From Edward Lorenz’s discovery of the Butterfly Effect, to Mitchell Feigenbaum’s calculation of a universal constant, to Benoit Mandelbrot’s concept of fractals, which created a new geometry of nature, Gleick’s engaging narrative focuses on the key figures whose genius converged to chart an innovative direction for science. In Chaos, Gleick makes the story of chaos theory not only fascinating but also accessible to beginners, and opens our eyes to a surprising new view of the universe.

    It has been widely praised by a generation of users for its solid and effective pedagogy that addresses the needs of a broad range of teaching and learning styles and environments. Each title is just one component in a comprehensive calculus course program that carefully integrates and coordinates print, media, and technology products for successful teaching and learning.

    The book covers habituation, classical conditioning, instrumental conditioning, stimulus control, aversive control, and their applications to the study of cognition and to the alleviation of behavior problems. Biological constraints on learning are integrated throughout the text, as are applications boxes that relate animal research to human learning and behavior. The book closely reflects the field of research it represents in terms of topics covered, theories discussed, and experimental paradigms described.

    Now, two of the world's most eminent thinkers -- University of London physicists David Bohm, a former protege of Einstein's and one of the world's most respected quantum physicists, and Stanford neurophysiologist Karl Pribram, one of the architects of our modern understanding of the brain -- believe that the universe itself may be a giant hologram, quite literally a kind of image or construct created, at least in part, by the human mind. This remarkable new way of looking at the universe explains not only many of the unsolved puzzles of physics, but also such mysterious occurrences as telepathy, out-of-body and near death experiences, "lucid" dreams, and even religious and mystical experiences such as feelings of cosmic unity and miraculous healings.

    History survey because of the uncommon value it offers instructors and students alike. The authors' own abridgement preserves the analytical power of the parent text, America's History, while offering all the flexibility of a brief book. The latest scholarship, hallmark global perspective, and handy format combine with the best full-color art and map program of any brief text to create a book that students read and enjoy.

    But distinguished poets Mark Strand and Eavan Boland have produced a clear, super-helpful book that unravels part of the mystery of great poems through an engaging exploration of poetic structure. Strand and Boland begin by promising to "look squarely at some of the headaches" of poetic form: the building blocks of poetry. The Making of a Poem gradually cures many of those headaches.Strand, who's won the Pulitzer Prize and a MacArthur Fellowship and has served as U.S. Poet Laureate, and Boland, an abundantly talented Irish poet who has also written a beautiful book of essays on writing and womanhood, are both accustomed to teaching. Strand, now at the University of Chicago, and Boland, a Stanford professor, draw upon decades in the classroom to anticipate most questions.Ever wonder what a pantoum is? A villanelle? A sestina? With humor, patience, and personal anecdotes, Strand and Boland offer answers. But the way they answer is what makes this book stand out. The forms are divided into three overarching categories: metrical forms, shaping forms, and open forms. "Metrical forms" include the sonnet, pantoum, and heroic couplet. "Shaping forms" explains broader categories, like the elegy, ode, and pastoral poem. And "open forms" offers new takes on the traditional blueprints, exploring poems like Allen Ginsberg's "America."Each established form is then approached in three ways, followed by several pages of outstanding poems in that form. First, the editors offer a "page at a glance" guide, with five or six characteristics of that specific form presented in a brief outline. For example, the pantoum is defined like this:   1) Each pantoum stanza must be four lines long.   2) The length is unspecified but the pantoum must begin and end with the same line.   3) The second and fourth lines of the first quatrain become the first and third line of the next, and so on with succeeding quatrains.   4) The rhyming of each quatrain is abab.   5) The final quatrain changes this pattern.   6) In the final quatrain the unrepeated first and third lines are used in reverse as second and fourth lines.With this outline, it's easy to identify the looping pantoum. In the second piece of the pantoum section, Strand and Boland include a "History of the Form" section, again condensed to one page. Here, we learn that the pantoum is "Malayan in origin and came into English, as so many other strict forms have, through France." Indeed, both Victor Hugo and Charles Baudelaire tried their hands at the pantoum. As always, Strand and Boland offer some comparison to the other forms, which helps explain why a poet might choose to write a pantoum over, say, a sonnet or a sestina:"Of all verse forms the pantoum is the slowest. The reader takes four steps forward, then two steps back. It is the perfect form for the evocation of a past time." Next, the editors include "The Contemporary Context," which introduces several of the pantoums of this century. Finally, in what may be the book's best feature, they provide a close-up of a pantoum, an approach they repeat for each form discussed. In this case, it's the "Pantoum of the Great Depression" by Donald Justice. The editors offer some biographical information on Justice, and then they map out how that specific poem gets its power. This "poet's explanation" of the workings of a poem is invaluable, especially when it comes from leading poets such as Stand and Boland. What's more, these remarks are transferable. Reading how Strand and Boland view a dozen poems transforms the way one reads. With any future poem, you can look for what Strand and Boland have found in the greats.The editors offer their readers a great start, with a list for further reading and a helpful glossary. If anything can get a person excited about poetry, this selection of poems can -- though the editors, as working poets, readily admit their choices are idiosyncratic. Gems here include the best work of lesser-known poets, including several "poets' poets." For example, Edward Thomas, a prominent reviewer in his day and a close friend of Robert Frost's, is represented by "Rain," an absolutely brilliant blank-verse poem which begins:      Rain, midnight rain, nothing but wild rain      On this bleak hut, and solitude, and me      Remembering again that I shall die      And neither hear the rain nor give it thanks      For washing me cleaner than I have been       Since I was born into this solitude. Thomas's poem -- and other treasures here -- introduces readers to what and how poets read to learn to make poems. Of course, many of the usual suspects are found here, but the surprises are exciting, and even the old favorites seem new when the editors explain why and how a particular poem seems beautiful. This is particularly evident in their discussion of Edna St. Vincent Millay's rushing, initially breathless sonnet "What Lips My Lips Have Kissed, and Where, and How, " which reads:      What lips my lips have kissed, and where, and why,      I have forgotten, and what arms have lain      Under my head till morning, but the rain      Is full of ghosts tonight, that tap and sigh      Upon the glass and listen for reply,       And in my heart there stirs a quiet pain      For unremembered lads that not again      Will turn to me at midnight with a cry.       Thus in the winter stands the lonely tree      Nor knows what birds have vanquished one by one,      Yet knows its boughs more silent than before:       I cannot say what loves have come and gone,       I only know that summer sang in me      A little while, that in me sings no more. In the "close-up" section, Strand and Boland offer an biographical paragraph that mentions that in 1923, Millay became the first woman to win a Pulitzer Prize in Poetry. They then discuss Millay's "distinctive and unusual" approach to the sonnet form: "Instead of taking the more leisurely pace of the public sonnet that had been the 19th-century model, she drove her sonnets forward with a powerful lyric music and personal emphasis."The editors point out Millay's heavy reliance on assonance and alliteration, and then note how she takes advantage of the different tempos the sonnet offers:"Here she uses her distinctive music and high diction to produce an unusually quick-paced poem in the first octave and then a slower, more reflective septet where the abandoned lover becomes a winter tree. This ability of the sonnet, to accommodate both lyric and reflective time, made it a perfect vehicle for highly intuitive twentieth-century poets like Millay."That simple explanation of the sonnet as a form able to "accommodate both lyric and reflective time" helps clarify most sonnets. But Strand and Boland are careful not to explain everything. The deepest beauty, as they explain in their introductory essays on their attraction to form, is built on mystery. And it is that attempt to understand the greatest mysteries that defines the greatest poems. Similarly, mystery often drives poets to write, as Strand explains in his essay on Archibald MacLeish's "You, Andrew Marvell," which Strand describes as the first poem he wished he had written himself in his early years as a poet:"Although I no longer wish I had written 'You, Andrew Marvell,' I wish, however, that I could write something like it, something with its sweep, its sensuousness, its sad crepuscular beauty, something capable of carving out such a large psychic space for itself&. There is something about it that moves me in ways I don't quite understand, as it were communicating more than what it actually says. This is often the case with good poems -- they have a lyric identity that goes beyond whatever their subject happens to be."With this book, Strand and Boland help quantify the explicable parts of a "lyric identity." Understanding form, the editors believe, is one way to begin understanding a poem's beauty. This lucid, useful book is a wonderful guide to that mysterious music.—Aviya Kushner

    Much as Brainiac offered a behind-the-scenes look at the little-known demimonde of competitive trivia buffs, Maphead finally gives equal time to that other downtrodden underclass: America's map nerds.In a world where geography only makes the headlines when college students are (endlessly) discovered to be bad at it, these hardy souls somehow thrive. Some crisscross the map working an endless geographic checklist: visiting all 3,143 U.S. counties, for example, or all 936 UNESCO World Heritage Sites. Some pore over million-dollar collections of the rarest maps of the past; others embrace the future by hunting real-world cartographic treasures like "geocaches" or "degree confluences" with GPS device in hand. Some even draw thousands of their own imaginary maps, lovingly detailing worlds that never were.Ken Jennings was a map nerd from a young age himself, you will not be surprised to learn, even sleeping with a bulky Hammond atlas at the side of his pillow, in lieu of the traditional Teddy bear. As he travels the nation meeting others of his tribe--map librarians, publishers, "roadgeeks," pint-sized National Geographic Bee prodigies, the computer geniuses behind Google Maps and other geo-technologies--he comes to admire these geographic obsessives. Now that technology and geographic illiteracy are increasingly insulating us from the lay of the land around us, we are going to be needing these people more than ever. Mapheads are the ones who always know exactly where they are--and where everything else is as well.

    Williams any rock used as building material can tell a fascinating story. All he has to do is look at building stone in any urban center to find a range of rocks equal to any assembled by plate tectonics. In Stories in Stone, he takes you on his explorations to find 3.5-billion-year-old rock that looks like swirled pink and black taffy, a gas station made of petrified wood, and a Florida fort that has withstood 300 years of attacks and hurricanes, despite being made of a stone that has the consistency of a granola bar.In Stories in Stone, Williams also weaves in the cultural history of stone. He shows why a white, fossil-rich limestone from Indiana became the only building stone to be used in all 50 states; how in 1825, the construction of the Bunker Hill Monument led to America's first commercial railroad; and why when the same kind of marble used by Michelangelo was used on a Chicago skyscraper it warped so much after 19 years that all 44,000 panels of the stone had to be replaced. A love letter to building stone, from New England brownstone and Morton Gneiss of Minnsota to the limestone of Salem, Indiana; from granite and travertine to Carrara marble, David Willilams brings to life the stones you will see in the structures of every city, large and small. After reading his book, you will forever look at stone buildings with new eyes.

    In this revised edition that includes coverage of new Web 2.0 and Web 3.0 tools, tablets, and omnipresent wireless devices, Burke demonstrates how to successfully conceptualize, purchase, implement and maintain a library's invaluable tech assets. Highlights in this eagerly anticipated edition include enhanced coverage of e-books and cloud computing. This comprehensive resource should be at the top of the list for any current or future library professional looking to stay at the forefront of technological advancement.

    The author explodes the old orthodoxies and gives us a convincing picture of how dinosaurs hunted, fed, mated, fought and died.Containing over 200 detailed illustrations, The Great Dinosaur Debate will enthrall "dinosaurmaniacs". It is a bold new look at the extraordinary reign and eventual extinction of the awesome behemoths who ruled the earth for 150 million years.

    The anthology offers more poetry by women (40 new poets), with special attention to early women poets. The book also includes a greater diversity of American poetry, with double the number of poems by African American, Hispanic, native American and Asian American poets. There are 26 new poets representing the Commonwealth literature tradition: now included are more than 37 poets from Australia, New Zealand, Ireland, Scotland, Wales, the Caribbean, South Africa and India.

    It hold the remains of an ancient sea where dozens of strange creatures lived—a forgotten corner of evolution preserved in awesome detail. In this book Stephen Jay Gould explores what the Burgess Shale tells us about evolution and the nature of history.

    Its Philosophy 101 for everyone who knows not to take all this heavy stuff too seriously. Some of the Big Ideas are Existentialism (what do Hegel and Bette Midler have in common?), Philosophy of Language (how to express what its like being stranded on a desert island with Halle Berry), Feminist Philosophy (why, in the end, a man is always a man), and much more. Finally it all makes sense!

    Discover how easy it is to: file phone numbers, data, figures, and appointments right in your head; learn foreign words and phrases with ease; read with speed--and greater understanding; shine in the classroom--and shorten study hours; dominate social situations, and more.

    Includes all new multimedia and pedagogy to bring physical geography to a new audience. The new fourth edition of Introducing Physical Geography, focuses on both content and pedagogy. The text also includes current examples of environmental phenomena, such as Hurricane Isabel and the recent earthquakes in Turkey. The readability of the text has been enhanced with new placements of boxed features and supplementary material.