ANOTHER HIT FROM THE "CHIEF". JUST LOOK AT THE CRAP HE WENT THROUGH WHILE SERVING PROUDLY. QUITE A GUY, LOOKING FORWARD TO THE FOLLOW UP.

I'd heard about this book for years. Alan Cooper is widely regarded as the guru of interface design. After reading this book, I wonder why.

For one thing, he contradicts himself--a lot. On the one hand he complains that software tends to mimic the physical artifacts--for example, calendars are laid out on one-month grids. According to Cooper, this is a serious problem-- we are restricting a computerized calendar based on the limitations of the printed page. We should exploit the power of the PC. Then, not more than thirty pages later, he complains that computer file systems are deficient because they aren't centered around 'documents', which users know and love. We should restrict our file systems based on the limitations of the printed page. Be either fish or fowl; don't try to have it both ways.

I was very disappointed by this book. I expected insight, but what I got was Alan Cooper bitching about Windows. I knew what was wrong with Windows before I read the book. What I wanted was guidance on how to best interact with the user. I got Cooper's pet theories, most of which strike me as just plain silly.

Another reader described the book as "incredibly arrogant". I'd have to agree. Save your money; I doubt this book would help you create better user interfaces.

I gave this book a '3' because I think it is well written and organized, but I still hated it more than any book I have read in a long time. I can't recall reading a more arrogant, derisive diatribe on a long time, if ever.

I am sure Mr. Cooper, if he reads this, will dismiss me as one of the 99% of programmers out there who don't agree with him, meaning he thinks we have our heads stuck in the sand of poor UI design. Actually, I am by no means a UI programmer, and I thought maybe this book would help me if I ever wanted to become one. Instead I got 1" thick of paper full of Mr. Cooper's pet peeves and personal preferences.

The way this was written, you would think that world peace could be achieved by removing confirmation dialog boxes from all our applications. It's good to have passion about your work but not so good when its at the expense of excellent products and the work of extremely capable people. (Again, I must stress, I am NOT one of those people. At least, not in this context).

I have to give Mr. Cooper a little credit for questioning the way things are done and trying to stir things up a bit. But, this book comes across as childish and self-centred, and sorry, but I expected more for someone with his reputation and experience.

All in all, this book made me constantly ask myself, "who the hell does this guy think he is? ".

Many of the GUI design books I've read just tell obvious things (align your controls, don't use saturated colors etc). This book is different. It's deeper. It's about how users interact with computers and how to build GUIs that (to use Cooper's words) don't make the user look stupid. The book is provocativly written which might not be everybody's taste. I'm a programmer myself but didn't find the book offending. Although five years old by now I consider this the best book on GUI design out there. Note that there is no mention of Web specific issues in the book.

Gordon Cooper's accounts of the early Mercury program days are a good read. Cooper covers material that will largely be familiar to readers of other space program books, but adds his own unique perspective and insight. For this reason alone, the book is worth a read.

Cooper speaks frankly to the now-famous story that he encountered a UFO during his flight of Faith 7; it never happened, he says. But there are other things he's seen as a pilot that he can't explain -- things that he describes as being not-of-this-world.

From there, the author loses credibility quickly when he begins to talk about his attempts to unravel the UFO mystery with his clairvoyant sidekick. The reader is left with the impression that not all of Gordo made it back from orbit.

Still, the book is worth a read, and the history (or Cooper's version of it) is an important piece of the story of man's race to the moon.

I've been a fan of Gordo Cooper since he visited my town of Pennsburg 25 years ago. As a result, I was really excited when he decided to write a book. Gordo writes an interesting tale that is worth reading. Are his stories that spins about UFO's and people in contact with aliens true? I'm just a little sceptical but it does make for interesting reading. As for his tales of his Mercury and Gemini missions...I wish he would have given more detail and also double-checked his memories with other astronauts and NASA folk. Inaccuracies such as on page 159, "...the awesome Saturn V, sported eight engines..." is just plain wrong. (FYI: the 1st and 2nd stage had 5 engines each and the 3rd had 1.) On page 165 Gordo claims that on the day of the Apollo 1 fire, "...Gene Kranz had considered being in the spacecraft to try to figure out a recurring problem with one of the systems." Well, unless every other book I've read so far has got it wrong, that person was actually Chris Kraft. On another note, I really did enjoy what little he provided into the life and antics of Pete Conrad. Unfortunately we'll never get to read Pete's autobiography since he died in a motorcycle accident in 1999.

I haven't read many other books about our early space explorers, but it's hard to imagine one with more down-to-earth info and exciting tales of the whole NASA program than this one. Gordon Cooper is one of those people whom you can't help but admire for his guts, his skill, his modesty and his downright courage. He seems to tell it like it was (and is) when it comes to the whys and wherefores of America's adventure into space. His candid opinions count for a lot because he was there and he doesn't pull any punches. And his amazing tales of UFO's and (maybe) extraterrestrial visitors really left me with a lot to ponder. This is a wonderful book about a wonderful American hero. I'd recommend it to anyone who likes an inspiring read.

Set in upstate New York in colonial times, Cooper here tells the story of the stolid colonial scout Hawkeye, nee Natty Bumppo (don't ask), who, with his two Indian companions Chingachgook (the Big Snake) and his son Uncas (apparently newly come to manhood), stumble on a party of British soldiers conducting two fair maidens to their father, the commander of British Fort William Henry during the French and Indian War. Under the watchful eyes of the young British officer who has the girls in his charge and led by a Huron scout, Magua, the party appears, to the indomitable Hawkeye, to be at greater risk than they realize as they trek through the wilderness toward the safety of the girls' father's garrison. And, indeed, Hawkeye's judgement is soon proved right as the scout Magua treacherously betrays the hapless girls in repayment, it seems, for a stint of corporal punishment inflicted on him previously by their absent parent. Since the Hurons, Magua's native tribe, are culturally akin to the Iroquois who are the herditary enemies of the Algonquin Delawares, from whom Chingachgook and his son hail and among whom Hawkeye has made his home and friendships, a natural antagonism has arisen almost at once between Hawkeye's party and the Huron and this proves salutary, when danger finally strikes. The tale quickly becomes a matter of flight and pursuit through thickly overgrown primeval forests, over rough mountains and across broad open lakes as the beleagured travelers first elude and then flee the dreaded Iroquois (allies of the French) who have joined the renegade Huron in an effort to seize the two girls. After a brief respite within the safety of William Henry however, the tables are once again turned as Magua's perfidy puts the girls once more at risk. And now the story shifts to a manic pursuit of the fleeing Magua who means to carry off his human prey in order to finally have his revenge on the girls' father, on the British and on the Europeans, generally, whose presence in his native country he blames (not altogether unjustifiably) for his myriad travails. Written in the fine tradition of the 19th century romance (which, of course, is what this book is), Cooper picked up where Sir Walter Scott (the venerable founder of this novelistic tradition) left off, creating a rich historical tale of adventure, nobility and marvelously sketched characters set against a brilliantly detailed natural landscape. If his characters are less keenly drawn than Scott's they are no less memorable for, in the quiet nobility of the scout Hawkeye lies the strong, silent hero of the wilderness which has become the archetypical protagonist in our own American westerns. And the Indians, Chingachgook and Uncas, are the very prototypes of the noble savage, so much used and over-used today. This is a tale of action first and foremost without much plot but so well told that you barely notice, as our heroes flee and pursue their enemies in turn until the very quickness of the prose seems to mirror and embody the speed of the action. Nor is this book only to be read for its rapid-fire rendition of flight and pursuit, for it touches the reader on another level as well, as the bold young Uncas moves out ahead of his comrades to place himself at risk for the others and the woman he loves. Although we never see Uncas at anything but a distance and never get to know the man he is supposed to be, he is yet a symbol of that people of whom he is the last chiefly descendant, the Delaware Mohicans. Nobly born into the finest of Mohican bloodlines, Uncas faces his final trial with heroic energy and resolve in order to defeat the nefarious and twisted Magua. Yet this struggle is also the final footnote in the story of a people, marking the closing chapter for all those Indians who, with the Mohicans, have seen, in Cooper's own words, the morning of their nation and the inevitable nightfall which must follow. -- Stuart W. Mirsky (mirsky@ix.netcom.com

Set in upstate New York in colonial times, Cooper here tells the story of the stolid colonial scout Hawkeye, nee Natty Bumppo (don't ask), who, with his two Indian companions Chingachgook (the Big Snake) and his son Uncas (apparently newly come to manhood), stumble on a party of British soldiers conducting two fair maidens to their father, the commander of British Fort William Henry during the French and Indian War. Under the watchful eyes of the young British officer who has the girls in his charge and led by a Huron scout, Magua, the party appears, to the indomitable Hawkeye, to be at greater risk than they realize as they trek through the wilderness toward the safety of the girls' father's garrison. And, indeed, Hawkeye's judgement is soon proved right as the scout Magua treacherously betrays the hapless girls in repayment, it seems, for a stint of corporal punishment inflicted on him previously by their absent parent. Since the Hurons, Magua's native tribe, are culturally akin to the Iroquois who are the herditary enemies of the Algonquin Delawares, from whom Chingachgook and his son hail and among whom Hawkeye has made his home and friendships, a natural antagonism has arisen almost at once between Hawkeye's party and the Huron and this proves salutary, when danger finally strikes. The tale quickly becomes a matter of flight and pursuit through thickly overgrown primeval forests, over rough mountains and across broad open lakes as the beleagured travelers first elude and then flee the dreaded Iroquois (allies of the French) who have joined the renegade Huron in an effort to seize the two girls. After a brief respite within the safety of William Henry however, the tables are once again turned as Magua's perfidy puts the girls once more at risk. And now the story shifts to a manic pursuit of the fleeing Magua who means to carry off his human prey in order to finally have his revenge on the girls' father, on the British and on the Europeans, generally, whose presence in his native country he blames (not altogether unjustifiably) for his myriad travails. Written in the fine tradition of the 19th century romance (which, of course, is what this book is), Cooper picked up where Sir Walter Scott (the venerable founder of this particular novelistic tradition) left off, creating a rich historical tale of adventure, nobility and marvelously sketched characters set against a brilliantly detailed natural landscape. If his characters are less keenly drawn than Scott's they are no less memorable for, in the quiet nobility of the scout Hawkeye lies the strong, silent hero of the wilderness which was to become the archetypical protagonist of the American western. And the Indians, Chingachgook and Uncas, are the very prototypes of the noble savage, so much used and over-used today. This is a tale of action first and foremost without much plot but so well told that you barely notice, as our heroes flee and pursue their enemies in turn until the very quickness of the prose seems to mirror and embody the speed of the action. Nor is this book only to be read for its rapid-fire rendition of flight and pursuit, for it touches the reader on another level as well, as the bold young Uncas moves out ahead of his comrades to place himself at risk for the others and the woman he loves. Although we never see Uncas at anything but a distance and never get to know the man he is supposed to be, he is yet a symbol of that people of whom he is the last chiefly descendant, the Delaware Mohicans. Nobly born into the finest of Mohican bloodlines, Uncas faces his final trial with heroic energy and resolve in order to defeat the nefarious and twisted Magua. Yet this struggle is also the final footnote in the story of a people, marking the closing chapter for all those Indians who, with the Mohicans, have seen, in Cooper's words, the morning of their nation and the inevitable nightfall which must follow. The book is a bit short on characterization and plotting and the prose is heavy for modern tastes, but the action is richly visualized in the flow of the narrative and the images are compelling. In the end, despite its flaws, this book of Cooper's is, in fact, the classic we have been told it is. -- S. W. Mirsky

Set in upstate New York in colonial times, Cooper here tells the tale of the stolid colonial scout Hawkeye, nee Natty Bumppo (don't ask), who, with his two Indian companions Chingachgook (the Big Snake) and his son Uncas (apparently newly come to manhood), stumble on a party of British soldiers conducting two fair maidens to their father, the commander of British Fort William Henry during the French and Indian War. Under the watchful eyes of the young British officer who has the girls in his charge and led by a Huron scout, Magua, the party appears, to the indomitable Hawkeye, to be at greater risk than they realize as they trek through the wilderness toward the safety of the girls' father's garrison. And, indeed, Hawkeye's judgement is soon proved right as the scout Magua treacherously betrays the hapless girls in repayment, it seems, for a stint of corporal punishment inflicted on him previously by their absent parent. Since the Hurons, Magua's native tribe, are culturally akin to the Iroquois who are the herditary enemies of the Algonquin Delawares, from whom Chingachgook and his son hail and among whom Hawkeye has made his home and friendships, a natural antagonism arises almost at once between Hawkeye's party and the Huron and this proves salutary, when danger finally strikes. The tale quickly becomes a matter of flight and pursuit through thickly overgrown primeval forests, over rough mountains and across broad open lakes as the beleagured travelers first elude and then flee the dreaded Iroquois (allies of the French) who have joined the renegade Huron in an effort to seize the two girls. After a brief respite within the safety of William Henry however, the tables are once again turned as Magua's perfidy puts the girls once more at risk. And now the story shifts to a manic pursuit of the fleeing Magua who means to carry off his human prey in order to finally have his revenge on the girls' father, on the British and on the Europeans, generally, whose presence in his native country he blames (not altogether unjustifiably) for his myriad travails. Written in the fine tradition of the 19th century romance (which, of course, is what this book is), Cooper picked up where Sir Walter Scott (the venerable founder of this novelistic tradition) left off, creating a rich historical tale of adventure, nobility and marvelously sketched characters set against a brilliantly detailed natural landscape. If his characters are less keenly drawn than Scott's they are no less memorable for, in the quiet nobility of the scout Hawkeye lies the strong, silent hero of the wilderness which has become the archetypical protagonist in our own American westerns. And the Indians, Chingachgook and Uncas, are the very prototypes of the noble savage, so much used, and over-used, today. This is a tale of action first and foremost without much plot but so well told that you barely notice, as our heroes flee and pursue their enemies in turn -- until the very quickness of the prose seems to mirror and embody the speed of the action. Nor is this book only to be read for its rapid-fire rendition of flight and pursuit, for it touches the reader on another level as well, as the bold young Uncas moves out ahead of his comrades to place himself at risk for the others and the woman he loves. Although we never see Uncas at anything but a distance and never get to know the man he is supposed to be, he is yet a symbol of that people of whom he is the last chiefly descendant, the Delaware Mohicans. Nobly born into the finest of Mohican bloodlines, Uncas faces his final trial with heroic energy and resolve in order to defeat the nefarious and twisted Magua. Yet this struggle is also the final footnote in the story of a people, marking the closing chapter for all those Indians who, with the Mohicans, have, in Cooper's own words, seen the morning of their nation and the inevitable nightfall which must follow. If you give this book a chance and bear with some of the heavy nineteenth century prose, it will prove out in the end. An exciting and worthwhile read.

The title, "Final Jeopardy" refers to the quiz show which plays only a minor role in the novel. Although the identity of the murderer was somewhat precictable (my first guess at the beginning of the book was incorrect; my second guess in the middle was correct), the characters were real enough to be believable and the contrast in setting between New York City and Martha's Vineyard was well done. I enjoyed the character of Alexandra Cooper and felt that Ms. Fairstein gave her just the right touch of grit and femininity. I hope that Ms.Fairstein will write more Alexandra Cooper novels where she will further develop her character and give us more information about Alex's past

New York City Assistant District Attorney in charge of sex crimes, Alexandra Cooper, couldn't believe her eyes. There on the front page of the Post was her obituary under the headline "SEX PROSECUTOR SLAIN-FBI, STATE TROOPERS JOIN SEARCH FOR KILLER." What the police didn't know, was that she had loaned her secluded, Martha's Vinyard beach house to beautiful actress and friend, Isabella Lascar. Isabella had said she needed a solitary retreat to read scripts and regroup. The shooting had taken place along the house's winding drive, and the shotgun blast to the face had made identification impossible, so the authorities naturally assumed it had to be Alex. But who was the real target, Alex or Isabella? As Alex and her favorite sidekick, Homicide Detective, Mike Chapman, begin their investigation, they wonder if this could this be a case of mistaken identity, and if so, was Alex in danger, and would the murderer try again? If not, who else, if anyone, knew that Isabella was going to be staying at the beach house, and why would they want her dead.....? Linda Fairstein has written a well-paced, legal thriller that sets you on the edge of your seat, and promises to keep you there until the very last page. Her well crafted, compelling plot is full of twists and turns, intriguing scenes and strong, interesting characters. But it's her indepth knowledge of the legal system and D.A's office, and her expertise in prosecuting sex crimes, that really makes this novel stand out. With a suspenseful ending that brings all the story lines together, and ties them up into a very satisfying package, Final Jeopardy is the beginning of a terrific series that mystery/thriller fans shouldn't miss. So turn off the phone, and lock the door, Alexandra Cooper and company are about to keep you up reading all night.

Linda Fairstein has served for many years as New York's Assistant District Attorney in charge of prosecuting sex crimes. And according to all accounts, she is brilliant at her job. Well, Fairstein can put another notch in her belt, because she is a fine writer as well--right up there with the best of the genre.

"Final Jeopardy," her debut novel, introduces Alexandra Cooper, coincidentally an Assistant District Attorney in charge of prosecuting New York's sex crimes. Along with her very likeable sidekick, wisecracking but brilliant cop Mike Chapman, Alex works diligently to see that "her" victims, dead or alive, get justice. It's a grueling, wrenching task, but Alex thrives on it.

The book is off to a racing start as Alex, more than a little bit startled, reads her own obituary in the morning papers. And it never lets up from there. The confusion about Alex's "death" is solved quickly, but tragically. It seems that a good friend of hers, sexy bombshell actress Isabella Lascar, has been murdered while spending a supposedly incognito weekend at Alex's private Martha's Vineyard retreat. Was the murderer after Isabella? Or was it a case of mistaken identity--was the bullet really meant for Alex herself?

Those questions are only the beginning as Alex finds herself increasingly tangled in an incomprehensible web of intrigue. Who is the murderer? Try and guess. I did--and wasn't even close. There are enough colorful characters in the book, nefarious and otherwise, to make the reader keep turning the pages to find out who the "perp" is--and even more importantly, why the crime was committed in the first place.

From the first page to the breath-stopping last, this book has a ring of authenticity, and why not? Fairstein has lived what she writes, and it shows. Rumor has it that Ms. Fairstein has recently retired from her day job. Good! That means she can devote ALL her time to writing more juicy crime novels for those of us who are hooked!

I'm thrilled to have found her, and have already started the second in her Alexandra Cooper series. If you haven't treated yourself to Ms. Fairstein, give her a try. You will not regret it.

I like the dummies books -- they help you get your foot in the door quickly, usually in an afternoon. I didn't find the book as bad as many other people here have, but many of the problems mentioned here (ie., especially those with the cd) are real and significant.

Before anyone buys this book, I'd strongly suggest they download the demo copy of Drumbeat if at all possible, and look at the docs that come with it. It's a big download (60MB), so that might not be possible for everyone. But the demo product comes with a quick start guide and a full manual, and both of them are very well done. I think they're much better than the Dummies book, they're official, and they're free. In any event, I've gotten more use from them than I have from this book.

If you compare the value of your time to the cost of these books, you'll find that you don't need much value from a book to make it worthwhile. So my feeling is that if you want to master Drumbeat, you might as well buy this book, even if it is flawed, since it's the only one out there, and another perspective on the subject is helpful. But I don't think it's the best way to learn the product from scratch.

MacroMedia's tech support has been less than enthusiastic and the eStore Drumbeat manuals are littered with costly typos. Given that, although this book does not cover the eStore version, it is still somewhat useful to have. It's typical Dummies series stuff--so you can skip the first 1/3 of it, it's way too basic. The rest is just rewording of the product manual but I still gleaned a few new tricks from it.

If your learning curve for this software has been lengthy, you may want to check it out. Otherwise, save your money and reread the manual.

MACROMEDIA HAS ANNOUNCED A NEW SOFTWARE RELEASE. DRUMBEAT IS NO LONGER AVAILABLE. THE NEW SOFTWARE CALLED DREAMWEAVER ULTRADEV, COMBINES DREAMWEAVER AND DRUMBEAT. SO THIS BOOK CAN GIVE YOU A GOOD IDEA BUT NOT ALL THE NECESSARY NOW.

Linda Fairstein knows her turf. She has been a prosecutor of sexual crimes in New York City under the fabled Manhattan District Attorney, Bob Morgenthau, for many years. Her expertise in police matters is evident in this well-researched novel. She explores the lifestyles of the rich and famous in this story of socialite Deni Caxton, who is assaulted, murdered and dumped in the Hudson River. Deni and her estranged husband, Lowell, are wealthy art collectors. Alex Cooper is back with her friends, the detectives Mercer Wallace and Mike Chapman. They interview Deni's friends and acquaintances as they explore the seamy world of art theft. As pleasant as it is to be in the company of Alex and her friends, the plot wobbles badly at the end as the murderer's identity is finally revealed. However, along the way, Fairstein again proves that she is thoroughly at home with police procedurals and her characters are always fun to be with. This is a light and pleasant read.

Linda Fairstein's third book in the Alex Cooper series is a sophisticated foray into the high-stakes international world of art. It is markedly different than her first two books--one expects Cary Grant to saunter onto the pages at any minute, resplendent in tuxedo and sporting his usual savoir faire.

Instead, we have hardboiled street cop/renaissance man Mike Chapman, Alex's fast-talking, down-to-earth and impossibly endearing sidekick. Whether it's questioning a recalcitrant sidekick, stuffing his mouth at a resplendent Italian-food restaurant, or betting Alex on the nightly Final Jeopardy question, Mike is always in top form. But this time, he may be in over his head.

When Deni Caxton, the estranged wife of an internationally renowned art dealer, is found raped and murdered, Alex, as New York's Assistant District Attorney for the Sex Crimes Unit (as is Linda Fairstein in real life), is called onto the case. Almost immediately, she, Mike, and Mike's able partner Mercer are caught in a confusing whirlpool of events that pulls them ever deeper into a well of murder. In short succession, several other bodies are found, and each seems to tie in some way with Deni Caxton's demise.

The more Alex and her friends try to unravel the clues, the more they are drawn into a seemingly endless web of shady art dealers, mysterious Mata-Hari-type women, jailhouse thugs, antique dealers, and a cast of characters that would put Hitchcock to shame. It's obvious that Fairstein had a lot of fun with this novel, and it shows. Over and above the very real and perplexing mystery is the author's own unique view of the art world her fictional characters are exploring. The result is suspenseful, fun, and easy to read.

The only negative to be said about this book is that there are so many characters, one almost needs a cast sheet to keep them straight. Several times, I found myself looking back 100 pages or so to verify who was whom. This slowed me down, but was certainly not annoying enough to stop reading.

There is enough suspense in this book, including the near-murder of a cop near and dear to Alex's heart and a chilling encounter with the man who may be the perpetrator, to keep the reader turning the pages. This time I did guess the murderer, but not until near the end of the book. Like Final Jeopardy, it was good to be right for once!

This is a fun and well-written series, and Linda Fairstein has joined my list of favorite writers. I look forward to reading her next book, "The Deadhouse," with pleasure.

Eight o'clock at the end of a long August day and the corpse of a woman tied to a ladder washed up on the Hudsen river. Who is she, once so elegant and clearly well cared for, who had so prematurely, met a violent end.

So opens Linda Fairstein latest book 'Cold Hit'. This is a brilliant piece of writing. It is tight and exciting. I love mystery fiction, but what a bonus when I learn something. In both the earlier books 'Final Jeopardy' and 'Likely To Die' I was enthalled, not just by the mysteries that Linda wove, but by the fascinating insights into Alex Cooper's job as the Assistant District Attorney, prosecuting sex crimes, which Linda Fairstein seemlessly interlaces into her plots, and which again is in evidence in this lattest offering.

In 'Cold Hit' we are introduced additionally into the Art World. An unknown area to me, I found the experience added yet another dimension of interest and intrigue.

We meet again Mike Chapman and Mercer Wallace. Although, in this book Alex has a new man in her life, it seems to have little effect on the chemistry that sparks between Alex and Mike Chapman and which they both seem oblivious to. But we all know that's how it sneaks up on one:-)

Cold Hit is the luck that will match DNA from a crime scene with a DNA profile in the police database. Is it ever that simple?

This is a well constructed, absorbing, first class mystery that keeps one guessing. I heartily recommend that none of you miss this one. It is a terrific book.

As disposable fiction goes "Likely to Die" is entertaining enough, but not as successful as Fairstein's first mystery, "Final Jeopardy." The culprit this time around is no surprise, nor is his/her reason for having commited the murder in the first place. The letdown of the ending doesn't quite justify the book's length, which is padded with too many scenes of Alexandra Cooper (the feisty prosecutor heroine) lecturing -- and I do mean lecturing -- at various posh affairs about the prevelance of sexual crime in our times. Not an unimportant message, but not one that we need to hear over and over. Still, Fairstein writes relatively well, and the book is never boring. I just wish it had had the type of surprise ending that her first book had. After all, isn't that why we read mysteries in the first place?

"Likely to Die" is a standard police procedural. All of the elements are there...investigation, standard cop characters, junk food and bad coffee, and an unknown violent killer on the loose.

But it has an additional element that saves the novel from the fate of some of its more lackluster police procedure companions: it has a totally engaging and witty heroine. Alex Cooper is a smart, savvy, and classy lady...and well she should be! Her creator, Linda Fairstein, is a veteran of 20 years in the DA Sex Crimes Unit in Manhattan, the very job Alex holds. And Alex/Linda bring to the novel a no-holds-barred look at this topic. In addition, Alex characterized as a real woman with a real career, one who cares about her career, friends, and her life style.

The result is catchy, fun, and -- at times -- shocking in its subject material. Its a mystery well worth picking up, with strong background, good plot, and some characters to care about.

In this second novel by Linda Fairstein the writing style is better and the story is superb. Alex Cooper is back and better than ever. You travel with her on her journey in finding the killer of talented physician. The suspense starts with the first call to come to the doctor's office and investigate the crime scene and follows thoughout the twists and turns of this wonderful book. Mike Chapman is back and the sexual tension with him and Alex is still under the surface. After reading this book, I'll be very careful before I check into a hospital. The only thing bad is that it will have you begging for another episode in the life of Cooper. If you enjoy a good thriller, then grab this book and enjoy

As the title states, he gives you a simple pullback type of method based on two indicators. The logistics of is is solid and I have no doubt it can be profitable over time with proper money management. You may be better served just to check this out of the library, as it is quite simple and can be typed up in half a page.

I have tested and traded many systems within the last year and was looking for a short-term swing pattern trading methodology that was simple and controlled losses and I can tell you that by just trading this system alone will make you money, don't think that just because it takes readily available information and puts it together in a way that produces a great trading system, that this book isn't worth the money, It IS! I can tell you from experience that when it comes to trading, it's the simplicity that is rare and effective. If you want a system what will allow you to trade right away with great results than buy this book

I read the reviews from other buyers of the book and was quite surprised at the negativity which were in these comments.

I have traded this method since the manual came out and have made very good money doing so. I can only think that the trader from Houston and the trader from Brussels have not understood the overall way in which to trade.

I agree with Downtown that you must take profits when you see fit. Discretion is important. The method is a TREND FOLLOWING system keep that in mind.

I highly recommend the method.

I am a big fan of Linda Fairstein's Alex Cooper series, and I loved the first three books. The Deadhouse was a major disappointment, though. The plot was unbelievable, and it ended in a rather unsatisfying climax. One of my favourite parts of the previous books was the conversations between Alex, Mercer Wallace, and Mike Chapman. Even that was missing from this book, though, as Mercer was still recovering from being shot in the chest and Mike has fallen in love with an architect. That was the most disappointing part for me. I don't know if it was just me, but I always figured Alex would dump her annoying NBC boyfriend and end up with Mike. I'm still going to read The Bone Vault, because I liked the first books so much, but this book was a major disappointment.

I've liked all of Linda Fairstein's novels so far. FINAL JEOPARDY, LIKELY TO DIE and COLD HIT. THE DEADHOUSE is no exception. I like the main character, Alexandra Cooper, who has the same occupation as Linda--in charge of the Sex Crimes Unit of the District Attorney's office in Manhattan. Alex is smart and savvy, a strong but feminine woman with plenty of attitude, which she's not afraid to use when it's needed. I also like NYPD detective Mike Chapman, who assists Alex in her sleuthing, teases her constantly but affectionately, and shares with her a certain amount of chemistry.

The Deadhouse is a contemporary story with fascinating historical details of a part of New York I didn't know existed. It begins with the apparent death by murder of political science professor, Lola Dakota, which later becomes an actual death by murder. (You'll have to read the book to understand what that means.)

Number one suspect is Lola's abusive husband Ivan Kravolic, but Lola had also made enemies at King's College where she taught. Lola was evidently not an easy person to like and there are enough other suspects to keep Alex and the reader guessing. A slip of paper in the pocket of Lola's sweater leads Alex to The Deadhouse on Roosevelt Island where people were confined for various reasons in the nineteenth century. The plot is a complex one that kept me in suspense all the way to the exciting climax.

The movie of Final Jeopardy was a good one, and a successful one. I hope the rest of the books, including The Deadhouse, will be made into movies too. The Deadhouse certainly has enough action and suspense to qualify.

As always, Linda Fairstein's own work experience blesses the story with authenticity, but that would not be enough to make a great novel without her excellent writing, vivid characterization and a plot that sizzles. My attention was held completely all the way through.

As a mystery writer with my debut novel in its initial release, I genuinely enjoy Linda Fairstein's Alex Cooper series. Her current book, THE DEADHOUSE, is one of the strongest in her series. Assistant District Attorney Alex Cooper finds herself involved on a deeply personal level in the homicide investigation into the death of Lola Dakota, an abused wife who was also a brilliant university professor. While Lola refused to cooperate with prosecuting her husband for domestic abuse charges while she was alive, her death changes things. The husband becomes Alex's prime suspect, but he seems to be in the clear because he was arrested a short time before the killing. The chief clue is a paper with the word "deadhouse" and a series of numbers scribbled on it. The deadhouse turns out to be an ancient hospital where smallpox victims once went to die. Ms. Fairstein steams onward from there, and THE DEADHOUSE is a fabulous read. I recommend it highly.