Most students worry about what an admissions officer looks for in a writing sample. But that’s the wrong way to approach this vital component, says former college admissions officer Harry Bauld. At Brown and Columbia, he saw what prospective students often did wrong—and now tells you how to do it right.On Writing the College Application Essay is his inside guide to writing a college application essay that will stand out from the pack. Baum advises you on how to avoid platitudes and find your authentic voice, gives you tools and ideas that will spark your imagination, and shows you how to approach themes with originality and panache to make even the most tired topics—the ones most students should stay away from—fresh, such as:The trip (“I had to adjust to a whole new way of life.”)My favorite things (puppy dogs, freedom, and chocolate chip cookies)The pageant contestant (“I think World Peace is the most important issue facing us today.”)The jock (“Through wrestling I have learned to set goals and to work with people.”)The autobiography (“Hello, my name is . . . ”)Tales of my success (“But, finally, when I crossed the finish line . . . ”)Pet death (“As I watched Buttons’s life ebb away, I came to value . . . ”)Getting into the college of your dreams is tough. The competition is fierce. For more than twenty-five years, On Writing the College Application Essay has helped thousands of students improve their chances. Now, let it work for you.

    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.

    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

    This book provides coverage of pedagogy, and other topics such as sources of on-the-job conflict, how to use informational interviews, and others.

    The new nanny gives a mother an uneasy feeling. A stranger in a deserted parking lot offers unsolicited help. The threat of violence surrounds us every day. But we can protect ourselves, by learning to trust—and act on—our gut instincts.In this empowering book, Gavin de Becker, the man Oprah Winfrey calls the nation's leading expert on violent behavior, shows you how to spot even subtle signs of danger—before it's too late. Shattering the myth that most violent acts are unpredictable, de Becker, whose clients include top Hollywood stars and government agencies, offers specific ways to protect yourself and those you love, including how to act when approached by a stranger, when you should fear someone close to you, what to do if you are being stalked, how to uncover the source of anonymous threats or phone calls, the biggest mistake you can make with a threatening person, and more. Learn to spot the danger signals others miss. It might just save your life.

    The book helps psychologists apply the Ethics Code to the constantly changing scientific, professional, and legal realities of the discipline. Author Celia B. Fisher addresses the revised format, choice of wording, aspirational rationale, and enforceability of the code and puts these changes into practical perspective for psychologists. The book provides in-depth discussions of the foundation and application of each ethical standard to the broad spectrum of scientific, teaching, and professional roles of psychologists. This unique guide helps psychologists effectively use ethical principles and standards to morally conduct their work activities, avoid ethical violations, and, most importantly, preserve and protect the fundamental rights and welfare of those whom they serve.

    Faculty and students praise the book's proven ability to generate class discussion, increase faculty-student engagement, and enhance student learning. Through clear writing, a balanced theoretical approach, and engaging examples, Miller stresses the importance of social inequality, cultural change, and applied aspects of anthropology throughout the book. Each chapter highlights an example of applied anthropology and connects with students by providing practical tips about how they can use anthropology in their everyday lives and careers. The last two chapters address how migration is changing world cultures and the importance of local cultural values and needs in shaping international development policies.

     Acceptance and commitment therapy (ACT) is a new, scientifically based psychotherapy that takes a fresh look at why we suffer and even what it means to be mentally healthy. What if pain were a normal, unavoidable part of the human condition, but avoiding or trying to control painful experience were the cause of suffering and long-term problems that can devastate your quality of life? The ACT process hinges on this distinction between pain and suffering. As you work through this book, you’ll learn to let go of your struggle against pain, assess your values, and then commit to acting in ways that further those values.ACT is not about fighting your pain; it’s about developing a willingness to embrace every experience life has to offer. It’s not about resisting your emotions; it’s about feeling them completely and yet not turning your choices over to them. ACT offers you a path out of suffering by helping you choose to live your life based on what matters to you most. If you’re struggling with anxiety, depression, or problem anger, this book can help—clinical trials suggest that ACT is very effective for a whole range of psychological problems. But this is more than a self-help book for a specific complaint—it is a revolutionary approach to living a richer and more rewarding life.Learn why the very nature of human language can cause suffering Escape the trap of avoidance Foster willingness to accept painful experience Practice mindfulness skills to achieve presence in the moment Discover the things you really value most Commit to living a vital, meaningful life This book has been awarded The Association for Behavioral and Cognitive Therapies Self-Help Seal of Merit — an award bestowed on outstanding self-help books that are consistent with cognitive behavioral therapy (CBT) principles and that incorporate scientifically tested strategies for overcoming mental health difficulties. Used alone or in conjunction with therapy, our books offer powerful tools readers can use to jump-start changes in their lives.

    Senator S. I. Hayakawa discusses the role of language in human life, the many functions of language, and how language—sometimes without our knowing—shapes our thinking in this engaging and highly respected book. Provocative and erudite, it examines the relationship between language and racial and religious prejudice; the nature and dangers of advertising from a linguistic point of view; and, in an additional chapter called “The Empty Eye,” the content, form, and hidden message of television, from situation comedies to news coverage to political advertising.

    Unlike other texts, it begins with a detailed picture of the atom then builds toward chemistry's frontier, continually demonstrating how to solve problems, think about nature and matter, and visualize chemical concepts in the same ways as working chemists. The new edition incorporates features that extend the book's emphasis on modern techniques and applications while strengthening its problem solving approach. Atkins/Jones is the only book for this course featuring integrated book specific media that provides students with effective study help via a variety of electronic tools. The website at http: //www.whfreeman.com/chemicalprinciples3e has been developed simultaneously with the text and offers a range of tools for problem solving and chemical exploration

    The amygdala acts as a primal response, and oftentimes, when this part of the brain processes fear, you may not even understand why you are afraid. By comparison, the cortex is the center of “worry.” That is, obsessing, ruminating, and dwelling on things that may or may not happen. In the book, Pittman and Karle make it simple by offering specific examples of how to manage fear by tapping into both of these pathways in the brain. As you read, you’ll gain a greater understanding how anxiety is created in the brain, and as a result, you will feel empowered and motivated to overcome it. The brain is a powerful tool, and the more you work to change the way you respond to fear, the more resilient you will become. Using the practical self-assessments and proven-effective techniques in this book, you will learn to literally “rewire” the brain processes that lie at the root of your fears.

    A clear and effective guide to policy analysis addressing the psychology, as well as the logic, of the analytical process Full of helpful hints, such as warnings about language traps, strategies for economizing on data collection, and checklists for generating solutions, this book is widely used by students, practicing policy officials in government, and professionals in executive-level training programmes.

    The superb scholarship and thoughtful analyses includes an evaluation of each theory's strengths and weaknesses, as well as excerpts from the theorists' work.

    Using examples from a wide range of disciplines, the authors give readers expert advice on the entire dissertation process: selecting a suitable topic; conducting a literature review; managing data overload; building an argument; presenting the material, data, and results; and working with faculty committees. The entire text has been updated and fresh examples have been added to it. This edition features an up-to-the-minute discussion of online research and the use of software packages. The authors have expanded their coverage of qualitative work, and added information about the use of mixed methods to the book. These updates and more make the Third Edition of Surviving Your Dissertation a must have resource for graduate students.Key Features of the Third Edition: Walks readers through the dissertation process as an ideal mentor would.Devotes more attention to qualitative work, and touches upon mixed methods.Discusses online library resources and completing one′s dissertation via the Internet.Features new material on the use of graphics.Includes information about informed consent forms.

    The visionary behind the million-strong IF:Gathering challenges you to exercise your God-given power to shift negative thinking patterns and take back control of your thoughts and emotions.Are your thoughts holding you captive? I’ll never be good enough. Other people have better lives than I do. God couldn’t really love me. Jennie Allen knows what it’s like to swirl in a spiral of destructive thoughts, but she also knows we don’t have to stay stuck in toxic thinking patterns. As she discovered in her own life, God built a way for us to escape that downward spiral. Freedom comes when we refuse to be victims to our thoughts and realize we have already been equipped with power from God to fight and win the war for our minds. In Get Out of Your Head, Jennie inspires and equips us to transform our emotions, our outlook, and even our circumstances by taking control of our thoughts. Our enemy is determined to get in our heads to make us feel helpless, overwhelmed, and incapable of making a difference for the kingdom of God. But when we submit our minds to Christ, the promises and goodness of God flood our lives in remarkable ways. It starts in your head. And from there, the possibilities are endless.