Ebook: Februari 2013

Rabu, 27 Februari 2013

[J134.Ebook] Free Ebook The Invasion of Europe by the Barbarians, by John Bagnell Bury

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In the last half of the fourth century, the Roman Empire began to feel the stress of renewed pressure on its borders as Germanic and Asian tribes moved westward. As these tribes settled, they began to form alliances and to convert to Christianity.

But when these very capable tribesmen began to enlist in the Roman military, the empire began to fall under the control of mercenary soldiers. Men like the gifted Vandal Stilicho became supreme commanders and wielded enormous influence at a very crucial period in Roman history. But though the various German tribes were dangerous, they did not menace the Roman civilization in the same way as the feared Huns, who destroyed everything in their path.

In this brilliant history, you will learn why Atilla turned his devouring hordes into Gaul, and how he came within a heartbeat of controlling all of Europe. Discover the truth behind the heroic legends of powerful men like Alaric, Theodoric, and Clovis, and the amazing journeys of tribes like the Visigoths, the Ostrogoths, the Franks, the Vandals, and the Lombards. And as you listen, you will also come to understand the underpinnings of the modern European nation state.

Sales Rank: #104022 in Audible
Published on: 2009-07-08
Format: Unabridged
Original language: English
Running time: 483 minutes

Most helpful customer reviews

0 of 0 people found the following review helpful.
A very worthwhile read.
By Laval49
I purchased this book with some reservations because it was written some time ago and I was not familiar with the author. However, history books do not "age", inasmuch as the author matters more than when it was written. Sometimes new documents are uncovered which shed new light on a topic, but that is rare. The sharp mind of a competent historian is far more important.

Having read the book, I have to say that it has been a most enjoyable reading experience. The author's style and approach are models of clarity, and his analysis/conclusions are fascinating. The author is truly a master historian, I am grateful that the book is still available and very happy to have come across it.

It is said that those who do not know history are bound to repeat the mistakes of the past. This book really drives the point home, even though it covers events that occurred fifteen hundred years ago. A great read.

0 of 0 people found the following review helpful.
Nice narrative
By bruce friedman
I really didn't know much about this time period. The book appears to put together as comprehensive a history, given the limited resources. I think I now have some idea of how the Goths flowed through Europe and some of the Med

16 of 16 people found the following review helpful.
Clear and Intriguing
By James V. Sylvester
This transcription of lectures dates from 1927 yet it still shows up on Norman Cantor's "Core Bibliography in Medieval Studies" (Inventing the Middle Ages, p. 443). There is good reason to continue to include it among a list of works generally of much more recent vintage.
Lucid and engaging, Bury presents a convincing case for the idea that the Roman Empire in the West did not "fall" but rather transformed through assimilation of the various Germanic tribes. Bury's description of the extent to which the "barbarians" strove to work within the empire and co-existed with remnants of Roman society are of particular interest.
Good companions to this work are "Before France & Germany" (Geary) and "The World of Late Antiquity" (Peter Brown).

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Senin, 25 Februari 2013

[R219.Ebook] PDF Ebook Recording Conceptual Art: Early Interviews with Barry, Huebler, Kaltenbach, LeWitt, Morris, Oppenheim, Siegelaub, Smithson, and Weiner

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Recording Conceptual Art features a highly provocative series of previously unpublished interviews conducted in early 1969 with some of the most dynamic, daring, and innovative artists of the tumultuous 1960s. The nine individuals—eight artists and one art dealer—are now known as major contributors to Conceptual art. These fascinating dialogues, conducted by Patricia Norvell, provide tantalizing moments of spontaneous philosophizing and brilliant insights, as well as moments of unabashed self-importance, with highly imaginative and colorful individuals.

Sales Rank: #2119121 in Books
Published on: 2001-02-15
Original language: English
Number of items: 1
Dimensions: 10.03" h x .46" w x 7.01" l, 1.12 pounds
Binding: Paperback
177 pages

Review
"For me, the beauty of these interchanges lies in their historical and philosophical innocence. In reading through them, we are back at a time-1969-when no one knew the future, even if, in a way, it was already present in Szeemann's exhibitions. The book is delicious for its purity, like water taken from somewhere deep in the earth, untouched by the modern world."--"Artforum

From the Inside Flap
"Reading the interviews gathered by Patricia Norvell more than thirty years ago is like opening one of the time capsules Steven Kaltenbach made at around the same time and discusses here. It makes one feel nostalgic for these uncompromising times-so much has changed, so fast! One should be immensely grateful to Norvell for her undertaking and, paradoxically, for the long delay in the publication of these conversations: nothing could have better highlighted the candor and commitment of the artists who participated in this project than their willingness, long after the fact, to let their youthful voices be heard unedited. This is a precious document that casts a fresh light on the early history of Conceptual art, revealing all the doubts and uncertainties its practitioners had to overcome."—Yve-Alain Bois, Harvard University

"These interviews, full of the rich texture and confusion of an art movement at its inception, began as a "process piece" in mid-1969 when formalism still seemed worth defeating. The artists, tired of talking about turpentine, struggle to extend the rhetoric of form, and as they do so, reveal their roles as theorists and philosophers of a newly cerebral art, Conceptualism. Alberro's helpful introduction frames both Norvell's provocative questions and the surprising responses in a useful book that continues the process of historicizing 20th century art."—Caroline Jones, author of Machine in the Studio

"The contemporary interviews collected in this volume shift the ground on which conceptualism in the United States should be understood. The middle months of 1969 were a time of artistic and social unease when artists were anxious to test-and occasionally to declaim, as the interviews demonstrate-ideas in conversation with a sympathetic interlocutor. Patricia Norvell proves to have been an ideal listener. She knew conceptualism well enough to keep the conversations honest, but not so well as to make the artists defensive and wary. The artists had things to say, and were not afraid to put themselves out on a limb."—John O'Brian, Professor of Art History, University of British Columbia

"A key document of the late 1960s avant-garde."—James Meyer, Emory University

"[This book is] a reminder that the project of Conceptual art and its artists' reasons for refusing the object of art were far from monolithic. The differences that emerge in the interviews are spoken in voices that are still fresh and particular, but each voice and position is tied to the moment of the late 1960s, from stoned mysticism to philosophical idealism, from political optimism to materialist critique."—Howard Singerman, author of Art Subjects

From the Back Cover
"Reading the interviews gathered by Patricia Norvell more than thirty years ago is like opening one of the time capsules Steven Kaltenbach made at around the same time and discusses here. It makes one feel nostalgic for these uncompromising times-so much has changed, so fast! One should be immensely grateful to Norvell for her undertaking and, paradoxically, for the long delay in the publication of these conversations: nothing could have better highlighted the candor and commitment of the artists who participated in this project than their willingness, long after the fact, to let their youthful voices be heard unedited. This is a precious document that casts a fresh light on the early history of Conceptual art, revealing all the doubts and uncertainties its practitioners had to overcome."--Yve-Alain Bois, Harvard University

"These interviews, full of the rich texture and confusion of an art movement at its inception, began as a "process piece" in mid-1969 when formalism still seemed worth defeating. The artists, tired of talking about turpentine, struggle to extend the rhetoric of form, and as they do so, reveal their roles as theorists and philosophers of a newly cerebral art, Conceptualism. Alberro's helpful introduction frames both Norvell's provocative questions and the surprising responses in a useful book that continues the process of historicizing 20th century art."--Caroline Jones, author of "Machine in the Studio

"The contemporary interviews collected in this volume shift the ground on which conceptualism in the United States should be understood. The middle months of 1969 were a time of artistic and social unease when artists were anxious to test-and occasionally todeclaim, as the interviews demonstrate-ideas in conversation with a sympathetic interlocutor. Patricia Norvell proves to have been an ideal listener. She knew conceptualism well enough to keep the conversations honest, but not so well as to make the artists defensive and wary. The artists had things to say, and were not afraid to put themselves out on a limb."--John O'Brian, Professor of Art History, University of British Columbia

"A key document of the late 1960s avant-garde."--James Meyer, Emory University

"[This book is] a reminder that the project of Conceptual art and its artists' reasons for refusing the object of art were far from monolithic. The differences that emerge in the interviews are spoken in voices that are still fresh and particular, but each voice and position is tied to the moment of the late 1960s, from stoned mysticism to philosophical idealism, from political optimism to materialist critique."--Howard Singerman, author of "Art Subjects"

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0 of 0 people found the following review helpful.
Five Stars
By nicolas carrasco diaz
just for the smithson interview this volume is important

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Sabtu, 23 Februari 2013

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Sales Rank: #56335 in Books
Published on: 2014-07-20
Original language: English
Number of items: 1
Dimensions: 10.70" h x 1.00" w x 8.40" l, 3.06 pounds
Binding: Paperback
368 pages

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0 of 0 people found the following review helpful.
I am enrolled in MSW at Edinboro University and this ...
By Pratibha Samantroy
I am enrolled in MSW at Edinboro University and this book has proved to be invaluable for my course. HBSE (SOWK 600).

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Five Stars
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Five Stars
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Selasa, 12 Februari 2013

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The essence of plants bursts forth in magnificent hues and surprising palettes. Using dyes of the leaves, roots, and flowers to color your cloth and yarn can be an amazing journey into botanical alchemy. In Eco Colour, artistic dyer and colorist India Flint teaches you how to cull and use this gentle and ecologically sustainable alternative to synthetic dyes.

India explores the fascinating and infinitely variable world of plant color using a wide variety of techniques and recipes. From whole-dyed cloth and applied color to prints and layered dye techniques, India describes only ecologically sustainable plant-dye methods. She uses renewable resources and shows how to do the least possible harm to the dyer, the end user of the object, and the environment. Recipes include a number of entirely new processes developed by India, as well as guidelines for plant collection, directions for the distillation of nontoxic mordants, and methodologies for applying plant dyes.

Eco Colour inspires both the home dyer and textile professional seeking to extend their skills using India's successful methods.

Sales Rank: #52135 in Books
Brand: Interweave Product
Model: 9303065
Published on: 2010-09-14
Original language: English
Number of items: 1
Dimensions: 11.00" h x 9.25" w x 1.00" l, 2.00 pounds
Binding: Hardcover
240 pages

Features

Hardcover
238 pages.

From Booklist
*Starred Review* One of the most elegantly designed crafts books to debut this year, with a sophisticated layout and color photographs that capture well the ecological sensitivities of the artist. Though the art of dyeing has long been associated with natural materials, South Australian first-time author (and creator of hand-made “slow” fashion) Flint maximizes the use of renewable resources while minimizing most harmful footprints. On occasion, she goes to extremes, justifying, for instance, the use of wood to heat boiling-dye waters. Yet there’s much valuable information on every page, in every illustration, throughout each chapter; the author’s very careful orientation to the subject, beginning with collecting plants and finishing with special effects and fabric care and feeding, educates and energizes. Notes about history and practical applications (say, the production of indigo and the creation of natural blues through woad plants) are balanced with charts of traditional dye materials and specific details about processing, including plant oddities such as eucalyptus and St. John’s wort, different effects froma range of techniques (for instance, hapa-zome, or beating color into cloth, as well as the familiar resist )and mordants (the stuff that fixes or makes color permanent). Urban apartment dwellers might be a bit challenged by the philosophy and processes; and a few materials indigenous to Australia are unavailable to those on other continents. Nonetheless, an excellent source. --Barbara Jacobs

Review

"If you've ever worried about the effect dyeing fabric has on the earth, Eco Colour by India Flint will teach you how to use botanical dyes to create beautiful textiles." - Cutoutandkeep.net

"A beautifully presented book...if you are interested in botanical dyes, this is a definite must read." - Shuttle, Spindle & Dyepot

"Slow dyes, like slow foods, require time and effort, but can generate extraordinary results. This book follows that same philosophy. If you take the time to delve deeply and absorb the wealth of information offered, you will find instruction and inspiration in abundance." - Surface Design Journal

"This book is a significant and inspirational addition to the literature on natural dyeing and one which must be read by anyone interested in the topic." - Pam Borchardt, member of the Natural Dye Group, Plant Craft Cottage

About the Author

India Flint is a designer, artist, writer, and sheep farmer. Her work has been greatly influenced by her extensive travels--from Melbourne to rural Austria to Montreal. She is known for the development of the highly distinctive eco-print, an ecologically sustainable plant-based printing process giving brilliant color to cloth. Flint has been working with plant dyes for more than twenty years, and she has artwork in a myriad of collections and museums in Australia, Latvia, and Germany. She currently lives in South Australia.

Most helpful customer reviews

102 of 105 people found the following review helpful.
Beautiful, amiable, but near useless for newbies
By S. Ahern
I noticed others' complaints that this book lacked "recipes," and assumed they wanted very exact procedures with exact ingredients and amounts.

Usually satisfied with more abstract instruction, I went ahead and ordered it -- expecting still to find outlines of generic procedures, some suggested effective combinations of mordants and plant materials, and a bit of orientation for those of us whose prior dying experience has been limited to commercial synthetic dyes on the stovetop.

Be warned: What little this book offers in the way of instruction is buried in long, wool-gathering reflections and chatty anecdotes. If you can discern a complete process, you will have extracted it by flipping around scanning for hints, in rambling text nearly free of useful rubrics other than chapter headings. It may please you to know, from an amusing sidebar, that the ancient Scots considered little boys' urine ideal for dying with one particular material (woad). But I, for one, would like to know for any of the mordants: how much, for how long, in approximately what dilution, for what fiber types, and when in the process?

No-one is born knowing this stuff; we buy books in hopes of learning it. India's work is inspiring to look at and her beautiful book would grace an artsy coffee table, but her prose misses the tutorial mark pretty badly.

45 of 47 people found the following review helpful.
Ecological Delights
By C. Reed
This book has made me take a second look at botanical dyes. This is not a recipe book. Ms. Flint opens up your eyes to all of the dye stuffs in your neighborhood. Like the slow food movement, she advises getting dyestuff close to home. She shares basic principals for getting the color out of common plants. She describes ways to fix color to silk, wool and cellulose fabrics and spinning fibers. She cuts out the nasty metallic salts as mordants by adding time and not always using heat. Her plants and dyes need to cure or age with the cloth. What that means is that a few minutes are spent applying the color and then you set the cloth aside for days or even months before you finish the process. This could work quite well in my busy life. Her philosophy is captured in one of her tips about hapazome, beating plants on cloth to color them. This technique is not as colorfast as the other techniques. But she tells us to embrace this. Decorate a garment in the spring with those flowers and leaves. As the design fades, add to it with summer blossoms and refresh the fabric again in the fall for an ever-changing fabric.

30 of 33 people found the following review helpful.
Beautiful book, lots of info
By M. Fregia
This book has a wealth of gorgeous photography and tons of information on coloring with botanicals. If I stopped there, it would get 5 stars.

The main drawback is that the book's organization is awkward, requiring much study and flipping around to figure out how best to use the botanicals at your disposal. To be fair, much of the information is complicated, making it hard to organize; and there is a good index to help you find that stray sentence you need. If you are willing to plow through and experiment, Eco Colour is a great foundation and inspiration. There are actually a couple "recipes" for quick and easy eco-prints, but patience is still required (the author advises waiting a week to open that lovely bundle of now-rosy silk I tinted with red onion skins!) When you try the flower pounding, please do take the author's advice to make a trial, even if you have limited plant material to work with! :-)

One thing the reader should not miss is that the author admitted drawing during chemistry class! She mentions early in the book the reliable color results that can be obtained using certain chemicals, without the specific caution that these are quite toxic, cautions she does, however, repeat concerning plants that are poisonous, etc. (Please be sure to look up an MSDS if you are tempted to order any chrome salts, etc.)

One of the most helpful things to me was the extensive information on the friendlier mordants, which ones are useful on which types of fiber, and how various ones may affect the final colors you will achieve. We benefit also from little tricks she has learned, such as freezing certain flowers or berries to extract the most color. (Spent blossoms are in the freezer now and will be my next project.) I was fascinated with her ingenuity in figuring out how to dye "on the road" with botanicals encountered while traveling.

While chemical dyes (such as Procion MX) are safe, much easier, more predictable, wash- and light-fast, there is a definite allure to trying to capture the beauty of the plants around us to color our clothing and other fabrics, even if it is fleeting. Eco Colour is a great book for your adventure.

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Minggu, 10 Februari 2013

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Italian lesson book

Sales Rank: #8682347 in Books
Published on: 1995-01-01
Original language: Italian
Binding: Paperback

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‘Your mother has been arrested. She stole you.’

For as long as thirteen-year-old Diya can remember, it’s always been just her and her mum, Vani. Despite never staying in one place long enough to call it home, with her mother by her side, Diya has never needed anything else.

Then, in an instant, Diya’s fragile world is shattered. Her mother is arrested, accused of abducting Diya when she was a baby…

Vani has spent a lifetime looking over her shoulder, determined to make the best possible life for her daughter. Now she must fight for her child, re-opening the door to her own childhood in India and the woman who was once as close to her as a sister.

Told through the eyes of Diya, Vani and Aarti, this is a heart-breaking story of friendship and betrayal, love and motherhood, which asks the question; how far would you go to protect your only child?

The Stolen Girl is an emotional, culturally rich and utterly compelling read from the new must-read name in women's fiction—Renita D'Silva.

What people are saying about Renita D’Silva:

‘Renita D'Silva is a genius at evoking the sounds, sights and aromas of India. A major new talent - I can't wait for her next novel.' Linda Kavanagh

‘Renita D’Silva is a wonderful author who has a natural gift at storytelling that truly impressed and awed me.’ Novel Escapes

‘Renita paints the most beautiful images with a few, perfectly chosen words’. KimTalksBooks.com

Sales Rank: #122962 in Books
Published on: 2014-09-10
Original language: English
Number of items: 1
Dimensions: 7.81" h x .96" w x 5.06" l, .91 pounds
Binding: Paperback
424 pages

About the Author
Renita D'Silva is the author of numerous works, including Monsoon Memories, The Stolen Girl, and many short stories. Her work has been published in Bartleby Snopes, on Paragraph Planet, and other places, and she has been nominated for the Pushcart Prize. Visit her at renitadsilva.com.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Like all of Renita's books
By Linda Quintana Mansouri
Like all of Renita's books, this one involves at least one of the characters making a very difficult choice. Would we all make the same choices, gives the book food for thought. Loved the characters of Diya and Vani, as well as the other characters. You cannot go wrong with any of Renita's books.

0 of 0 people found the following review helpful.
Could not finish.
By Anne Lemon
Could not finish. The story had an interesting concept but was not written well. There were too many descriptions that didn't need to be there and took away interest from the actual story. I kept having to skip a page or two every page or two in order to continue with the story so decided not to finish it.

0 of 0 people found the following review helpful.
Great read!
By Debra Lynn Meisner
I really enjoyed reading this book. The characters were well-developed and I enjoyed the style of alternating among the three main characters' voices. After reading, I ordered three more of her books for my kindle:)

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Rabu, 06 Februari 2013

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The war against the dragon minions of Queen Takhisis rages on. Armed with the mysterious, magical dragon orbs and the shining, silver dragonlance, the companions bring hope to the world. But now, in the dawn of a new day, the dark secrets that have long shadowed the hearts of the friends come to the light. Betrayal, treachery, frailty, and weakness will nearly destroy all that they have accomplished.

The greatest battle they have left to fight is within each of them.

Yet, in the end, they will be heroes.

Sales Rank: #21968 in eBooks
Published on: 2010-12-21
Released on: 2010-12-21
Format: Kindle eBook

Amazon.com Review
The final installment in Weis and Hickman's Chronicles series--Dragonlance's undisputed must-read trilogy--brings on the main event: the Companions vs. the dragons in a knock-down drag-out at the iron works of Pax Tharkas, as the fate of Krynn hangs in the balance. They've mastered the Orbs and picked up the Dragonlance (see Dragons of Winter Night), and things are looking pretty good with the return of the good metallic dragons. But the band soon learns they must do battle with their own inner conflicts if they ever hope to defeat the Dark Queen Takhisis. A bang-up conclusion to Dragonlance's best-loved trilogy. --Paul Hughes

From the Inside Flap
Dragons of Spring Dawning, the concluding episode in the ever-popular Chronicles Trilogy, once again takes listeners on a fantastical journey to Krynn, where friendships are made and lost and destinies finally realized.

Armed at last with the powerful dragonlances, the Companions of the Lance lead their people in a final desperate battle against the destructive dragons. Knight and barbarian, warrior and half-eft, dwarf and kender and dark-souled mage -- none has reckoned how high the price of victory -- or even defeat -- might be. One by one, they must each overcome personal doubts and conflicts -- their only hope if they are to stop the return of the five-headed dragon goddess, Takhisis. Listen and discover how truth and virtue at last triumph over the deadly darkness of an all-consuming evil in this dramatic conclusion to one of fantasy's most legendary tales.

About the Author
Peter MacNicol starred as Stingo in the movie Sophie's Choice and has also appeared in the films Heat and Ghostbusters II. His theatrical credits include Crimes of the Heart on Broadway.

Most helpful customer reviews

25 of 27 people found the following review helpful.
Beauty in the eye of the beholder
By A Customer
This, my fellow readers, is an absolute gem of a tale. A treasure which is a find of a lifetime. A cataclysmic tour de force.
For many a years I had settled for mediocrity fantasy deep in the belief that nothing could excel Tolkien. Now, I honestly do believe that anything is possible. This isn't just another fantasy novel. It truly is the greatest fantasy saga of all time. Several of the other readers have made comparisons to Tolkien. Tolkien set certain standards with his novels. Weis and Hickman have developed this further (and no, I didn't think that could be possible either), setting their own universal standards in the process. They certainly are the masters of the fantasy cosmos. I could not find a single flaw or make a single criticism of the entire series. I have nothing but acclamation for it.
This powerhouse has incessantly urgent plot development and intrigue, and every consequence of that plot is clearly thought out. The characters are so comprehensively defined and developed that you feel as if you know them personally; thus truly adulating or despising them. The authors achieve this by probing deep into the characters' minds and their very souls. Tanis, the tortured central figure in the universe, weighing problems upon him with the stakes of which no mortal being should ever be demanded. Laurana, an elven enchantress of eternal beauty and pure of heart, suffers as deeply as Tanis. Kitiara, an alluring yet complex presence, is chillingly captivating. The tragic loss of two key figures adds greatly to the affinity. The authors put their characters into uniquely dark situations and get their responses so correctly that the spell is never once broken.
Both the subtle and apparent use of several themes throughout the novel is flawlessly executed, and harmoniously tied together at the end. Although the style of writing remains consistent, the pace and scheme of this novel picks up greatly from Winter Night, with a suspense/thriller feel to it. The disquieting tension as the plot races to its conclusion is a reader's thrill ride. On one hand you want to read hastily and gleefully to see how the perilous tale unfolds, but on the other hand, you want to slow down to fully appreciate the authors' work; one reason why this merits a second reading.
I disagree with some of the views that Dragonlance is purely for the younger generation of readers. I believe the classic series appeals to all readers regardless of age for different reasons. As an example, when I first read the Chronicles back in the 80s, I was only 10 and I thoroughly enjoyed it for the spectacular battle scenes and the fantastic adventures our heroes go on. I read the series again not so long ago and was captivated for an altogether different reason. This time it wasn't the majestic dragons or the mythical world of Krynn that enraptured me, as I no longer have a child's imagination. Instead I was spellbound by the characters themselves and how they developed throughout the course of this trilogy. The emotional turmoil and complex relationship between Tanis, Laurana and Kitiara, culminating with the shocking twist at the end, is perhaps the best example. I failed to appreciate this during my first visit to Krynn.
At the end of it all, when you close the book and come back to reality, there is a real sense of despondency as if you cannot believe Krynn is not real. Hats off to Weis and Hickman who have written a masterpiece that allows every reader to take away with them something endearing and unique.

11 of 12 people found the following review helpful.
Great in 5th grade, great now.
By Josh
I must say I agree with John from Cambridge on the first page. I read this book for the first time in 5th grade, and was captivated by all the battles and the dragons. But now as a senior in high school, I thought it would be fun to reread it. I liked it for a entirely different reason this time. The intense emotion of all the characters, the overwhelmingly "human" aspect of them, the bitter realizations at the end....all of it combined to make one of the best books I have ever read. I am going to Harvard next year, and with all the classics I have read in school, I have not read a book with as hauntingly real characters as this book. They'll stay with you longer than even the Baggins and Gandalf will.

3 of 3 people found the following review helpful.
AMAZING TRILOGY!!!
By L Gontzes
Definitely a great fantasy epic and one of my personal favorites, The Chronicles Trilogy- Dragons of Autumn Twilight, Dragons of Winter Night, and Dragons of Spring Dawning, brings to life the ultimate battle between Good and Evil in the World of Krynn. The books are so incredibly well written that the reader feels that they have been transported to another plane of existence and are actually present among the characters, seeing what they see, feeling what they feel, sensing what they sense. The authors Margaret Weis and Tracy Hickman have truly outdone themselves and have presented us with a masterpiece of literature the likes of which we have seen only in JRR Tolkien's work and RA Salvatore's The Dark Elf and Icewind Dale trilogies. A GREAT trilogy indeed and a must read along with Margaret Weis' Legends trilogy! Duty, honor, bravery, magic, dragons and heroes are all about. One should seriously start thinking about maybe turning them into movies!

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Dragons of Spring Dawning: Chronicles, Volume Three (Dragonlance Chronicles Book 3), by Margaret Weis, Tracy Hickman PDF
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Sabtu, 02 Februari 2013

[Z964.Ebook] PDF Ebook Fine Woodworking Design, Book 2, by Fine Woodworking

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Book by Fine Woodworking

Sales Rank: #1803966 in Books
Brand: Brand: Taunton Pr
Published on: 1980-01
Original language: English
Number of items: 1
Binding: Paperback
288 pages

Features

Used Book in Good Condition

Most helpful customer reviews

0 of 0 people found the following review helpful.
Great Woodworking
By W&B Bush
Yes I thought this was a fantastic book. Great to see the work of so many fine craftsman. This work is from an era when the concept of hand craftsmanship was being rediscovered. Of course the fact that one of my early pieces of work was included in this collection only helps to heighten my appreciation. Not too self serving? That's humor dude.

0 of 0 people found the following review helpful.
One Star
By Carlos
Nasty book very old and smelly.

0 of 0 people found the following review helpful.
Inspiring
By Thomas( Doc Savage 45)
I am a reader. sometimes I read more than I do. Have to rememdy that this year. What I appreciate about this series, and this book, is to see the varied concepts and forms actually completed. It helps generate ideas, and to give me standards to work toward.

It is a great idea book, and a companion for more "How To" books.

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Jumat, 01 Februari 2013

[F452.Ebook] Download Several Short Sentences About Writing, by Verlyn Klinkenborg

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An indispensable and distinctive book that will help anyone who wants to write, write better, or have a clearer understanding of what it means for them to be writing, from widely admired writer and teacher Verlyn Klinkenborg.

Klinkenborg believes that most of our received wisdom about how writing works is not only wrong but an obstacle to our ability to write. In Several Short Sentences About Writing, he sets out to help us unlearn that “wisdom”—about genius, about creativity, about writer’s block, topic sentences, and outline—and understand that writing is just as much about thinking, noticing, and learning what it means to be involved in the act of writing. There is no gospel, no orthodoxy, no dogma in this book. Instead it is a gathering of starting points in a journey toward lively, lucid, satisfying self-expression.

Sales Rank: #25291 in Books
Published on: 2013-04-09
Released on: 2013-04-09
Original language: English
Number of items: 1
Dimensions: 8.00" h x .60" w x 5.20" l, .54 pounds
Binding: Paperback
224 pages

Review

Praise for Verlyn Klinkenborg's Several Short Sentences About Writing:

“No other book, old or new, is as well reasoned as this, as entertaining or as wise. . . . Best book on writing. Ever. . . . To paraphrase Voltaire’s statement concerning the Almighty, ‘if Verlyn Klinkenborg did not exist, it would be necessary to invent him.’ Because having read Several Short Sentences About Writing, I do not think that it would be possible to not have this book on hand. . . . Indeed, no other book is as filled with as much grounded, practical advice for putting words to the paper or electronic page or gives better, more helpful exercises.”
—New York Journal of Books

“Powerful . . . each sentence miraculously contains an idea or insight that lesser writers would have milked for several pages.”
—Pittsburgh Post-Gazette

“An exceptionally interesting and useful book about writing.”
—Tom McGuane

“A fresh perspective on writing that goes against conventional classroom theory.”
—Shelf Awareness

“Klinkenborg does away with much of the traditional wisdom on writing and dissects the sentence—its structure, its intention, its semantic craftsmanship—to deliver a new, useful, and direct guide to the art of storytelling.”
—Brain Pickings

“Expertise and zeal are required for an established writer to offer genuinely useful guidance to aspiring writers. It also helps if the writer teaches writing, as Klinkenborg has for many years. . . . The result is a unique anatomy of the sentence and the writing mind and a clarifying and invigorating ‘book of first steps.’”
—Booklist

"This is a very interesting little book about writing. Modest. Learned. Good-natured. Direct and sympathetic to its readers. You don't even have to read it front to back (probably you couldn't, anyway). You can just open it anywhere—as I did—and take away something useful."
—Richard Ford

“There have been good books on grammar and style, some classics, but none to compare to this one for understanding where sentences come from in the first place, where their vitality is found, and what distinguishes their energy, their authenticity, and their prospects for life after birth—that is, the art of revision. This book's long future will be a testament to its author's principles.”
—Tom McGuane

About the Author

Verlyn Klinkenborg is a member of the editorial board of The New York Times, to which he also contributes meditations about his farm in upstate New York, collected in The Rural Life. His other books include Making Hay, The Last Fine Time, and Timothy; or, Notes of an Abject Reptile. Klinkenborg has a Ph.D. in English literature from Princeton University.

*

Your job as a writer is making sentences.
Most of your time will be spent making sentences in your head.
In your head.
Did no one ever tell you this?
That is the writer's life.
Never imagine you've left the level of the sentence behind.

Most of the sentences you make will need to be killed.
The rest will need to be fixed.
This will be true for a long time.
The hard part now is deciding which to kill and which
to fix and how to fix them.
This will get much, much easier, but the decision making will never end.

*

As you practice noticing, notice how thickly particled
with names the world around you is.
This will gradually become part of your noticing,
looking not for words to make us see the way you saw--
But for the names of what you've noticed.
Names that announce the whatness of the world to a single species.

It's hard to grasp at first the density, the specificity
With which the world has been named.
This is a planet of overlapping lexicons,
Generation after generation, trade after trade,
Expedition after expedition sent out to bring home
Name upon name, terms of identity in endless degrees of intimacy,
And all at hand, if you look for them.

*

In the syntax and rhythm of sentences,
In the page of thought, the intensity of movement,
The crescendo and decrescendo,
The trustworthy reader learns the writer's habitude and how to move with it.
You converse, in a sense, with the voice on the other side of the ink.

The kind of reading is the pleasure of being summoned out of ourselves by the grace,
The ferocity, the skill of the writing before us.
How else to explain our love of even difficult writers?
Their agility evokes our agility.
We move at their speed, elliptically, obliquely,
However they move.

Most helpful customer reviews

44 of 47 people found the following review helpful.
Klinkenborg's poem that celebrates prose
By Richard Gilbert
How to foster a certain quality of mind, the writing mind, which notices, lies at the heart of Several Short Sentences About Writing. As the quotes below show, Klinkenborg's writing advice is presented like poetry. Technically it IS poetry, as he's controlling the length of his lines. This compulsively readable declarative poem runs for149 of the book's 204 pages, the balance being examples of prose, good and bad, and concise commentary. Here are some of his gnomic stanzas that struck me as interesting:

"If you notice something, it's because it's important.
But what you notice depends on what you allow yourself to notice,
And that depends on what you feel authorized, permitted to notice
In a world where we're trained to disregard our perceptions. . . .

"Is it possible to practice noticing?
I think so.
But I also think it requires a suspension of yearning
And a pause in the desire to be pouring something out of yourself.
Noticing is about letting yourself out into the world,
Rather than siphoning the world into you
In order to transmute it into words."

. . .

"The longer the sentence, the less it's able to imply,
And writing by implication should be one of your goals.
Implication is almost nonexistent in the prose that surrounds you . . .

"Try making prose with a poetic seriousness about its tools--
Rhythm, twists of language, the capacity to show the reader
What lies beyond expression,
But with the gaits of prose and a plainness in reserve
That poetry rarely possesses, an exalted plainness."

It's up to you to decide for yourself in the crucible of your practice whether Klinkenborg's opinions are true. He calls them conclusions, not assumptions. But he urges wariness about all dogma, even his. Contrary to so many process-based writing theorists, including the influential Peter Elbow, he says the creative and critical functions are not separate. They occur simultaneously. Since I am one who polishes as I go and seemingly cannot follow vomit-it-up advice, I was heartened.

This is a classic! Very inspiring.

14 of 15 people found the following review helpful.
A gem
By Elizabeth Hein - author of How To Climb The Eiffel Tower
In this little book, Klinkenborg discusses how education and precedent lead people to write overly long, complicated sentences. He stresses writing clear sentences that say what you mean them to say. All the rest will fall into place from there.

I'm not sure if writing clearly is as simple as Klinkenborg makes it out to be but I did cull a few gems from the text that I'd like to share -

You can't revise or discard what you don't consciously recognize.

A cliche is dead matter.
It causes gangrene in the prose around it, and sooner or later, it eats your brain.

Your job as a writer is making sentences.
Your other jobs include fixing sentences, killing sentences, and arranging sentences.

This book will motivate you to focus on writing at the sentence level and not worry about the piece of writing as a whole.

10 of 10 people found the following review helpful.
May be especially useful to experienced writers
By Ross V
Certain books provide a solid foundation for new or aspiring writers: Strunk & White's "Elements of Style" (useful) and Susan Shaughnessy's "Walking on Alligators" (excellent) both come to mind. As we gain experience -- and perhaps fall into bad habits -- books that deliver deeper thoughts can help us put our writing on a new path. In "Several Short Sentences," Klinkenborg delivers a wealth of non-obvious perspectives that come from a place of deep thinking -- the type of thinking suggested in the book. His wisdom has helped reinvigorate my writing, and that is perhaps the highest praise I can offer.

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Rabu, 27 Februari 2013

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