Book Description
This combination rhetoric/reader helps readers develop strategies for critical reading, critical thinking, research, and writing that will help them argue clearly and convincingly. It teaches them to identify and develop arguments, to read and form reactions and opinions of their own, to analyze an audience, to seek common ground, and to use a wide, realistic range of techniques to write argument papers that express their individual views and original perspectives on modern issues. The Rhetoric portion includes clear explanations and examples of argument theory and reading and writing processes, research and documentation skills, and offers engaging, class-tested writing assignments and activities. The Reader portion includes 75 reading selections covering seven broad issue areas and 18 more focused areas, all of contemporary concern. Unique chapters discuss argument styles, Rogerian argument, and argument and literature. Material covered includes engaging with argument for reading and writing, understanding the nature of argument for reading and writing, writing a research paper that presents an argument and visual and oral argument. Readings cover a range of issues including those concerning families and relationships, education, crime and the treatment of criminals, race, culture and identity, freedom, war and issues concerning the future. For anyone interested in a clear presentation of argument theory applied to written, visual and oral forms.
Customer Reviews:
Perspectives on Argument.......2007-10-02
The basics of academic writing are fairly straightforward. We need clear reasoning, hence a clear explanation of the basics of logic and of fallacies. We need to explain to students how to select research materials, how to distinguish trade books from academically kosher texts, and so on. And we also need an efficient writing guide that addresses these issues. This is not such a text.
Firstly, the text gives thin and often confusing advice on logic. Where Wood discusses critical thinking and fallacies, the explanations are very short (just five pages of a 750 page text concern fallacies, for example) and there are no real- world examples of the fallacies discussed. As such, the relevance of basic logic to the art of critical reading is not really obvious to the novice. This is bizarre, given that many of the (non- academic) reading examples in the text(such as Rush Limbaugh on 'femi-Nazis') are basically wall to wall fallacious, and much of the right wing conservative nonsense in the text's reading section is simply not diagnosed as such. Further, Wood's explanations of basic logical concepts are inexplicably confused- she gets inductive and deductive logic quite the wrong way around (p.201)- an error that would get any critical thinking tutor fired. This paucity of clarity is evident in some truly shocking advice given the student: advice that rather rejects the whole principle of research and cogent argumentation in the name of some muddled epistemic relativism that holds that everyone has a unique perspective that deserves respect. In particular, she advises authors to not clearly articulate their arguments for a given proposition because "a stated warrant [premise] negates the rich and varied perceptions and responses of the audience by providing only the author's interpretation and articulation of the warrant" (p.139). This emphasis on such irrelevant issues as 'establishing common ground'and 'establishing the rhetorical situation' makes much of the text worse than useless in trying to teach what college writing entails and requires. In suggesting that the misreadings of the reader are more important than clearly articulating one's own argument, Wood is, quite frankly, talking rubbish.
The text does include some solid examples of argumentative writing (such as Martin Luther King Jr's "Letter from Birmingham Jail") but there is no real explanation as to why such texts are persuasive without being fallacious. Further, many of the better essays in the text are far more sophisticated than the body text, making the overall work feel quite unbalanced.
Geoffrey Roche
Tokyo, Japan
Anytime!!!.......2005-09-19
I would recomend business with this company - I would do business again at anytime. Delivery was fast and item was in described condition.
Thank you!
Average customer rating:
- An opus work on both Csound and computer music
- The Definitive csound Book
- Nobody Does it Better
- The definitive Csound compendium
- Not for beginners
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The Csound Book: Perspectives in Software Synthesis, Sound Design, Signal Processing,and Programming
Manufacturer: The MIT Press
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Similar Items:
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The Computer Music Tutorial
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Microsound
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Computer Music: Synthesis, Composition, and Performance
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Composing Interactive Music: Techniques and Ideas Using Max
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Music, Cognition, and Computerized Sound: An Introduction to Psychoacoustics
ASIN: 0262522616 |
Book Description
Created in 1985 by Barry Vercoe, Csound is one of the most widely used software sound synthesis systems. Because it is so powerful, mastering Csound can take a good deal of time and effort. But this long-awaited guide will dramatically straighten the learning curve and enable musicians to take advantage of this rich computer technology available for creating music.
Written by the world's leading educators, programmers, sound designers, and composers, this comprehensive guide covers both the basics of Csound and the theoretical and musical concepts necessary to use the program effectively. The thirty-two tutorial chapters cover: additive, subtractive, FM, AM, FOF, granular, wavetable, waveguide, vector, LA, and other hybrid methods; analysis and resynthesis using ADSYN, LP, and the Phase Vocoder; sample processing; mathematical and physical modeling; and digital signal processing, including room simulation and 3D modeling. The book comes with two CD-ROMs that include more than forty additional HTML chapters; hundreds of musical compositions; more than 3,000 working instruments; the Csound application for Macintosh, PC, and Linux; and a number of Csound audio and score-generating utilities.
Book/CD-ROM Contributors include: Bill Alves, Stephen Beck, Mike Berry, Riccardo Bianchini, Kim Cascone, Michael Clarke, Richard Dobson, Archer Endrich, John ffitch, Rajmil Fischman, Michael Goggins, Matt Ingalls, Richard Karpen, Eric Lyon, Gabriel Maldonado, Hans Mikelson, Jon Nelson, Dave Phillips, Jean Piché, Russell Pinkston, Paris Smaragdis, Erik Spjut, Barry Vercoe, Scotty Vercoe.
Customer Reviews:
An opus work on both Csound and computer music.......2006-04-12
This book is one of a relatively small number of texts that are essential for the library of the computer music practitioner. The book has two CD-ROMs full of several books worth of material. This book is not only a remarkable reservoir of information specific to the Csound compiler, it is also very useful as a general source concerning many aspects of computer music techniques and synthesis methods.
Many have lamented the terse documentation of the Csound manual since it does not provide sufficient examples of how the various opcodes and features of the language may be used by composers and researchers. The Csound Book succeeds brilliantly in filling the void. Even for the seasoned computer musician, the text provides numerous opportunities for "ah ha!" moments and spurs renewed creative responses to musical problems. Part of the reason for this lies in the abundant resources of the language itself and its continued development and refinement by members of the Csound community.
This is a great companion book, allowing the reader to explore practical applications of concepts such as Fourier synthesis, digital filter theory, chaotic systems, reverberation, and algorithmic composition. This is accomplished very elegantly and always with reference to direct experience with the aid of numerous examples of Csound code. The book serves an important function by providing concrete examples of myriad synthesis methods, digital signal processing techniques, and specialized applications within one conceptual framework.
This book is full of excellent graphics, uniform and well commented coding examples, illustrative instrument-design flowcharts, thorough indexing, appendices of various kinds, all of it extremely well edited. There is an impressive unity to the text even though different authors have written the various chapters.
There is a treasure trove of instruments and compositions contained on the CD-ROMs. Many of these are by established composers of computer music and by the authors of the various chapters. Others, however, are by students from around the world. I highly recommend this book to anyone interested in computer music in general and Csound specifically.
The Definitive csound Book.......2005-06-08
If you want to learn csound this is THE book to buy in conjunction with csounds.com you will need nothing else. Beware though, it takes lots of time and effort to learn this language and it is not easy. Buy this book only if you are very serious about trying your and at csound. As to Michael S Rempel review, if you are going to drop names to try to sound knowledgeable
" Most of the sound designers in Hollywood use CSound. I know more than a few of them. The guy who invented Trance music, BH is a CSounder. Everyone in his studio owns a copy of this book! I could keep name dropping for a long while, but you get it. CSound is one of the best kept open secrets in the world."
at least drop them correctly. It's BT not BH and he most definitely did not "invent Trance music." He is however an avid csound user. Sorry I just could not let that slide.
Nobody Does it Better.......2005-02-19
Beginners be warned. This is not a book that is designed to hold your hand. For that go to www.csounds.com and check out the beginners secton. Also join the online forums.
This is the site that the author, Dr. Richard Boulanger maintains for people looking to get started with Csound. It is also the place most of the really good CSound software developers and users hang out.
If you have explored synthesis on another platform, then this is the book for you. If you have explored CSound a bit, and want depth then this is the book for you.
Dr. B has compiled resources and brings together the best of the CSound community in a compilation that is really a collection of CSound essays. Many of the articles are regretably brief. A few sections are missing all together. (Most notably the midi section is not included, and is still not written)
But what is written in this book is the best information you can get anywhere on the subject of computer synthesis in ANY LANGUAGE. I need to clarify that a bit though, two new projects are on the way which will change that. Csound 5 is in developement, and MPEG 4 also has a world class sound engine. But in both cases these new technologies are based on the stuff in this book. Yes, that is right, MPEG 4 has a csound like engine in it.
Csound is first rate. Nothing beats it. I have done the plugin thing, and downloaded or bought just about everything in synthesis available from anywhere. Some tools can offer you nice canned sounds, or pretty patch chords and knobs. But for pure raw power, flexability and creative oomph nothing can equal CSound. This book will take you from the world of patch chords and knobs into the world of programming. That is where the power is baby, in programming. Where anything can plug into anything. All you need are some programming chops and any music or noise you can dream up is at your finger tips.
If it happens in any synth anywhere in the world, then eventually it will happen in CSound. And mostly it already does. And what is more, in CSound you can combine ANY methods of synthesis you want AT THE SAME TIME. No other synth can do that. Period.
BTW the CSound software is free. That is right, free on the PC, free in Linux, and free on the mac. So buy the book, download the software, and meet everyone who wrote the book, and most everyone who writes anything to do with the CSound software on the CSounds web site.
If that is not enough to convince you, consider this: Most of the sound designers in Hollywood use CSound. I know more than a few of them. The guy who invented Trance music, BH is a CSounder. Everyone in his studio owns a copy of this book! I could keep name dropping for a long while, but you get it. CSound is one of the best kept open secrets in the world.
The definitive Csound compendium.......2003-01-19
A word of warning to electronic music newbies: Be sure to learn the fundamentals of synthesis and MIDI before venturing into the realm of Csound. This book assumes a level of knowledge regarding these subjects and will present an insurmountable challenge to someone with no programming experience. However, for those that do, it will present a whole new universe of possibilities.
As a composition tool, there is nothing quite as extensive or powerful as Csound, which is why there is an equally extensive learning curve for its students. I feel that this book is probably better suited as a text for a college course rather than a stand-alone guide for DIYers. But in its defense, I belong to the latter category and have fared pretty well in learning the language.
While I must criticize Mr. Boulanger for not giving thorough enough explanation to some critical topics in his book, overall--this is by and far the best resource for anyone attempting Csound. You will find the contents of the included CD-Roms to be an immense supplement to the book's chapters.
Not for beginners.......2002-12-22
Csound is probably the most powerful digital synthesizer software available. And it is essentially free. But writing code to produce music can feel like creating your own custom draw program from scratch to create a painting. There is no noodling with a keyboard or twisting knobs and listening to instant results. No, you create an .orc and a .sco file, one for the instruments and the other for the "notes"(though the language can be used to create filters and process sound). This gives you unlimited control, but you pay the price of programming headaches e.g. debugging, crashes, etc. There is also a very steep learning curve. Csound is a work in progress, though. Matt Ingalls's (and others) tireless work has made Csound easier to use, and has even updated it to Mac OS 10. He has also created an extension that allows Csound to interface with Max/MSP, perhaps simplifying the composers task. Nevertheless, Csound has a long legacy as a musicN language, and it has its roots in computer science.
If you are getting started in electronic or computer music and have little background in the field, this book may ultimately prove frustrating. Chapter one provides a perfect example. It opens with an .orc file and uses terms like control rate and sampling rate, but it isn't until much later that we find out what these things mean. Much of the first section is difficult to work through because of this approach. I think that the book would benefit from a rewrite, and I mean truly rewriting section one from scratch so the foundation is Basics of Synthesis. A section written like a "Dummies" book would be helpful for beginners like me, while the Csound mavens could simply flip to chapter X,Y, or Z and read at their level. Otherwise, the author should dispense with the basics and focus on making this a book for those already familiar with Csound. Obviously, the author/editor put tremendous effort into this book, so it seems a pity that it is kind of poorly organized. Finally, The Csound Book would benefit from careful spell checking (the author refers to GEN21 creating "Poison" distributions).
After having spent a year with the Csound book, I can make some recommendations for someone wanting to start electronic composition. You must read Curtis Roads's Computer Music Tutorial, probably the best electronic music book written. Don't let the dry title fool you, it is great reading. It will teach you the fundamentals and will serve as a reference if you decide to tackle Csound. Or, consider using Max/MSP instead of Csound. It isn't free, but it does have a graphical interface, yet it does not sacrifice flexibility. And you can now use Csound as a sort of "plug in" for Max/MSP. If you want to make popular music, Csound will probably only prove useful if your current software can't make a sound that you want.
As I said, Csound is a work in progress. A new book called "Virtual Sound" by Riccardo Bianchini and Alessandro Cipriani, reviewed in the Spring 2002 Computer Music Journal may be a better resource.
Customer Reviews:
an eye opening book.......2003-01-02
i had the experience of being flooded with light and clarity when i first opened and browsed this book. my enthusiasm is in part because of kemp's extraordinary scholarship and detailed command of paintings and art publications across the entire span of western art. but it's also because the story of artistic imaging over the past six centuries is woven around the european romance with linear perspective, which has become so discredited and disliked by artists that it qualifies as a repressed memory. (like any buried memory, perspective surfaces in the dreamlike digital animations of intergalactic science fiction and first person computer games, which take perspective effects to the ultimate level of technical accuracy and artistic triviality.) kemp unearths those repressed perspective memories and shows how vital they were to the development of art and the connections between art and the wider culture of the times.
it is jaw droppingly fun to see how intensive, sophisticated and singleminded was the artistic interest in optical and perceptual issues of seeing. everyone will find special surprises here, but mine include kemp's spatial analysis of velazquez's "las meninas," and the extraordinary drawings and engravings produced c.1800, which force us to realize that we are already looking at "photo graphs," light drawings created by hand, at a time when film photography was not yet practical. there is a large section on various optical devices utilized in visual arts, including the camera obscura and camera lucida, and an excellent section on the evolving understanding and use of color, from the renaissance to seurat.
poignant for me was the victorian fascination with light as a spiritual quality, which comes through in turner's paintings and ruskin's amazing perspectival studies of "clouds" -- images that verge on op art. the intelligence and strength of these images reveal a road left untraveled in art, which turned toward the perceptually driven styles of impressionism and fauvism instead. as a bonus to the many interesting visual exhibits, the writing is lucid, sensible and alert. an invaluable publication.
At long last a scientific approach to art history........2000-04-06
It's amazing what happens when a scientist studies art history. This is a historical perspective on color theory, camera obscura and perspective. It relates the work of indvidual artists to the advances in science.
The refreshing thing is that Kemp realizes that artists who used perspective were not slaves of science, and an artist such as Turner actually realized that the main item of interest in a scene perceptually appears larger than mathematics would dictate.
My favorite story is how it was considered obvious that there were 5 primary colors because Christ had 5 stigmata, but when Newton proved there were 3 primaries, that was obvious because of the Trinity.
This book is certainly not an easy, but the knowledge gained should forever change the way you look at art.
Book Description
At a time when long-treasured forms of the printed word compete with technology for the time and attention of children and adolescents, it is critical for teachers to help students respond to the written word and to master the craft of writing. Perspectives on Writing provides a foundation for the design of more effective classroom practice for teaching reading and writing. This volume brings together the contributions of several prominent scholars, who present significant theory and research on the development of writing, writing and reading relationships, the development of competence, classroom practice, and the assessment of writing. You'll also find a review of literature on class size, including IRA's resolution on the issue, and a recommended reading list with an annotated bibliography.
Published by International Reading Association
Book Description
This comprehensive book focuses on the chemical and physical bases of food science that are essential for success in careers in food science, dietetics, and the food service industry. Its very accessible and user-friendly approach guides readers clearly through complex subject matter and motivates learning. Thorough overview of each of the basic food components—Carbohydrates, Fats and oils, Proteins, and Water. Covers the most recent research in food science and technology—domestic and foreign scenes—with special emphasis on the scientific principles involved in creating food products to meet the needs and concerns of consumers. In-depth examination of food-borne illnesses and expanded coverage of food safety; biotechnology and genetically-modified foods (GMO); Alternative sweeteners and their applications in today's foods; and fat substitutes. For professionals in the food science, dietetics, or food service industry.
Customer Reviews:
The Sense of Structure: Writing from the Reader's Perspective.......2007-02-19
This is an outstanding book that is "must' reading for anyone doing serious writing. It opens one's eyes to the subtleties of writing for the reader. Dr. Gopen stresses the importance of writing to the reader; writing to their expectations. He then carefully goes through all aspects of what readers of English expect and the reasons why. He then tells writers how to take advantage of these expectations to produce prose that is easy to understand and gets your point or arguments across crisply.
great, pratical writing advice.......2006-01-13
This is a great book. Reading it, and applying its lessons has really helped my writing become more clear and understandable. I have gained a new vocabularly for talking about writing, one which makes editing conversations much more sensible than simply "I think it sounds better like..."
The best book on writing English extant.......2004-07-31
The author, George Gopen, is a professor of rhetoric and a consultant to many firms about writing. Gopen presents a different approach to writing---one that focuses on what a reader is likely to glean from your writing. Thus, he assumes you are writing to communicate with another person, rather than simply to please yourself. If this is true, and it almost always will be, then Gopen's techniques cannot be bested. He concentrates on "tools, not rules," with the paramount concern being whether the reader is likely to understand the writer's intention.
His techniques are largely structural, based on current research into how readers of English read. His techniques, moreover, are objective, which solves the problem of how to edit your own work so that it will mean to a reader what it means to you. Gopen also provides practical tips on how to structure both sentences and paragraphs for proper emphasis. He demonstrates how to manipulate the story being told to ensure the reader is not left in the dark about what is being communicated. He concludes with a non-dogmatic guide to punctuation and grammatical tools, designed to improve communication under various circumstances.
To learn the specific techniques, read Gopen's book. I assure you that you will never have encountered a better approach to writing.
Book Description
By exploring and explaining the perceptive patterns that readers of English follow in their interpretive process, this rhetoric approaches the task of teaching writing from the perspective of readers. As a result, students learn how to write with conscious knowledge of reader's expectations. Readers have relatively fixed expectations of where in the structure of any unit of discourse (clause, sentence, paragraph, or document) to expect the arrival of specific kinds of substance. Taking most of their textual clues for interpretation not from the meanings of individual works, but rather from where those words appear in the structure of a sentence or paragraph, when trying to understand a sentence, readers need to find the answers to five important questions: @BULLET = What is going on here? @BULLET = Whose story is it? @BULLET = What is the most important piece of information in this sentence? @BULLET = How does this sentence link backwards to the one that precedes it? @BULLET = How does this sentence lean forwards to the one that follows it? In order to answer these questions, readers look in certain places or structural locations in the sentence. With an approach that de-mystifies the language and writing process, the writer has new powers to, (1) control what readers are likely to make of the text; and (2) re-enter their own thought processes to judge both cohesion and coherence. Ideal for people who want a rhetoric that approaches the task of teaching writing from the perspective of readers.
Customer Reviews:
A reader centric guide to writing.......2004-12-13
I have been teaching Scientific writing. I helped many scientists but nobody was helping me understand why the sentences I had rewritten were far better than the originals, why paragraphs had regained energy and clarity. This made it difficult for me to transfer my knowledge to others. Then... through a Scientific American article, I discovered George Gopel and this book. I appreciated George Gopel's thoughfulness: Part two of his book is for us, teachers of writing. Entitled "Pedagogy", it shares George's methods; It also answers the students' common objections to the reader approach. The book's appendix provides an interesting historical perspective on the topic. I recommend this book without reserve.
Book Description
The world of publishing has changed dramatically in the ten years since Writing and Illustrating Children's Books for Publication first started helping aspiring children's book writers and illustrators. Presented in a lively, usable format, the book is still brimming with its popular features, and has been updated to include pertinent new information reflecting current realities and trends.
Combining supportive advice with hands-on activities, Writing and Illustrating Children's Books for Publication, Revised Edition guides readers in successfully pursuing their craft with:
-Two perspectives on writing & illustrating children's books for publication: that of a respected author/illustrator, and that of a successful editor/publisher -Real-life case histories of how noted authors and illustrators overcame obstacles and got published -Carefully-developed writing exercises, checklists, and targeted reading lists to get and keep writers writing and illustrators illustrating -In addition to the following all-new material: -Updated case histories and reading lists -Brand-new writing and illustrating exercises -Online tools and resources for research -An expanded section on illustration -Greater focus on writing fiction for middle grades and young adults -Information on communicating with and making submissions to publishers -Information and advice about changes in the marketplace since the first edition, including mergers in the publishing industry; name-brand literary properties (e.g., Harry Potter); and celebrity publishing
Whether used as an eight-week, self-taught course or as a treasury to focus on aspects of craft when and as needed, Writing and Illustrating Children's Books for Publication, Revised Edition contains the tools necessary to create a publishable children's book in a short amount of time.
Customer Reviews:
Writing and Illustrating Children's Books for Publication.......2007-09-05
ASIN:1582973539 Writing and Illustrating Children's Books For Publication: Two Perspectives; 10th Anniversary (Writing & Illustrating Children's Books for Publication)]]
This book is great! It has a lot of very good and helpful information for would be authors/illustrators. I believe most of the information would be great for other areas of pursuit as well. I was very impressed with section about how to understand what the letters from publishers are really telling you. I highly recommend this one.
Great Book!.......2007-02-01
I found this book to be very informative. Also easy to understand. A bonus, it is also a hard cover book for a great price, so it will last a long time on the shelf for those times you need to go back and reference.
Love it!.......2007-01-05
When i first bought this book I sort of turned my nose up at it, I put it aside for a little while, then finally made up my mind to start reading it. As things turned out it's a good thing I picked it up again, what a wonderful book! I love the reading suggestions and personal stories included at the end of each chapter as well as the progressive step by step design of the book (which is supposed to walk you through the process of writing your own book as you read it) While I haven't necessarily started doing all the exercises included at the end of every chapter, I got some wonderful ideas and found this book to be both encourageing and inspiring.
Pleased .......2006-03-15
I am pleased with my book and the response time for receiving it. I would order again!!
Average customer rating:
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Perspectives on Gustav Mahler
Manufacturer: Ashgate Publishing
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Binding: Hardcover
Mahler, Gustav
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ASIN: 0754607097 |
Book Description
Hey, kids!
If you liked learning the basics of three-dimensional drawing from Mark Kistler in his books Draw Squad and Imagination Station, you'll love his new book, Drawing in 3-D with Mark Kistler. Featuring a fun, action-filled tale about a family of lovable characters struggling through a series of breathtaking discoveries and hilarious adventures, Drawing in 3-D with Mark Kistler is all you need -- along with a sharpened pencil, a ready imagination, and Mark Kistler's Drawing in 3-D Wacky Workbook -- to draw cool creatures and awesome objects such as:
- Atomic Androids, Big Bug-Eyed Birds, and Colossal Castles
- Daring Driving Dogs, Early Egyptian Sphinx, and Kissing Kangaroos
- Magnificent Macaroni, Peaceful Pelicans, and Zapping Zombies
...as well as your own favorite fantasies and imagined adventures!
Customer Reviews:
Mark Kistler.......2007-01-11
I am a professional artist and occasional art teacher but Mark Kistler products will teach my grandchildren better than I could. He is fun and has a gift for getting kids excited about art.
missing info. prior to purchase........2006-07-25
I like the book, but wish it included some information prior to purchase that it's best to buy the "work book" to go along with it!
Love it!.......2003-09-02
I spend about a a half hour with this book every day - or a couple hours every other day. It's great for building confidence and practice.
Ever feel that books like "Drawing on the right side of the brain" were somehow sterile and lifeless? This book is chock full of a million creative drawings that can be done with a little patience.
Me draw.....yeah uh-huh right.......2002-08-22
My 8 year old son is quite the artist. He can draw what he sees. He was given this book by my mother and ignored it for quite awhile.....so one hot boring summer day while cleaning his room I found it and started messing around.....I am so amazed at what I have put on paper. I am a 35 year old woman who can't draw more than a stick figure....well not anymore!!! Not only does my refrigerator door have my childrens art work -- IT HAS MINE!!!! THANK YOU MARK! Did not know what I was missing.
Fantastic Fun!!!.......1999-04-07
Mark Kistler has done it again! As an avid reader of his past writings, I was pleased to see he has raised the bar on drawing instruction yet another notch. He continues to amaze in his newest book! He imparts his drawing lessons in an extremely entertaining and fun manner. I am always amazed at how he so adeptly reaches an audience that spans so many generations. My eighty-year old grandfather enjoyed his latest book as much as my ten-year old daughter. I was especially delighted to see that a companion workbook was offered and I must say it lived up to my highest expectations! Thank you Mark Kistler!!!
Books:
- Plane Image: A Brice Marden Retrospective
- Play Therapy: The Art of the Relationship
- Pretty Little Things: Collage Jewelry, Trinkets, Keepsakes
- Raw Colour with Pastels
- Santa Cruise: A Holiday Mystery at Sea (Holiday Mysteries)
- Say Good Night to Insomnia: The Six-Week, Drug-Free Program Developed At Harvard Medical School
- Schmucks!: Our Favorite Fakes, Frauds, Lowlifes, Liars, the Armed and Dangerous, and Good Guys Gone Bad
- Secrets to Drawing Realistic Faces
- Secrets to Drawing Realistic Faces
- Self-Editing for Fiction Writers, Second Edition: How to Edit Yourself Into Print
Books Index
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