Accounting Profession in the Philippines (Professional Accounting in Foreign Countries Series)

Accounting Profession in the Philippines (Professional Accounting in Foreign Countries Series)
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Accounting Profession in the Philippines (Professional Accounting in Foreign Countries Series)
American Institute of Certified Public a
Manufacturer: American Institute of Certified Public Accoun
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Binding: Paperback

General | Accounting | Industries & Professions | Business & Investing | Subjects | Books
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ASIN: 0870510584

Auditing the accounting profession
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Auditing the accounting profession
Nimia P Arroyo
Manufacturer: Arroyo
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ASIN: B0007APGHA

The development and problems of the accounting profession in the Philippines (University of Hawaii)
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The development and problems of the accounting profession in the Philippines (University of Hawaii)
Antonio Sen
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ASIN: B0006SBAJQ

In Search of Lost Time, Volume 6: Time Regained, A Guide to Proust (Modern Library)
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On Its Own Plane

look for the new translation!

Literary peerlessness

*****

"Life can be realised within the confines of a book"-Proust

In Search of Lost Time, Volume 6: Time Regained, A Guide to Proust (Modern Library)
Marcel Proust
Manufacturer: Modern Library
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The Captive & The Fugitive: In Search of Lost Time, Vol. V (Modern Library Classics)

In Search of Lost Time, Volume 4: Sodom and Gomorrah (Modern Library)

In Search of Lost Time, Vol. 3: The Guermantes Way

In Search of Lost Time, Vol. II: Within a Budding Grove (Modern Library Classics)

Swann's Way (Modern Library Classics)

ASIN: 0679424768
Release Date: 1993-05-18

Book Description

Time Regained, the final volume of In Search of Lost Time, begins in the bleak and uncertain years of World War I. Years later, after the war’s end, Proust’s narrator returns to Paris and reflects on time, reality, jealousy, artistic creation, and the raw material of literature—his past life. This Modern Library edition also includes the indispensable Guide to Proust, compiled by Terence Kilmartin and revised by Joanna Kilmartin.

For this authoritative English-language edition, D. J. Enright has revised the late Terence Kilmartin’s acclaimed reworking of C. K. Scott Moncrieff’s translation to take into account the new definitive French editions of Á la recherché du temps perdu (the final volume of these new editions was published by the Bibliothèque de la Pléiade in 1989).

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Time Regained, the final book in Proust's masterpiece, À la recherche du temps perdu, chronicles the years of World War I, when, as M. de Charlus reflects on a moonlit walk, Paris threatens to become another Pompeii. Years later, after the war's end, Proust's narrator returns to Paris, where Mme. Verdurin has become the Princesse de Guermantes. He reflects on time, reality, jealousy, artistic creation, and the raw material of literature--his past life. This Modern Library edition also includes the indispensable Guide to Proust, compiled by Terence Kilmartin and revised by Joanna Kilmartin. The Guide consists of four separate indexes: of characters, of real and historical persons, of places, and of themes.

Customer Reviews:

On Its Own Plane.......2006-06-30

The final installment of Proust's grand `a la recherche du temps perdu' is a masterful and eloquent meditation on art, on the loss of love, and on the complex and enigmatic quality of experiencing relationships over the course of a lifetime. This is the period, the final breath of literary genius from the great Marcel Proust, who devoted his life to this great novel.

In `Time Regained,' the reader is permitted an extraordinary prolegomena on the writer's craft, a self-reflexive exposition of the literary form that prefigures post-modernity and the works of Brecht, Breton, Beckett, and all the rest of them. Proust creates a work that is more exacting, more precise and perspicacious than any work of aesthetic philosophy in the western tradition. He discloses that the art of writing is, in its essence, an act or translation.The artistic content is already contained within the mind and soul of the artist and the act of writing is an act of transporting the content to form.

This is a novel about time, and it requires time to read. In this way, Proust the reader develops a relationship with the work within the register of a temporal horizon, which mirrors the register of temporality internal to the characters and unfolding of the fictional universe that Proust has created. It is a joy to read.

Also included in this volume is Kilmartin's guide to Proust, a summation of all the central characters, events, and allusions in a la recherché for readers who (inevitably) get lost in Proust's complex literary web.

look for the new translation!.......2005-03-17

Perhaps the most exciting publishing event of the century so far is the new translation of "In Search of Lost Time," as it is now (and more accurately) called. Finding the last two volumes is a bit of a chore, but search for ISBN 0141180366 or "Prendergast Proust" or "Ian Patterson" on Amazon. I haven't read it, but I am impressed enough by the first two volumes in this new translations that I have ordered the final two from England, where they are available in hardcover. Viking has not yet published them in the U.S. (and may not, in my lifetime) but Amazon sells the paperbacks of the British Penguin edition. They are somewhat misleadingly titled "In Search of Lost Time," which is the series title. This volume is actually titled "Finding Time Again," and the translator is Ian Patterson. (Each book has its own translator, for a total of seven. Vol. 5 contains two books and features two translators.)

I give this Modern Library edition only four stars because I am convinced that the new translation is superior. Indeed, it's not entirely clear to me who the translator is, in this case; evidently not Fred Blossom, who did the original English translation when Scott-Montcrief died before finishing the work.

Literary peerlessness.......2005-02-27

"Time Regained" is a dark ending to the "In Search of Lost Time" cycle, as Proust, sickly like his fictional narrator, unknowingly nears the end of his own life but senses its imminence. France, like the most of the rest of the world, is now a very different place. The Dreyfus affair is receding into the past under the shadow of the new war that has descended upon Europe, with Germany having ravaged Belgium and threatening to destroy London and Paris.

Many of the people with whom Marcel has associated throughout his life and whom we came to know so intimately through the pages of his chronicle are now dead, whether by disease, accident, old age, or the war. Those among the living include the Baron de Charlus, who sympathizes with the Germans and frequents a hotel that serves as a male brothel; Bloch, who has de-Judaicized his name and has assumed an English chic; and Odette and her daughter Gilberte, the latter now herself a mother, who have not so gracefully weathered the effects of aging.

Marcel himself is now an adult of at least middle age, and, as far as he is concerned, still no closer to achieving his goal of becoming a writer as he was in his youth. He has, however, started writing articles and comes to realize, as he reflects on the course of his life, that the intricate web of contacts he has made can serve as grist for his literary mill, should he decide in his waning days to take up a pen and make some contribution to letters. And, of course, over the past four thousand pages that is exactly what his author has done. Marcel muses on Time (capitalization intended), memory, and dreams as necessary elements in the creation of art, a product of so much personal pain and suffering that death can seem like a welcome reprieve.

Judging the novel as a whole now that I've finished all six volumes, I affirm that there is nothing like it, or even close to it, in literature; like "Moby Dick" or "Don Quixote" it resides in its own impenetrable legendary world of oneness. In my review of "Swann's Way," I compared Proust to Henry James, but I see now that I was way off the mark. James writes like he's throwing his weight around, imperiously demanding intellectual respect and forcing his reader into submission with his intentionally inscrutable compositions; Proust's prose, conversely, calmly and warmly invites the reader into Marcel's society and caresses him with the most delicate sensations and deepest emotions. Proust is closer to Henry Adams than he is to Henry James, but even this attempted juxtaposition is buffered by a wide margin.

Proust's style is so ornate that it is the most difficult of any writer's to describe, yet paradoxically there is nothing affected about it; he is quite possibly the most unpretentious writer in literature. He never tries to impress the reader with his erudition, even though he evidently has much, or make himself out to be something he's not; one gets the sense that what he writes is exactly what and how he thinks, as incredible as that seems. He uses humor without trying to be a comedian, sorrow without trying to be a tragedian. He is employing language simply to illustrate life and the world, and I think language has no higher calling than that.

*****.......2004-05-27

A brilliant closing volume to the novel. It brings back the lyricism of the first two volumes. I thought in the volumes in between some of that earlier lyricism was sacrificed to the bitchiness of Proust's tone toward the aristocracy he was doubtless jealous of, and his askew view of love that stemmed from his obvious anxieties about having been homosexual. But the early lyrcism and charm of the first two volumes is largely revived in this final volume. And anyone interested in writing, as anyone who makes it to this final volume doubtless is, Proust's passages on the art of writing make rewarding reading.
The obvious flaws are that some characters who'd earlier "died" show up alive in this volume. Couples who had numerous children in earlier volumes show up in this volume having only one child; Marcel (the narrator) recognizes people and then subsequently, in the same scene, doesn't recognize them. I have NOOO idea why some editor didn't knock out these discrepancies and tighten the text. It really seems silly to me to be SOOO faithful to Proust's final manuscript as to include glaring errors. Proust was rewriting when he died. If he'd lived he would have corrected these errors and I think his intention should have been honored. But I'm still giving it five stars, since overall the experience of reading this last volume is of reading something truly brilliant.

"Life can be realised within the confines of a book"-Proust.......2003-07-24

The melancholy atmosphere that pervaded the close of The Fugitive is carried over into this final part of Proust's huge work. Whereas, in the preceding part, Marcel laments the loss of Albertine and his changed relationship with his long time friend, Saint Loup, the author's concerns are now much greater. France is in the midst of World War I, Paris experiencing night time air raids; and the distinction between the Guermantes' Way and Swann's Way has become even more blurred as both Gilberte, the daughter of a courtesan, and Mme. Verdurin, the insufferable salon hostess, have become members of the mystic Guermantes family. Furthermore, Saint Loup is killed in action and Marcel's hometown is occupied by the Germans. But in spite of the gravity of the events surrounding him, Marcel becomes even more self-absorbed. He still holds onto his drean of becoming a writer, but this desire begins to wane as he becomes convinced that he has neither the temperament, the knowledge nor the fortitude to follow a literary career. Then the pivotal event of the whole novel takes place: he is invited to a matinee at the new home of the Prince de Guermantes.

While waiting in an anteroom for admission to the Guermantes' reception, the author is beset by a series of sensory experiences that bring back several happy memories from his past. These recollections, both powerful and joyous, convince him that he has the ability to undertake a literary career, to be able to communicate those ecstatic moments from the past to readers of the present day. His melancholy lifted, he enters the reception to discover that his recent epiphany is only bolstered by what he finds. All around him are the decaying remnants of a fast fading aristocracy. Many of the characters that have been introduced to the reader throughout the course of the novel are met again, but now in the final years of their lives: the proud Charlus, now an obsequious old man; the Duc de Guermantes, described as a "magnificent ruin"; Gilberte, now confused with her aging mother; even Marcel becomes aware that he, too, is quickly getting old. But now seeing things with an artist's eye, Marcel becomes aware that each of these characters, as well as all those people remembered from his life, are "like giants plunged into the years, [touching] the distant epochs through which they have lived, between which so many days have come to range themeselves - in Time." Marcel's goal is clear. He will spend the rest of his life carefully bringing these giants back to life. In other words, he is ready to embark on the huge task of writing the book that the reader has just finished reading.

This part of the novel was published five years after the author's death and suffers from a lack of editing. There are many ellipses, contradictions, and time and place juxtapostion mistakes, errors that Proust would surely have tidied up if he had lived to see his work published in full. But these are paltry criticisms wthen compared to the brilliance of the total work. Unfortunately, Proust is little read these days, and many of those who attempt to read the novel are motivated by the challenge of a literary marathon more than from an awareness of the intrinsic value of the work (as I was). But regardless of the motivation, the effort (and it is an effort) is totally rewarding as the reader sees in Proust's world reflections of his own. It took me a part of seven years to read the complete novel, a period of time in which Proust's search for lost time and my own reminiscences often became linked together as the author's characters shared my own thoughts regarding things past, the specious present, and the eventual fate that awaits us all.

Book Description

Human experience can only be understood across the landscape of time. Yet organizational and groups research has traditionally paid little attention to time as a construct. Over the last 15 years, several authors have begun to study different aspects of group temporality, but these contributions have been published in disparate books and journals. As a result, no integrated set of readings or unified perspectives has emerged, and little research impact has been realized. The goal of this volume is to consolidate, integrate, and build upon existing research to create a framework for studying group temporality.

The book approaches group temporality through four lenses:
1. The study of how group processes, such as relationship and trust building, information exchange, consensus building and performance, evolve over time
2.The study of how group members internally synchronize their activities over time and align them to meet the temporal demands of a group's constituents
3. The study of how time pressure affects members' cognitive functioning, interactions, and task performance
4. The study of how organizational context directs the nature of group temporality - both enhancing and impeding group flow. Together, the twelve chapters, authored by 27 leading groups scholars, lead the way in solidifying current understanding and highlighting critical new research directions

Book Description

Genetically modified food is a worldwide issue of public concern.

Customer Reviews:

cyborgs, mutants, food, and philosophy.......2007-05-30

Another interesting "postmodern encounter" between feminist philosopher Donna Haraway and GM (genetically modified) foodstuffs. Myerson presents key ideas from Haraway's book Modest_Witness@Second_Millennium. Myerson nicely encapsulates Haraway's perspective(s) while doing some philosophizin' of his own. Are we to trust Myerson's take on Haraway? Myerson recommends that the reader experience Haraway's text firsthand. I like how this book questions the knee-jerk "GM foods are bad; GM foods must be stopped" campaign and ambiguously embraces the hybrid nature of GM foods. Myerson does a good job (via Haraway) placing the debate in a larger, more philosophic, context. As with other Myersonian postmodern encounters, there is plenty of insight here, age-old philosophy colliding with current events and pop culture. A timely and provocative essay; not without its flaws (it reads almost like a sophisticated book review or a decent grad student thesis) but worthwhile. It'd be nice if more people on the frontlines of the GM debate would read this (and Haraway's book). It perhaps skims over the dangers of GM foods a little (allergies, long-term effects, lawsuits, corporate food monopolies, etc), but does so because it is defending GM foods and personifying them in the process with compassion and intelligence.

Customer Reviews:

Weather we like it or not.......2004-05-29

In this well-written, comprehensive study, Rick Potts has provided a landmark book on human evolution. Looking beyond scattered fossils and debates over African origins or Multi-regional evolution of modern man, he views vast stretches of time and space. What made a primate species descend from a forest canopy to become a skilled survivor on the African savannah. How did it happen and when, he asks. In answer, he provides a detailed examination of the environmental history surrounding and influencing our path. We are still on that path, he reminds us. We cannot separate ourselves from our surroundings. Nor did we "overcome" the conditions nature set as we evolved. Instead, conditions drove our evolution.

Potts surveys the remote past to set his theme - climate varies, sometimes catastrophically. It may also change with stunning rapidity - as his noting of a Canadian site showing tundra becoming spruce forest in 150 years suggests. There may be long periods of relative stability, as when Pangaea, home to the dinosaurs, dominated the scene. At one time Antarctica had no ice sheet and the North Pole was tropical. Continental breakup changed more than the landscape, it revised the weather. This was no more true than in the Miocene [24 to 5.3 Mya] when weather patterns changed drastically. And continued to change.

While all this meteorological madness was occurring, a certain primate species in Africa confronted the challenges shifting weather offered. Overturning the old myth that early humans dropped out of the forest and learned to run, Potts shows how it was the forests that ran away. He's quick to point out, however, that this was not a gradual nor a steady change. Forests came and went, only to return. Lakes filled and dried, then filled. In order to survive, this primate population needed to adapt. Some did, but others failed the challenge. Those who succeeded, he argues, learned to follow the best scenario for survival. Hence, humans began their great migrations across the globe.

When those migrations, combined with improved brain power, led humans to begin transforming their environment with agriculture, that transition wasn't as revolutionary as most anthropologists usually contend. To Potts, it was simply an extension of the habits learned over the millennia. Weather changes had been adapted for. Changing the local environment by "controlling" it was simply another logical step in the sequence. However, he reminds us, cultural growth, by which innovation is admired and becomes part of tradition, turned this adaptation into a philosophy. "Dominion over the Earth" became a set piece of human thinking. It's a dangerous philosophy leading us to make irrational choices in our dealings with the rest of nature. Flexibility is lost as fewer species are relied upon to sustain us. He gives the example of the New England colonists transforming the existing relationship Native Americans generally enjoyed. Land use became limited in application, with whole tracts of forest and ecological balances disrupted. The time span of these events is infinitesimal in contrast with the long ages of adaptation. In thinking we can "control" what is uncontrollable, humans are flirting with disaster. [stephen a. haines - Ottawa, Canada]

Humanity's Descent: The Consequences of Ecological Instability.
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Humanity's Descent: The Consequences of Ecological Instability.

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ProductGroup: Book
Binding: Paperback
ASIN: B000ICSD4U

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Humanity's Descent: The Consequences of Ecological Instability.
Rick Potts
Manufacturer: see notes for publisher info
ProductGroup: Book
Binding: Paperback
ASIN: B000M3RN5A

Complete Pro Football Draft Encyclopedia 2006: Best Picks, Biggest Busts All 70 Years of the NFL Draft (Complete Pro Football Draft Encyclopedia)
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It is what it is

Complete Pro Football Draft Encyclopedia 2006: Best Picks, Biggest Busts All 70 Years of the NFL Draft (Complete Pro Football Draft Encyclopedia)
Sporting News
Manufacturer: Sporting News
ProductGroup: Book
Binding: Paperback

Sports | Encyclopedias | Reference | Subjects | Books
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ASIN: 0892048034

Book Description

The Complete Pro Football Draft Encyclopedia 2006 compiles the complete history of every NFL Draft from 1936 to 2005—every team, every player, every pick. Plus SPORTING NEWS lists the Super 99 Prospects for 2006, the players expected to come off the draft boards first! Over 31 million people watched the 2006 draft live on ESPN, more than the NBA playoff games airing opposite the draft. "NFL draft" is one of the Top 10 most searched terms on the web during draft week. The NFL draft audience is enormous and still growing. The Complete Pro Football Draft Encyclopedia 2006 is a combination of essays, first percon accounts, history and timeline plus all the statistics and facts in great package!

Customer Reviews:

It is what it is.......2006-08-02

It has some errors, typical of this sort of book (eg. apparently, San Francisco didn't draft anybody in 1982). It lists each year's draft team-by-team, as opposed to round by round. Each chapter (year) carries with it a half-column blurb such as "Top Dogs", listing it's opinion of the University of Georgia's all-time NFL team, the best Undrafted NFL Team, and more esoteric things like "Best Defensive Linemen drafted after the first round" (they say Deacon Jones.)

It includes the drafts for the AAFL and AFL, though not the USFL. More than 200 pages goes to the indexing. 50 pages list each college and its picks, and 150 list each player in alphabetical order.

The 200 pages of indexing is a bit of a waste of space given what other resources are available. What would be a truly useful resource in my view would be a book that goes round-by-round, rather than team-by-team, and gives in a quick nutshell how each player turned out, even some thing like "Dal/GB 1970-75, 70 GP/45 GS" or "Hall of Fame" or "never played".

Given the interminable discussions every season about who passed over whom, Leaf/Manning, Brady at 199, and how Ed Trancygier fell to round 20 in 1962 (I get so sick of hearing about that one), some easy reference as to how the all the players fared would be useful.

Amazon.com

For many years, Lajos Egri's highly opinionated but very enjoyable The Art of Dramatic Writing has been a well-guarded secret of playwrights, scriptwriters, and writers for television. Unlike many other books on playwrighting (several of which Egri criticizes during the course of this one), the author's systematic breakdown of the essentials for creating successful realistic plays and screenplays effectively demystifies the process of creative writing. Egri, who formulated his thoughts about "a well-made play" during its heyday (the 1940s and '50s), places a premium on an exhaustive analysis of characters and discussion of their psychological motivations. The writer is exhorted to find a premise to explore and to discover which characters will most effectively demonstrate this thesis, then is shown how most effectively to place them into conflict with each other. Conflict itself is also discussed, particularly how to create scenarios in which the crisis develops at a pace that feels unforced and natural. While Egri's view of the well-made play has little space for either the spare musings of Beckett and Pinter or the conscious excesses of non-narrative and other experimental writing, it nonetheless remains an essential text for writers drawn to realistic drama, and to any writer interested in the fundamental motivations of human behavior. --John Longenbaugh

Book Description

Learn the basic techniques every successful playwright knows

Among the many "how-to" playwriting books that have appeared over the years, there have been few that attempt to analyze the mysteries of play construction. Lajos Egri's classic, The Art of Dramatic Writing, does just that, with instruction that can be applied equally well to a short story, novel, or screenplay.

Examining a play from the inside out, Egri starts with the heart of any drama: its characters. All good dramatic writing hinges on people and their relationships, which serve to move the story forward and give it life, as well as an understanding of human motives -- why people act the way that they do. Using examples from everything from William Shakespeare's Romeo and Juliet to Henrik Ibsen's A Doll's House, Egri shows how it is essential for the author to have a basic premise -- a thesis, demonstrated in terms of human behavior -- and to develop the dramatic conflict on the basis of that behavior.

Using Egri's ABCs of premise, character, and conflict, The Art of Dramatic Writing is a direct, jargon-free approach to the problem of achieving

truth in writing.

Customer Reviews:

Received.......2007-09-17

Got book for Stepson, he hasn't complained about it, so I guess it was good.

Excellent, Excellent, Excellent!!.......2007-08-09

This novel is the perfect place to start for beginners. Although it references mostly plays and screenwriting, the guidelines set forth by Egri can be applied to any type of writing. Be sure to take plenty of notes!

The master piece that competes with Howard Lawsons' work.......2007-05-18

This book is a classic.

One of the things that makes this book a classic is its simplicity. The book start exploring how you as a dramatic writer can use Premise as the guiding sign through out the whole process of writing a story.

Once you have a premise you can work on creating your characters (using the premise to do that). To do this you'll have to know your character's physiology, sociology, pshychology, etc.

Once you have your characters you can work on creating the story using the principle of contradiction, thesis, antithesis and synthesis. You'll have to use clashing forces... (again, you use the premise as explained at the beginning of the book).

Then the author covers some of the most important elements in writing dramatic material of quality.

In my case I found the chapter of "Jumping" quite enlightening. Once you read this chapter you'll understand why many, many stories just don't work. The characters jump and then... they fall to their death... and to the apaty of the audience.

What is it that I like about this book? Well, I read it... time passes... come back to it again... time passes... and I come back again to read it!

Where as most books make you feel like writing is extremely difficult, this one always makes me feel like I'm in command and that great story telling is within my grasp.

The "Rosetta Stone" of creative writing........2007-05-07

I've read several books about screenwriting to aid me in my capacity as a story consultant, and this book far surpasses them all. You'll hear the age-old question of what's more important to story: action or character? What I got from this book is that the question is - in the end - moot. You need both - well drawn characters to the sell the action, and compelling action to reveal character. The process is tricky, but Egri lays it out with such precision and wit, you'll wonder how you ever got along without his insights. Even though this book was written over half a century ago, it applies now more than ever - especially for the cinema where writers are increasingly relying more on formula and less on the construction of truly memorable, believable characters. Originality must begin with a thorough understanding of who your characters are, how and why they come together, and what ultimate premise their interactions serve to reveal. Egri explains this process with depth and panache. If you want to improve your narrative and give the world fresh new characters that tell "your story" this is THE place to start!

Eminently Clear and Immediately Memorable.......2006-12-12

I've easily read more than 100 books on creating fiction (my focus is primarily short stories and novels), and I've done so because I'm always interested in learning what others have to say about the craft that I might find ways to improve my own.

I disagree with the reviewer who pishaws Egri's recommendation to create character biographies, saying that the "audience will never see them". The fact is, every short story, novel, play, movie is like an iceberg: what the audience reads/sees is only 10% of the whole. The rest is hidden. If a writer hasn't done her homework on a story's setting, background or, more importantly, on her characters' backgrounds, it will show, and in the worst way possible. Even if a writer is of the sort who develops her characters as she creates the story, there is still much about those characters which doesn't make it into the tale. It's rather like when you tell a cousin about a friend of yours. You don't give your cousin all the details, only those details which are relevant to giving your cousin an accurate, yet true, representation of your friend, but you can only accomplish this if you know your friend very well. The same is -- HAS TO BE! -- true of your story characters: you MUST know them very well (more than what you reveal) if you are to represent them to your audience accurately and truthfully (but not exhaustively), and that's precisely Egri's point.

Regarding Egri and his agreements/disagreements with Aristotle, his disagreement with regard to a story's beginning has more to do with modern readers' interpretations of what constitutes a beginning. Every story must have a beginning, even if it doesn't appear on the page, on the screen, or on the stage. All the consituent parts of a story, even if they aren't put plainly before the audience, must be implied in what is. (Algis Budrys' WRITING TO THE POINT demonstrates this quite well.) Egri's disagreement with regard to Aristotle's views on plot/character, however, are, I believe, on the mark. In this case, however, the disagreement has more to do with historical/cultural/religious context. Aristotle's putting plot primary is due largely to the prevalent beliefs of his time, just as our putting character primary is due to the prevalent beliefs of ours. This, too, is a point which Egri recognizes.

After reading Egri's book, my writing will never be the same again, I'll never read another novel or short story the same way again, and I'll never see a movie or play in the same way again, either. I dare say that I'll appreciate a good novel/short story/movie/play even more with the tools that Egri provides in this book, and will now be able to elucidate far more clearly than before why I didn't like a particular novel/short story/movie/play. In like manner, I now believe that I'm better equipped, after reading Egri's book, to recognize what is wrong with any story that I've written and will, therefore, be better able to fix the problem.

After reading all the books I've read on story/character creation, I'd have to say that Egri's book is easily the best book I've ever read on the subject. While other authors of such books may have said much the same thing, Egri presents the same material in a way that makes it eminently clear and immediately memorable.

POSTSCRIPT: In defense of novels (since that is my preferred medium), unlike what was stated in one review on Egri's book, pacing is just as important in a novel as it is in a stage play. If you have one high-paced scene after another in a novel, your reader will be breathless before she's half-done with the book. Conversely, if your pacing is constantly slow, you're very likely to lose reader interest. There are all sorts of tricks to controlling pacing in a novel, from word, sentence, and paragraph length, and even down to specific word choice. There are other ways to control pacing, as well, but I shan't get into that here. It's a shame that very few books have covered this aspect of novel creation.

Art of Dramatic Writing : Its Basis in the Creative Interpretation of Human Motives

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Art of Dramatic Writing : Its Basis in the Creative Interpretation of Human Motives
Lajos Egri
Manufacturer: Simon & Schuster
ProductGroup: Book
Binding: Paperback
ASIN: B000LNRPAO

Book Description

Three explorers-fifteen-year-old orphan Harry Windsor, Bayang, a young Iban tribesman, and Tombong, an outcast Iban girl-find mystery and adventure in the jungles of Borneo.

Customer Reviews:

A fascinating tale of adventure, culture and suspense!.......2004-01-30

Harry Winsdor is a 15 year old boy living with his uncle in Kuching (a seaport on the Sarawak River). His uncle takes him on an expedition into the rain forest, that's when the adventure begins: an ambush, a mysterious guide, dangerous wild animals and a kidnapping plague Harry and his party along this epic expedition. Then at the climax, cultures clash when Harry meets Bayang and Duckfoot, two natives of an Iban tribe on a dream quest to make Bayang the leader of the tribe.
I liked this book because it helped me get an insight into the culture of a Southeast Asian tribe while still providing a significant source of excitement. I recommend this book for any reader who relishes an adventure that makes you think.

Very good.......1999-09-20

This book was great! It was so descriptive and realistic-I learned a lot about the rainforest just from reading it. I'd definitely recommend it to everyone who wants to read an incredible book.

Average customer rating:

Deep Dream of the Rain Forest
Malcolm Bosse
Manufacturer: see notes for publisher info
ProductGroup: Book
Binding: Hardcover
ASIN: B000NP6650

Average customer rating:

Deep Dream of the Rain Forest
Malcolm Bosse
Manufacturer: Farrar, Straus and Giroux (BYR)
ProductGroup: Book
Binding: Paperback
ASIN: B000OWUOWI

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