Books about Structures from Amazon.com

Amazon Best of the Month, May 2008: How did we go from Lyndon Johnson's landslide Democratic victory in 1964 to Richard Nixon's equally lopsided Republican reelection only eight years later? The years in between were among the most chaotic in American history, with an endless and unpopular war, riots, assassinations, social upheaval, Southern resistance, protests both peaceful and armed, and a "Silent Majority" that twice elected the central figure of the age, a brilliant politician who relished the battles of the day but ended them in disgrace. In Nixonland Rick Perlstein tells a more familiar story than the one he unearthed in his influential previous book, Before the Storm, which argued that the stunning success of modern conservatism was founded in Goldwater's massive 1964 defeat. But he makes it fresh and relentlessly compelling, with obsessive original research and a gleefully slashing style--equal parts Walter Winchell and Hunter S. Thompson--that's true to the times. Perlstein is well known as a writer on the left, but his historian's empathies are intense and unpredictable: he convincingly channels the resentment and rage on both sides of the battle lines and lets neither Nixon's cynicism nor the naivete of liberals like New York mayor John Lindsay off the hook. And while election-year readers will be reminded of how much tamer our times are, they'll also find that the echoes of the era, and its persistent national divisions, still ring loud and clear. --Tom Nissley.
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“Fascists,” “Brownshirts,” “jackbooted stormtroopers”—such are the insults typically hurled at conservatives by their liberal opponents. Calling someone a fascist is the fastest way to shut them up, defining their views as beyond the political pale. But who are the real fascists in our midst?

Liberal Fascism offers a startling new perspective on the theories and practices that define fascist politics. Replacing conveniently manufactured myths with surprising and enlightening research, Jonah Goldberg reminds us that the original fascists were really on the left, and that liberals from Woodrow Wilson to FDR to Hillary Clinton have advocated policies and principles remarkably similar to those of Hitler's National Socialism and Mussolini's Fascism.

Contrary to what most people think, the Nazis were ardent socialists (hence the term “National socialism”). They believed in free health care and guaranteed jobs. They confiscated inherited wealth and spent vast sums on public education. They purged the church from public policy, promoted a new form of pagan spirituality, and inserted the authority of the state into every nook and cranny of daily life. The Nazis declared war on smoking, supported abortion, euthanasia, and gun control. They loathed the free market, provided generous pensions for the elderly, and maintained a strict racial quota system in their universities—where campus speech codes were all the rage. The Nazis led the world in organic farming and alternative medicine. Hitler was a strict vegetarian, and Himmler was an animal rights activist.

Do these striking parallels mean that today’s liberals are genocidal maniacs, intent on conquering the world and imposing a new racial order? Not at all. Yet it is hard to deny that modern progressivism and classical fascism shared the same intellectual roots. We often forget, for example, that Mussolini and Hitler had many admirers in the United States. W.E.B. Du Bois was inspired by Hitler's Germany, and Irving Berlin praised Mussolini in song. Many fascist tenets were espoused by American progressives like John Dewey and Woodrow Wilson, and FDR incorporated fascist policies in the New Deal.

Fascism was an international movement that appeared in different forms in different countries, depending on the vagaries of national culture and temperament. In Germany, fascism appeared as genocidal racist nationalism. In America, it took a “friendlier,” more liberal form. The modern heirs of this “friendly fascist” tradition include the New York Times, the Democratic Party, the Ivy League professoriate, and the liberals of Hollywood. The quintessential Liberal Fascist isn't an SS storm trooper; it is a female grade school teacher with an education degree from Brown or Swarthmore.

These assertions may sound strange to modern ears, but that is because we have forgotten what fascism is. In this angry, funny, smart, contentious book, Jonah Goldberg turns our preconceptions inside out and shows us the true meaning of Liberal Fascism.

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Writing for the screen is quirky business A writer must labor meticulously over his or her prose, yet very little of that prose is ever heard by filmgoers The few words that do reach the audience, in the form of the characters' dialogue, are, according to Robert McKee, best left to last in the writing process. ("As Alfred Hitchcock once remarked, 'When the screenplay has been written and the dialogue has been added, we're ready to shoot.' ") In Story, McKee puts into book form what he has been teaching screenwriters for years in his seminar on story structure, which is considered by many to be a prerequisite to the film biz. (The long list of film and television projects that McKee's students have written, directed, or produced includes Air Force One, The Deer Hunter, E.R., A Fish Called Wanda, Forrest Gump, NYPD Blue, and Sleepless in Seattle.) Legions of writers flock to Hollywood in search of easy money, calculating the best way to get rich quick. This book is not for them. McKee is passionate about the art of screenwriting. "No one needs yet another recipe book on how to reheat Hollywood leftovers," he writes. "We need a rediscovery of the underlying tenets of our art, the guiding principles that liberate talent." Story is a true path to just such a rediscovery. In it, McKee offers so much sound advice, drawing from sources as wide ranging as Aristotle and Casablanca, Stanislavski and Chinatown, that it is impossible not to come away feeling immeasurably better equipped to write a screenplay and infinitely more inspired to write a brilliant one.--Jane Steinberg.
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The second book in the Write Great Fiction series, Plot & Structure offers clear and concise information on creating a believable and engaging plot that readers can't resist. Written by award-winning thriller and suspense author James Scott Bell, this handy instruction guide provides:

* Easy-to-understand techniques on every aspect of plotting and structure, from brainstorming story ideas to building scenes, and from using subplots to crafting knock-out endings

* Engaging exercises, perfect for writers at any level and at any stage in their novel

* Practical and encouraging guidance from one of the most respected writers publishing today

Full of diagrams, plot brainstormers, and examples from popular novels, mastering plot and structure has never been so simple..
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There's a "Frank & Ernest" comic strip showing a chick breaking out of its shell, looking around, and saying, "Oh, wow! Paradigm shift!" Blame the late Thomas Kuhn. Few indeed are the philosophers or historians influential enough to make it into the funny papers, but Kuhn is one.

The Structure of Scientific Revolutions is indeed a paradigmatic work in the history of science. Kuhn's use of terms such as "paradigm shift" and "normal science," his ideas of how scientists move from disdain through doubt to acceptance of a new theory, his stress on social and psychological factors in science--all have had profound effects on historians, scientists, philosophers, critics, writers, business gurus, and even the cartoonist in the street.

Some scientists (such as Steven Weinberg and Ernst Mayr) are profoundly irritated by Kuhn, especially by the doubts he casts--or the way his work has been used to cast doubt--on the idea of scientific progress. Yet it has been said that the acceptance of plate tectonics in the 1960s, for instance, was sped by geologists' reluctance to be on the downside of a paradigm shift. Even Weinberg has said that "Structure has had a wider influence than any other book on the history of science." As one of Kuhn's obituaries noted, "We all live in a post-Kuhnian age." --Mary Ellen Curtin.
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A few years ago, a magazine sponsored a contest for the comment most likely to end a conversation The winning entry? "I teach English grammar." Just throw that line out at a party; everyone around you will clam up or start saying "whom."

Why does grammar make everyone so nervous? Probably because English teachers, for decades – no, for centuries – have been making a big deal out of grammar in classrooms, diagramming sentences and drilling the parts of speech, clauses, and verbals into students until they beg for mercy. Happily, you don't have to learn all those technical terms of English grammar – and you certainly don't have to diagram sentences – in order to speak and write correct English.

So rest assured – English Grammar For Dummies will probably never make your English teacher's top-ten list of must-read books, because you won't have to diagram a single sentence. What you will discover are fun and easy strategies that can help you when you're faced with such grammatical dilemmas as the choice between "I" and "me," "had gone" and "went," and "who" and "whom." With English Grammar For Dummies, you won't have to memorize a long list of meaningless rules (well, maybe a couple in the punctuation chapter!), because when you understand the reason for a particular word choice, you'll pick the correct word automatically.

English Grammar For Dummies covers many other topics as well, such as the following:

• Verbs, adjectives, and adverbs – oh my!
• Preposition propositions and pronoun pronouncements
• Punctuation: The lowdown on periods, commas, colons, and all those other squiggly marks
• Possession: It's nine-tenths of grammatical law
• Avoiding those double negative vibes
• How to spice up really boring sentences (like this one)
• Top Ten lists on improving your proofreading skills and ways to learn better grammar

Just think how improving your speaking and writing skills will help you in everyday situations, such as writing a paper for school, giving a presentation to your company's big wigs, or communicating effectively with your family. You will not only gain the confidence in knowing you're speaking or writing well, but you'll also make a good impression on those around you!.
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More than eighty of the loveliest, most tranquil, and sometimes hidden places in Paris are celebrated in this charming guidebook

Quiet Corners of Paris is a beautifully illustrated peek into eighty-one often overlooked, always beautiful, locales: hidden villas, winding lanes, little-known 19th-century passages, serene gardens, and cobblestone courtyards. Some of the places have breathtaking views, others are filled with historic and architectural details, from stone archways, garden follies, boxwood mazes, ornamental statuary, stained glass, and Renaissance fountains. Follow a stone path under a trellis of blossoms or wander through a gate to discoverÉ.
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Announcing an all-new MCTS Training Kit designed to help maximize your performance on Exam 70-431, a core exam for the new Microsoft IT Professional certifications. This kit packs the tools and features wanted mostincluding in-depth, self-paced training based on final exam content; rigorous, objective-by-objective review; exam tips from expert, exam-certified authors; and a robust testing suite. It also provides real-world scenarios, case study examples, and troubleshooting labs for skills and expertise that you can apply to the job. Focusing on SQL Server 2005, this official study guide covers topics such as installing and configuring SQL Server, implementing database mirroring, managing database snapshots, working with XML and flat files, managing replication, backing up and restoring a database, and more..
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At the beginning of The Writer's Journey, Christopher Vogler asserts that "all stories consist of a few common structural elements found universally in myths, fairy tales, dreams, and movies." Some may be hard-pressed to accept this idea (and will wonder how storytellers from Homer to Shakespeare to Robert Altman might respond to the proposition). Others may imagine that since Vogler uses movies like the Star Wars trilogy and The Lion King to defend his mythological philosophy, he is, unwittingly, listing the reasons why Hollywood films of the last 20 years have been so unimaginative. But there's no doubt that Vogler's notion, based on psychological writings by Carl Jung and the mythmaking philosophy of Joseph Campbell, has been profoundly influential. Many screenwriters have used Vogler's volume to understand why certain scenarios sell, and to discover a blueprint for creating mythic stories of their own.

Now in its second edition, The Writer's Journey sets forth archetypes common in what Vogler calls "the hero's journey," the mythic structure that he claims all stories follow. In the book's first section, he lists the different kinds of typological characters who appear in stories. In the second, he discusses the stages of the journey through which the hero generally passes. The final, supplementary portion of the book explains in detail how films like Titanic and The Full Monty follow the patterns he has outlined. --Raphael Shargel.
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