I've had this classic for years and have read it from cover to cover several times over. When Dr. Mandelbrot mentioned Martingales it didn't
help. When a friend needed help on the definition of delta correlation it didn't help. When one has to deal with chaotic or fractal noise it can't
help either. It is very good at defining a Brownian or Gaussian noise as Einstein might have wanted it at least a century ago, but for modern
noise it doesn't even give a method of producing
a random function of any kind. I would search for a more modern text ...

For generations of physicists this book has been the bible on stochastic processes. Chandrakehar's article discusses discrete random walks and how to go over to the continuum limit of Gaussian processes. Wang and Uhlenbeck give a simple and clear derivation of the Fokker-Planck equation for Markov processes with volatility, with nonvolatile examples. In the short chapter by Doob (paper from 1942) one finds a useful formulation of stochastic differential equations and stochastic integration, analogous to but less general than Ito calculus.

Six classic papers! Every one of them worth reading even though the material is now considered standard. My personal favourites in this compilation are the papers by Chandrasekhar and Rice. Chandra's paper has a very nice treatment of Brownian motion and Markov processes. Like all his writings, this one is a work of art. Rice's treatment of noise is classic, and is a must for anyone wanting to understand the basics of noisy signal analysis. Other papers I found useful were by Uhlenbeck and Kac. A great compilation in one location, it is extremely unfortunate that this book is impossible to find. Dover should bring this book out again.

Set in London in the early twentieth century, as are many of Catherine Cookson's novels, this book tells the story of Irene Baindor, once a beautiful woman of high class and musical talent, who was mysteriously ejected from her home with the rich, powerful and dangerous Richard Baindor. The book begins with Irene showing up at the Armstrong law offices in a tattered coat and hat, looking like a street person, having disappeared many years ago and presumed to be dead.

The book then back-tracks to uncover her past with Bella and their ragtag band of lads. Bella is a kind hearted but poor woman who helps out those worse off than she is by providing food and lodging for a pittance. She'll take in any decent person as long as they aren't violent or alcoholic. A mysterious, timid waif of a woman shows up in her yard looking like she had been homeless for a while. She is frightened, particularly of strange men, and almost mute, and Bella takes her in. She calls herself Reenee, but seems to have few memories or her past, and is often scared into a semi catatonic state. She proves to be a hard worker and becomes very dedicated to Bella and her lads and they gradually form a family of sorts.

The years go by and the mystery of Reenee's past is never solved, until one day the name of Dr. Baindor is mentioned in her presence. She decides to visit the doctor, who turns out to be the son she hasn't seen since he was 4. As her memory gradually returns, and she is reunited with her son, the sad and awful truth of her destructive years with Richard is revealed.

Bella is a loveable well-developed character, and the dichotomy of the richest and poorest classes is evident in this book as in other Cookson novels; however not enough of the inner thoughts and motivations of the main character, Reenee (the Silent Lady), are revealed until too late in the book to allow the reader to truly develop any empathy or understanding of her plight.

In 1955 London, a woman in tattered clothing arrives at the law firm of Alexander Armstrong & Son. The receptionist starts to toss the vagrant out, but hesitates when the woman mentions Mr. Armstrong by name and says she is Mrs. Baindor. The receptionist still has doubts, but informs a higher up who informs Alexander. Upon hearing the name, a stunned Alexander races out of his office to see the disheveled woman. He arranges for Mrs. Baindor to enter his sister's nursing home.

Over twenty-six years ago, Irene Baindor vanished after a particularly nasty argument with her abusive spouse. Alexander has been looking for her ever since with no success until she arrived at his office wearing the same garb she wore over a quarter of a century ago. She holds a package in a death grip refusing to let it go, but his willing to cooperate on everything else as long as Alexander gets her son to visit her. Still, he wonders, as he has since she vanished, where she has been all this time?

THE SILENT LADY is an exciting mystery that works quite well when readers glimpse the enigmatic Irene's abstruse past. However, the action bogs down when others pontificate with endless soliloquies. Irene is the key character whose past makes the story line hum when it centers on her, but when someone else like Alexander takes the stage, the plot loses momentum. Though she died in 1998, Catherine Cookson is still cooking those engaging early to mid twentieth century British relationship dramas that have made her a household name.

Harriet Klausner

After an illustrious career that spans half a century Cookson thought she was finished. With failing health and too weak to write or type she dictated, what to her was a story that must be told. As she approached the project, she reminisces in the dedication, that she had the story in her head from start to finish, and it was actually a warranted way to take her mind off of her miseries and impending death.

The story begins with the astonishing arrival of a woman who has been missing for well over two decades. From this moment on we are led down a path of injustice and redemption. The characters are so real you can feel their hearts beating from the pages of the book. Adverse as their lives are they find joy in each other and the simple moments of the day.

I will miss this author, it is good to know that her works will live on for years to come. Kelsana 3/23/02

I'm not too sure about this book. It seemed like a lot of work to make some not very impressive designs. I like to tat to relax, and this book got me anxious.

I think this book would be great for someone who wants to learn and/or make use of split rings. I was looking for some nice heart shapes, but I wasn't satisfied with this book.

the twelve heart designs in this book are all attractive, but they do involve split rings. If you haven't learned how to do split rings yet, then you'll want to master them before picking up this book. Most of the patterns are rather involved, but there are visual diagrams given to help you along the way. My favorite is the Heart Frame, great for framing a photo of a loved one or pet. I would have liked to see a few smaller, simpler patterns along with the complicated ones, but if you're looking for hearts, this is the book to buy.

I have to strongly disagree with "NickName12345's" review about this book. I was inspired to learn to tat 3 years ago after seeing a copy of Teri Dusenbury's "Tatting Hearts" book. I immediately bought the book and within two months had taught myself to tat (including the split ring technique which is used in this book). These heart designs are beautiful and original!! I was so thrilled that in just a short time I was able to give my husband a gorgeous tatted heart for Valentine's Day, which he still carries in his wallet.

I give this book and the author's fabulous designs my highest rating. I get much relaxation working challenging patterns and learning new techniques, but again, that all depends on the individual and if one hobby makes one anxious, it may not be the one for them.

Sign me, "A happy customer" :O)

When i started reading the novel,i did't feel like droping it.
I felt so touched that the herione of the novel could still carry on with life,and reconcile with Angel who is hypocritic about the religion he criticizes and yet practices when discovering the past of Tess who forgave him of his sin which could not be weighed with hers,but failed to do likewise.

This book has touched me in a very different way than many others have. It is a tragic story and envelopes the reader in a different kind of sadness - a sadness which one cannot pull out of quickly or just draw aside. Many thoughts contained in this book are worthy of reflection. Each lingers in your heart. The happy moments are all tinged with a bitter taste. Each character is flawed as a natural human being and each mistake they make reflects on their future and affects them drastically. Tess Durbeyfield is one of the most tragic characters I have ever read of. From the moment she leaves her home to the supposed D'Urberville relatives, she is pushed into catastrophes and heartaches that just lead to more doom. I recommend this book to any reader who is willing to undergo the myriad of emotions that accompanies Tess's journey through demise. It is not for the flippant, unconcerned, and unsympathetic reader. Everything that happens to Tess happens for a reason, and the reader must be able to realize how each affects her to appreciate this book. Read this book and expect to ponder on many philosophical wonderings. This book WILL affect you! It is worthy of any person seeking a deep and life-affecting novel.

If there were more than five stars possible, this book would get about seven. Hardy's excellent descriptions and deep pathos combine to make this novel one of the best and saddest books I have ever read. This one is a must-read, but be prepared to cry.

This book would be good for a reference, however, I would not reccomend it for learning the subject or to supplement a course on fluid mechanics.

This book comes from the author who is influenced by Clifford Truesdell(pioneer of Rational Continuum Mechanics & Thermodynamics). This book can be a good introductory material to begin study in rational mechanics. However, not so serious students may find it disappointing. One can surely learn some good tensor manipulation skills with application to fluid mechanics.

Well, I don't want to go into an endless list of superlatives which this book really deserves. I'd rather point out some of its features. It's terse, sometimes awfully so & therefore, this's not the best book to learn the "basics". Don't expect any elementary physics of fluid flow. I've only read the first half of the book and in those less-than-hundred pages, I've appreciated fluid mechanics much more than I've by any other means. However, I must say that the so-called "indices" notation for vectors and tensors can be extremely frustrating and even confusing. This notation is so extensively used in the book that it can become possibly the only reason to put the book down. The order of presentation is quite nice.

There are few problems to solve which mostly seem to fill in the details of presentation. The last chapter on mass transport is a disappointment, with nothing close to what one would expect in a book of this stature. It is however included only because "it would be unpardonable not to do so, for a book coming from Chemical Engineering dept".

The author says in his preface that the time has come to go beyond the notion that engineers don't need rigorous applied mathematics and he proves his point in every page of his book. It's a pleasure to read and work on, especially the second half of the book. With patience, paper and pencil (lots of them), one can gain a real mastery over the subject. A true graduate-level book!

The play goes along very similar lines as that of the shakespear play measure for measure as both show selfabsorbtion is a paramount factor though it does seem like a rewrite is does has its own high points especially Mosca a very funny character.

I had expected Jonson's plays to be difficult and certainly less rewarding than Shakespeare. Surprisingly, despite the passage of four centuries, the humor in "Volpone" remains natural and entertaining today. I have now read several other comedies by Ben Jonson, but "Volpone" remains my favorite.

I did have difficulty getting started with "Volpone". The rather long dedication, the argument, and the prologue all took their toll. To make matters worse, I was completely confused and lost in Act One, Scene One, by a "Pythagorean satire", entertainment provided by Volpone's eccentric servants, Mosca, Nano, Andrrogyno, and Castrone. (I later learned that Jonson may have added this literary satire for special performances at Oxford and Cambridge. Apparently Jonson knew his scholars well, as "Volpone" was well-received at both universities.)

Fortunately, Scene One is not representative of the play, and I had little difficulty thereafter with either the plot or the humor. Unlike Shakespeare, Ben Jonson's characters seldom reflect on their motivations in soliloquies or insightful dialogue. We meet characters without great complexity. Once we know them, we find that they remain in character and behave predictably. This does not mean his characters are shallow or uninteresting. I even found myself somewhat sympathetic for the unscrupulous Volpone, Mosca, Voltore, Corbaccio, and Corvino. They are all villains, just not particularly villainous villains.

Even though the characters behave predictably, the plot is anything but predictable. The confusion builds throughout the play and I had no idea how Jonson was going to resolve the situation in Act Five. I quite enjoyed "Volpone" and I would like to have an opportunity to see it on stage someday.

I did find one aspect of "Volpone" to be disconcerting. I was taken aback by Volpone's house servants, the dwarf Nano, the eunuch Castrone, and the hermaphrodite Androgyno. These individuals, occasional targets for humor, play rather unimportant roles and are sometimes deleted from modern productions.

Ben Jonson was a talented playwright that had the historical misfortune to be a younger contemporary of Shakespeare. He is quite familiar to literary scholars and English literature majors, but for most of us he remains in the shadow of Shakespeare.

You can find several good editions of "Volpone", either alone or in collections. I recommend "Volpone or, The Fox", edited by David Cook, and published by Routledge in London. It was published in 1962, but has been reprinted many times. I benefited greatly from Cook's introduction and footnotes. This softcover book is printed on high quality paper.

Another widely available source is the inexpensive Oxford World's Classics, "The Alchemist and Other Plays" by Ben Jonson. The introduction and footnotes by Gordon Campbell are quite good.

I am a fan of Dover Thrift Editions, but I don't recommend the Dover "Volpone" 1994 edition for a first reading of Jonson as the footnotes are sparse.

I came upon this play and Ben Jonson by the back door. I was watching a movie titled "The Honey Pot" with Rex Harrison. His character Cecil Fox after observing this play used the outline for his own purposes. So naturally I have to read the play to see what the movie is mimicking.

I have several copies of "Valpone" (the fox) to compare information on Ben. This is a review of the "New Mermaids Series" I have several of their series. They give you all the background information and any annotation needed. They make the information interesting enough that you feel that Ben Jonson is in the room with you. I am sure some people would not want to be in the same room. I was surprised to find that William Shakespeare acted in some of Ben's plays.

The play is well written and has many levels to it. If it did not have so many footnotes I would be in trouble. It reads like an English play yet has parts that would make Stephen King blush.

As the previous reviewer notes, South Wind is an excellent work of fiction. It is Norman Douglas' most highly acclaimed work. This reprint edition however, suffers from abominably poor transcription and proofreading. Letters are missing from words and spaces are sometimes inserted where they don't belong. In some instances a return character or two is omitted in dialogues. I would guess that I have spotted over a hundred errors. They do not undermine the quality of the story, but do make it harder to read. This book is in the public domain and so is available on the web in HTML format, possibly with fewer errors. That said, I am glad to have a printed version of this book. Reading or printing it from the web would be a cumbersome enterprise.

I absolutely love this book. It's definitely not for beginning stained glass crafters, though - lots of curves and intricacies. I'm looking forward to when I have the expertise to use some of the patterns.

There are 30 pages of some of the best art nouveau patterns I have ever seen. I've already used one of the patterns to create a needlepoint pattern, and I plan on using many more. Even better than I anticipated!

I hope that this gem of a book is reprinted soon. For all those who cannot wait, wend to the Strand bookstore on Broadway and 12th in NYC, and check out the Modern Library section; a few copies may still linger. Like its title, the book sweeps over the reader in a sort of halcyon gale of language. Read once, the book must be re-read just so that one can retrace the plot. When not totally high on language I got glimpses of two of the most vivid characters in literature -- Mr. Keith and Count Calovaglia -- and that what it was - a glimpse. Like the South Wind of the title, the book leaves the reader terribly thirsty for more -- more of the island, more of the people, more of the flora, more of the rocks, for crying out loud. It has the sense and immediacy of an impressionist painting. In the 1924 Modern Library copy I possess, Douglas has an introduction in which he enumerates the islands that inspired the locale in the book. I am still considering an island hopping vacation to the Mediterranean.

BEYOND THE HORIZON was Eugene O'Neill's first full-length play. The tale of two siblings who take off on very different and unexpected paths in life, the play explores how fate and our own decisions can doom our lives. Robert and Andrew Mayo have grown up on a farm somewhere in the United States. Robert is the dreamer and intellectual of the two, a lifetime of frailty preventing him from working as a farmer, and he dreams of seeing the world and living in places beyond the small confines of his family's farm. Andrew, however, is a man of purely practical concerns who is happily following in his father's footsteps and taking care of the farm. As the play opens, Robert has just been offered as change to go to see with his merchant seaman uncle, an opportunity that would fulfill his wanderlust. However, a woman creates a conflict between the brothers and Andrew takes the trip while Robert stays on the farm. From here, the play opens to show how one's best-laid plans can be dashed by the unexpected, as both brothers lead lives of despair.

While BEYOND THE HORIZON won O'Neill the first of his four Pulitzer Prizes, it doesn't survive the test of time very well. He insists on spelling out everything for the audience, resulting in some of the most ridiculous and just plain unrealistic dialogue I have ever seen. Readers who grew up in the tradition left by Samuel Beckett and Harold Pinter will also find O'Neill's lengthly set design annoying, as in some parts he spends up to two pages laying out each and every detail instead of leaving it up to the director as is done nowadays. Finally, BEYOND THE HORIZON is rather provincial and has none of the refinement that readers today will have become used to. American theatre at this time lacked any figure to make it matter on the world stage, and while O'Neill was to become this figure with his later plays, this work shows him still very immature.

I believe BEYOND THE HORIZON is a work worth reading only if one has a particular interest in the evolution of American theatre or the works of Eugene O'Neill in general. Its poor writing makes it quite unentertaining.

Beyond the Horizon was O'Neill's first major full-length play and its release is considered a significant turning point in the history of American theater. Its main characters are two twentysomething brothers, Rob and Andy, who have both spent their lives on the family farm and have quite opposite dispositions: Andy is excruciatingly practical and hopes for little more in life than to take over the farm and make it successful; whereas Rob is something of a bookish dreamer who hopes to see what life is like "beyond the horizon." He gets this opportunity when his uncle invites him to come along on a three year trip to South America and Asia, but the night before their departure, a woman with whom both Rob and Andy are in love professes her love for Rob, causing Rob to stay behind to marry her while Andy, unable to bear the idea of living alongside the new couple, takes Rob's place on the trip. The bulk of the play deals with the long-term consequences of this one night in which the brothers ignored their callings in life.

As is often the case in O'Neill's plays, the premise is fairly simple and unoriginal and the development of the plot is relatively predictable, but the intensity with which the characters are developed is excellent and truly memorable. We see in Rob the same sort of futile hope that O'Neill would develop so well some years later in The Iceman Cometh, and the despair of the other characters is quite moving. At times, the pathos in the play can almost be over-the-top (and I imagine that in live performances this might be something that the actors have to be all the more careful to avoid), but O'Neill manages to avoid going into the realm of melodrama and create very real, touching characters.

O'Neill would, of course, go on to write many other deeply emotional plays, a number of which are still better known than this one. Beyond the Horizon shows us many of the talents for which O'Neill is now universally recognized, and the almost-universal acclaim that it received upon its 1920 premiere seems equally apt today.

Beyond the Horizon is the story of 2 very close brothers, Robert and Andrew, who choose opposite paths in life. Each unfortunately, chooses a path better suited for the other. The deeper meaning in this play is what happens to a man's soul when he doesn't follow his dreams.

This book fell to the floor where it was pounced upon and chewed by my nieces 3 pound dog who 'forthwith' lost 10 pounds of the nectar of life. We shall be suing Dover for her wrongful death by dehydration. Boolean Algebra is a fine subject but this book ... the most turgid bit of writing since 'OG the trog-dude' first scratched a mark on a cave wall.

This is by far one of the best math books in the Dover catalogue. While the prose is admittedly dry, the clarity of the exposition is flawless. The author begins his discussion with a chapter on set theory and wisely takes an intuitive appraoch rather than a theoretical one. This makes the second chapter, which gives an axiomatic account of the fundamentals of Boolean algebra, much easier to digest. Once you master the first two chapters, the rest of the books is smooth sailing. From here the author gives detailed, yet succinct, accounts of the applicatons of Boolean algebra to symbolic logic, switching circuits, relay circuits, binary arithmetic, and probability theory. Although the book is aimed primarily at math, computer science, and electrical engineering majors, it accessible to anyone who is comfortable with college level mathematics. It is especially helpful to the philosophy student who wishes to learn about symbolic logic and its applications to the foundations of computer science.

Though written with dry prose, this book is very much worth studying to anyone with an interest in the subject.

Targeted toward math and computer science undergraduates and to a certain extent electrical engineering types, the book progresses like a math course. It gives the greatest emphasis to the key topics (like the title) and builds on the most basic sub-topics. In Boolean Algebra, that sub-topic is Set Theory. Therefore this book requires a level of thinking beyond the ordinary, but once you understand Set Theory, the rest is easy. And to make it easier on the reader, the lessons on Set Theory are totally intuitive, assuming the reader has at least taken algebra.

Overall a good book for novice readers to of mythology. Good basic stories written in prose. Also has explanations of the use of myth in poetry. The footnotes are clear and concise, and where appropriate provide further information about the text you just read. My only quibble with the book is that it's called Greek and Roman myth, when they put the names of Roman deities first, and the name of the Greek dieties in parentheses. This is a book you read if you want to expand your knowledge base about mythology. This is not a book for people already know the stories. This is a good book for people who know nothing about greek myth, and are looking for a place to start.

This book provides a succinct introduction to many of the stories that underlie Western culture. The main part of the book presents a digest of Greek myths, arranged in a loosely along the "genealogy" of the Greek Pantheon. Included are brief synopses of the Odyssey, the Iliad, and the Aneid. These stories are no longer universally known as they were such a short time ago, and this book provides an easy introduction to them. At the end of the volume are included some stories of the Hindu and Nordic gods, but these, especially the Hindu stories, are not as satisfying as the Greek stories. [...] this book is a great buy!

"The Age of Fable" is an enjoyable, easy to read introduction to Greek and Roman mythology.

Today we lament that people have little time for the classics and even less for mythology. Bulfinch, writing in 1855, said much the same, "To devote study to a species of learning which relates wholly to false marvels and obsolete faiths, is not to be expected of a general reader in a practical age like this."

And yet without some familiarity with Greek and Roman mythology we not only have little understanding of Greek and Roman civilization, we also limit our appreciation for some of the greatest English literature and poetry. Shakespeare, Keats, Milton, and other English writers have assumed that readers are acquainted with mythology. And more basic, we also deprive ourselves of some fascinating and enjoyable stories and tales.

In writing "The Age of Fable" Bulfinch focused on "mythology as connected with literature", not just the fables themselves. He created a book that has remained easy to read and as well serves as an amazingly useful reference when reading 16th, 17th, and 18th century literature and poetry. I have repeatedly found that what was an obscure and murky reference to mythology took on meaning and significance by a quick visit to Bulfinch. I particularly appreciate his index of names: it really helps me track down those prolific deities.

I sometimes pick up "The Age of Fable" and simply browse a few pages, exploring a new tale, a new adventure by powerful deities with magnified human frailties. Buy a copy, you won't be disappointed.