With the 97 short and extremely useful tips for programmers in this book, you'll expand your skills by adopting new approaches to old problems, learning appropriate best practices, and honing your craft through sound advice.With contributions from some of the most experienced and respected practitioners in the industry--including Michael Feathers, Pete Goodliffe, Diomidis Spinellis, Cay Horstmann, Verity Stob, and many more--this book contains practical knowledge and principles that you can apply to all kinds of projects.A few of the 97 things you should know:"Code in the Language of the Domain" by Dan North"Write Tests for People" by Gerard Meszaros"Convenience Is Not an -ility" by Gregor Hohpe"Know Your IDE" by Heinz Kabutz"A Message to the Future" by Linda Rising"The Boy Scout Rule" by Robert C. Martin (Uncle Bob)"Beware the Share" by Udi Dahan

    The Text Was Designed To Familiarize Students With The Foundations And Principles Of Computer Science And To Strengthen The Students' Ability To Carry Out Formal And Rigorous Mathematical Arguments. In The New Fourth Edition, Author Peter Linz Has Offered A Straightforward, Uncomplicated Treatment Of Formal Languages And Automata And Avoids Excessive Mathematical Detail So That Students May Focus On And Understand The Underlying Principles. In An Effort To Further The Accessibility And Comprehension Of The Text, The Author Has Added New Illustrative Examples Throughout.

    The title says it is the hard way to learn to writecode but it’s actually not. It’s the “hard” way only in that it’s the way people used to teach things. In this book youwill do something incredibly simple that all programmers actually do to learn a language: 1. Go through each exercise. 2. Type in each sample exactly. 3. Make it run.That’s it. This will be very difficult at first, but stick with it. If you go through this book, and do each exercise for1-2 hours a night, then you’ll have a good foundation for moving on to another book. You might not really learn“programming” from this book, but you will learn the foundation skills you need to start learning the language.This book’s job is to teach you the three most basic essential skills that a beginning programmer needs to know:Reading And Writing, Attention To Detail, Spotting Differences.

    You'd like to learn how to do more work with SQL inside the database before pushing data across the network to your applications. You'd like to take your SQL skills to the next level.Let's face it, SQL is a deceptively simple language to learn, and many database developers never go far beyond the simple statement: SELECT columns FROM table WHERE conditions. But there is so much more you can do with the language. In the SQL Cookbook, experienced SQL developer Anthony Molinaro shares his favorite SQL techniques and features. You'll learn about:Window functions, arguably the most significant enhancement to SQL in the past decade. If you're not using these, you're missing outPowerful, database-specific features such as SQL Server's PIVOT and UNPIVOT operators, Oracle's MODEL clause, and PostgreSQL's very useful GENERATE_SERIES functionPivoting rows into columns, reverse-pivoting columns into rows, using pivoting to facilitate inter-row calculations, and double-pivoting a result setBucketization, and why you should never use that term in Brooklyn.How to create histograms, summarize data into buckets, perform aggregations over a moving range of values, generate running-totals and subtotals, and other advanced, data warehousing techniquesThe technique of walking a string, which allows you to use SQL to parse through the characters, words, or delimited elements of a stringWritten in O'Reilly's popular Problem/Solution/Discussion style, the SQL Cookbook is sure to please. Anthony's credo is: When it comes down to it, we all go to work, we all have bills to pay, and we all want to go home at a reasonable time and enjoy what's still available of our days. The SQL Cookbook moves quickly from problem to solution, saving you time each step of the way.

    It covers such areas as biotechnology and biomedical engineering.

    Getting Started with Arduino gives you lots of ideas for Arduino projects and helps you get going on them right away. From getting organized to putting the final touches on your prototype, all the information you need is right in the book. Inside, you'll learn about:Interaction design and physical computing The Arduino hardware and software development environment Basics of electricity and electronics Prototyping on a solderless breadboard Drawing a schematic diagram And more. With inexpensive hardware and open-source software components that you can download free, getting started with Arduino is a snap. To use the introductory examples in this book, all you need is a USB Arduino, USB A-B cable, and an LED. Join the tens of thousands of hobbyists who have discovered this incredible (and educational) platform. Written by the co-founder of the Arduino project, with illustrations by Elisa Canducci, Getting Started with Arduino gets you in on the fun! This 128-page book is a greatly expanded follow-up to the author's original short PDF that's available on the Arduino website.

    This easy-to-follow guide leads you step by step through every bioinformatics task that can be done over the Internet. Forget long equations, computer-geek gibberish, and installing bulky programs that slow down your computer. You'll be amazed at all the things you can accomplish just by logging on and following these trusty directions. You get the tools you need to:Analyze all types of sequences Use all types of databases Work with DNA and protein sequences Conduct similarity searches Build a multiple sequence alignment Edit and publish alignments Visualize protein 3-D structures Construct phylogenetic trees This up-to-date second edition includes newly created and popular databases and Internet programs as well as multiple new genomes. It provides tips for using servers and places to seek resources to find out about what's going on in the bioinformatics world. Bioinformatics For Dummies will show you how to get the most out of your PC and the right Web tools so you'll be searching databases and analyzing sequences like a pro!

    C++ Templates: The Complete Guide provides software architects and engineers with a clear understanding of why, when, and how to use templates to build and maintain cleaner, faster, and smarter software more efficiently. C++ Templates begins with an insightful tutorial on basic concepts and language features. The remainder of the book serves as a comprehensive reference, focusing first on language details, then on a wide range of coding techniques, and finally on advanced applications for templates. Examples used throughout the book illustrate abstract concepts and demonstrate best practices. Readers learn: The exact behaviors of templates How to avoid the pitfalls associated with templates Idioms and techniques, from the basic to the previously undocumented How to reuse source code without threatening performance or safety How to increase the efficiency of C++ programs How to produce more flexible and maintainable software This practical guide shows programmers how to exploit the full power of the template features in C++.

    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.

    This modern section has been overhauled to reflect the diversity of American writing since 1945. A section on 19th-century women's writing is included.

    That was before one pioneering work documented the underground computer revolution that was about to change our world forever. With groundbreaking profiles of Bill Gates, Steve Wozniak, MIT's Tech Model Railroad Club, and more, Steven Levy's Hackers brilliantly captured a seminal moment when the risk-takers and explorers were poised to conquer twentieth-century America's last great frontier. And in the Internet age, the hacker ethic-first espoused here-is alive and well.

    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

    Some books try to give you copy-and-paste instructions for how to deal with every single system issue that may arise, but How Linux Works actually shows you how the Linux system functions so that you can come up with your own solutions. After a guided tour of filesystems, the boot sequence, system management basics, and networking, author Brian Ward delves into open-ended topics such as development tools, custom kernels, and buying hardware, all from an administrator's point of view. With a mixture of background theory and real-world examples, this book shows both "how" to administer Linux, and "why" each particular technique works, so that you will know how to make Linux work for you.

    Demonstrates the programming language's strength as a Web development tool, covering syntax, data types, built-ins, the Python standard module library, and real world examples

    Through example code, this guide demonstrates how CoffeeScript abstracts JavaScript, providing syntactical sugar and preventing many common errors. You’ll learn CoffeeScript’s syntax and idioms step by step, from basic variables and functions to complex comprehensions and classes.Written by Alex MacCaw, author of JavaScript Web Applications (O’Reilly), with contributions from CoffeeScript creator Jeremy Ashkenas, this book quickly teaches you best practices for using this language—not just on the client side, but for server-side applications as well. It’s time to take a ride with the little language that could.Discover how CoffeeScript’s syntax differs from JavaScriptLearn about features such as array comprehensions, destructuring assignments, and classesExplore CoffeeScript idioms and compare them to their JavaScript counterpartsCompile CoffeeScript files in static sites with the Cake build systemUse CommonJS modules to structure and deploy CoffeeScript client-side applicationsExamine JavaScript’s bad parts—including features CoffeeScript was able to fix