles of Carl Andre, not to mention the committed painters as Ellsworth Kelly, Frank Stella, or Bridget Riley. All are here as Sol Le Witt.And again the equivalents in music areless than adequete,it isn't possible to speak of the two fields as sharing a focus.I beleive there are useful equivalents but it is on a case by case basis. I consider the first piece of musical minimalism,around Picasso's time and Stravinsky to be Erik Satie's "Vexations, a 9 Hour work of the same thorny quasi-chromatic phrase for piano solo, repeated incessantly at the same tempo or Cage's "Etudes Australes" a piece of minimalism for its static-ness,even orchestral pieces of Xenakis have a "stasis" dimension to it,that certainly has a more orthodox affinity for the term than the what became therather surface simplicity,the market concoctions of Glass,,Reich and Adams. These diverse kinds of works(that Strickland doesn't mention) are really never viewed from this perspective.
Strickland however keeps his narrative close to this visual world.But as close as one got to vigorously conceived works when all this began in the Seventies was Philip Glass who went by way of opera and that was a good vigorous start to place the minimalist musical canons within establishment venues,with a great structural pallette in place now to test its scope and longevity/ With text, theatre, peformance art and concept all now were burdened within the minimalist context.As important as these in-roads were Glass hadn't the theoretical ambition to nurture its implications further ,so he found facile route the most exciting and lucretive form for minimalism,now with electronification and augmented decible levels,trying to find affinity with the magnetic force of the rock genre/venue to some degree. He then simply fell prey to opera's complaisant seductions relying on tried and tested forms within opera's clostered structural genres, as duets, trios,intrumental interludes as in "Aknahten", and latter works the one with the simplistic use of the text of Doris Lessing.His works then after the operatic periods simply saw greater exhibitions of minimalist homogenizations of concept,surface flashes, reduced down to its lowest accessible form,without obviously jumping into another genre,as style=lized rock.
Where is the affinity for innovation and musical experimentalism? so prevalent in Glass's early ensemble Farfisa Organ works. So minimalism in ascendancy was quickly left to the market to consume it, Hollywood,wealth and power were safe havens for its musical language.And film scores abounded as the "Exorcist" in parts. Again Strickland adheres to the visual arts in order to buffer a safe zone within it, and to see where the two meet. They never really do,for music is more a collective experience,"let's groove together" whereas minimalist visual art is never hardly that it is an intense personal experience of contemplation. For these parallels,finding painterly concepts of tone, and gradations of colour distributions are largely useful if you examine the "origins" the original repertoire of minimal music, as lesser known composers as the late Terry Jennings and Tom Johnson. But as time wore on past the Seventies and Eighties minimalism found fewer and fewer similar conceptual and expressive features with the hardcore visual arts and theoretical paradigms of reference. Musical minimalism became homogenized, where even rockers found service in its (now-obvious)percolating rhythmic pulses,as Blondie,Devo,and the Techno studio layering cadres,there is even an "elevator music" minimalist jazz.The "minimal" canon in music became simply a reproducible language crossing borders as an oil-slick approaches distant shores. Strickland here thinks these "migrations" was one of minimalism staying powers, a longevity factor which proves its profound content, when in fact it was part of its dilution and demise into greater forms of homogenizations, and now fodder for least common denominators of expression subjected to it.
La Monte Young however,is given good space here, a post-Cage artist long a recluse creator,who found pleasure in listening to telephone generators, and motors, the inherent drones embodied in what we simply refer to as a "noise" also found an affinity for Just Intonation and the music of the East(as Reich,Riley,Glass) and mounted hours/days long performance of electronic drones, with Marian Zazeela,at blasted decible levels. He however was never a market icon, (no commercial potential as Frank Zappa would say)but in fact came closest toward finding equivalents to the visual arts conceptual world as Strickland searches for here.He did this in the Nine Hour "Well-Tuned Piano".
The concept of the long durational length is something that minimal music should have found from its start, not at the end of its demise. Of course the late Morton Feldman has been a rescuing agent here with his 6 Hour "Second String Quartet", the various piano solos "For Bunita Marcus", and "Triadic Memories", and the hours log "For Philip Guston, and "For Christian Wolff", for Flute and Piano are surely masterworks within musical minimalism. Length by itself is not the component that makes minimal music find itself with its visual arts brethren, no in Feldma's latter works you have also the incessant repetition of music materials, sometimes with self-defeating breaks, as in Feldman, where predictable almost Stravinskian moments come to the surface.

I think minimalism ended long ago,it does however still nourishes a pleasure in pure form and space, the "miniature" work is also a form neglected here.We speak now of a "post-minimalism" largely represented by the orchestral works and operas of John Adams. It is still a language that produces a music but why search for an experience already experienced.

In Strickland's previous book, American Composers, he demonstrated a broad knowledge of various musics (he had written extensively, for example, on Glenn Gould and John Coltrane)in lively conversations with leading composers. His book on Minimalism is primarily first-rate cultural history, with more technical and formal analysis, curiously, in the sections of art than in the central section on music. His style is fluid and often witty, occasionally turgid only in some of the more technical passages, perhaps inevitably.

One thing missing in the book is reproductions of the art and music (there is one at the head of each section), possibly because Strickland seems to be trying to create a Minimalist work of art himself here--from the bare buff cover (in the hardback; the revised paperback edition includes the ISBN code, laudatory reviews and a synopsis on the back cover) to the naming of chapters by letters and sections by a single word ("Paint, Sound," "Space" and "End"). There is nothing minimal about the documentation, however, for the book relies on an abundance of primary sources.

The section on painting is probably the most controversial. Strickland has lengthy chapters on Barnett Newman, Ellsworth Kelly, Ad Reinhardt et al. in redefining Minimalism as a movement developing WITHIN Abstract Expressionism. Many of the 60s painters normally identified as FOUNDING the movement he treats as academizing the movement. His viewpoint is equally debatable and thought-provoking, defended on empirical rather than conceptual grounds.

The section on Minimalist music is the liveliest as Strickland traces in remarkable detail its development from LaMonte Young through Terry Riley to Steve Reich to Philip Glass. His attribution of a chain of influence seems just, though the last composer has discounted it in favor of acknowledging Indian music as the central influence on his early work. Strickland discusses the influence of that music and Indonesian music, earlier classical music (from Leoninus and Bach to Debussy to Webern) and jazz (Coltrane is referred to again and again by the composers and the author).

The best sections may be the first and last, and those are the ones to read for those uninterested in studying the subject in depth. Strickland's interdisciplinary delineation of Minimalist characteristics in "A" is masterly; his discussion of the philosophical implications of the movement in "W" is thoughtful and occasionally poetic.

An excellent book. I feel like I've a more encompassing understanding of the big picture after reading this book. Before I was vaguely aware that I was missing the forest for the trees.

My only reservation about the book is its age. I wish the book were a little more recent, and I wonder if some of the newer developments might be missing.

The central purpose of this book is to make sense of the fierce issues and debates concerning modern macroeconomics.

The authors suggest that the text be used alongside a basic macroeconomics textbook or as a main text in itself.

It is an excellent introduction to what is recognised as a controversial area of economics. The analogy of climbing a mountain and not being able to see the landscape is a very pertinent one.

There may be disagreements about the content of this book. Indeed it is easy to adopt a position about exclusions but this is a side issue. The format of an historical perspective in the development of ideas coupled with a consideration of the major positions within the debate works well.

It is clear from reading the text that the authors are very familiar with the subject matter and that each has contributed to the individual chapters on the specialist areas in a way which carries along the general reader.

Two particular things stand out for me in this text. The first is the section within the first chapter devoted to methodological issues and the associated section on rhetoric in economics. This is a key to a comprehensive understanding of the nature of the debate and the competing schools of thought involved.

The other standout aspect of this book is the interviews with various protaganists of the differing schools. Some pretty big names here including that of Nobel Prize Winner, James Tobin who only died last week. And what interviews. Not for these authors the standard sort of awe-struck beholden interviews but foccussed on the central points of the debate, exploratory questions which give real insight into the people and the issues involved. An excellent approach and one which has proved to be very successfully applied.

The final chapter, Conclusions and Reflections provides an outstanding summation and is followed by a comprehensive bibliography.

This book manages to convey in written form the full extent and depth of the macroeconomic debate such that it is intelligible to the educated reader without resorting to more mathematics than are absolutely needed and for that the authors are to be applauded.

In summing up this is a very valuable text which will be an asset to every macroeconomics course reading list.

This book is very useful. It is a definite help to graduate students trying to understand macroeconomics. It would probably not help undergraduates.

The challenge of explaining the major schools of thought, and explaining their strengths and weaknesses is a major one. The authors also go over some non-orthodox schools such as Post Keynesian and Austrian. However, some of the diagrams are poorly explained and the writing is a bit incomprehensible in a few chapters. Also, the book does not go over growth theory, which is probably a major part of any graduate macro class. On the whole though, it is one of the best macro books available.

Snowdon et.al. present a thorough and concise summary of the competing schools of macroeconomic thought and the major scholarly contributions by their proponents. The book is organized in such a manner that one can follow the major ideas and models within the different schools as they emerged, and then follow how these ideas came to be critiqued by a proponent of a competing school. Snowdon et.al do this all by using intuitive interpretations of the literature and without the complex mathematical formulas or empirical test data. Very readable by intermediate standards with excellent information for understanding macro thought.

All these stories are top drawer. You know the few socko stories that one finds in most anthologies? Well, each story in this anthology is top of the line. There are no mediocre or marginally acceptable tales in this book. Amazing!

The stories remind me of early Bradbury and some of the best of the original twilight zone stories. Remember some stories that you just had to tell people they must read (e.g., like Joe Lansdale's "Godzilla's Twelve-Step Program"), well these stories are it! I plan on rereading these, and I've only reread 5 stories so far in my life! That's how good they are! WOW!

Ed Gorman is the most underrated writer of the last 20 years.
Although admired by writers like Dean Koontz, Gorman's work is leagues apart from the formula and routine of ultra commercial stuff of King's clones.He is an extraordinarily prolific romancist but his best work can be found in the short story form.
Although Gorman is an american original his influences can be traced.
His deceptively simple style is a highly original blend of
Bradbury's poetry and nostalgia, Rod Serling's Twilight Zone humanism, King's local colour, the raw nihilistic energy of classic hardboiled writers like Dashiell Hammet and Mickey Spillaine and the "Gorman touch". His plots are tight but his real strenght resides in his masterful characterizations; Gorman's characters are common people "trying to strike a kind of weary bargain with the world", in his own words.
All Gorman's collections are uniformly excellent but I think that Moonchasers and Other Stories is the most eccletic and representative of his short works.The title novella is a little masterpiece of nostalgia, not unlike Bradbury's short works of 40`s and 50`s and King's novella The Body.
Ed Gorman is a master of the form and deserves a major audience.


MOONCHASERS AND OTHER STORIES:

Moonchasers ============================ *****
Turn Away ============================== ****
Seasons of the Heart =================== ***1/2
En Famille ============================= ****1/2
Mother Darkness ======================== ****
The Beast in the Woods ================= ****1/2
One of Those Days, One of Those Nights = ****
Surrogate ============================== ***1/2
The Reason Why ========================= ****1/2
The Ugly File ========================== ****1/2
Friends ================================ **1/2
Bless us O Lord ======================== ****
Stalker ================================ *****
The Wind from Midnight ================= ***1/2
Prisoners ============================== ****1/2
Render Unto Caesar ===================== ****
Out There in the Darkness ============== *****

My first Ed Goman. I can't understand why he's not more popular, even considering Koontz's afterward wehre he points to one reason why. These stories are fantastic and engrossing. Moonchasers and Out in the Dark are the two that shine. All of them have at least something to do with the darkness of humanity, from pedophilia to suicide, to murder. Very moving at times as well. I highly recommend to fans of dark literature.

Ed Gorman is one of the main reasons I am an insomniac. Several years ago, he and a couple of fellow thugs persuaded me to try an anthology. My meat and potatoes are novels, but I soon found a gourmet?s delight in short stories so that I spend several nights reading a tale or two from a collection.

Mr. Gorman?s latest anthology exclusively includes only tales written by him. That alone guarantees that each story is top gun material. MOONCHASERS AND OTHER STORIES contains the title novella along with sixteen superior short stories, and an afterward by Koontz. Each story is well written and makes for exciting mystery reading. Especially superb are ?Moonchaser? with its teenagers and bank robber friendship theme and ?Turn Away?, which the audience will never turn away from finishing, but the other tales are also fun. The guru of short story mysteries has done it to me again by leaving me sleepless in crime fiction with another winning collection.

Harriet Klausner

These flash cards are an excellent reference for remembering the actions and insertions of the muscles in the body. I also used the following which I found to be quite helpful:
Anatomy and Physiology Study Guide: Key Review Questions and Answers (Vol 1) ISBN: 0971999619
Anatomy and Physiology Study Guide: Key Review Questions and Answers (Vol 2) ISBN: 0971999627
If you really need something to help understand specifically the muscles, bones and ligaments of the spine, I highly suggest the following:
Spinal Anatomy Study Guide: Key Review Questions and Answers
ISBN: 0971999600

These 3 last study guides are very helpful because they helped prepare me for the type of questions my instructor asked on my college A and P class. My friend from another college told me about these books because he also found them helpful when she took college A and P

My Grade was a 99 - I couldn't have done it without these flashcards. Everything you need to know is listed, the details are excellent and instead of carrying a heavy textbook I would just put these in my bag and could study where ever I was. I even did it waiting on the line at the supermarket. These cards made the study of human anatomy fast, easy, and painless - what more could you ask for.

I am taking a Human Anatomy class and I am using Mosby's Anatomy Flash Cards with my notes and textbooks. The illustrations are really great! With these flash cards, there is little difficulty identifying different areas and being able to memorize origins, insertions, functions and innervations. I absolutely recommend these cards. They are a great learning tool and are money well spent.

Of all the flashcard sets I have seen*, I prefer this one for several reasons: They are standard 3x5 index card sized, they have the most detail of any of the sets I have seen including multiple views of the same structure, especially the more complicated cranial bones, they are mutlicolored with space for additional notes on the front, which I use to identify the numbers of the structures and landmarks I need to be sure I have learned. The cards identify the most landmarks of any of the sets I have seen, even over the Netter's, which is still a great set for the quality of the illustrations, but the Netter's cards are a bit big for carrying around and often just leave a list of landmarks of a specific area without identifying them. The Mosby's set identifies and numbers each landmark. For some this will be far too much detail, but by marking the structure labels one needs to know, it should eliminate this problem.

However, the cards are printed on basic card stock (which makes it much easier to annotate in pencil). If you require a thick, glossy cardstock to feel like you have something of value, you might want to look at either the Netter's or if you do not need a great deal of detail, the Baron's set also has a nice tabbed indexing system.

For those looking at PT and Chiropractic, I'd recommend the Flash Anatomy series in addition to this one.

(* I work for a university and receive a number of these types of items for review.)

I have been a fan of Roland Larson's math textbooks, as they have always been very clear and the practice problems always make sense. I was recently stuck in some calculus courses which used the calculus textbook by James Stewart, and that book is a nightmare! Fortunately, my multivarible calc prof prefers Larson's book, which is what we use in class. Very good book; I recommend it much over Stewart's.

The publishers of this book emphasize the quality of the computer generated graphics accompanying the examples; I couldn't agree more. All concepts taught (which are quite clear by themselves) are beautifully illustrated by detailed pictures. I used this book in high school and loved it- so much so that I was inclined to take it to college for further reference. If you are looking for a great introductory calculus book, this is the one.

I was truly impressed by the quality of this book, and i use it instead of the standard book my university uses to teach the course (the book is by james stewart).

Excellent examples, really good physics applications, Good images (graphs/planes/spheres/etc), a really good book, it helped lower my learning curve, or maybe that is because the book my university assigns is just horrible.

One of the best parts of this text book is the beautiful array of supplementary figures and graphs. Many worked out examples provide the reader with a thorough knowlege of the concepts before diving deeper into theory and application. This text book starts at chapter 11 (the reader should have had at most 2 semesters of calculus)

Chapter 11 on vectors and geometry of space offer a solid foundation for understanding basic vector functions and operations (dot and cross product, projection and components, etc.), 3-D geometrical shapes (paraboloid, hyperboloids of 1 or 2 sheets, etc.), as well as applications for both, also cylindrical and spherical coordinates.

Chapter 12 on vector-valued functions initiates the idea of rate, velocity, and acceleration vectors and their relationship including vector differentiation, tangent and normal vectors, and arc length and curvature.

Chapter 13 does a wonderful job introducing functions of several variables, using limits, differentials, partial differentiation rules, gradients, max/minimization, and applications.

Chapter 14 on multiple integration is much easier to understand using this text than others. Lots of physics applications using area, volume, center of mass, moment of inertia, and change of variables.

Chapter 15 returns to vectors with topics such as curl (with physical interpretation), divergence, line and surface integrals, Green's thm, Stoke's thm, flux, and parametric surfaces.

Chapter 16 concludes the text by introducing differential equations. Basic concepts, separation of variables, exactness, homogenous equations, and power series solutions offer both as a learning tool and as somewhat of a refresher course.

Overall, the book is very well-written, from the introduction which illustrates the many advantages of calculus over algebra, the insight into careers using mathematics, to the appendices with proofs of theorems, basic differentian rules and answers to odd-numbered exercises (even exercises for the first 10 chapters), this book is a work of art for any math and/or science student.

I am taking an Anatomy class and these flash cards are fabulous. They are easy to look at and understand. I am just zipping through them and they have been a tremendous help in teaching me what I need to know.

fast delivery, quality of item as advertised. these flashcards have helped me so much! wonderful study tool.

thanks!

Just started using these cards to prepare for an upcoming course and I know they will save me much time making my own. In addition, I've already learned all about the shoulder girdle (first section)! However, the only problem I have with this product is that it seemingly (I could be wrong but I'm pretty sur on this) does not include the muscles of the face. Despite that the product does have such a flaw I am sure my recent twenty dollar purchase is the best investment I have made in my studies yet!

These cards are a must for people in the health care fields. They are wonderfully made for the first-time learner and for the person who needs a review. The text includes origins, insertions (although proximal and distal insertions are more accepted), action, reversed origin-insertion action, nerve supply, and synergists. The drawings and text closely follow Netter and Moore.

I was at the edge of my seat from start to finish. I can't believe this author isn't as well known as Dean Koontz or Stephen King. Is there an address or an e-mail for this author?

I LOVED this book. I read the entire novel in less than three days and wasn't disappointed by the finish. I can't believe this author is not as well known as Dean Koontz or Stephen King. Is their an address or an e-mail available so I can let the author know my opinion?

I couldn't put this book down! I read the entire novel in two days and was sad to finish it. I can't believe this particular author isn't as well known as Dean Koontz or Stephen King. Is there an address or an e-mail where I can write to this author.

I am an avid reader of fiction books and I can honestly say, I was very impressed with this novel. I read the entire book in less than two days! I couldn't put it down. Every page, every chapter left you hanging and wanting for more. Bravo!!! Great job Mr. Edwards. I look forward to more novels by you.