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MORE THAN 2,000 FULL-COLOR PHOTOGRAPHS HELP YOU VISUALLY DIAGNOSE CONDITIONS AND DISEASES ENCOUNTERED IN CLINICAL PRACTICE

A Doody's Core Title for 2015!

"As a primary care reference, this atlas stands at top of the field. It is the pinnacle of health information, marrying photographic images of medical conditions with detailed, yet succinctly written text about each of these conditions...This second edition has not only expanded sections, it also has more presence and authority. It is one to have for all teaching clinics."

The Color Atlas of Family Medicine, Second Edition is a comprehensive atlas designed to facilitate diagnosis using outwardly appearing signs and manifestations. The superb collection of clinical images is supported by concise, evidence-based treatment recommendations presented in convenient, easy-to-apply bulleted text. Each chapter begins with a story that ties the photographs to real-life patients. Coverage for each condition includes: Patient Story, Epidemiology, Etiology and Pathophysiology, Diagnosis, Differential Diagnosis, and Management.

Features:

• Organized by anatomic and physiologic systems
• Includes pediatric and adult conditions
• Insightful legends with each photograph providediagnostic pearls to enhance your clinical observational skills
• Indexed by topic, region, and morphology
• Special sections on women's health, physical/sexual abuse, and substance abuse
• NEW chapters on important topics such as:
  • Diabetes
  • Hypertension
  • Headache
  • Osteoporosis
  • Alcoholism
  • Tobacco addiction
  • Global health

Essential to family physicians and all healthcare providers involved in primary care, The Color Atlas of Family Medicine, Second Edition will also prove valuable to medical students, residents, internists, pediatricians, and dermatologists.

 

• Sales Rank: #124078 in Books
• Brand: Brand: McGraw-Hill Professional
• Published on: 2013-05-14
• Original language: English
• Number of items: 1
• Dimensions: 11.10" h x 2.40" w x 8.70" l, 9.28 pounds
• Binding: Hardcover
• 1600 pages

Features

• Used Book in Good Condition

About the Author

Richard P. Usatine, MD
Professor of Family and Community Medicine
Professor of Dermatology and Cutaneous Surgery
Assistant Director, Medical Humanities Education
University of Texas Health Science Center at San Antonio
Medical Director, Skin Clinic, University Health System
San Antonio, TX

Mindy A. Smith, MD
Clinical Professor, Department of Family Medicine
Michigan State University
East Lansing, MI
Deputy Editor, Essential Evidence Plus
Associate Medical Editor, FP Essentials

E.J. Mayeaux, Jr., MD
Professor of Family Medicine
Professor of Obstetrics and Gynecology
Family Medicine Residency Program Director and Vice-Chair
Louisiana State University Health Sciences Center
Shreveport, LA

Heidi S. Chumley, MD
Associate Professor, Family Medicine
University of Kansas School of Medicine
Associate Vice Chancellor, Educational Resources and Interprofessional Education
University of Kansas Medical Center
Kansas City, KS

Most helpful customer reviews

14 of 14 people found the following review helpful.
The State of the Art Textbook for Family Medicine
By Mark Nadeau
This is the state of the art textbook for Family Medicine. The book is comprehensive, accurate, and interesting to read. It is also a very efficient way to look up information quickly during clinical sessions. We have several copies in our clinic, and we use it extensively to teach our residents. I have used the previous version of this book as a book prize at graduation for outstanding resident performance.

Since I am a visual person, I find the comprehensive collections of photos and graphics to be a great way to learn. It was a great resource for my personal board recertification preparation this spring. The photos draw you into the material, and it helped me to sustain my energy for some longer study sessions. I personally own the iPad and the hard copy version, and I think both are excellent.

Mark T. Nadeau, MD

Family Medicine Residency Director

University of Texas Health Science Center San Antoinio

5 of 5 people found the following review helpful.
Excellent resource
By AGC
This is truly a comprehensive atlas. It includes everything from radiographic images to detailed diagnoses, with an especially impressive section on dermatology. Clearly, this is a "must-have" for anyone in a clinical primary care setting. It is great for anyone in training and a quick reference for those in practice.

The photos are high quality and the accompanying clinical information is helpful as well. There really is not another book out there that combines all elements of primary care with photos and up to date, useful explanations.

Highly recommended!

6 of 7 people found the following review helpful.
Practical, concise and beautiful.
By Martin S
The Color Atlas of Family Medicine is an exceptional reference for the practicing physician, medical student or resident.

In an era where good medical content is freely available on the internet, traditional textbooks require too much searching and extended reading times, only to find that the information is incomplete or outdated. In contrast, this book allows focused and concise review of a very broad range of topics relevant in the clinical setting.

As its title indicates, the book is filled with extremely detailed and well reproduced photographs, covering all the major fields of family medicine. Even with broadband connections, high quality photos and graphics are much slower and grainier on the internet than in a well-organized book.

The section on dermatology alone would make a great stand-alone reference text.

Most books that are presented as an `atlas' pay less attention to the text than the graphics. However, the information in this book is packed with concise, practical, and timely information that fully compliments its graphics and is a joy to use.

Each section is beautifully presented, each topic introduced with a patient scenario. This provides a natural clinical overview of the topic and, throughout the text, highlighted by superb photos and graphics. It is therefore easy to review a subject `real time' in the office or clinical setting.

The book also covers common family Medicine procedures including colposcopy, dermoscopy, and intralesional steroid injections. In addition, it covers many common areas of Family Medicine often sparsely covered in training, such as Podiatry, physical and substance abuse, and end-of-life issues.

A wonderful and nearly unique feature of this book is that most recommendations indicate a "strength of recommendation" based on the quality of information derived from evidence based medicine.

Also, as someone who has been a clinical instructor for Family Medicine residents, this is a great resource to "fast track" the experience of seeing and taking care of a patient with a particular problem or to allow a quick topic review of a patient that is being seen in the office or clinic.

Much is being said about the medical home. This book will provide much of the support and information needed to turn your practice into a medical home and support your development in the art of medicine.

Martin Smietanka MD

See all 28 customer reviews...

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[Z424.Ebook] Download Gonzo Girl: A Novel, by Cheryl Della Pietra

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The road to hell is paved with good intentions…and tequila, guns, and cocaine in this “rambunctiously entertaining” (Teddy Wayne) debut novel inspired by the author’s time as Hunter S. Thompson’s assistant.

Alley Russo is a recent college grad desperately trying to make it in the grueling world of New York publishing, but like so many who have come before her, she has no connections and has settled for an unpaid magazine internship while slinging drinks on Bleecker Street just to make ends meet. That’s when she hears the infamous Walker Reade is looking for an assistant to replace the eight others who have recently quit. Hungry for a chance to get her manuscript onto the desk of an experienced editor, Alley jumps at the opportunity to help Reade finish his latest novel.

After surviving an absurd three-day “trial period” involving a .44 magnum, purple-pyramid acid, violent verbal outbursts, brushes with fame and the law, a bevy of peacocks, and a whole lot of cocaine, Alley is invited to stay at the compound where Reade works. For months Alley attempts to coax the novel out of Walker page-by-page, all while battling his endless procrastination, vampiric schedule, Herculean substance abuse, mounting debt, and casual gunplay. But as the job begins to take a toll on her psyche, Alley realizes she’s alone in the Colorado Rockies at the mercy of a drug-addicted literary icon who may never produce another novel—and her fate may already be sealed.

“A margarita-fueled, miniskirt-clad cautionary tale of lost literary innocence” (Vogue), Gonzo Girl is a loving fictional portrait of a larger-than-life literary icon.

• Sales Rank: #116050 in Books
• Published on: 2016-04-19
• Released on: 2016-04-19
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .60" w x 5.25" l, .0 pounds
• Binding: Paperback
• 288 pages

Review
“Gonzo Girl is a thrilling fictionalized (just barely) account of working with a true genius—until the celebrity-filled, drug-fueled partying becomes too much.” (Entertainment Weekly (Must List selection))

“A margarita-fueled, miniskirt-clad cautionary tale of lost literary innocence.” (Vogue)

"Gonzo Girl is good, fast fun, like a thrill ride in a red convertible. A 1973 Chevy Caprice Classic, to be exact. You know the one." (Newsday)

“Full throttle from page one, this bildungsroman is a unique and mesmerizing tale about a young woman who must test her own limits and find her own voice to actualize a certain version of the American dream.” (Elle.com)

"Gonzo Girl shares an LSD-like flashback of the margarita-infused chaos of working with an unpredictable literary genius—without the hangover." (Self.com)

“A lighthearted page turner that has the reader constantly trying to differentiate between fact and fiction . . . Gonzo Girl offers a glimpse into the wonderful and weird world of Thompson—or something like it.” (The A. V. Club)

"Fascinating." (Kirkus Reviews)

“Pietra blends amusing imagery, outrageous pranks, and snappy dialog into a lively read. . . . For readers curious about Thompson’s lifestyle and fans of eccentric characters and meandering journeys featuring copious amounts of illegal substances.” (Library Journal)

"While the novel dishes out plenty of illicit good times, Della Pietra also manages to bring moments of poignancy to the narrative. . . . Della Pietra ultimately steers her story to a believable, satisfying, and moving conclusion." (Publishers Weekly)

“Long after the last drink is poured and the final gunshot fired, Cheryl Della Pietra’s novel inspired by her time as Hunter S. Thompson’s assistant will linger in your mind. This debut novel is raucous, page-turning, head-spinning, and side-splitting as it depicts a boss and mentor who is both devil and angel, and a young heroine who finds herself tested in the chaos that surrounds him. An intense story, Della Pietra’s tale about writing, firearms, psychotropics, and the pros and cons of hot tubs will suck you in and take you on ride. Gonzo Girl is a ticket you want to buy.” (Piper Kerman, author of Orange Is the New Black)

“Gonzo Girl is as rambunctiously entertaining as the badly behaved famous journalist who inspired the creation of Walker Reade. Cheryl Della Pietra writes with wit and an eye for the bizarre detail worthy of her former employer, and her debut novel spins, at a cocaine-fueled pace, a moving and insightful coming-of-literary-age story.” (Teddy Wayne, author of The Love Song of Jonny Valentine)

About the Author
Cheryl Della Pietra is a longtime New York City magazine editor, writer, and copy editor. She has published numerous stories in such magazines as Marie Claire, Redbook, and POV Magazine. After graduating from the University of Pennsylvania, she lived with Hunter S. Thompson in Woody Creek, Colorado, for several months in 1992, where she worked as his assistant. She currently lives in Branford, Connecticut, with her husband and son.

Excerpt. © Reprinted by permission. All rights reserved.
Gonzo Girl

CHAPTER 1

Everybody is laughing except for me. I’m scanning the faces, trying to remember names, as they listen to Walker Reade recite from his novel in progress. To my right sits Devaney Peltier—that’s how she introduced herself to me, first and last name, like she’s kind of a big deal. She’s Walker’s full-time girlfriend, and she’s braying like a donkey, the act made more absurd by the rings of white powder encircling her nostrils like two tiny powdered doughnuts. Claudia Reynolds, the aging assistant, is curled up across from me, gazing at Walker in adoration, laughing the hardest. To my left sits Rene Wang—or enfant terrible artist Rene Wang, as he’s been described, without fail, in the New York City media since the day in 1983 when he famously set dozens of roosters loose in Times Square in a performance-art piece he called Koch’s Cocks Can. He’s chuckling lightly, his lips pursed, eyebrows up—his “hysterical” look, I will later learn—as he taps a long ash from his Davidoff cigarette into the mermaid-shaped tray on the table before him. I don’t have to work to recall the names of the other two people here. They’re undeniably famous. Crushed up beside Rene, almost sitting in his lap, is former vice-presidential candidate George Stains, his head thrown back, lips glossed with scotch, a small drop of blood dried at the bottom of one nostril. And next to Claudia is Larry Lucas, former teenage heartthrob, now Oscar-winning actor, doubled over like a man passing a kidney stone. Everyone is in hysterics. The only problem is, I’m not sure what they’re laughing at.

Devaney passes a large tray of cocaine to me—if it were flour, it would be enough to bake a small cake—and I smile and nod, as if she were handing me a plate full of mini-quiche. I have, to this point in my life, done exactly two lines of coke, with an ex–college boyfriend. He was filthy rich, and coke is what the filthy-rich college boys did when it was time to do drugs. I did those lines to try to fit in with his crowd—the same conundrum I’m weighing right now. To stall, I daintily perch the tray on my knee and listen politely. A notebook sits on the table in front of me. I brought it here to Colorado from New York City. It’s a reporter’s notebook, the kind I sometimes use for my own writing. I think it will be good for taking notes. I think it will show I am serious about wanting this job.

“That is so . . . fucking . . . funny, Walker,” says Larry, as I try to keep my face from flushing. Larry Lucas, it’s worth noting, played the leading man in several of the teen comedies of my adolescence and, suffice to say, played a leading role in more than a few of my teenage NC-17 fantasies. Under other, less overwhelming circumstances, I might be breathless about the fact that I can reach out and touch him.

“Y’all’re’funny, Walker, baby,” says Devaney, threatening to turn an entire sentence into a contraction.

When, after several more seconds of collective howling, my gaze drifts back to Claudia, I notice something: her eyes are open wide, unblinking, pleading. I can be a little dense in moments like these—too caught up in processing my surroundings—but I sense that she might be signaling me to do something. She’s smiling at me wide and crazy, like some kind of insane puppet. Then it occurs to me a second too late.

I’m supposed to be laughing, too.

“Hey, new girl.” My head snaps toward Walker, and I reach for my notebook, still balancing the enormous tray I’ve yet to partake from.

Rene, sensing opportunity, reaches for the coke. “Let me help you out with that, honey,” he says, his face entirely too close to mine. He snorts two quick lines and passes the tray to George, barely looking at him. The room is eerily quiet as I scan the faces once more. We’re in Walker’s living-room-cum-kitchen, the six of us arranged on his perfectly circular couch like numbers on a leather clockface. A round coffee table is at the center of the couch, and it holds the group’s detritus: George’s scotch glass and bottle of Dewar’s, Rene’s pack of Davidoffs, Claudia’s Dunhill blues, Devaney’s Newports, Larry’s Heineken, an enormous unsmoked joint, the aforementioned mermaid ashtray, a matching dolphin ashtray, my highball of Wild Turkey, Claudia’s glass of red wine, Rene’s Metaxa sidecar, which I helped him mix in an effort at chumminess, and Devaney’s vodka and cranberry. The tray of coke never really settles on the table. It just keeps getting passed around like it’s crowd-surfing at a Hole concert.

The only way to get on and off the couch is by climbing over the back. The only person not on the couch is Walker, who is perched behind us on a barstool tucked into a long counter. There’s little doubt about the message the seating arrangement sends: he’s the captain on this ship of fools.

“Hello? Is she alive?”

“Yes, Walker, sorry,” I say.

“What are you sorry about?”

I look around the room for another cue. Claudia is now focused on rolling a piece of lint between her thumb and forefinger.

“Go easy on her, Walker. She’s just getting the lay of the land,” Larry says.

Walker ignores Larry completely and fixes his aviator sunglasses on me. “Speak, for Christ’s sake!”

My heart begins pounding so hard I can feel it in my ears. The strangers here probably wouldn’t offer me more than mildly detached concern under normal circumstances. But now that every­one is coked up and drunk, I am little more than a buzzkill. I knew this outburst was coming one way or another. I knew from the books, the articles, the interviews. I have done my homework. Walker Reade does not suffer fools, and no one—not presidents, CEOs, law enforcement—gets a pass. I also know from said research that caving is worse. I square my shoulders to him and try to remain calm. “I was just listening, Walker. If I’m going to be your assistant, I need to know the story.”

Walker stares at me now from over his sunglasses. His eyes are a pale steel blue. “That doesn’t mean you can’t enjoy it, too.”

“But I was enjoying it. Very much.” Walker worries his Zippo around in his hand. I can make out the skull and crossbones on the front of it every other turn. He grabs a Dunhill red from the pack in front of him; the room is so quiet that the schk of the lighter visibly startles Rene, who appears to run at two speeds: aggressively engaged or disconcertingly spaced-out.

“Then crack a smile, dumbhead.”

George clears his throat and passes the tray of coke to Claudia, who immediately passes it to Larry. Everyone is quiet, waiting to see what’s going to happen next, including me.

“I’m not dumb,” I stammer back, sounding far less convincing than I had hoped.

“Oh, that’s right,” Walker says. “Alessandra here went to an Ivy League school.” Devaney shifts uncomfortably on the couch. I can actually hear her teeth grinding. “It says so right here, on her thin résumé.”

Walker pulls a piece of paper from a folder on the counter in front of him, and I visibly recoil. I’m a year out of college. The last thing I want is a staged reading of my résumé in front of this crowd.

“I thought it was great,” I say.

“Which part?” He blows a cloud of smoke directly in front of him, seemingly unaware that it wafts directly onto Devaney’s head.

In truth I cannot recall a single coherent passage from what has just been read to me, and I briefly wonder what superman at Burch Press is tasked with making this book readable. “All of it, Walker. It’s really funny.”

“All right. What does it remind you of? Which of my works does it remind you of?” He takes off his Tilley hat and sunglasses and downs the rest of his Chivas and water. Without his signature armor—aviators and hat—he’s suddenly transformed from iconic writer/drug-addled playboy to unexpectedly sexy middle-school math teacher. He’s only in his early fifties; I didn’t expect him to be almost completely bald.

I can feel the clock ticking. What does it remind me of? I’ve read all of Walker’s books many times over, except the last two—the penultimate one a collection of political essays regurgitated from various magazines, and the most recent one so poorly reviewed that I couldn’t justify allocating even a fraction of my meager financial resources toward it. The previous five were so fluid and tight that nothing about what he’s just read reminds me of any of them.

I glance back at Claudia. She’s trying—and failing—to subtly mouth something to me. I look to Larry, who simply scrunches up his face and runs his hand through his thick, dark hair, winking, a gesture that I assume is intended to convey that this drill is somehow par for the course. Larry passes the tray of coke to Walker, trying to distract him.

“Here you go, big guy. Let’s have some fun. When does the game start?” The crowd is ostensibly here for an NBA play-off game.

“Half an hour,” Walker says shortly, passing the tray to Devaney while still staring at me. Rene lights up the joint, choking mightily on the first drag.

“Am I in a time warp here? Is time standing still for anyone else? I asked a goddamn question. What does it remind you of?”

“The second half of The Wake?” I say halfheartedly, referring to Walker’s fourth novel.

Walker actually ponders this for a moment—surprised, I think, that I’ve answered him. After a long pause, he says, in overly dramatic fashion, “Why, oh why, can’t I find someone with half a brain in her head to fucking help me? It’s not like I’m trying to find a neurosurgeon with a pretty face. . . . You would think I was looking for someone to take notes in Mandarin . . . or separate water into its hydrogen and oxygen atoms. But I don’t need any of that, do I?” Although this seems a rhetorical question, several people are, in fact, shaking their heads. “I just need someone who knows my books and has working index fingers to press a few buttons on my fax machine. Why on earth is this so hard . . . ?” He trails off before barking, “Try again!”

“I’m sorry, Walker. I don’t know.”

“What in the fuck do you mean you don’t know?”

“It’s very . . . unique.” My mouth goes dry.

Rene cringes when I say the word. He passes the joint George’s way.

“Well, looks like I have another moron on my hands. Where does Hans find these people?”

“Excuse me?” I say.

George pours himself another three fingers of scotch and takes the joint from Rene. It’s jarring to watch George consume drugs like a cracked-out nickel whore. I mean, the man was once the state of Ohio and a heartbeat away from running the free world.

“Have you even read anything I’ve ever written, missy? You and your stupid notebook.”

“Of course I have.” Not only have I read all of Walker’s early work, I have studied it extensively. You don’t come of age in the 1980s as an aspiring writer without at least a passing familiarity with the oeuvre of Walker Reade. There had been a time, not long ago, when Walker Reade was not just a writer—Walker Reade was a Writer Who Mattered. Regardless, I sense that this is perhaps the wrong moment to tell him Liar’s Dice is what made me want to write, or that his radical social commentary altered my worldview. I tuck the notebook behind my back and try to casually hold my drink. Every move I make now feels conspicuous.

“You hate it,” says Walker.

“I don’t.”

“If you’re going to be out here, you have to tell me the truth. That’s what you’re getting paid to do!”

I briefly consider reminding him that I’m not getting paid anything until he officially hires me. This is my three-day trial period. Even if I survive this, I won’t get paid until he delivers some real pages. That is what I’ve been told the deal is.

“Walker, go easy. It’s her first day,” Claudia says.

“Walker, baby, let’s go do something fun,” says Devaney, popping up from the couch like a character in a musical. She passes the tray of coke to me.

Walker ignores her, goes into the other room, and emerges with his seven books, every one a hardcover. He stacks them on the counter. Biker . . . bam! Liar’s Dice . . . bam! Ship of Fools . . . bam! The Wake . . . bam! Crossroad . . . bam! Rabbit Hole . . . bam! Traffic . . . bam!

“To the cabin,” he demands, pointing my way out the door. “And don’t come back over here till you’ve read these—no, memorized these. . . . And are you going to do that fucking line or what?” I stare down at the tray of coke I’ve been holding entirely too long for this crowd. I’ve been a bartender for three years. I’m a drinks girl, not a drugs girl. I’m horribly ambivalent about the tray in front of me. Too ambivalent, I think, for this place. I pass the tray to Rene and attempt to scuttle over the back of the couch, thinking I’ve just fucked this whole thing up in less than an hour. My shot. I grab the books, feeling hot down my neck, as I hold my head high—as if my literary hero hasn’t just called me an idiot—and retire to my quarters.

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0 of 0 people found the following review helpful.
and it adopts a style very much like Hunter S
By Stephen Nathaniel Dethrage
Cheryl Della Pietra's "Gonzo Girl" is, by her estimation, 60 percent true, and it adopts a style very much like Hunter S. Thompson's own to tell the story of how Pietra once spent several months as his writing assistant at his cabin in the mountains. Like Thompson, Pietra tells her own story by telling another. Thompson becomes Walker Reade, Pietra becomes Alley Russo, and some of the facts of the time she spent with him become fictional embellishments. All this is done masterfully well, as Pietra tells a story that stands well on its own but also sheds light on the Thompson's private life.

0 of 0 people found the following review helpful.
7.5
By Ms. Wood
Enjoyed this book. Lots of drug references. Main character was difficult for me to identify with, but well written and worth the time.

1 of 2 people found the following review helpful.
Don't waste your time.
By A. Rock
I had to go back and check to see if this was listed as a YA novel-- it would have made more sense to me, heaps of coke notwithstanding.

It was the most predicable, boring novel. A thinly-veiled memoir.

The main character is so naive, it seems hard to believe that this book had an editor. She is constantly whining about how no one cares about her novel, or that she likes a movie star, or that this movie star that she likes brings some other girl out to visit. She is always huffing, and puffing, and saying "so not fair! how could you do this to me?!" like she is a teenager-- not an Ivy League grad from a blue collar family.

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[E408.Ebook] Free PDF The Wealth of Nature: Environmental History and the Ecological Imagination, by Donald Worster

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Hailed as "one of the most eminent environmental historians of the West" by Alan Brinkley in The New York Times Book Review, Donald Worster has been a leader in reshaping the study of American history. Winner of the prestigious Bancroft Prize for his book Dust Bowl, Worster has helped bring humanity's interaction with nature to the forefront of historical thinking. Now, in The Wealth of Nature, he offers a series of thoughtful, eloquent essays which lay out his views on environmental history, tying the study of the past to today's agenda for change.
The Wealth of Nature captures the fruit of what Worster calls "my own intellectual turning to the land." History, he writes, represents a dialogue between humanity and nature--though it is usually reported as if it were simple dictation. Worster takes as his point of departure the approach expressed early on by Aldo Leopold, who stresses the importance of nature in determining human history; Leopold pointed out that the spread of bluegrass in Kentucky, for instance, created new pastures and fed the rush of American settlers across the Appalachians, which affected the contest between Britain, France, and the U.S. for control of the area. Worster's own work offers an even more subtly textured understanding, noting in this example, for instance, that bluegrass itself was an import from the Old World which supplanted native vegetation--a form of "environmental imperialism." He ranges across such areas as agriculture, water development, and other questions, examining them as environmental issues, showing how they have affected--and continue to affect--human settlement. Environmental history, he argues, is not simply the history of rural and wilderness areas; cities clearly have a tremendous impact on the land, on which they depend for their existence. He argues for a comprehensive approach to understanding our past as well as our present in environmental terms.
"Nostalgia runs all through this society," Worster writes, "fortunately, for it may be our only hope of salvation." These reflective and engaging essays capture the fascination of environmental history--and the beauty of nature lost or endangered--underscoring the importance of intelligent action in the present.

• Sales Rank: #1046561 in Books
• Color: White
• Published on: 1994-10-27
• Original language: English
• Number of items: 1
• Dimensions: 3.13" h x .78" w x 9.19" l, .85 pounds
• Binding: Paperback
• 272 pages

From Publishers Weekly
Bancroft Prize-winning historian Worster ( Dust Bowl ) writes with a deep understanding of nature and its place in human affairs. In these lucid, authoritative essays, he ranges through American history to explore the people, ideas and economic developments that have shaped our attitudes and behaviors toward the land. The ecological crisis, he stresses, is " the crisis of modern culture," brought on by modernity's materialism. Several pieces address the roles of population growth, technology and the market economy in the degradation of the environment. Others exhibit a narrower focus, e.g., how Protestantism helped shape John Muir and other environmental reformers. Worster's examinations of the myths and realities behind our interaction with nature provide a needed perspective.
Copyright 1993 Reed Business Information, Inc.

From Library Journal
This collection of 16 essays concerns the impact on nature of Judeo-Christian belief, Adam Smith's economic theories, and humankind generally and also offers a historical perspective on the growth of environmental history. A common theme is Aldo Leopold's idea of a "land ethic." Worster shares his own awakening of environmental consciousness, and the essays reflect a diversity of sources and information. Environmental historians must be able to digest and understand data from science as well as other academic disciplines. Worster excels at this task; that, and his forthrightness and willingness to express opinions, make this book a winner. Recommended for both general readers and specialists in the field.
- Patricia Owens, Wabash Valley Coll. , Mt. Carmel, Ill.
Copyright 1993 Reed Business Information, Inc.

From Kirkus Reviews
Sixteen thoughtful essays that examine the present and future implications of America's past relationship to the land--and that draw, as Worster (American History/University of Kansas; Rivers of Empire, 1986, etc.) puts it, a ``picture of the human past that is radically unlike anything you will find in the standard undergraduate history textbooks.'' In these pieces (some of which appeared originally in academic journals and books), Worster speaks with awe of the ``search to discover a less reductive, less ecologically and spiritually nihilistic, less grasping kind of materialism.'' In this spirit, reminiscent of Thoreau and Joseph Wood Krutch (one of the author's early inspirations), Worster sounds deeply skeptical over the prospect that a market economy can ever be compatible with responsible stewardship of this country's natural resources: His own preference is for an environmentalism ``that talks about ethics and aesthetics rather than about resources and economics.'' Not surprisingly, given these views, Worster throws a wet rag over the concept of ``sustained development''; hails an American conservation revolution that views the land as an interdependent ecosystem; and calls for an end to all federal subsidies of western irrigation projects. As an alternative to federal and state management of resources, he speaks eloquently about individual responsibility for the environment. And when he's not warning about our current encroachments on nature, Worster can be especially illuminating about how the environment has affected our past- -pointing, for example, to the Midwest's overemphasis on wheat- growing as a cause of the Dust Bowl crisis of the 1930's; discussing the 1935 Soil Erosion Act, the first comprehensive legislation to preserve the lifeblood of American agriculture; and carefully tracing the evangelical fervor of America's greatest environmentalists to the dissident and missionary spirit of Protestantism. Probably too pessimistic on reconciling conservation with a market economy, but informed and lucid about how we've lost ground in the fight to save our natural resources. -- Copyright ©1993, Kirkus Associates, LP. All rights reserved.

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3 of 3 people found the following review helpful.
fascinating, far-sighted, and challenging
By Brian Griffith
Worster's essays make up the best kind of history of environmentalist thought. He gives ecological ideas a hard, critical evaluation, compares them honestly with competing ideas, and reaches all kinds of prudent conclusions. The book explores the cultural shifts in environmentalism over time, including their religious dimensions. Worster deals with the big ideas behind our culture wars, the failings of our past visions, and the dangers of emerging visions, which could derail ecology into a huge new bioengineering scheme for remaking nature to fit our consumer demand. It's dense reading, but fascinating and challenging. Worster looks as far into the future as he does into the past, and thinks hard about what kinds of community, religion, common sense and economics can possibly achieve what's needed for a healthy planet.

4 of 5 people found the following review helpful.
Hope for the Planet
By Meredith Folsom
I really loved this book. The author besides being quite vivid, poetically, delves into the realm of American historical events from an ecological viewpoint. I believe this is a very important issue. The question arises, "What then shall we do?" The author doesn't leave you hanging with no standards and gives solid reasons why there is hope that our behavior as a nation can change.

0 of 0 people found the following review helpful.
Four Stars
By Jennifer
Perfect

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[N933.Ebook] Free PDF Learning R, by Richard Cotton

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Learn how to perform data analysis with the R language and software environment, even if you have little or no programming experience. With the tutorials in this hands-on guide, you’ll learn how to use the essential R tools you need to know to analyze data, including data types and programming concepts.

The second half of Learning R shows you real data analysis in action by covering everything from importing data to publishing your results. Each chapter in the book includes a quiz on what you’ve learned, and concludes with exercises, most of which involve writing R code.

• Write a simple R program, and discover what the language can do
• Use data types such as vectors, arrays, lists, data frames, and strings
• Execute code conditionally or repeatedly with branches and loops
• Apply R add-on packages, and package your own work for others
• Learn how to clean data you import from a variety of sources
• Understand data through visualization and summary statistics
• Use statistical models to pass quantitative judgments about data and make predictions
• Learn what to do when things go wrong while writing data analysis code

• Sales Rank: #56023 in Books
• Brand: Brand: O'Reilly Media
• Published on: 2013-09-26
• Released on: 2013-09-26
• Original language: English
• Number of items: 1
• Dimensions: 9.19" h x .82" w x 7.00" l, 1.43 pounds
• Binding: Paperback
• 400 pages

Features

• Used Book in Good Condition

About the Author

Richie is a data scientist with a background in chemical health and safety, and has worked extensively on tools to give non-technical users access to statistical models. He is the author of the R packages "assertive" for checking the state of your variables and "sig" to make sure your functions have a sensible API. He runs The Damned Liars statistics consultancy.

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23 of 23 people found the following review helpful.
Why Such a Low Rating?
By Kim Jong Un
I was going to give a four-star rating on this book, but seeing all these one and two stars made me give five instead. As someone starting out with R, you shouldn't expect book like this to read like a bible. Learning R is what it is -- a concise and easy tutorial for a beginning R student, and this is exactly what this book delivers. I see that some reviewers suggested R in Action or R for Everyone, and don't get me wrong those are excellent textbooks. The problem with those books is that they contain no exercises, and that could spell a major trouble for undisciplined learners like myself. Learning R, on the other hand, may not be the most comprehensive tome on the subject of R, but it does accomplish what it set out to do --- get started with R and move on to advanced R/data analysis topics -- by breaking down the contents into small chapters and providing review questions and exercises at the end of each chapter.

9 of 11 people found the following review helpful.
Intro to the R language
By IADev
With a background as a developer, I found this book very approachable having not touched R before this book. It remained close to the R language itself and did not veer too deep into statistics. For a programmer new to the language and the topic, I was fine with the subject matter depth. I really liked that the end of each chapter included a quiz as well as exercise portions. The answers are included as part of the Appendix and I think are a good reminder to readers to try out what they just learned. Part of learning new languages is finding about different concepts or how data structures are implemented with different names, functions, or packages. Newer topics to me were data frames and factors. These concepts are explained very well and allowed for me to quickly apply existing knowledge from other languages to make the concepts clear. In my opinion, I really liked the chapters involving getting data and on cleaning and transforming. These chapters are very practical and apply to anyone who has had to parse data in one format to put it into another. Topics like loading packages and data and time coverage are sections that you would expect to be in a book for beginners new to the language and hint at the audience this book is geared toward. It is a good starting point for those totally new to the language who will use this as a foundation to dig deeper for specific tasks later.

Overall conclusion: Good for the programmer interested in learning the R language over in-depth statistics.
Disclaimer: I got a copy of this book for review as part of O'Reilly blogger program.

24 of 32 people found the following review helpful.
There are better options now
By Dimitri Shvorob
The low rating reflects my opinion of the book vis-à-vis the alternatives, not its merits when viewed on its own. My original review was actually robust four stars; I did point to a book which, in my opinion, was a better proposition than "Learning R" - "R in Action" by Robert Kabacoff - but acknowledged a few areas where "Learning R" had the edge. Then "R for Everyone" by Jared Lander came out and, what can I say, I see "R in Action" and "R for Everyone" as the two plausible beginner-to-intermediate-R-book choices, and "Learning R" a very distant third.

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• Sales Rank: #6190772 in Books
• Published on: 2007-06-30
• Original language: Spanish
• Number of items: 1
• Dimensions: 1.09" h x 8.40" w x 11.08" l,
• Binding: Hardcover
• 304 pages

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From 1968 to 1977, Spain experienced a boom in horror-movie production under a restrictive economic system established by the country’s dictator, Francisco Franco. Despite hindrance from the Catholic Church and Spanish government, which rigidly controlled motion picture content, hundreds of horror films were produced during this ten-year period. This statistic is even more remarkable when compared with the output of studios and production companies in the United States and elsewhere at the same time. What accounts for the staggering number of films, and what does it say about Spain during this period?

In Sex, Sadism, Spain, and Cinema: The Spanish Horror Film, Nicholas G. Schlegel looks at movies produced, distributed, and exhibited under the crumbling dictatorship of General Franco. The production and content of these films, the author suggests, can lead to a better understanding of the political, social, and cultural conditions during a contentious period in Spain’s history. The author addresses the complex factors that led to the “official” sanctioning of horror films—which had previously been banned—and how they differed from other popular genres that were approved and subsidized by the government. In addition to discussing the financing and exhibiting of these productions, the author examines the tropes, conventions, iconography, and thematic treatments of the films. Schlegel also analyzes how these movies were received by audiences and critics, both in Spain and abroad. Finally, he looks at the circumstances that led to the rapid decline of such films in the late 1970s and early 1980s.

By examining how horror movies thrived in Spain during this decade, this book addresses a sorely neglected gap in film scholarship and also complements existing literature on Spanish national cinema. Sex, Sadism, Spain, and Cinema will appeal to fans of horror films as well as scholars of film history, European history, genre studies, and cultural studies.

• Sales Rank: #1659758 in Books
• Published on: 2015-06-11
• Original language: English
• Number of items: 1
• Dimensions: 9.30" h x .89" w x 6.28" l, .0 pounds
• Binding: Hardcover
• 232 pages

Review
Published scholarship on horror cinema has increased dramatically in recent years, and now Schlegel provides a readable, informative history of the genre in Spain. As Schlegel observes, the Spanish horror film has been understudied; he seeks to fill that gap with this study, which is the first English-language book on the subject. Taking a contextual approach significantly influenced by Fredric Jameson’s The Political Unconscious: Narrative as a Socially Symbolic Act Schlegel conceives of his project as a ‘cultural history through textual and industrial analysis.’ He fruitfully examines the socioeconomic, political, cultural, and historical contexts in which Spanish horror movies were produced in the ‘boom’ period 1968–1977. Specific topics examined include Francoist censorship, the financing and marketing of Spanish national productions and international co-productions, manifestations of the zombie subgenre in Spain, and the Euro-horror tradition as manifested in several selected films. Schlegel offers close readings of key feature films, e.g., El jorobado de la Morgue . . . .The book's scholarly apparatus is thorough. Summing Up: Recommended. Upper-division undergraduates through faculty. (CHOICE)

As a history buff and a horror film enthusiast, I found the book particularly rewarding and admired the way it used extensive research to explore how social, political and economic unrest can manifest in movies that have all too often been regulated to the trash bins of cinema history . . . [The book includes] insightful essays on some of the best horror films made during the period . . . Schlegel expertly blends scholarship with measured enthusiasm to deliver a valuable text that should appeal to genre novices as well as aficionados. (TCM's Movie Morlocks)

Sex, Sadism, Spain, and Cinema : The Spanish Horror Film belongs to the canon of work in which valuable academic rigor is balanced with a cinephile's passion for the 'depreciated genre' par excellence -- the horror film. Nicholas G. Schlegel, a film historian who has previously written about the Mexican and Japanese horror movies, brings a considerable amount of information to the area of Spanish horror … [This is] an indispensable book for the English language market; we can only hope that its author will publish a second volume. (Hypotheses.org)

[Schlegel] has written an amazing book about Spanish horror. . . .[The author's]interaction to historical settings, to historical events . . . and everything [else] that you have in the book . . . [makes it] one of the best ones I’ve ever read . . . I was very impressed that a person who is not Spanish could have done something so great about our culture. (Spanishfear.com-Horror Rises From Spain)

Sex, Sadism, Spain, and Cinema is as much for fans of horror films as it is for scholars of film history and cultural studies. It is the best book on the subject. This book is very well-referenced and well-researched. It should be part of university film courses. (The Washington BookReview)

[The book] represents a wonderful way of approaching our cinematography for those who want to enter on Spanish horror cinema of that time, but also for the scholars in the subject, since it offers a point of view free of nostalgia or favoritism, and lacking any kind of prejudice. . . .Proyecto Naschy strongly recommends [this book] to anyone interested in Spanish horror cinema. (Proyecto Naschy)

This book explores how a group of films produced, distributed and exhibited under the crumbling dictatorship of Francisco Franco reflected the political, social and cultural conditions in Spain between 1968 and 1977. During this decade, Spain experienced a boom in horror movie production that rivaled other sectors of production and yielded staggering success. This work canonizes these films in relation to their historical genesis, aesthetic characteristics and their social reception.

About the Author
Nicholas G. Schlegel is an Assistant Professor of Communication at Alfred University. His interests include cult, exploitation and horror cinema with a global emphasis and his essays have appeared in a number of anthologies including Draculas, Vampires, and other Undead Forms: Essays on Gender, Race, and Culture (Scarecrow Press, 2009).

Most helpful customer reviews

3 of 3 people found the following review helpful.
I didn't expect the Spanish...
By ewaffle
One of the many strengths of Nick Schlegel’s “Sex, Sadism, Spain, and Cinema: The Spanish Horror Film” (SSS&C hereafter) is that it shows that a book with academic rigor and scholarly design can be written about a popular subject—a subject that is vulgar in the sense of common, widely disseminated or of mass appeal—and still be both thought-provoking and eminently readable. Horror movies are as popular/vulgar/common/fun as anything can be but are also signs that point to larger issues of culture, agency and the subversion of normative social influence. You get both and more in this book.

Schlegel clearly knows his stuff. He has seen all (or if not all, probably 99%) the Spanish horror movies released in the 1968 to 1977 period plus most of them from before 1968--the "Selected Filmography" is long and comprehensive enough to cover the genre. You can tell he has read widely and deeply and mastered the sources but also adds to our understanding of the movies and enjoyment of the book with interviews of some of the important figures of Spanish cinema.

SSS&C isn’t dumbed down for the general reader—it doesn’t need to be. While it is true that the more one knows about movie production and marketing, critical theory and the relationship of popular art forms to social and political structures the more one will take away from the book, it does a good job of describing some of the technical critical and cinematic terms used and does so in the flow of the narrative. And, of course, it is about horror movies which so many of us learned to love and be scared by as children. I think part of the continuing popularity of horror is less the movies themselves but the way we recall the emotional and visceral punch of Frankenstein’s monster awakening, the full moon rising behind a person who can change to a werewolf or the whirr of bat wings as the heroine enters the dark castle.

Horror movies were cheap to make and had a guaranteed audience—which is still true today—but they still had to pass the censors appointed by or in consultation with the Catholic Church, even into the post-Franco period. Spanish director Eugenio Martin discusses this in an interview where he talks about the self-censorship practiced by writers and directors, doing the work of the official overseers by limiting themselves what made it onto the screen. An interesting parallel to film censorship in Falangist Spain is with the People’s Republic of China. Until recently horror movies not allowed to be shown in mainland China, including (or especially) those churned out in such numbers just across the border in Hong Kong. Horror meant the supernatural, the antithesis of materialism, and was simply forbidden by the Communist Party.

3 of 3 people found the following review helpful.
Great book. I've always been a sucker for the ...
By John Abar
Great book. I've always been a sucker for the unique Spanish Horror and Exploitation flicks of the 60's and 70's, and this is a well written account of the trials and tribulations the directors, producers, casts, and crews faced while under the reign of General Franco while trying to get their product out into the world. Interesting from beginning to end. I ended up digging up some of these old gems and re-watching with a new appreciation. A little pricey for the size of the book, but this is quality research and writing and really is well worth the price especially if you are a fan of these genre flicks. There aren't too many books I know of that deal exclusively with these films, but this is hands down the best writing on the subject that I have encountered.

2 of 2 people found the following review helpful.
A must!
By Elena Romea
An amazing book about Spanish Horror which covers most of the most important films of what it is called The Spanish Horror Golden Age, paying special attention to the social and politic background so the new generations and non expert on the subject fans can understand everything around it. It is a must for die hard fans who can broaden their minds and look deeply and under a new vision into these classic and also an essential work for newbies who has just discovered these flicks.

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• Sales Rank: #7884100 in Books
• Published on: 1600
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