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In his debut novel, The Kite Runner, Khaled Hosseini accomplishes what very few contemporary novelists are able to do. He manages to provide an educational and eye-opening account of a country's political turmoil--in this case, Afghanistan--while also developing characters whose heartbreaking struggles and emotional triumphs resonate with readers long after the last page has been turned over. And he does this on his first try.

The Kite Runner follows the story of Amir, the privileged son of a wealthy businessman in Kabul, and Hassan, the son of Amir's father's servant. As children in the relatively stable Afghanistan of the early 1970s, the boys are inseparable. They spend idyllic days running kites and telling stories of mystical places and powerful warriors until an unspeakable event changes the nature of their relationship forever, and eventually cements their bond in ways neither boy could have ever predicted. Even after Amir and his father flee to America, Amir remains haunted by his cowardly actions and disloyalty. In part, it is these demons and the sometimes impossible quest for forgiveness that bring him back to his war-torn native land after it comes under Taliban rule. ("...I wondered if that was how forgiveness budded, not with the fanfare of epiphany, but with pain gathering its things, packing up, and slipping away unannounced in the middle of the night.")

Some of the plot's turns and twists may be somewhat implausible, but Hosseini has created characters that seem so real that one almost forgets that The Kite Runner is a novel and not a memoir. At a time when Afghanistan has been thrust into the forefront of America's collective consciousness ("people sipping lattes at Starbucks were talking about the battle for Kunduz"), Hosseini offers an honest, sometimes tragic, sometimes funny, but always heartfelt view of a fascinating land. Perhaps the only true flaw in this extraordinary novel is that it ends all too soon. --Gisele Toueg.
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As a youth of 18, Ernest Hemingway was eager to fight in the Great War. Poor vision kept him out of the army, so he joined the ambulance corps instead and was sent to France. Then he transferred to Italy where he became the first American wounded in that country during World War I. Hemingway came out of the European battlefields with a medal for valor and a wealth of experience that he would, 10 years later, spin into literary gold with A Farewell to Arms. This is the story of Lieutenant Henry, an American, and Catherine Barkley, a British nurse. The two meet in Italy, and almost immediately Hemingway sets up the central tension of the novel: the tenuous nature of love in a time of war. During their first encounter, Catherine tells Henry about her fiancé of eight years who had been killed the year before in the Somme. Explaining why she hadn't married him, she says she was afraid marriage would be bad for him, then admits:

I wanted to do something for him. You see, I didn't care about the other thing and he could have had it all. He could have had anything he wanted if I would have known. I would have married him or anything. I know all about it now. But then he wanted to go to war and I didn't know.

The two begin an affair, with Henry quite convinced that he "did not love Catherine Barkley nor had any idea of loving her. This was a game, like bridge, in which you said things instead of playing cards." Soon enough, however, the game turns serious for both of them and ultimately Henry ends up deserting to be with Catherine.

Hemingway was not known for either unbridled optimism or happy endings, and A Farewell to Arms, like his other novels (For Whom the Bell Tolls, The Sun Also Rises, and To Have and Have Not), offers neither. What it does provide is an unblinking portrayal of men and women behaving with grace under pressure, both physical and psychological, and somehow finding the courage to go on in the face of certain loss. --Alix Wilber.
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It's hard to fall in love with an earnest, appealing young hero like Harry Potter and then to watch helplessly as he steps into terrible danger! And in J.K. Rowling's Harry Potter and the Chamber of Secrets, the much anticipated sequel to the award-winning Harry Potter and the Sorcerer's Stone, he is in terrible danger indeed. As if it's not bad enough that after a long summer with the horrid Dursleys he is thwarted in his attempts to hop the train to the Hogwarts School of Witchcraft and Wizardry to begin his second year. But when his only transportation option is a magical flying car, it is just his luck to crash into a valuable (but clearly vexed) Whomping Willow. Still, all this seems like a day in the park compared to what happens that fall within the haunted halls of Hogwarts.

Chilling, malevolent voices whisper from the walls only to Harry, and it seems certain that his classmate Draco Malfoy is out to get him. Soon it's not just Harry who is worried about survival, as dreadful things begin to happen at Hogwarts. The mysteriously gleaming, foot-high words on the wall proclaim, "The Chamber of Secrets Has Been Opened. Enemies of the Heir, Beware." But what exactly does it mean? Harry, Hermione, and Ron do everything that is wizardly possible--including risking their own lives--to solve this 50-year-old, seemingly deadly mystery. This deliciously suspenseful novel is every bit as gripping, imaginative, and creepy as the first; familiar student concerns--fierce rivalry, blush-inducing crushes, pedantic professors--seamlessly intertwine with the bizarre, horrific, fantastical, or just plain funny. Once again, Rowling writes with a combination of wit, whimsy, and a touch of the macabre that will leave readers young and old desperate for the next installment. (Ages 9 and older) --Karin Snelson.
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Basic Marketing 16e builds on the foundation pillars of previous editions – the four Ps framework, managerial orientation, and strategy planning focus. 16e builds upon its pioneering beginnings that introduced the “four Ps” to the introductory marketing course. The unifying focus of Basic Marketing has always been on how to make the marketing decisions that a manager must make in deciding what customers to focus on and how best to meet their needs. Over many editions there has been constant change in marketing management and the marketing environment. Some of the changes have been dramatic, and others have been subtle. As a result, the authors have made ongoing changes to the text to reflect marketing’s best practices and ideas. Throughout all of these changes, Basic Marketing and the supporting materials that accompany it have been more widely used than any other teaching materials for introductory marketing. Consistent with our belief in continuous quality improvement, this edition has been critically revised, updated, and rewritten to reflect new concepts, new examples, and recent “best practices.” This edition extends the strategy planning approach, integrating concepts tightly with the marketing strategy planning model..
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This edition of Essentials of Marketing has been critically revised, updated, and rewritten to reflect new concepts, new examples, and recent "best practices." It builds on the foundation pillars of previous editions – the four Ps framework, managerial orientation, and strategy planning focus. 11e builds upon its pioneering beginnings that introduced the "four Ps" to the introductory marketing course. Focus of Essentials of Marketing has always been on how to make the marketing decisions that a manager must make in deciding what customers to focus on and how best to meet their needs. This edition extends the strategy planning approach, integrating concepts tightly with the marketing strategy planning model. The authors have made ongoing changes to the text to reflect marketing's best practices and ideas. The supporting materials that accompany it have been more widely used than any other teaching materials for introductory marketing. This edition extends the strategy planning approach, integrating concepts tightly with the marketing strategy planning model..
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Baby bat Stellaluna's life is flitting along right on schedule--until an owl attacks her mother one night, knocking the bewildered batlet out of her mother's loving grasp. The tiny bat is lucky enough to land in a nest of baby birds, but her whole world has just turned upside down. Literally Stellaluna's adoptive bird mom accepts her into her nest, but only on the condition that Stellaluna will act like a bird, not a bat. Soon Stellaluna has learned to behave like a good bird should--she quits hanging by her feet and starts eating bugs. But when she finally has an opportunity to show her bird siblings what life as a bat is like, all of them are confounded. "How can we be so different and feel so much alike?" one asks. "And how can we feel so different and be so much alike?" asks another. "I agree," Stellaluna responds. "But we're friends. And that's a fact." Anyone who has ever been asked to be someone they're not will understand the conflicts--and possibilities--Stellaluna faces. This gorgeously illustrated book is sure to be an all-time favorite with readers, whether they've left the nest or not. (Click to see a sample spread. Illustration from Stellaluna, © 1993 by Janell Cannon, reproduced by permission of Harcourt Brace & Company) (Ages 4 to 8) --Emilie Coulter.
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The heartwarming and unforgettable story of a family in the making and the
wondrously neurotic dog who taught them what really matters in life

John and Jenny were just beginning their life together They were young and in love, with a perfect little house and not a care in the world. Then they brought home Marley, a wiggly yellow furball of a puppy. Life would never be the same.

Marley quickly grew into a barreling, ninety-seven-pound streamroller of a Labrador retriever, a dog like no other. He crashed through screen doors, gouged through drywall, flung drool on guests, stole women's undergarments, and ate nearly everything he could get his mouth around, including couches and fine jewelry. Obedience school did no good—Marley was expelled. Neither did the tranquilizers the veterinarian prescribed for him with the admonishment, "Don't hesitate to use these."

And yet Marley's heart was pure. Just as he joyfully refused any limits on his behavior, his love and loyalty were boundless, too. Marley shared the couple's joy at their first pregnancy, and their heartbreak over the miscarriage. He was there when babies finally arrived and when the screams of a seventeen-year-old stabbing victim pierced the night. Marley shut down a public beach and managed to land a role in a feature-length movie, always winning hearts as he made a mess of things. Through it all, he remained steadfast, a model of devotion, even when his family was at its wit's end. Unconditional love, they would learn, comes in many forms.

Is it possible for humans to discover the key to happiness through a bigger-than-life, bad-boy dog? Just ask the Grogans.

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Written by Stu Maschwitz, co-founder of the Orphanage (the legendary guerrilla visual effects studio responsible for amazing and award-winning effects in such movies as Sin City, The Day After Tomorrow, and Harry Potter and the Goblet of Fire), this book is a must-have for all those budding filmmakers and students who want to produce action movies with visual effects but don't have Hollywood budgets. The Orphanage was created by three twenty-something visual effects veterans who wanted to make their own feature films and discovered they could do this by utilizing home computers, off the shelf software, and approaching things artistically. This guide details exactly how to do this: from planning and selecting the necessary cameras, software, and equipment, to creating specific special effects (including gunfire, Kung Fu fighting, car chases, dismemberment, and more) to editing and mixing sound and music. Its mantra is that the best, low-budget action moviemakers must visualize the end product first in order to reverse-engineer the least expensive way to get there. Readers will learn how to integrate visual effects into every aspect of filmmaking--before filming, during filming and with "in camera" shots, and with computers in postproduction. Throughout the book, the author makes specific references to and uses popular action movies (both low and big-budget) as detailed examples--including El Mariachi, La Femme Nikita, Die Hard, and Terminator 2..
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