The author has approached his new ninth edition with the goal of re-examining the scholarship and refreshing the repertoire while maintaining the strengths that have made the book number one - the clear presentation of musical elements, the vivid depiction of music history, the carefully chosen musical examples, the detailed and informative Listening Outlines, and the unsurpassed supplements package.

    Here is a remarkable rendering of that fateful time, told with humanity and humor. "The best popular history of the Constitutional Convention available."--Library Journal

    National Book Award in category Philosophy and Religion, has been translated into 11 languages, and was named one of the "100 most influential books since the war" (1945–1995) by the U.K. Times Literary Supplement.

    In his seventh book, former President Nixon draws on a lifetime of experience in international affairs to examine the crucial challenge facing the United States and the West: What must be done in the closing years of the twentieth century to ensure that the twenty-first will be a century of peace, prosperity, and expanding freedom?

    But do you fully understand what this valuable document means to you? In How to Read the Constitution and Why, legal expert and educator Kimberly Wehle spells out in clear, simple, and common sense terms what is in the Constitution, and most importantly, what it means. In compelling terms, she describes how the Constitution’s protections are eroding—not only in express terms but by virtue of the many legal and social norms that no longer shore up its legitimacy—and why every American needs to heed to this “red flag” moment in our democracy.This invaluable—and timely—resource covers nearly every significant aspect of the Constitution, from the powers of the President and how the three branches of government are designed to hold each other accountable, to what it means to have individual rights—including free speech, the right to bear arms, the right to be free from unreasonable searches and seizures, and the right to an abortion. Finally, the book explains why it has never been more important than now for all Americans to know how our Constitution works—and why, if we don’t step in to protect it now, we could lose its protections forever.How to Read the Constitution and Why is essential reading for anyone who cares about maintaining an accountable government and the individual freedoms that the Constitution enshrines for everyone in America—regardless of political party.

    This book introduces the basic elements of contracts; describes the lawyer's role in the drafting and negotiating process; discusses amendments, waivers, and consents; and, addresses issues that arise in reviewing contracts, including due diligence issues.

    The oft-challenged findings of the Warren Commission Lee Harvey Oswald, acting alone, shot and killed President John F. Kennedy are here confirmed beyond all doubt. But "Reclaiming History" does much more than that. In addition to providing a powerful and unprecedented narrative of events and a biography of the assassin, it confronts and destroys every one of the conspiracy theories that have grown up since the assassination, exposing their selective use of evidence, flawed logic, and outright deceptions. So thoroughly documented, so compellingly lucid in its conclusions, "Reclaiming History" is, in a sense, the investigation that completes the work of the Warren Commission. In it, Vincent Bugliosi, the nation's foremost prosecutor, takes on the most important murder in American history. At 1:00 p.m. on November 22, 1963, President John F. Kennedy was pronounced dead, the victim of a sniper attack during his motorcade through Dallas. That may be the only fact generally agreed upon in the vast literature spawned by the assassination. National polls reveal that an overwhelming majority of Americans (75%) believe that there was a high-level conspiracy behind Lee Harvey Oswald. Many even believe that Oswald was entirely innocent. In this continuously absorbing, powerful, ground-breaking book, Vincent Bugliosi shows how we have come to believe such lies about an event that changed the course of history. The brilliant prosecutor of Charles Manson and the man who forged an iron-clad case of circumstantial guilt around O. J. Simpson in his best-selling "Outrage "Bugliosi is perhaps the only man in America capable of writing the definitive book on the Kennedy assassination. This is an achievement that has for years seemed beyond reach. No one imagined that such a book would ever be written: a single volume that once and for all resolves, beyond any reasonable doubt, every lingering question as to what happened in Dallas and who was responsible. There have been hundreds of books about the assassination, but there has never been a book that covers "the entire case," including addressing each and every conspiracy theory and the facts, or alleged facts, on which they are based. In this monumental work, the author has raised scholarship on the assassination to a new and final level, one that far surpasses all other books on the subject. It adds resonance, depth, and closure to the admirable work of the Warren Commission. "Reclaiming History" is a narrative compendium of fact, forensic evidence, reexamination of key witnesses, and common sense. Every detail and nuance is accounted for, every conspiracy theory revealed as a fraud on the American public. Bugliosi's irresistible logic, command of the evidence, and ability to draw startling inferences shed fresh light on this American nightmare. At last it all makes sense.

    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

    The book includes built-in, perforated Practice Tests that students can use for self-study or hand in for a grade. Framing its content within a resonant politics matters theme and emphasizing public policy throughout, Government in America illustrates the impact that government has on the daily lives of each and every American, motivating students to become active participants in all aspects of our political system, and helping overcome the #1 challenge instructors face in this course -- student apathy toward American Government. The Brief Study Edition includes test questions for each chapter bound in at the end of the book.

    In this richly textured anthology, well-known scholar David Brackett brings together more than 100 readings from a wide range of sources and by writers who have played an integral part in the development of popular music criticism. Brackett includes articles from mainstream and specialized magazines, newspapers, and scholarly journals, as well as interviews and autobiographies of musicians and other music industry insiders. Organized into broad time periods, the chapters are divided into sections by genre, and these sections are organized chronologically. The chapter divisions parallel those found most frequently in textbooks on popular music. Representing a wide variety of time periods, styles, and genres--and including groundbreaking criticism on disco, hip-hop, rap, and techno--the selections introduce students to important social and cultural issues raised by the study of popular music. Topics covered include the role of race, class conflict, gender roles, regional differences in the reception of popular music, and the relative value of artistry versus commerce. Extensive editorial introductions and headnotes supply context for the selections, provide links between different eras and genres, clarify the issues raised by the documents, and explain their historical significance. The second edition of this captivating anthology features eleven new source readings and introductions, further reading and discography selections for each chapter, and a companion website containing student and instructor resources.