Example Book Review Quotes

O: You’re quite a writer. You’ve a gift for language, you’re a deft hand at plotting, and your books seem to have an enormous amount of attention to detail put into them. You’re so good you could write anything. Why write fantasy? Pratchett: I had a decent lunch, and I’m feeling quite amiable. That’s why you’re still alive. I think you’d have to explain to me why you’ve asked that question. O: It’s a rather ghettoized genre. P: This is true. I cannot speak for the US, where I merely sort of sell okay. But in the UK I think every book— I think I’ve done twenty in the series— since the fourth book, every one has been one the top ten national bestsellers, either as hardcover or paperback, and quite often as both. Twelve or thirteen have been number one. I’ve done six juveniles, all of those have nevertheless crossed over to the adult bestseller list. On one occasion I had the adult best seller, the paperback best-seller in a different title, and a third book on the juvenile bestseller list. Now tell me again that this is a ghettoized genre. O: It’s certainly regarded as less than serious fiction. P: (Sighs) Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus. Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy. Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that. (Pauses) That was a bloody good answer, though I say it myself.

Poshlust,” or in a better transliteration poshlost, has many nuances, and evidently I have not described them clearly enough in my little book on Gogol, if you think one can ask anybody if he is tempted by poshlost. Corny trash, vulgar clichés, Philistinism in all its phases, imitations of imitations, bogus profundities, crude, moronic, and dishonest pseudo-literature—these are obvious examples. Now, if we want to pin down poshlost in contemporary writing, we must look for it in Freudian symbolism, moth-eaten mythologies, social comment, humanistic messages, political allegories, overconcern with class or race, and the journalistic generalities we all know. Poshlost speaks in such concepts as “America is no better than Russia” or “We all share in Germany’s guilt.” The flowers of poshlost bloom in such phrases and terms as “the moment of truth,” “charisma,” “existential” (used seriously), “dialogue” (as applied to political talks between nations), and “vocabulary” (as applied to a dauber). Listing in one breath Auschwitz, Hiroshima, and Vietnam is seditious poshlost. Belonging to a very select club (which sports one Jewish name—that of the treasurer) is genteel poshlost. Hack reviews are frequently poshlost, but it also lurks in certain highbrow essays. Poshlost calls Mr. Blank a great poet and Mr. Bluff a great novelist. One of poshlost’s favorite breeding places has always been the Art Exhibition; there it is produced by so-called sculptors working with the tools of wreckers, building crankshaft cretins of stainless steel, Zen stereos, polystyrene stinkbirds, objects trouvés in latrines, cannonballs, canned balls. There we admire the gabinetti wall patterns of so-called abstract artists, Freudian surrealism, roric smudges, and Rorschach blots—all of it as corny in its own right as the academic “September Morns” and “Florentine Flowergirls” of half a century ago. The list is long, and, of course, everybody has his bête noire, his black pet, in the series. Mine is that airline ad: the snack served by an obsequious wench to a young couple—she eyeing ecstatically the cucumber canapé, he admiring wistfully the hostess. And, of course, Death in Venice. You see the range.

Halley was brilliant. Here’s just one example of his use of lateral thinking, as discussed in John and Mary Gribbin’s book Out of the Shadow of a Giant: When asked to work out the acreage of land in every English county, Halley “took a large map of England, and cut out the largest complete circle he could from the map.” That circle equated to 69.33 miles in diameter. He then weighed both the circle and the complete map, concluding that since the map weighed four times more than the circle, the area of England was four times the area of the circle. His result was only 1 percent off from contemporary calculations.

I resolutely refuse to believe that the state of Edward's health had anything to do with this, and I don't say this only because I was once later accused of attacking him 'on his deathbed.' He was entirely lucid to the end, and the positions he took were easily recognizable by me as extensions or outgrowths of views he had expressed (and also declined to express) in the past. Alas, it is true that he was closer to the end than anybody knew when the thirtieth anniversary reissue of his Orientalism was published, but his long-precarious condition would hardly argue for giving him a lenient review, let alone denying him one altogether, which would have been the only alternatives. In the introduction he wrote for the new edition, he generally declined the opportunity to answer his scholarly critics, and instead gave the recent American arrival in Baghdad as a grand example of 'Orientalism' in action. The looting and destruction of the exhibits in the Iraq National Museum had, he wrote, been a deliberate piece of United States vandalism, perpetrated in order to shear the Iraqi people of their cultural patrimony and demonstrate to them their new servitude. Even at a time when anything at all could be said and believed so long as it was sufficiently and hysterically anti-Bush, this could be described as exceptionally mendacious. So when the Atlantic invited me to review Edward's revised edition, I decided I'd suspect myself more if I declined than if I agreed, and I wrote what I felt I had to. Not long afterward, an Iraqi comrade sent me without comment an article Edward had contributed to a magazine in London that was published by a princeling of the Saudi royal family. In it, Edward quoted some sentences about the Iraq war that he off-handedly described as 'racist.' The sentences in question had been written by me. I felt myself assailed by a reaction that was at once hot-eyed and frigidly cold. He had cited the words without naming their author, and this I briefly thought could be construed as a friendly hesitance. Or as cowardice... I can never quite act the stern role of Mr. Darcy with any conviction, but privately I sometimes resolve that that's 'it' as it were. I didn't say anything to Edward but then, I never said anything to him again, either. I believe that one or two charges simply must retain their face value and not become debauched or devalued. 'Racist' is one such. It is an accusation that must either be made good upon, or fully retracted. I would not have as a friend somebody whom I suspected of that prejudice, and I decided to presume that Edward was honest and serious enough to feel the same way. I feel misery stealing over me again as I set this down: I wrote the best tribute I could manage when he died not long afterward (and there was no strain in that, as I was relieved to find), but I didn't go to, and wasn't invited to, his funeral.

Museum architectural search committees have invariably included the Kimbell in their international scouting tours of exemplary art galleries (a practice pioneered by Velma Kimbell, the founder’s widow, in 1964). Those groups no doubt respond to the Kimbell with suitable reverence, but given the buildings they later commissioned, many post-Bilbao museum patrons obviously wanted something quite different. The disparity between Kahn’s museums and recent examples of that genre parallels the discrepancy he saw between postwar Modernism and ancient Classicism: “Our stuff looks tinny compared to it.” At a time when commercial values are systematically corrupting the museum - one of civilized society’s most elevating experiences - the example of Kahn, among the most courageous and successful architectural reformers of all time, seems more relevant and cautionary than ever.

4. Reward appropriate behavior openly and generously If you want to persuade people to do the right thing, add some sort of public display which acknowledges the right kind of behavior. Even adding a simple smiley face to their bill whentheir account is in order, for example, will encourage people to keep doing the right thing. This kind of positive feedback can be proven scientifically to be more effective than complaining about bad behavior. Find something good to focus on and build on that. 5.

Flaubert’s irony is hard, maybe even wicked, in any case profoundly unfair. Let us take a look at one of the most important figures from Madame Bovary, the apothecary Homais, and then proceed from his example. In him, bourgeois enlightenment, the heritage of our civilization, the indispensable fundament of every socialist utopia, finds itself cast into monstrous ridicule.

The meaning of a 3-star review, for example, can be interpreted differently among two users based on their average rating history. Standards also vary among countries and types of users (i.e. e-book readers versus physical book readers). Readers of physical books, for example, rate negatively when then are delivery delays/complications or production quality (i.e. paper quality) which doesn’t affect e-book readers who receive a digital copy on-demand.

I don't normally read reviews of children's books, mostly because I can't be bothered, and because kids - my kids, anyway - are not interested in what the Guardian thinks they might enjoy. One of my two-year-old's favourite pieces of night-time reading, for example, is the promotional flyer advertising the Incredibles that I was sent, a flyer outlining some of the marketing plans for the film. If you end up having to read that out loud every night, you soon give up on the idea of seeking out improving literature sanctioned by the liberal broadsheets.

I personally find that having a couple of projects going at once can be an aid to focus, refreshing my brain as I go back and forth between them – a book review and a novel at the same time, for example. But I’ve seen that writers who are starting out sometimes throw their energy in so many different directions that they can never finish any of the projects, much less all of them. To me a good test is this: what do you like to read? What kind of book moves and affects you the most? Is it the memoir, the novel, the long poem-collection? Personally, I find myself most immersed in the novel, and that’s why I write them – they have the most magic for me. The joy of self-expression is exhilarating, but ultimately choosing one venue for it can make your work much better – and same for your chances of actually finishing something.

Chapter 20 we will explore in far greater depth how to avoid brainwashing and how to distinguish reality from fiction. Here I would like to offer two simple rules of thumb. First, if you want reliable information, pay good money for it. If you get your news for free, you might well be the product. Suppose a shady billionaire offered you the following deal: “I will pay you $30 a month, and in exchange you will allow me to brainwash you for an hour every day, installing in your mind whichever political and commercial biases I want.” Would you take the deal? Few sane people would. So the shady billionaire offers a slightly different deal: “You will allow me to brainwash you for one hour every day, and in exchange, I will not charge you anything for this service.” Now the deal suddenly sounds tempting to hundreds of millions of people. Don’t follow their example. The second rule of thumb is that if some issue seems exceptionally important to you, make the effort to read the relevant scientific literature. And by scientific literature I mean peer-reviewed articles, books published by well-known academic publishers, and the writings of professors from reputable institutions. Science obviously has its limitations, and it has gotten many things wrong in the past. Nevertheless, the scientific community has been our most reliable source of knowledge for centuries. If you think the scientific community is wrong about something, that’s certainly possible, but at least know the scientific theories you are rejecting, and provide some empirical evidence to support your claim. Scientists, for their part, need to be far more engaged with current public debates. Scientists should not be afraid of making their voices heard when the debate wanders into their field of expertise, be it medicine or history. Of course, it is extremely important to go on doing academic research and to publish the results in scientific journals that only a few experts read. But it is equally important to communicate the latest scientific theories to the general public through popular science books, and even through the skillful use of art and fiction. Does that mean scientists should start writing science fiction? That is actually not such a bad idea. Art plays a key role in shaping people’s views of the world, and in the twenty-first century science fiction is arguably the most important genre of all, for it shapes how most people understand things such as AI, bioengineering, and climate change. We certainly need good science, but from a political perspective, a good science-fiction movie is worth far more than an article in Science or Nature.

The Golden Bough captured the imagination of many artists in the early twentieth century. Eliot, certainly, was immersed in it, discussing it familiarly in his graduate school papers and book reviews and constantly alluding to it in his art. The most straightforward advice he offers to readers of The Waste Land (given in the notes to the poem) is, in paraphrase, that any serious reader of the poem must take into consideration modern scholarship in myth and anthropology, especially Frazer Golden Bough and Jessie Weston From Ritual to Romance. The poet says that he is indebted to this scholarship for his title, his plan, his symbolism, and many of his references to ancient religion and society. His claim about the title, taken from the monomyth of Frazer and Weston, his claim about the symbolism, associated with the birth-death-rebirth cycles of the myths, and his claim about the miscellaneous undergirding references have been discussed by Grover Smith and other scholars. We wish to focus more on Eliot's claim about being indebted to Frazer for the plan of the poem. We believe it refers, at least in part, to Frazer's use of the comparative method and to his practice of assembling many perspectives and allowing these perspectives to make his point. It must be noted at once that Eliot was quite selective in his admiration of Frazer. For example, he did not admire Frazer's positivism. Frazer put his faith in science and celebrated what he called the evolution from magic to religion to science. Nor did Eliot share Frazer's conclusions. In his 1913 paper on the interpretation of primitive ritual, he says that Frazer's interpretations of specific myths (the myth of the dying god is his example) are almost certainly mistaken. But Eliot did admire Frazer's erudition and his increasingly nontheoretical presentation of many angles of vision which in themselves tend to generate an overarching abstract primitive vision. In 1924, on the occasion of the publication of a condensed edition of The Golden Bough, Eliot wrote a review in which he lauded Frazer for having "extended the consciousness of the human mind into as dark a backward and abysm of time as has yet been explored." Eliot argues that Frazer's importance for artists is in his exemplary withdrawal from speculation, his adoption of the absence of interpretation as a positive modus operandi.

Speaking of gendered differences in reaction and action—you’ve talked of a certain “bullying reception” to your book here in New Zealand by a certain set of older male critics. The omniscient narrator, the idea that you “had to be everywhere,” seems to have affronted some male readers, as has the length of the book. Have you experienced this reaction in the UK, too, or in Canada? Has it been a peculiarly New Zealand response, perhaps because of the necessarily small pool of literary competition here? This is a point that has been perhaps overstated. There’s been a lot written about what I said, and in fact the way I think and feel about the reviewing culture we have in New Zealand has changed a lot through reading the responses and objections of others. Initially I used the word “bullying” only to remark that, as we all learn at school, more often than not someone’s objections are more to do with their own shortcomings or failures than with yours, and that’s something that you have to remember when you’re seeing your artistic efforts devalued or dismissed in print. I don’t feel bullied when I receive a negative review, but I do think that some of the early reviewers refused to engage with the book on its own terms, and that refusal seemed to me to have a lot to do with my gender and my age. To even things out, I called attention to the gender and age of those reviewers, which at the time seemed only fair. I feel that it’s very important to say that sexism is a hegemonic problem, written in to all kinds of cultural attitudes that are held by men and women alike. As a culture we are much more comfortable with the idea of the male thinker than the female thinker, simply because there are so many more examples, throughout history, of male thinkers; as an image and as an idea, the male thinker is familiar to us, and acts in most cases as a default. Consequently female thinkers are often unacknowledged and discouraged, sometimes tacitly, sometimes explicitly, sometimes by men, and sometimes by women. I am lucky, following the Man Booker announcement, that my work is now being read very seriously indeed; but that is a privilege conferred for the most part by the status of the prize, and I know that I am the exception rather than the rule. I’d like to see a paradigm shift, and I’m confident that one is on the way, but the first thing that needs to happen is a collective acknowledgment that reviewing culture is gendered—that everything is gendered—and that until each of us makes a conscious effort to address inequality, we will each remain a part of the problem, rather than a part of the solution. Protesting the fact of inequality is like protesting global warming or evolution: it’s a conservative blindness, born out of cowardice and hostility.

Perhaps because the Beatles commanded enormous space across the country’s newspaper real estate, Bob Dylan seemed the far more likely music figure to assume the mantle of bard, or at the very least start issuing volumes of poetry. Already, Dylan attracted British esteem as a “poet,” long before this debate started up in America, and allowed skeptics to disdain Lennon as a mere pop star while Dylan still wore his acoustic folkie halo. Many writers gloss over how Dylan’s leap to rock ’n’ roll during the coming season came as a far greater shock to British sensibilities than it did to American ears. For Lennon to issue verse in book form ahead of Dylan had a kind of weird British advance revenge to it, as though they could not just conquer American music but best them at the word game as well, and who better to do so than the giant pop star whose brains were obviously way too advanced for this rock stuff he would surely grow out of? Lennon and Dylan began to spar in the British imagination, the antic Scouser who always threatened to go round the bend against the oddly prolific American whose epic abstractions quite nearly absolved him of being Jewish. Since In His Own Write’s release on April 7, 1964, reviewers had gone overboard to praise Lennon’s unlikely literary success while conservative scribblers—like that old man on A Hard Day’s Night’s train—lambasted yet another example of youth’s ingratitude. In His Own Write became another Beatlemania sideshow that gave Lennon’s pop stature heft.

It is possible that members of a society, when faced with a conflict between Right A and Right B, will prefer Right A, while the people of another society will choose Right B. Both societies respect both rights, but in the realm of reality, they must subordinate one to the other. For example, when there is relative security, citizens do not allow the police to randomly intercept documents or to conduct bodily searches on a mere suspicion. But when the society's sense of security is threatened, the citizenry might grant the police these rights. On this point, however, we need to be very clear. It is the society itself, not its rulers, that can make the decision to temporarily temper some rights. No government or authority may suspend rights secretly or without the direct approval of the people themselves. Any suspension of rights must also be clearly and unambiguously limited to short duration. And we must always be conscious that those who do not want to respect human rights can use emergencies to their advantage. History is full of such examples.

My arrival was noticed only by a boy and girl, the inevitable boy and girl to be found in every dark corner of a great city. Better provision should be made for them—a Park of Temporary Affection, for example, from which lecherous clergymen and aged civil servants should be rigorously excluded.

Christianity is not only the revelation of truth, but also the fountain of holiness under the unceasing inspiration of the spotless example of its Founder, which is more powerful than all the systems of moral philosophy. It attests its divine origin as much by its moral workings as by its pure doctrines. By its own inherent energy, without noise and commotion, without the favor of circumstance—nay, in spite of all possible obstacles, it has gradually wrought the greatest moral reformation, we should rather say, regeneration of society which history has ever seen while its purifying, ennobling, and cheering effects upon the private life of countless individuals are beyond the reach of the historian, though recorded in God’s book of life to be opened on the day of judgment. To appreciate this work, we must first review the moral condition of heathenism in its mightiest embodiment in history.

When he died, much was made of how singular Steve Jobs had been. For comparisons, observers needed to reach back to the mythic inventors and showmen of earlier eras, particularly Thomas Edison and Walt Disney. Jobs was singular, to be sure. But he also was of a type. He was what psychotherapist and business coach Michael Maccoby called a “productive narcissist.” In 2000, Maccoby published an insightful article in the Harvard Business Review that applies Freudian terminology to three categories of executives Maccoby had observed in corporate life. “Erotics” feel a need to be loved, value consensus, and as a result are not natural leaders. These are the people to whom a manager should assign tasks—and then heap praise for a job well done. “Obsessives” are by-the-books tacticians with a knack for making the trains run on time. An efficient head of logistics or bottom-line-oriented spreadsheet jockey is the classic obsessive. The greats of business history, however, are “productive narcissists,” visionary risk takers with a burning desire to “change the world.” Corporate narcissists are charismatic leaders willing to do whatever it takes to win and who couldn’t give a fig about being liked. Steve Jobs was the textbook example of a productive narcissist. An unimpressed Jobs was famous for calling other companies “bozos.” His own executives endured their rides on what one called the “bozo/hero rollercoaster,” often within the same marathon meeting.

He has now completed two books, the first on how investment dealers “fee-farm” over half of the life savings of many clients, and this second book about conditions which allow quiet professional corruption to remain hidden from the public, and ignored by authorities. What drives me? (in the authors words) I hope to have an impact upon the #1 cause of disability, disease, and stress in society today. I believe I have some unique perspectives on this from my experience. For example, the #1 cause of disability, disease, and stress is fear of economic uncertainty. In my experience, the #1 cause of fear of economic uncertainty, is unfairness between those who are protected and enriched within the “lifeboats” of certain professions, corporations or institutions, and those who are not so protected. There are different levels of protection by the law, and immunity from having to adhere to the law, depending upon the wealth, power or status of those involved. Justice systems simply do not often “look upwards” to investigate and prosecute those of great wealth, power and status. These rigged systems of governance, finance, justice etc, cause unfairness, injustice, and repeal the laws of poverty for a few very lucky people, and repeals the chances of prosperity for billions of others. A small few win by corruption, while the rest of society must lose by default. This is a broken system. The unfairness of rigged and/or broken systems, causes imbalances sufficient to destroy entire societies. Societies can literally shake themselves apart with the human vibration of living in an unjust, unfair world. At time of writing this, I am the chairperson of the volunteer Canadian Justice Review Board of Canada, working to better understand one of societies most valuable social systems,

The hypocrisy on the left has no limits, and the Mueller Report might be the best example of this. Victor Davis Hanson, who wrote The Case for Trump, summed up nicely the double standard Mueller applied to Democrats in a piece he wrote for National Review: “The problem with the Mueller investigation, and with former intelligence officials such as Brennan, Clapper, Comey, and McCabe, is pious hypocrisy. Those who have lectured America on Trump’s unproven crimes have written books and appeared on TV to publicize their own superior virtue. Yet they themselves have engaged in all sorts of unethical and illegal behavior.” And when their lies are exposed, they just cook up new ones. When it’s not collusion, it’s obstruction. Then, when it’s not that, it’s something else. It’s a constant cover-up, and it always leads to nothing.

What you call extravagance is really comfort, pleasure and polish, which the lower orders learn from the aristocracy, and so grow civilised themselves. I have heard from very liberal people that there must be classes in society that cultivate science, art and refined manners — first, so that others may take living examples from them, and then to provide encouragement for noble actions.

Although Etteilla receives little credit in popular literature today, he can credited with many ‘firsts’': he was certainly the first to popularise fortune-telling with playing cards , the first to promote card reading as a professional activity and the first to publish books on the subject. He also was the first to use a pseudonym as a constant pen-name, initiating a tradition which was to flourish among XIX-oentury esoteric writers, as the following chapters will abundantly demonstrate. Thanks to Etteilla, Court de Gébelin's theory about the 'Egyptian' origin of the Tarot had a wider diffusion and fortune-telling with Tarot cards became popular. He was the first. too, to attempt to incorporate Tarot cards into a system of magical theory: his example, though not his means of doing so, was to be followed by others whose infuence has persisted longer. Last but not least, he can be credited too with the invention of the very word cartomancie, or rather of its forerunner, ‘cartonomancie', which appeared in his writings from 1782. Amazingly, one of his disciples was about to publish a book on 'cartomancie' in 1789 (the first occurrence of such a word in a European language), but as the book is now lost we only know it from Etteilla's very critical review, rejecting this quite new and ‘illogical’ word to which he opposed his ‘better’ cartonomancie. Nevertheless, cartomancie took hold and its use spread. In 1803, it entered de Wailly’s French dictionary, and from these it has found its way into alnost all European languages, Jean-Baptiste Alliette died on 12 December 1791. He was only 53, which is, even in the XVIII century, a rather young age at which to die, We unfortunately know nothing of what he died of. Etteilla was a fascinating character and deserves more than giving his name to a strange Tarot pack. There is something touching in the man, who was sincere and passionate, generous and enlightened (in all the meanings of the word in the late XVIII century.

Examples of unintentional torts are negligence and malpractice.

Quasi-Intentional Tort i. A quasi-intentional tort is an act that causes economic damage or harm or damage to reputation. ii. Examples of quasi-intentional torts are defamation or privacy breaches.

A book can be a great friend, an advisor, a means to an end. A book reveals so much more than a movie would ever do. For example, when I watched the movie “The Hours” I was fascinated by the story. Just a year later I decided to read the book. And what was my surprise that I was even more dazzled by its writings than I was by the images… The images in my head were more vivid than the film could ever transport me to that feminine universe that the author was trying (and so successfully granted me) to conceive…

For example, when I was still in the exploratory mode of the book, before I’d even begun to put pen to paper (or fingers to keyboard), I would share a short idea (my minimal viable product) on Twitter. If it seemed to resonate with people there, I would write a blog piece on Harvard Business Review. Through this iterative process, which required very little effort, I was able to find where there seemed to be a connection between what I was thinking and what seemed to have the highest relevancy in other people’s lives.

Search books that will compete with your book and read the reviews on Amazon and Goodreads. Read what people like but also focus on what they don’t like. What do they want that is a bit different and missing from existing books? I’m not looking for haters; I’m looking for people who provide constructive ideas. For example, while doing research for a client writing a book on handling cancer treatments, I noticed a competing book had several comments that said the book was great but neglected the emotional aspect of dealing with cancer. This helped us advise her that there was an opportunity to position her book with more of an emotional component.

I live near a park and frequently walk around the local area. Given the amount of dog mess that is on the pavements, I thought this book would be the ideal read to stop me from having to scrape my shoes on the grass before going home. It was only after it arrived that I looked closely at the title and realized it said How to Avoid Huge SHIPS. A simple error that means I am still treading on massive examples of canine excrement. Having said that, I read the book anyway, and I’m pleased to say I’m not even having near misses with huge ships anymore. No sir, they ain’t getting anywhere near me!

D. Donovan, Senior Reviewer, Midwest Book Review writes: "Sea Creatures and Poems: Plus Some Other Fish Rhymes illustrates the fun that poetry can embrace, providing a zany collection for all ages that is both ocean-focused and whimsical. The operative description for both poems and pictures is "silly," and the book fulfills this promise with a series of engaging observations that belay the usual staid approaches of too many poetry books. Art combined with poetry is "a delicious combination," as Richard Merritts reflects in the collection's introduction. The poems inspired the author to add illustrations which are just as whimsically touched...and, also, quite artistically rendered. These aren't demanding works. Take "Pompano Pompano Pompano," for example. Its very short observation concludes with an ironic twist after identifying the "flat fish from Florida" outside of its normal sea environment. Succinct? Yes. But the poem really...snags readers, landing a winning insight on both the pompano and its ultimate fate. Readers trawling for humor will find plenty in this book. Even the poetry titles present original, fun observations, as in "By Jove, I Hooked a Snook." Aside from its delightful observations, the poems represent diverse structures, from free verse to rhyme: "From the depths of the sea;/Came a fish that could be;/From a prison did flee;/Dressed in stripes, so you see..." From redfish and ahi to the anglers who long for them, Sea Creatures and Poems will appeal to a wide audience, especially those who do not view poetry as an opportunity for philosophical and psychological analysis alone. Its blend of natural history info, inviting color illustrations, and accompanying fun insights is recommended for those who fish to those who enjoy eating or studying them, as well as poetry lovers who will appreciate the very different approaches, poetic variety, and whimsical inspections within. Libraries catering to these audiences will want to include it in their collections, but Sea Creatures and Poems will prove a delightful choice for adults who seek to instill in the young an appreciation for poetry's capability for fun and its diverse structural representations.

By D. Donovan, Senior Reviewer, Midwest Book Review "Historical fiction readers are in for a treat with When I Was Better, a love story set in Hungary and Canada which follows the journey of István and Teréza, who flee the Nazi and Soviet invasions and the Hungarian Revolution to finally make their home in Winnipeg in the 1960s. Maps and a cast of characters portend an attention to details that history buffs will appreciate, but the lively chapter headings that begin with "This is What Dying Feels Like" are the real draw, promising inviting scenarios that compel readers to learn more about the characters' lives and influences. Few other books about immigrant experience hold the descriptive power of When I Was Better: "Her world had transformed into a place of gestures and facial expressions, making her feel more vigilant now than she had ever been under Communism. No one understood her but Zolti. Already she ached for her language and the family she left behind." Rita Bozi's ability to capture not just the history and milieu of the times, but the life and passions of those who live it is a sterling example of what sets an extraordinary read apart from a mundane narration of circumstance and history. Her ability to depict the everyday experiences and insights of her protagonist bonds reader to the subject in an intimate manner that brings not just the era, but the psychology of its participants to life through inner reflection, influence and experience, and even dialogue: “Four lengths of sausage, please?” Teréza watched as the man pulled two small lengths from the hook and wrapped them in course paper. “I beg your pardon, sir, but would you kindly add in two more lengths?” “We got an aristocrat here? If you take four lengths, what d’you imagine the workers are gonna eat at the end of the day?” The account of a seven-year separation, Budapest and Winnipeg cultures and contrasts, and refugee experiences brings history to life through the eyes of its beholders. That which doesn't kill us, makes us stronger. This saying applies especially strongly to When I Was Better 's powerful story, highly recommended for historical fiction readers and library collections interested in powerfully compelling writing packed with insights: “Why is it so agonizing to be truthful?” István asked, not expecting an answer. “It depends on what truth you’re about to reveal. And how you expect it to be received. If you’re expecting an execution, you have two choices. Die for what you believe in or lie to save your life.” “So in the end, it all comes down to values.” István reached for the martini, took another sip. Bela smiled. “Without truth, there’s no real connection. The truth hurts, but love eventually heals what hurts.”" "With sharp insight and the gifts of a natural, Bozi's novel brilliantly chronicles the plight of an entire generation of Hungarians through the intimate portrait of two lovers tested by the political and personal betrayals that ripped through the heart of the twentieth century.

Without a shadow of a doubt, the first fiction ever recounted was fantasy. Guys sitting around the campfire— Was it you who wrote the review? I thought I recognized it— Guys sitting around the campfire telling each other stories about the gods who made lightning, and stuff like that. They did not tell one another literary stories. They did not complain about difficulties of male menopause while being a junior lecturer on some midwestern college campus. Fantasy is without a shadow of a doubt the ur-literature, the spring from which all other literature has flown. Up to a few hundred years ago no one would have disagreed with this, because most stories were, in some sense, fantasy. Back in the middle ages, people wouldn’t have thought twice about bringing in Death as a character who would have a role to play in the story. Echoes of this can be seen in Pilgrim’s Progress, for example, which hark back to a much earlier type of storytelling. The epic of Gilgamesh is one of the earliest works of literature, and by the standard we would apply now— a big muscular guys with swords and certain godlike connections— That’s fantasy. The national literature of Finland, the Kalevala. Beowulf in England. I cannot pronounce Bahaghvad-Gita but the Indian one, you know what I mean. The national literature, the one that underpins everything else, is by the standards that we apply now, a work of fantasy. Now I don’t know what you’d consider the national literature of America, but if the words Moby Dick are inching their way towards this conversation, whatever else it was, it was also a work of fantasy. Fantasy is kind of a plasma in which other things can be carried. I don’t think this is a ghetto. This is, fantasy is, almost a sea in which other genres swim. Now it may be that there has developed in the last couple of hundred years a subset of fantasy which merely uses a different icongraphy, and that is, if you like, the serious literature, the Booker Prize contender. Fantasy can be serious literature. Fantasy has often been serious literature. You have to fairly dense to think that Gulliver’s Travels is only a story about a guy having a real fun time among big people and little people and horses and stuff like that. What the book was about was something else. Fantasy can carry quite a serious burden, and so can humor. So what you’re saying is, strip away the trolls and the dwarves and things and put everyone into modern dress, get them to agonize a bit, mention Virginia Woolf a few times, and there! Hey! I’ve got a serious novel. But you don’t actually have to do that.

Another example of educational hype is in some ways the second coming of the growth mindset concept: ‘grit’. This is the idea, promoted by the psychologist Angela Duckworth, that the ability to stick to a task you’re passionate about, and not give up even when life puts obstacles in your path, is key to life success, and far more important than innate talent. The appetite for her message was immense: at the time of this writing, her TED talk on the subject has received 25.5 million views (19.5m on the TED website and a further 6m on YouTube; Angela Lee Duckworth, ‘Grit: The Power of Passion and Perseverance’, presented at TED Talks Education, April 2013), and her subsequent book, Grit: The Power of Passion and Perseverance, became a New York Times bestseller and continues to sell steadily. Like mindset, grit has become part of the philosophy of many schools, including KIPP (Knowledge is Power Program) schools, the biggest charter school group in the US, which teaches almost 90,000 students. To her credit, Duckworth has been concerned about how overhyped her results have become. She told an NPR interviewer in 2015 that ‘the enthusiasm is getting ahead of the science’ (Anya Kamenetz, ‘A Key Researcher Says “Grit” Isn’t Ready For High-Stakes Measures’, NPR, 13 May 2015). A wise statement, given that the meta-analytic evidence for the impact of grit (or interventions trying to teach it) is extremely weak. See Credé et al., ‘Much Ado about Grit: A Meta-Analytic Synthesis of the Grit Literature’, Journal of Personality and Social Psychology 113, no. 3 (Sept. 2017): pp. 492–511. And Marcus Credé, ‘What Shall We Do About Grit? A Critical Review of What We Know and What We Don’t Know’, Educational Researcher 47, no. 9 (Dec. 2018): pp. 606–11.

And while seeking out the opinions and perspectives of people like ourselves may lead to a more personal and familiar buying experience, what’s even more amazing is the impact those trusted sources have on conversion rates. B2B sales cycle data from Salesforce demonstrates that, when it comes to lead conversion, the interest that originates from customer and employee referrals converts to deals at rates fifty times higher than email campaigns!9 Furthermore, data from marketing automation giant Marketo indicates that leads originating from referrals convert to opportunities at rates of four times the average, and similar to the next three highest-converting lead sources combined (those being partner, inbound, and marketing-generated).10 My personal experience over the years greatly corroborates these statistics. For example, when I started my own sales practice, Cerebral Selling, I needed to have a logo designed. Around the same time, my friend had recently had a nice logo designed for his business. I asked him who he used, he told me, and I just did the same. No further research or investigation required. A short time later, I wanted to head out of town with my wife for an overnight trip to the beautiful Niagara wine region of Ontario to celebrate our anniversary. I didn’t know where to stay or which restaurant to go to, so instead of sifting through pages of online content and reviews, I asked a friend who runs a vineyard in the region. When he gave me his recommendations, I simply booked the places he told me. No questions asked. Were there better places to stay and eat? Potentially. Were there other creative design shops that could have generated equally if not more spectacular logos? More than likely. Do I care? Absolutely not! I love my logo and had a great anniversary outing, and feel secure in my decisions around both because of the feeling I received by selecting recommendations from people I trust. Both experiences are perfect examples of the prescriptive-led sales cycle we spoke about in chapter 2. This means that when it comes to your selling motion, one of the most unobtrusive, empathetic, and authentic ways to convert prospective buyers is simply to surround them with like-minded customers who love you.

Like every new skill, mastering your morning routine will take some time. Review any notes or highlights you made while reading this book, and follow our simple process: Write down your new routine. Be as specific as necessary. (For example, “go to the bathroom” may not require further detail.) Use waking up as the trigger to begin your morning routine, with each subsequent element of your routine reminding you to start on the next element. Start small—a five-minute workout is less intimidating than a half-hour session. Give yourself small rewards after completing the hardest parts of your routine. Give each new element you bring into your morning routine a fair shot. Trying something for just a couple of days before giving up isn’t enough. Though opinion varies on how long it takes for something to become a habit, we suggest you give each new element at least a one- or two-week trial to see how you like it.

Saying that a book was a fun read, for example, suggests that the opinion is based on a particular personal experience, that when the reviewer read the book, he or she enjoyed it.

What may be achieved, perhaps, is nothing more than this: to gaze at Sartre’s mountains of thought, but from a distance, so that only the contours are visible in the mental heavens, and not to get lost amid the peaks and valleys. Sartre’s Flaubert is the Sartre-Flaubert, and should remain such. It is now left to others to discover their own Flaubert-Flaubert according to the map each sketches out for himself. For what it’s worth, we have an example before us now.

The most heartening response came not from the book pages in the press but from real incidents in the streets. The girl who was quietly reading Open Veins to her companion in a bus in Bogotá, and finally stood up and read it aloud to all the passengers. The woman who fled from Santiago in the days of the Chilean bloodbath with this book wrapped inside her baby's diapers. The student who went from one bookstore to another for a week in Buenos Aires's Calle Corrientes, reading bits of it in each store because he hadn't the money to buy it. And the most favorable reviews came not from any prestigious critic but from the military dictatorships that praised the book by banning it. For example, Open Veins is unobtainable either in my country, Uruguay, or in Chile; in Argentina the authorities denounced it on TV and in the press as a corrupter of youth, As Blas de Otero remarked, "They don't let people see what I write because I write what I see.

The most heartening response came not from the book pages in the press but from real incidents in the streets. The girl who was quietly reading Open Veins to her companion in a bus in Bogotá, and finally stood up and read it aloud to all the passengers. The woman who fled from Santiago in the days of the Chilean bloodbath with this book wrapped inside her baby's diapers. The student who went from one bookstore to another for a week in Buenos Aires's Calle Corrientes, reading bits of it in each store because he hadn't the money to buy it. And the most favorable reviews came not from any prestigious critic but from the military dictatorships that praised the book by banning it. For example, Open Veins is unobtainable either in my country, Uruguay, or in Chile; in Argentina the authorities denounced it on TV and in the press as a corrupter of youth, As Blas de Otero remarked, "They don't let people see what I write because I write what I see.

Like all traders and investors, I periodically review the performance of my portfolios and check in on whether they are getting the job done. I say periodically, because the temptation – a dangerous one for many – is to be constantly watching and let’s face it, this is a long term game, not a get rich quick punt, right? As such, over the past few months, one of my personal favourites – the covered call, has continued to deliver the cash flow I seek from that particular portfolio. For example, this calendar year, in the Australian market, FMG being the one blot on the ledger, we have had only one loser from 13 closed positions. For those that obsess about win/loss ratios – a flawed measure in my book – that is a 92% win rate for the calendar year. Of course, this is a reflection of the underlying market conditions, which have been supportive of the strategy.

Once you've exported your highlights, review them and highlight, once again, the parts of those highlights that are the most interesting. This is a mental energy management technique: When you were reading the book, you were more focused on reading it, not on thinking deeply about whether or not a passage was useful. Now as a separate task you're asking yourself which parts are interesting enough that you want to re-write them in your own words later.

The ‘pamphlet’ urged by Thomas Potts he now titled An Enquiry into the Obligations of Christians to Use Means for the Conversion of the Heathens, in Which the Religious State of the Different Nations of the World, the Success of Former Undertakings, and the Practicability of Further Undertakings are Considered. The title surely told anyone the publication would not be a pamphlet. It turned out to be a 87-page book. In the first section William asked the key question: Is the Great Commission still binding? And in this section he reviewed every objection he had ever heard against missionary work. Then he rebutted it. Examples of these were[3]: Objection: But how do we know that this command is still valid? Not even divine injunctions abide for ever. They have their periods and pass, like the Levitical law. Reply: Nay, divine injunctions abide till they have fulfilled their function. Who can think this commission exhausted, with the majority of mankind not yet acquainted with Christ’s name? Objection: But Christ’s command could scarcely have been absolute, even for the apostles, seeing that they never heard of vast parts of the globe - the South Seas for example -nor could they these be reached. Neither can we think it absolute today, with very large regions still unknown and unopened. Reply: As they (the apostles) were responsible for going according to their strength into all their accessible world, we are in duty bound to speed into our much enlarged world. Indeed, we ought to be keen to go everywhere for Christ, till all closed doors are opened. In

Nevertheless, the obvious and overwhelming evidence of the damage we are causing is now increasingly impossible for reasonable people to ignore. It is widely known by now that there is a nearly unanimous view among all scientists authoring peer-reviewed articles related to the climate crisis that it threatens our future, that human activities are largely if not entirely responsible, and that action is needed urgently to prevent the catastrophic harm it is already starting to bring. More importantly, Mother Nature is reminding us almost daily that the impacts of the climate crisis are growing steadily more severe, with more frequent and powerful climate-related extreme weather events. Every night, the TV news is like a nature hike through the Book of Revelation. But before diving further into examples of the unprecedented harm we are causing, please remember how important it is to guard against feelings of despair. Despair, after all, is simply another form of denial, and can serve to paralyze the will we need to fight our way out of this crisis. And bear in mind that the hopeful news about the availability of solutions is a powerful antidote to the feelings that can be aroused by the disconcerting news about the self-harm we are presently inflicting upon humanity.

suggest starting with a careful review of the relevant variables for solving the problem and then storing these values in your working memory. For example, if you’re working on the outline for a book chapter, the relevant variables might be the main points you want to make in the chapter. If you’re instead trying to solve a mathematics proof, these variables might be actual variables, or assumptions, or lemmas. Once the relevant variables are identified, define the specific next-step question you need to answer using these variables. In the book chapter example, this next-step question might be, “How am I going to effectively open this chapter?,

That’s a simple example, you say, but what if you need to learn to do something your friends haven’t done? Like, say, sell a book to the world’s largest publisher as a first-time author? Funny you should ask. There are two approaches I used: 1. I picked one book out of dozens based on reader reviews and the fact that the authors had actually done what I wanted to do. If the task is how-to in nature, I only read accounts that are “how I did it” and autobiographical. No speculators or wannabes are worth the time. 2. Using the book to generate intelligent and specific questions, I contacted 10 of the top authors and agents in the world via e-mail and phone, with a response rate of 80%.

Some rationalists would want to advance an additional complaint that we have hardly considered: namely, that the morality and institutions of capitalism not only fail to meet the logical, methodological, and epistemological requirements reviewed already, but also impose a crippling burden on our freedom – as, for example, our freedom to ‘express’ ourselves unrestrainedly. This complaint cannot be met by denying the obvious, a truth with which we opened this book – that moral tradition does seem burdensome to many – but can only be answered by observing again, here and in subsequent chapters, what we derive from bearing this burden, and what the alternative would be. Virtually all the benefits of civilisation, and indeed our very existence, rest, I believe, on our continuing willingness to shoulder the burden of tradition. These benefits in no way ‘justify’ the burden. But the alternative is poverty and famine.