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The Black Swan is a standalone book in Nassim Nicholas Taleb’s landmark Incerto series, an investigation of opacity, luck, uncertainty, probability, human error, risk, and decision-making in a world we don’t understand. The other books in the series are Fooled by Randomness, Antifragile, and The Bed of Procrustes.

A black swan is a highly improbable event with three principal characteristics: It is unpredictable; it carries a massive impact; and, after the fact, we concoct an explanation that makes it appear less random, and more predictable, than it was. The astonishing success of Google was a black swan; so was 9/11. For Nassim Nicholas Taleb, black swans underlie almost everything about our world, from the rise of religions to events in our own personal lives.
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Why do we not acknowledge the phenomenon of black swans until after they occur? Part of the answer, according to Taleb, is that humans are hardwired to learn specifics when they should be focused on generalities. We concentrate on things we already know and time and time again fail to take into consideration what we don’t know. We are, therefore, unable to truly estimate opportunities, too vulnerable to the impulse to simplify, narrate, and categorize, and not open enough to rewarding those who can imagine the “impossible.”
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For years, Taleb has studied how we fool ourselves into thinking we know more than we actually do. We restrict our thinking to the irrelevant and inconsequential, while large events continue to surprise us and shape our world. In this revelatory book, Taleb explains everything we know about what we don’t know, and this second edition features a new philosophical and empirical essay, “On Robustness and Fragility,” which offers tools to navigate and exploit a Black Swan world.
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Elegant, startling, and universal in its applications, The Black Swan will change the way you look at the world. Taleb is a vastly entertaining writer, with wit, irreverence, and unusual stories to tell. He has a polymathic command of subjects ranging from cognitive science to business to probability theory. The Black Swan is a landmark book—itself a black swan.
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Praise for Nassim Nicholas Taleb
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“The most prophetic voice of all.”—GQ
�
Praise for The Black Swan
�
“[A book] that altered modern thinking.”—The Times (London)
�
“A masterpiece.”—Chris Anderson, editor in chief of Wired, author of The Long Tail
�
“Idiosyncratically brilliant.”—Niall Ferguson, Los Angeles Times
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“The Black Swan changed my view of how the world works.”—Daniel Kahneman, Nobel laureate
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“[Taleb writes] in a style that owes as much to Stephen Colbert as it does to Michel de Montaigne. . . . We eagerly romp with him through the follies of confirmation bias [and] narrative fallacy.”—The Wall Street Journal
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“Hugely enjoyable—compelling . . . easy to dip into.”—Financial Times
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“Engaging . . . The Black Swan has appealing cheek and admirable ambition.”—The New York Times Book Review

• Sales Rank: #16861 in Books
• Brand: Hyperion EA
• Model: 1763010
• Published on: 2007-04-17
• Released on: 2007-04-17
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Dimensions: 9.50" h x 1.40" w x 6.40" l,
• Binding: Hardcover
• 366 pages

Amazon.com Review
Bestselling author Nassim Nicholas Taleb continues his exploration of randomness in his fascinating new book, The Black Swan, in which he examines the influence of highly improbable and unpredictable events that have massive impact. Engaging and enlightening, The Black Swan is a book that may change the way you think about the world, a book that Chris Anderson calls, "a delightful romp through history, economics, and the frailties of human nature." See Anderson's entire guest review below.

Guest Reviewer: Chris Anderson

Chris Anderson is editor-in-chief of Wired magazine and the author of The Long Tail: Why the Future of Business Is Selling Less of More.

Four hundred years ago, Francis Bacon warned that our minds are wired to deceive us. "Beware the fallacies into which undisciplined thinkers most easily fall--they are the real distorting prisms of human nature." Chief among them: "Assuming more order than exists in chaotic nature." Now consider the typical stock market report: "Today investors bid shares down out of concern over Iranian oil production." Sigh. We're still doing it.

Our brains are wired for narrative, not statistical uncertainty. And so we tell ourselves simple stories to explain complex thing we don't--and, most importantly, can't--know. The truth is that we have no idea why stock markets go up or down on any given day, and whatever reason we give is sure to be grossly simplified, if not flat out wrong.

Nassim Nicholas Taleb first made this argument in Fooled by Randomness, an engaging look at the history and reasons for our predilection for self-deception when it comes to statistics. Now, in The Black Swan: the Impact of the Highly Improbable, he focuses on that most dismal of sciences, predicting the future. Forecasting is not just at the heart of Wall Street, but it’s something each of us does every time we make an insurance payment or strap on a seat belt.

The problem, Nassim explains, is that we place too much weight on the odds that past events will repeat (diligently trying to follow the path of the "millionaire next door," when unrepeatable chance is a better explanation). Instead, the really important events are rare and unpredictable. He calls them Black Swans, which is a reference to a 17th century philosophical thought experiment. In Europe all anyone had ever seen were white swans; indeed, "all swans are white" had long been used as the standard example of a scientific truth. So what was the chance of seeing a black one? Impossible to calculate, or at least they were until 1697, when explorers found Cygnus atratus in Australia.

Nassim argues that most of the really big events in our world are rare and unpredictable, and thus trying to extract generalizable stories to explain them may be emotionally satisfying, but it's practically useless. September 11th is one such example, and stock market crashes are another. Or, as he puts it, "History does not crawl, it jumps." Our assumptions grow out of the bell-curve predictability of what he calls "Mediocristan," while our world is really shaped by the wild powerlaw swings of "Extremistan."

In full disclosure, I'm a long admirer of Taleb's work and a few of my comments on drafts found their way into the book. I, too, look at the world through the powerlaw lens, and I too find that it reveals how many of our assumptions are wrong. But Taleb takes this to a new level with a delightful romp through history, economics, and the frailties of human nature. --Chris Anderson

From Booklist
In business and government, major money is spent on prediction. Uselessly, according to Taleb, who administers a severe thrashing to MBA- and Nobel Prize-credentialed experts who make their living from economic forecasting. A financial trader and current rebel with a cause, Taleb is mathematically oriented and alludes to statistical concepts that underlie models of prediction, while his expressive energy is expended on roller-coaster passages, bordering on gleeful diatribes, on why experts are wrong. They neglect Taleb's metaphor of "the black swan," whose discovery invalidated the theory that all swans are white. Taleb rides this manifestation of the unpredicted event into a range of phenomena, such as why a book becomes a best-seller or how an entrepreneur becomes a billionaire, taking pit stops with philosophers who have addressed the meaning of the unexpected and confounding. Taleb projects a strong presence here that will tempt outside-the-box thinkers into giving him a look. Gilbert Taylor
Copyright � American Library Association. All rights reserved

Review
Praise for Nassim Nicholas Taleb
�
“The most prophetic voice of all.”—GQ
�
Praise for The Black Swan
�
“[A book] that altered modern thinking.”—The Times (London)
�
“A masterpiece.”—Chris Anderson, editor in chief of Wired, author of The Long Tail
�
“Idiosyncratically brilliant.”—Niall Ferguson, Los Angeles Times
�
“The Black Swan changed my view of how the world works.”—Daniel Kahneman, Nobel laureate
�
“[Taleb writes] in a style that owes as much to Stephen Colbert as it does to Michel de Montaigne. . . . We eagerly romp with him through the follies of confirmation bias [and] narrative fallacy.”—The Wall Street Journal
�
“Hugely enjoyable—compelling . . . easy to dip into.”—Financial Times
�
“Engaging . . . The Black Swan has appealing cheek and admirable ambition.”—The New York Times Book Review

Most helpful customer reviews

1 of 1 people found the following review helpful.
The Black Swan
By Tom T
My son recommended reading The Black Swan to me. I had no idea what it was about or I likely would not have read a "financial book". I am an artist and tend to avoid this type of reading.
Coincidentally, I had just had a negative experience with a financial adviser and found the timing for this book perfect. The Black Swan is an occurrence that has great impact and is unforeseen. It is often what determines the success or failure of the quality of your financial life. That pretty much describes anything in the area of finances that matter.
The book is interesting, but more importantly funny, and easy to read. It is not your typical "how to" financial book. Just the opposite, it is a why you should stay away from a financial adviser... book. I learned a great deal and really look at the world of finances and the world in general in a different and a more positive way. This is a great book and I highly recommend it.

0 of 0 people found the following review helpful.
Black Swans in "The Black Swan"
By Math Enthusiast
There are true pearls in this book. Umberto Eco's "Anti-Library," Yevgenia's story, Algazel's rejection of science, "scalable" jobs and the antechamber of hope (anyone working one of these jobs will relate strongly), are a few examples. The problem is that they are hard to find and come somewhat unexpectedly, i.e., they are black swans. Surely this was unintentional (perhaps with the exception of Yevgenia), or this would have to qualify as one of the most elaborate jokes in the history of literature. I think the real problem is that the author apparently set out to write some kind of "treatise" and felt that the book had to be a weighty 500-page tome, so he had to include a lot of filler. Properly edited, this could have been a delightful 200-page read. Sometimes the author is wrong: for example, he dismisses linear phenomena too casually. It is obvious that nothing is nature is linear, since this would require the response to increase or decrease without bound as the independent variable increases or decreases, which is an impossibility. This is called the "Law of Diminishing Returns." The point is that many or even most phenomena behave linearly over a limited interval of interest. For example, a transistor is a linear device if biased (by means of proper voltage application) to its amplifying region, otherwise it behaves as a switch (as in digital devices). The author is prone sometimes to self-aggrandizing, but this is tempered with dashes of self-deprecating humor, making the reading tolerable. All in all, it's recommended. [This review is based on a reading of the first seven chapters; it will be updated as the reading proceeds.]

1 of 1 people found the following review helpful.
A Glorious Romp through epistemology
By Katy Butler
How do we know what we know? and Why do we think we know what we think we know? If I were still young and beautiful I would throw myself at this man's feet. A glorious romp through philosophy an depistemology, masquerading as a book about finance. I'm sure many other reviews have noted how prescient this book was, coming out just before that horrendous Black Swan, the housing meltdown of 2008. A great book to read along with reading and watching "The Big Short." The guy is hilarious and sophisticated. It's one of the few books I've read in adult like that forced me to keep consulting a dictionary-- and dynamic and fascinating enough to make me return to the text after doing so. One of my best books of the last couple of years.

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[A995.Ebook] PDF Ebook Mr. Wilson's War From the Assassination of McKinley to the Defeat of the League, by John. Dos Passos

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History

• Published on: 1961
• Binding: Hardcover

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This critical yet honest appraisal of our criminal justice system addresses its strengths and its flaws―and makes recommendations for improvement.

• Provides an extensive bibliography including books, journal articles, newspaper accounts, and government documents

• Includes a chronology

• Sales Rank: #2939148 in Books
• Published on: 2010-03-11
• Original language: English
• Number of items: 1
• Dimensions: 9.30" h x 1.20" w x 6.30" l, 1.15 pounds
• Binding: Hardcover
• 250 pages

About the Author

Gerhard Falk, PhD, is professor of sociology at the State University of New York, College at Buffalo, Buffalo, NY.

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0 of 0 people found the following review helpful.
Particularly Good if You've Never Been In
By Frank H
An excellent overview, & quite accurate. No sugarcoating. A good book for those not intimately familiar with the criminal justice system.

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• Published on: 2016-08-07
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Virtuoso pianist Franz Liszt was a key figure in the evolution of modern music. Most of his 700 compositions, which range from romantic impressionism to daring experimental pieces, were written for the piano. This survey by a well-known British composer and musicologist constitutes the most authoritative English-language study of Liszt's works. "Mr. Searle is himself a composer of progressive outlook and he thus speaks with authority. His book was needed and he has made it a good one," observed the Times (London) Literary Supplement.
This classic study surveys the compositions in chronological order and the medium for which they were written. The author examines in detail the most important pieces and fully reviews Liszt's place in history. Subjects include romantic pieces, symphonic poems, songs, symphonies, and other works. A biographical summary illustrates the relationship between significant works and events in the composer's life. Acclaimed by Library Journal as "a balanced, long-overdue treatment," this study is essential for every true Lisztian student.

• Sales Rank: #1670091 in Books
• Published on: 2012-12-19
• Released on: 2012-11-21
• Original language: English
• Number of items: 1
• Dimensions: 8.50" h x .40" w x 5.40" l, .50 pounds
• Binding: Paperback
• 224 pages

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6 of 6 people found the following review helpful.
Excellent introduction to Liszt's music
By Alexander Arsov
Humphrey Searle

The Music of Liszt

Dover, Paperback, 1966.
8vo. xiv, 207 pp. Second Revised Edition.

First published, 1954.
Second Revised Edition, 1966.

Contents

I. The Early Works (1822-39)
II. The Virtuoso Period (1839-47)
III. The Weimar Years (1848-61)
IV. The Final Years
Part I. Rome (1861-9)
Part II. Rome, Weimar, Budapest (1869-1886)

Biographical Survey
Catalogue of Works
Bibliography
Index of Works Mentioned
Index of Names

===========================================

Perhaps the attitude to no other great composer has changed more in the last half a century than it has to Franz Liszt. This utterly fascinating man, who lived one of the most spectacular lives and created one of the most dauntingly huge outputs ever, has come all the way from meretricious poser and composer of virtuoso but shallow piano music to a revolutionary and prophetic figure who changed not only the history of piano playing and composition but the writing for orchestra as well, not to mention his almost as novel for their time choral works or his daring in terms of thematic transformation and harmonic language. The last few decades have seen an enormous amount of Liszt scholarship; the two by far most important events of this 'Liszt renaissance' have been Alan Walker's impressive, scholarly but so wonderfully readable three volume biography, which took him quarter of a century and about 1600 pages to write, and Leslie Howard's simply unbelievable committing to disc the complete piano works of Liszt: a project which took him 15 years and almost 100 CDs - not to mention that Leslie was also the author of all liner notes and painstaking musicological research.

Nowadays we know so much more about Liszt's life, personality and music that it is inconceivable for a book about him written almost half a century ago to have any real value. Yet, Humphrey Searle's The Music of Liszt does. For it really is a classic and an absolutely required reading for every true Lisztian - as well as for any newcomer in the field, for that matter. How could that be?

Considering that even fifty years ago, with many a work yet to be discovered, Liszt's oeuvre was still outstandingly large and that, discarding indexes and such like in the end of the book, The Music of Liszt is a little more than 100 pages long, Humphrey Searle has done a truly fantastic job summarising Liszt's almost unbelievable development as a composer: from the juvenile and quite unremarkable attempts, through his fabulously productive Weimar years in the middle of his life, until the late piano works which looked far into the twentieth century. During his long life, which often reads more like a novel, Liszt composed in at least five different directions, namely for piano, orchestra and organ as well as a large number of choral works and songs; most of these areas are highly heterogeneous: the piano works, to take just one telling example, can easily be divided to original works, straightforward transcriptions of music by others and free compositions only based on certain themes by other composers, not to mention that a good many works lie somewhere in the middle and cannot really be classified. It seems just short of impossible that Mr Searle should have succeeded to cover so wide a range of works. Of course he was compelled to omit many, for which he asks for his readers' indulgence, but quite enough is present to allow us a captivating glance into Liszt's inner world. Mr Searle's writing style is nothing short of excellent: very well structured, clear, concise and lucid. He has something interesting, and often perceptive, to say about almost every work he mentions; he never forgets to put Liszt's compositions in the proper biographical context, nor does he allow himself any digressions; every part of the book is finely organised and Mr Searle always takes the trouble to end his chapters with a wonderful conclusion which more often than not is revelatory about Liszt's development as a composer. As the title of the book implies, the stress is firmly on the music; biographical content is scanty and provided only when it is really necessary. So certain basic knowledge about Liszt's life is a prerequisite to reading the book, though I imagine one might also do without it.

What detracts from the great value of Mr Searle's book is not the fact that it is dated - though considerably less so than one might expect - but that the author is highly opinionated. Rarely if ever is he totally negative about certain work, but quite often he is positively ambivalent, to say the least. Many of my favourite pieces - the Ballades, Polonaises and Hungarian Rhapsodies, to name but a few - are dismissed as containing some fine moments here and there but overall quite unsatisfactory affairs; concerning the Rhapsodies Mr Searle even goes on to quote Bartok's appallingly snobbish, not to say ludicrous, opinion that these are 'his least successful works (perhaps that is why they are so generally known and admired).' I cannot for the life of me agree with either of these eminent gentlemen; for my part Liszt's Ballades and Polonaises (both of them in both cases!) are masterpieces on par with Chopin's works of the same genre, though very different of course; as for the Rhapsodies, they may well not be among Liszt's greatest masterpieces, but their melodic fecundity and the composer's endless inventiveness are enough to make them worthy of their popularity. (The famous notion that everything popular should be valueless is well known nonsense that extends pretty much to all arts and has a great deal to do with the equally idiotic statement that everything popular is certainly worthy; the human race is neither so smart nor so dumb after all; as usual, the truth is somewhere in the middle. Not to mention that of the 19 Hungarian rhapsodies, only a handful are more or less generally known, but that's quite another story.) When he comes to the symphonic poems, however, Mr Searle is at his most scathing: the music of Tasso is 'extremely uneven' and the final section shows 'Liszt at his most bombastic'; not to mention Mazeppa which has a concluding march with 'distinctly vulgar flavour': according to Mr Searle, Sacheverell Sitwell rightly described this music as 'flat and shallow'. Such statements really baffle the mind, or at least they certainly baffle mine. Admittedly, it is true that both symphonic poems in question have often been victims of abominable performances which may well sound 'bombastic', 'shallow' and 'vulgar'. But it is equally true that sometimes they have also been performed with the right combination of abandon and restraint leading to results that, granted certain Romantic rhetoric and Lisztian flamboyance, are far removed from anything bombastic and vulgar. And if that was what Mr Searle and Mr Sitwell had heard in their heads while perusing the scores, it may perhaps show that their minds are not altogether devoid of vulgar and bombastic elements. Nothing to worry about of course: it is quite human.

Be that as it may, it must be stressed firmly that Mr Searle's insight into Liszt's oeuvre and his remarkable ability to place every work in the right historical context more than compensate for all harsh things he might have to say about this or that favourite work of mine. Indeed, overall Mr Searle has a distinctly positive attitude toward Liszt and his music. Even about the symphonic poems he has some nice things to say about Festkl�nge or Hungaria (though both are somewhat overwritten and overlong of course) or about Les Preludes which is described as 'eminently successful' (though it is by no means one Liszt's best works of course); nor is Mr Searle ashamed to confess his admiration for Prometheus and Orpheus, or even to openly describe Hamlet as 'masterpiece'. It is worth noting also that the author defends Liszt's concept of program music and argues that the great composer never was interested in pictorial effects or minute details, going even further to state that these elements are precisely what the genre of symphonic poem later 'degenerated' into. This is a bold, audacious statement, that fans of Dvorak, Smetana, Sibelius or Richard Strauss may not find easy to swallow - but the point about Liszt's attitude to his program compositions remains. Mr Searle concludes the section about the symphonic poems with a very sound and thought-provoking argument, namely that they were 'landmark in musical history', and since Liszt largely created and certainly developed the genre more than anybody else of his contemporaries, it was only too natural that in so revolutionary a field he should not be entirely successful and should score as many failures as successes. But here is the bottom line, which Mr Searle somewhat misses from time to rime as far as I am concerned: Liszt was so compelling and unique a personality that even his failures are of more than passing interest.

Another legendary bone of contention for which Humphrey Searle has a surprisingly positive attitude to - especially for 1966! - are Liszt's famous opera paraphrases. The genre itself has been much derided for most of the twentieth century, numerous times has Liszt's himself been charged with sacrilegious treatment of operatic material. Nowadays this is nothing more than a charming bit of history, but in 1966 it must have wanted a great deal of courage and it is very much to Mr Searle's credit that he had the audacity to write the following lines:

'...whatever one may think about the operatic fantasy as musical form, there is no doubt that in many of these works Liszt completely transcended his original material and produced a kind of re-creation of the thoughts of the composers which raises them to a far higher musical level. [...] ...before dismissing these works as mere salon fireworks one should note the extraordinary breadth and power which Liszt was able to impart to material which in itself was often somewhat undistinguished.'

The ardent admirers of Meyerbeer, Donizetti or Bellini might sneer at such statement, but Lisztians all over the world could hardly agree more.

It may be noted in passing that, considering his very limited space, Mr Searle dedicates commendable amount of time discussing Liszt's songs. Yet another bold move for the mid-1960s. It might well be that, of all his works, Liszt's lieder have been most severely neglected. Mr Searle's opinion that Liszt was a very much underrated song writer has later been shared by Alan Walker and Harold Schonberg. But almost half a century had to pass for the first complete edition of Liszt's lieder even to commence its existence: the first two volumes have been released just last year. They fully corroborated the statement that Liszt's genius should be reckoned on that level as well.

Perhaps the most striking and unexpected example of Mr Searle's sympathetic treatment is the notorious 'Grand Galop Chromatique': a fascinating piece of musical fun with which Liszt himself used to finish many a concert during his legendary career as virtuoso. No other piece of Liszt has ever served more frequently and more conveniently for maligning the composer. Empty virtuoso, meretricious poser, vulgar, commonplace and trivial composer, if there ever was one; much poison of that sort has been spilled on Liszt and among the chief examples 'Grand Galop Chromatique' invariably stands out. Not so Humphrey though. He is perfectly charming on the subject as well as capable of remarkable flight of imagination:

'This work is the essence of all concert platform fireworks; it is the grand finale par excellence, and we can well imagine Liszt ending his concerts with it, with fevered gestures and hair flying in all directions. Nevertheless it is by no means negligible as a piece of light music, which is all that is intended to be; it is short, well shaped, entertaining and has good tunes, and there is no reason why a serious composer should not unbend at times if he does it as well as this.'

Sensibly, perceptively and exquisitely written. It really is refreshing to read something like that about this particular piece which has suffered so much in the hands and mouths of conceited and condescending fellows.

Speaking of Mr Searle's style, it cannot be repeated too often that it is as eminently readable as it is possible for such matter. Despite having no fewer than 73 musical examples, Mr Searle very seldom discusses technical details in the text, he virtually never becomes unreadable because of that - not many writers on Liszt can this be said of, alas. Also, Humphrey has a remarkable capacity for striking parallel or profound observation. Maybe the most astonishing example about that is his discussion of the so called 'Mal�diction concerto'. An early piece for piano and strings without title but which bears the name of the opening theme as marked in the score, composed about 1833 but not published until decades after Liszt's death, 'Mal�diction' explores in the beginning a stunning effect which, Mr Searle tells us, is not paralleled until Stravinsky's Petrouchka - almost 80 years later! Liszt's seminal place in developing the harmonic language of the future has long since been recognised, but to my knowledge never has it been linked with so early a work. But Mr Searle saves the most fascinating part of the story for a casual footnote in which he remarks on the 'curious coincidence' that the passage from the Stravinsky's ballet in question is marked 'Maledictions de Petrouchka'. Curious indeed! For Stravinsky composed his work in 1911, but Liszt's concerto was first published in 1914.

Last but not least, a few worlds about the so called 'Catalogue of Works' must be said - for this is no other but the famous 'Searle catalogue' which is still pretty much in use; those who wonder what is the meaning of these numbers with preceding ''S'' that often appear after Liszt's works may now rest. Even though Searle's catalogue - first published in 1954, I think - is not the first attempt for serious listing of Liszt's oeuvre (Peter Raabe, or simply R., was the the pioneer some twenty years later), it is still the most widely used. The 1966 version here is of course obsolete today, lacking numerous revised versions of well known works as well as a number of original works which were totally unknown at the time. But the most updated version of the Searle catalogue, which in condensed form may be found even on Wikipedia, preserves the original and very convenient layout which collects at one place all different versions of certain work; for the countless additions and corrections we should be thankful to Sharon Winklhofer and Leslie Howard. (Speaking of Leslie, his impressive, to put it mildly, series of Liszt's complete piano music make a perfect companion to Mr Searle's book.) As for the catalogue in the end of The Music of Liszt, though it certainly is a great deal dated, it is by no means useless. As a matter of fact, pretty much all Liszt's works you're likely to encounter on CD today (except in Leslie's aforementioned series of course) can be found in this 1966 version. What is more, all of Liszt's famous piano cycles - the Transcendental and Paganini etudes, the three books of Ann�es de p�lerinage and Album d'un voyageur, the second version of Harmonies po�tiques et religieuses, the Hungarian rhapsodies and their unjustly neglected precursors Magyar Dalok: Magyar Rapsz�di�k - are given here with all pieces listed, which is tremendously helpful for finding easy and quickly what on earth was the fifth piece from the First book of the Ann�es, for example; not to mention that the text of Humphrey Searle will probably give you an invaluable additional information about the composition of the piece, Liszt's inspiration about it and, most importantly, its place among those God knows how many pieces Liszt composed during his extraordinary life.

The Music of Liszt by Humphrey Searle is one of those books that gives lots of valuable information and food for thought, in remarkably limited space and very fine style. It also is one of those books that, though they may well become dated, never really grow old. In short, it is a classic. Quite an achievement for a nonfiction writing in a highly changeable area of musical scholarship.

1 of 1 people found the following review helpful.
Liszt - An analysis of his music
By Dr. H. A. Jones
This book gives a description and analysis of the music of Franz Liszt, with such biographical information as there is interwoven into the description where appropriate. As a result, there are a number of musical examples throughout the text which will be intelligible only to those who can read music. The author was himself a composer and probably the foremost British exponent of serial music, who died in 1982. The analyses are penetrating, as would be expected from another composer, and for the general reader there are some useful Appendixes. We have a thirty-page biographical survey of Liszt's life, given in more detail than that found in the text by Walter Beckett published in Dent's Master musicians Series. The book reproduces the list from the Grove Dictionary of Music of Liszt's 768 works, grouped according to genre; and Indexes of works and names from the text. This is a good introduction to Liszt's music for fellow musicians.

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This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

• Published on: 2014-02-25
• Original language: English
• Number of items: 1
• Dimensions: 9.69" h x .77" w x 7.44" l, 1.46 pounds
• Binding: Paperback
• 372 pages

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• Sales Rank: #6972264 in Books
• Published on: 2005
• Binding: Paperback

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[V263.Ebook] Download Machine Tool Practices (10th Edition), by Richard R. Kibbe, Warren T. White, Roland O. Meyer, Kelly Curran, Jon Stenerson

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Machine Tool Practices, Tenth Edition, provides a richly illustrated, practical, and understandable treatment of machine tool technology and related subjects, including measurement and tools, reading drawings, mechanical hardware, hand tools, metallurgy, and the essentials of computer numerical control. The text’s teaching and learning package includes an Instructor’s Manual, PowerPoint slides, and computerized testing.

�

Teaching and Learning Experience:

• Provides a richly illustrated treatment of basic machine tool technology and related subjects.
• The definitive text to successfully train computer numerical controllers and conventional machine operators, general machinists, and tool and die makers.
• Lends itself well to classes that take a combined lecture/laboratory approach, as well as those using it in a self-paced environment.

• Sales Rank: #77684 in Books
• Published on: 2014-07-20
• Original language: English
• Number of items: 1
• Dimensions: 10.80" h x 1.20" w x 8.80" l, .0 pounds
• Binding: Hardcover
• 816 pages

About the Author
Jon Stenerson is an instructor in the Automated Manufacturing Systems Technology Program at Fox Valley Technical College in Appleton, Wisconson. He has been an instructor there for twenty six years and has more than twenty five years of experience in the field of automation. Mr. Stenerson has written more than six books and is a journeyman tool maker. He has a Bachelors Degree in Business Administration and a Masters Degree in Vocational Education. Jon Stenerson has been immersed in the automation/manufacturing/plc field of study for many years and brings a wealth of knowledge and experience to QUICK START TO PROGRAMMING ALTERNATIVE CONTROLLOGIX LANGUAGES, 1E.

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1 of 1 people found the following review helpful.
Three Stars
By Amazon Customer
Contains a lot of useful information about the machinist trade.

0 of 0 people found the following review helpful.
Good deal if you rent
By AT
Need this for a class he took this summer. Book is way expensive so it's a good thing Amazon rents it. That made it a great deal. They didn't use it much in class so if you had to but it it would have been a tremendous waste of money. Could have used one more week on the rental before having to pay more for it so I had to send it back early but it worked out.

0 of 0 people found the following review helpful.
Excellent book
By Amazon Customer
Book came in just as described and is in wonderful condition

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[A543.Ebook] PDF Download Berlin Airlift: The Salvation of a City, by Jon Sutherland, Diane Canwell

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In June 1948, Joseph Stalin halted all road and rail traffic in to and out of the Allied sector of Berlin and cut off all electricity to the city. The only route into Berlin was by means of three twenty-mile-wide air corridors across the Soviet zone of Germany. Thus the wartime allies of Britain, France and the USA realized that the only option open to them was to supply the beleaguered West Berlin by air transport and so started one of the most dramatic events of the twentieth century. The airlift started in June, 1948. At the beginning there were three loading airfields: Rhein Main and Wiesbaden in the American zone, and Weinstorf in the British zone. By September of 1948 the airlift was transporting a massive tonnage of supplies into Berlin, including coal, food, medical supplies and all the other necessities of life. A mixed fleet of aircraft plodded their endless path to and from the city. Both Ex-planes and pilots were dragged out of retirement. In September 1948 the Russian military threatened to force down western aircraft if they flew outside the 20-mile wide corridors but by March 1949 a total of 45,683 tons of supplies per week were being flown into Berlin. In April Russia finally announced her intention to end the blockade.

• Sales Rank: #1341392 in eBooks
• Published on: 2007-06-21
• Released on: 2013-02-05
• Format: Kindle eBook

From the Publisher
At the end of World War II, the Americans and their allies divided Berlin, the capital of Germany, into four sectors, with the Russians taking one of the sectors. The problem was that the Western (American) sector of Berlin was surrounded by the Russian sector of Germany, which was also divided.

In June of 1948, Joseph Stalin stopped all road and rail traffic coming into and out of the Allied Sector of Berlin. He simultaneously cut off all electricity to the city, leaving only a twenty-mile-wide sector of air corridors and one way to get supplies to desperate, starving people.

The United States, using the only method they could, led Allies to mobilize an unprecedented airlift of thousands of tons of supplies each day. By September 1948, the airlift was transporting food, coal, medical supplies, and other necessities into West Berlin as aid for the residents. At the same time, Russian military threatened to strike down any aircraft caught flying outside of the corridor. Finally, by April of 1949, Russia announced their intent to end the blockade, and in August of the same year, the United States airlift operation was terminated.

With an unparalleled attention to detail, Jon Sutherland and Diane Canwell, relay the intricacies and maneuverings of the Berlin airlift. This amazing true story is set against the backdrop of 1948 Germany, the post-World War II world, and the beginning of the Cold War.

From the Inside Flap

In the early hours of June 24, 1948, an order from Joseph Stalin halted all road and rail traffic into and out of the Allied sector of Berlin. Stalin also cut off all electricity to the city. Western Berlin was now comparable to an island surrounded by a sea of red, which was the Russian-occupied zone of Germany. The only route into Berlin was by means of three twenty-mile-wide air corridors across the Soviet zone of Germany. Thus the wartime allies of Britain, France, and the USA realized that the only option open to them was to supply the beleaguered West Berlin by air transport and so started one of the most dramatic events of the twentieth century.

The airlift started immediately. At the beginning there were three loading airfields: Rhein Main and Wiesbaden in the American zone and Weinstorf in the British zone. By September of 1948, the airlift was transporting a massive tonnage of supplies into Berlin, including coal, food, medical supplies, and all the other necessities of life. A mixed fleet of aircraft plodded their endless path to and from the city. DC-3s, Avro Yorks, and many ex-World War II bombers were dragged out of retirement to save the city--as were the pilots who flew them.

In November 1948, the Russian military authorities threatened to force down western aircraft if they flew out-side the twenty-mile-wide corridors, but by March 1949, a total of 45,683 tons of supplies per week were being flown into Berlin. The following month Russia finally announced her intention to end the blockade after 328 days. A massive total of 2,325,509 tons of vital supplies had saved what became known as West Berlin.

Jon Sutherland and Diane Canwell have written extensively on military history and warfare. Their previous works have focused on both World War I and World War II. Their other books include The RAF Air Sea Rescue Service 1918-1986, Battle of Britain 1917, and The Battle of Jutland.

About the Author
Jon Sutherland and Diane Canwell have written extensively on military history and warfare. Their previous works have focused on both World War I and World War II. Other books by these authors include "The History of the RAF Air Sea Rescue," "Marine Craft Section," "The Battle of Jutland," and "The German Gotha Bomber Raids of the First World War."

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4 of 4 people found the following review helpful.
Berlin Airlift
By a Flynn
This book is unoriginal, dreary, derivative, and spattered with errors. It is neither sound as military/aviation nor political history. The authors are generalists who churn out books on every subject under the sun just as quickly as they can find earlier (authentic) works in libraries and websites and cut and paste.

1 of 1 people found the following review helpful.
a third-rate book
By james seeley
My problem with this book, and its authors, is the tendency to combine cliched and tired text with repetitive and dreary statistics. We get little idea here of the ideological, economic and strategic factors that led to the Russian blockade or the Anglo-American response. Both the episodes and the statistics have been lifted in great chunks from other and better books. I doubt if the authors went anywhere near a USAAF, RAF or German--and God forbid a Soviet--archive while researching this book. It is just a rehash and reads like it.

0 of 0 people found the following review helpful.
I know this book hasn't gotten good reviews, but I liked the context that it ...
By Susan
I know this book hasn't gotten good reviews, but I liked the context that it gave for that time. It was an easy read & I got a lot of information I wanted.

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