An informative first book for novices that covers a wide range of basic mechanics, tools and measures.
Jacobs’ nuts-and-bolts mechanics guide covers what a layperson or newbie mechanic would need to get a foothold in the field.
Though little attempt is made to go into any particular depth, the book’s scattershot compilation of everything from parts to pumps will well serve anyone entering the world of mechanics for the first time. The initial chapter on basic mechanical theory addresses measures and motion, ending with the devices that control and power many of today’s machines. Chapter 2, “The Six Machines,” delves into levers, gears, screws and the concept of mechanical advantage, and in “Mechanical Components,” Jacobs goes into cams, solenoids, rollers, clutches, chains and a rudimentary description of the four-stroke gasoline engine. The next chapter, aptly named “Tools,” covers a wide range of basic hand tools, from hammers to pliers, including a few common power tools. The final chapter, “Mounting and Fastening Components,” introduces everything from bolts to bearings, with a smattering of electrical connections and a brief introduction to levers and linkages. Every chapter is rife with visuals to help identify the tools, parts, devices and concepts being presented. In most cases, the thumbnail illustrations are enough to get the author’s point across, and the photos adequately portray the subject matter. Since the book is so light on text, readers can easily go cover to cover in a very short time, grasping basic mechanical concepts without getting overly technical. However, the book suffers from a few drawbacks that could be easily remedied. In some cases, there’s a needless repetition of illustrations and photos, as when showing screw slot types. In other instances, some illustrations—such as those covering clutches, cams and levers—are simply too rudimentary to convey the author’s intention. The page layouts could be improved through the use of a professional designer: With an arbitrary mix of illustration and photography (black and white and color), there seems to be little consistency from page to page in terms of design.
An informative first book for novices that covers a wide range of basic mechanics, tools and measures.Pub Date: Aug. 1, 2012
ISBN: 978-1479148677
Page Count: 96
Publisher: CreateSpace
Review Posted Online: June 25, 2013
Review Program: Kirkus Indie
A brief but sometimes knotty and earnest set of studies best suited for Shakespeare enthusiasts.
A brisk study of 20 of the Bard’s plays, focused on stripping off four centuries of overcooked analysis and tangled reinterpretations.
“I don’t really care what he might have meant, nor should you,” writes Smith (Shakespeare Studies/Oxford Univ.; Shakespeare’s First Folio: Four Centuries of an Iconic Book, 2016, etc.) in the introduction to this collection. Noting the “gappy” quality of many of his plays—i.e., the dearth of stage directions, the odd tonal and plot twists—the author strives to fill those gaps not with psychological analyses but rather historical context for the ambiguities. She’s less concerned, for instance, with whether Hamlet represents the first flower of the modern mind and instead keys into how the melancholy Dane and his father share a name, making it a study of “cumulative nostalgia” and our difficulty in escaping our pasts. Falstaff’s repeated appearances in multiple plays speak to Shakespeare’s crowd-pleasing tendencies. A Midsummer Night’s Dream is a bawdier and darker exploration of marriage than its teen-friendly interpretations suggest. Smith’s strict-constructionist analyses of the plays can be illuminating: Her understanding of British mores and theater culture in the Elizabethan era explains why Richard III only half-heartedly abandons its charismatic title character, and she is insightful in her discussion of how Twelfth Night labors to return to heterosexual convention after introducing a host of queer tropes. Smith's Shakespeare is eminently fallible, collaborative, and innovative, deliberately warping play structures and then sorting out how much he needs to un-warp them. Yet the book is neither scholarly nor as patiently introductory as works by experts like Stephen Greenblatt. Attempts to goose the language with hipper references—Much Ado About Nothing highlights the “ ‘bros before hoes’ ethic of the military,” and Falstaff is likened to Homer Simpson—mostly fall flat.
A brief but sometimes knotty and earnest set of studies best suited for Shakespeare enthusiasts.Pub Date: April 21, 2020
ISBN: 978-1-5247-4854-8
Page Count: 368
Publisher: Pantheon
Review Posted Online: Dec. 17, 2019
Kirkus Reviews Issue: Jan. 15, 2020
BOOK REVIEW
BOOK REVIEW
Naughty good fun from an impossibly sardonic rogue, quickly rising to Twainian stature.
The undisputed champion of the self-conscious and the self-deprecating returns with yet more autobiographical gems from his apparently inexhaustible cache (Naked, 1997, etc.).
Sedaris at first mines what may be the most idiosyncratic, if innocuous, childhood since the McCourt clan. Here is father Lou, who’s propositioned, via phone, by married family friend Mrs. Midland (“Oh, Lou. It just feels so good to . . . talk to someone who really . . . understands”). Only years later is it divulged that “Mrs. Midland” was impersonated by Lou’s 12-year-old daughter Amy. (Lou, to the prankster’s relief, always politely declined Mrs. Midland’s overtures.) Meanwhile, Mrs. Sedaris—soon after she’s put a beloved sick cat to sleep—is terrorized by bogus reports of a “miraculous new cure for feline leukemia,” all orchestrated by her bitter children. Brilliant evildoing in this family is not unique to the author. Sedaris (also an essayist on National Public Radio) approaches comic preeminence as he details his futile attempts, as an adult, to learn the French language. Having moved to Paris, he enrolls in French class and struggles endlessly with the logic in assigning inanimate objects a gender (“Why refer to Lady Flesh Wound or Good Sir Dishrag when these things could never live up to all that their sex implied?”). After months of this, Sedaris finds that the first French-spoken sentiment he’s fully understood has been directed to him by his sadistic teacher: “Every day spent with you is like having a cesarean section.” Among these misadventures, Sedaris catalogs his many bugaboos: the cigarette ban in New York restaurants (“I’m always searching the menu in hope that some courageous young chef has finally recognized tobacco as a vegetable”); the appending of company Web addresses to television commercials (“Who really wants to know more about Procter & Gamble?”); and a scatological dilemma that would likely remain taboo in most households.
Naughty good fun from an impossibly sardonic rogue, quickly rising to Twainian stature.Pub Date: June 1, 2000
ISBN: 0-316-77772-2
Page Count: 288
Publisher: Little, Brown
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: April 1, 2000
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