Both the book and film were inspired by a series of multimedia presentations on global warming that Gore created and delivers to groups around the world. With this book, Gore, who is one of our environmental heroes—and a leading expert—brings together leading-edge research from top scientists around the world; photographs, charts, and other illustrations; and personal anecdotes and observations to document the fast pace and wide scope of global warming. He presents, with alarming clarity and conclusiveness—and with humor, too—that the fact of global warming is not in question and that its consequences for the world we live in will be disastrous if left unchecked. This riveting new book—written in an accessible, entertaining style—will open the eyes of even the most skeptical.

    New features in the Fourth Edition pull together the big questions in each chapter and organize them around a concept map to help students synthesize concepts and see the personal and global applications of a sociological imagination.

    This field guide is divided into two large sections -- one devoted to minerals and one to rocks, each prefaced by a comprehensive introduction that discusses formation, chemistry, and more. All 377 entries, beautifully illustrated with color photographs and helpful visual symbols, provide descriptions and practical information about appearance, classification, rarity, crystal formation, mode of occurrence, gravity of mineral, rock chemistry, modal classification fields, formational environments, grain sizes of rocks, and much more. Whether you are a serious collector or an information-seeking amateur, this incomparably beautiful, authoritative guide will prove an invaluable reference.

    This work offers accesible coverage of the fundamentals of electrodynamics, enhanced with with discussion points, examples and exercises.

    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 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.

    Widely accepted as the authoritative text and reference on electronic circuit design, both analog and digital, this book revolutionized the teaching of electronics by emphasizing the methods actually used by circuit designers -- a combination of some basic laws, rules of thumb, and a large bag of tricks. The result is a largely nonmathematical treatment that encourages circuit intuition, brainstorming, and simplified calculations of circuit values and performance. The new Art of Electronics retains the feeling of informality and easy access that helped make the first edition so successful and popular. It is an ideal first textbook on electronics for scientists and engineers and an indispensable reference for anyone, professional or amateur, who works with electronic circuits.

    Under the direction of Stephen Greenblatt, General Editor, the editors have reconsidered all aspects of the anthology to make it an even better teaching tool.

    This is all done through stimulating discussions on the elements, media, methods, content, composition, and style of art.Along with discussions on the purpose of art (Ch. 1-9), a separate Chapter (18) takes a look at art beyond Europe and the U.S. and examines art from all around the world. The history of art is contained chronologically in the second part of the book, (Ch. 10-17).

    Illuminating overviews and a selection of readings from both traditional and contemporary sources make even complex philosophical concepts reader friendly. Comprehensive, clear-sighted introductions to general and specific areas of ethical debate cover major ethical theories, including feminist ethics, contract theory, and ethical relativism, before delving into issues ranging from euthanasia and sexual morality to war and globalization. A broader range of voices and philosophical traditions in this edition includes continental and non-Western philosophers, with new readings from prominent ethicists. Increased coverage of contemporary dilemmas highlights issues of widespread interest, including torture and terrorism, "partial birth" abortion, cloning, same-sex marriage, and global distributive justice. An innovative online resource center offers, among other things, animated simulations. These simulations allows you to personally engage with dilemmas and thought experiments commonly presented in introduction to ethics classes and provide instructors with a way to seamlessly integrate online assignments into the class.

    This Penguin Classics edition is edited with an introduction by James Moore and Adrian Desmond.In The Origin of Species, Charles Darwin refused to discuss human evolution, believing the subject too 'surrounded with prejudices'. He had been reworking his notes since the 1830s, but only with trepidation did he finally publish The Descent of Man in 1871. The book notoriously put apes in our family tree and made the races one family, diversified by 'sexual selection' - Darwin's provocative theory that female choice among competing males leads to diverging racial characteristics. Named by Sigmund Freud as 'one of the ten most significant books' ever written, Darwin's Descent of Man continues to shape the way we think about what it is that makes us uniquely human.In their introduction, James Moore and Adrian Desmond, acclaimed biographers of Charles Darwin, call for a radical re-assessment of the book, arguing that its core ideas on race were fired by Darwin's hatred of slavery. The text is the second and definitive edition and this volume also contains suggestions for further reading, a chronology and biographical sketches of prominent individuals mentioned.Charles Darwin (1809-82), a Victorian scientist and naturalist, has become one of the most famous figures of science to date. The advent of On the Origin of Species by Means of Natural Selection in 1859 challenged and contradicted all contemporary biological and religious beliefs.If you enjoyed The Descent of Man, you might like Darwin's On the Origin of Species, also available in Penguin Classics.

    The author's writing has been praised for anticipating readers' questions, and appeals to their need to learn visually and by solving problems. Emphasizing that learners should reason their way to solutions rather than memorize facts, Bruice encourages them to think about what they have learned previously and apply that knowledge in a new setting.

    This book is intended for use in a one- or two-semester course in environmental science, human ecology, or environmental studies at the college or advanced placement high school level.The goal of this book is to provide an up-to-date, introductory global view of essential themes in environmental science along with emphasis on details and case studies that will help students process and retain the general principles. Because most students who will use this book are freshman or sophomore non-science majors, the authors make the text readable and accessible without technical jargon or a presumption of prior science background. At the same time, enough data and depth are presented to make this book suitable for many upper-division classes and a valuable resource for students who will keep it in their personal libraries after their formal studies are completed.

    The author team features a unique combination of a psychologist and a sociologist, which gives this text a distinct interdisciplinary perspective. The thoroughly revised eleventh edition of Hyde, Understanding Human Sexuality, has updated coverage on modern topics such as ethnic groups and sexuality, media influences, new contraceptives, sexual orientation, and gay marriage and civil unions. Hyde comes with access to SexSource Online, an online resource of quality video clips to accompany course material.

    I also love the sense of humor. It's very good at disarming the fear. And it's gorgeous. I'll be recommending this book highly." --Tom Igoe, author of Physical Computing and Making Things TalkWant to learn the fundamentals of electronics in a fun, hands-on way? With Make: Electronics, you'll start working on real projects as soon as you crack open the book. Explore all of the key components and essential principles through a series of fascinating experiments. You'll build the circuits first, then learn the theory behind them!Build working devices, from simple to complex You'll start with the basics and then move on to more complicated projects. Go from switching circuits to integrated circuits, and from simple alarms to programmable microcontrollers. Step-by-step instructions and more than 500 full-color photographs and illustrations will help you use -- and understand -- electronics concepts and techniques.Discover by breaking things: experiment with components and learn from failureSet up a tricked-out project space: make a work area at home, equipped with the tools and parts you'll needLearn about key electronic components and their functions within a circuitCreate an intrusion alarm, holiday lights, wearable electronic jewelry, audio processors, a reflex tester, and a combination lockBuild an autonomous robot cart that can sense its environment and avoid obstaclesGet clear, easy-to-understand explanations of what you're doing and why