THE TOOLS OF ARGUMENT

Name: THE TOOLS OF ARGUMENT
Author: Joel P. Trachtman
ISBN: 978-1481246385

HOW THE BEST LAWYERS THINK, ARGUE, AND WIN

by Joel P. Trachtman ‧ RELEASE DATE: July 25, 2013

An easy-to-follow guide to argument techniques and theory.

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A lawyer and professor draws on his legal training to teach readers the art of argument.

In this manual, Trachtman (Law/Tufts Univ.; The International Law of Economic Migration, 2009) moves legal argument out of the classroom and shares it with a general audience. Although the text is firmly grounded in the author’s legal background—the first chapter, for example, explores what the law is and why it matters—it also draws many parallels to other professional contexts and social situations: “In a broader social setting, you might acknowledge that competent and honest argument over the application of rules, principles, and policy will allow fair decisions to prevail.” The book is structured thematically, moving from a discussion of the procedures of argument to an explanation of facts and their uses. Later chapters cover various rhetorical techniques and fundamentals of legal theory. Trachtman acknowledges that lawyers traditionally use footnotes to support and develop arguments, and he makes frequent use of them here, both to cite evidence and to offer additional commentary. He defines many legal terms in the book, and they make frequent appearances (“Parents also often apply a rule of res judicata, as described in section 3.14: once a decision is made, it is final”). The author also often uses point-counterpoint examples to illustrate the techniques he describes, and occasionally even “counter-counter-counterpoint” items. The author’s wry asides add moments of humor, but they also reveal some of the techniques’ limited applicability outside the legal realm. For example, while explaining the technique of reductio ad absurdum (“the extension of a proposed principle to absurd or undesirable lengths”), the author writes, “Try this with your friends, and they will soon be ex-friends.” Overall, readers engaged in legal argument or persuasive writing and speaking will get the most value from this book.

An easy-to-follow guide to argument techniques and theory.

Pub Date: July 25, 2013

ISBN: 978-1481246385

Page Count: 202

Publisher: CreateSpace

Review Posted Online: Sept. 30, 2013

Review Program: Kirkus Indie

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

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THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.