Cook successfully establishes the mathematical foundation needed for construction with a witty, conversational tone that...

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A TRIP TO THE NUMBER YARD

A FUN AND EASY GUIDE TO THE MATH YOU NEED FOR CONSTRUCTION...AND NOTHING ELSE

This step-by-step guide to mastering basic construction math utilizes the building of a hypothetical bungalow as an occasion to lightheartedly relate mathematical thinking to practical application.

The need for one more book in a market where a dozen books on basic math for construction workers have been published appears initially questionable. Yet Cook’s book earns a place of distinction for bringing a gently humorous tone and an engaging sense of storytelling to what could be the driest of subjects. Organizing his book around the building of a hypothetical bungalow, Cook brings essential grade-school level mathematical concepts (how to solve for unknowns, distinguishing numbers and units and dealing with fundamental algebra and geometry) into play in the sequence you would need to use them if you were building your own home. This is a particularly engaging read for anyone suffering math phobia. “Solving for an unknown is like traveling to a new destination,” opens the book, and, through the author’s clearheaded examples of construction problems mathematically solved, math becomes a thoroughly charming form of intellectual recreation. Each chapter concludes with a helpful review of key concepts. And sprinkled through the text are Mary E. Scott’s cartoons achieving a remarkable balance between adult sophistication and childlike playfulness. In Cook’s chapter on reviewing how to solve fractions, decimals and percent, the author gives the all-too-gripping math problem of calculating the cost of filling up your truck’s gas tank, a skyrocketing cost of doing construction work. Levity is introduced through Scott’s cartoon showing a depressed consumer pondering which button to press on a gas pump with buttons labeled “Barely Afford,” “Second Mortgage” and “Buy a Bike.” The book’s 17 compact chapters conclude with a helpful list of conversion factors and handy equations.

Cook successfully establishes the mathematical foundation needed for construction with a witty, conversational tone that clarifies math while instilling confidence in a reader’s capacity to practically apply numbers.

Pub Date: Sept. 15, 2008

ISBN: 978-0979409707

Page Count: 113

Publisher: Freshwater

Review Posted Online: Nov. 14, 2011

Kirkus Reviews Issue: Dec. 1, 2011

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WHAT A WONDERFUL WORLD

A LIFETIME OF RECORDINGS

Noted jazz and pop record producer Thiele offers a chatty autobiography. Aided by record-business colleague Golden, Thiele traces his career from his start as a ``pubescent, novice jazz record producer'' in the 1940s through the '50s, when he headed Coral, Dot, and Roulette Records, and the '60s, when he worked for ABC and ran the famous Impulse! jazz label. At Coral, Thiele championed the work of ``hillbilly'' singer Buddy Holly, although the only sessions he produced with Holly were marred by saccharine strings. The producer specialized in more mainstream popsters like the irrepressibly perky Teresa Brewer (who later became his fourth wife) and the bubble-machine muzak-meister Lawrence Welk. At Dot, Thiele was instrumental in recording Jack Kerouac's famous beat- generation ramblings to jazz accompaniment (recordings that Dot's president found ``pornographic''), while also overseeing a steady stream of pop hits. He then moved to the Mafia-controlled Roulette label, where he observed the ``silk-suited, pinky-ringed'' entourage who frequented the label's offices. Incredibly, however, Thiele remembers the famously hard-nosed Morris Levy, who ran the label and was eventually convicted of extortion, as ``one of the kindest, most warm-hearted, and classiest music men I have ever known.'' At ABC/Impulse!, Thiele oversaw the classic recordings of John Coltrane, although he is the first to admit that Coltrane essentially produced his own sessions. Like many producers of the day, Thiele participated in the ownership of publishing rights to some of the songs he recorded; he makes no apology for this practice, which he calls ``entirely appropriate and without any ethical conflicts.'' A pleasant, if not exactly riveting, memoir that will be of most interest to those with a thirst for cocktail-hour stories of the record biz. (25 halftones, not seen)

Pub Date: May 1, 1995

ISBN: 0-19-508629-4

Page Count: 224

Publisher: Oxford Univ.

Review Posted Online: May 20, 2010

Kirkus Reviews Issue: March 1, 1995

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Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

A LITTLE HISTORY OF POETRY

A light-speed tour of (mostly) Western poetry, from the 4,000-year-old Gilgamesh to the work of Australian poet Les Murray, who died in 2019.

In the latest entry in the publisher’s Little Histories series, Carey, an emeritus professor at Oxford whose books include What Good Are the Arts? and The Unexpected Professor: An Oxford Life in Books, offers a quick definition of poetry—“relates to language as music relates to noise. It is language made special”—before diving in to poetry’s vast history. In most chapters, the author deals with only a few writers, but as the narrative progresses, he finds himself forced to deal with far more than a handful. In his chapter on 20th-century political poets, for example, he talks about 14 writers in seven pages. Carey displays a determination to inform us about who the best poets were—and what their best poems were. The word “greatest” appears continually; Chaucer was “the greatest medieval English poet,” and Langston Hughes was “the greatest male poet” of the Harlem Renaissance. For readers who need a refresher—or suggestions for the nightstand—Carey provides the best-known names and the most celebrated poems, including Paradise Lost (about which the author has written extensively), “Kubla Khan,” “Ozymandias,” “The Charge of the Light Brigade,” Wordsworth and Coleridge’s Lyrical Ballads, which “changed the course of English poetry.” Carey explains some poetic technique (Hopkins’ “sprung rhythm”) and pauses occasionally to provide autobiographical tidbits—e.g., John Masefield, who wrote the famous “Sea Fever,” “hated the sea.” We learn, as well, about the sexuality of some poets (Auden was bisexual), and, especially later on, Carey discusses the demons that drove some of them, Robert Lowell and Sylvia Plath among them. Refreshingly, he includes many women in the volume—all the way back to Sappho—and has especially kind words for Marianne Moore and Elizabeth Bishop, who share a chapter.

Necessarily swift and adumbrative as well as inclusive, focused, and graceful.

Pub Date: April 21, 2020

ISBN: 978-0-300-23222-6

Page Count: 304

Publisher: Yale Univ.

Review Posted Online: Feb. 9, 2020

Kirkus Reviews Issue: March 1, 2020

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