Rabu, 31 Desember 2014

[V305.Ebook] Free PDF How to Motivate Yourself: Secrets of the Motivational Superstars!, by Lyn Kelley

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How to Motivate Yourself: Secrets of the Motivational Superstars!, by Lyn Kelley

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How to Motivate Yourself: Secrets of the Motivational Superstars!, by Lyn Kelley

The truth about what really motivates you! We are all born with internal motivation, but life has a way of repressing our deepest desires and highest selves. Motivational Speaker and Certified Professional Coach Dr. Lyn Kelley takes you through the step-by-step process to get yourself motivated once and for all!

Dr. Kelley gives you the best-kept success secrets of all the biggest and most successful motivational gurus like Tony Robbins, Barbara DeAngelis, Wayne Dyer, Les Brown, Oprah Winfrey, Denis Waitley, Brian Tracy, and more. Powerful exercises along the way provide the force you need to help you sustain your momentum and propel you forward.

In order to get motivated you must unlock your internal passion and desire.

You'll learn how to:

  • Find your true purpose, passion and inspiration
  • Get that "fire in your belly"
  • Make good decisions
  • Get willpower and determination
  • Take risks and make changes in your life
  • Increase your self-worth by knowing your signature strengths
  • Do a lot with a little
  • Handle adversity and use it as a motivational tool
  • Become optimistic and positive
  • Stop sabotaging yourself and stop others from sabotaging you
  • Create an action plan that propels you forward
  • Stick through the toughest times
  • Realize your true desires and dreams
  • Manage your success

  • Sales Rank: #103821 in Audible
  • Published on: 2013-12-13
  • Format: Unabridged
  • Original language: English
  • Running time: 289 minutes

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By Zakgirl
I enjoyed this book. Took me a while to get used to the voice-over (I listened to the audio book). I re-listen to this book from time to time and I always get something from it. It has helped to get and keep me motivated :) which of course is what I'd hoped it would do for me.

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[X878.Ebook] Download PDF The Afterlife of Holocaust Memory in Contemporary Literature and Culture (Palgrave Macmillan Memory Studies), by R. Crownshaw

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The Afterlife of Holocaust Memory in Contemporary Literature and Culture (Palgrave Macmillan Memory Studies), by R. Crownshaw

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The Afterlife of Holocaust Memory in Contemporary Literature and Culture (Palgrave Macmillan Memory Studies), by R. Crownshaw

This bold intervention into the debate over the memory and 'post-memory' of the Holocaust both scrutinizes recent academic theories of post-Holocaust trauma and provides a new reading of literary and architectural memory texts related to the Holocaust.

  • Sales Rank: #5368193 in Books
  • Published on: 2010-11-15
  • Released on: 2010-11-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x .75" w x 5.50" l, 1.10 pounds
  • Binding: Hardcover
  • 297 pages

About the Author
RICHARD CROWNSHAW is a Lecturer in the Department of English�and Comparative Literature at Goldsmiths, University of London, UK. His teaching and research interests comprise nineteenth, twentieth and twenty-first century American literature, Holocaust studies, and cultural memory studies. He has published numerous essays on Holocaust-related literature and is co-editor of The Future of Memory.

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Senin, 29 Desember 2014

[A386.Ebook] Download Mystery Train: Images of America in Rock'N'Roll Music, by Greil Marcus

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Mystery Train: Images of America in Rock'N'Roll Music, by Greil Marcus

  • Sales Rank: #12523347 in Books
  • Published on: 1977
  • Binding: Paperback

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Sabtu, 27 Desember 2014

[J541.Ebook] Ebook Free Hand Rehabilitation in Occupational Therapy

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Hand Rehabilitation in Occupational Therapy

  • Published on: 1656
  • Binding: Hardcover

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Sabtu, 20 Desember 2014

[O835.Ebook] Download Best Best Friends, by Margaret Chodos-Irvine

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Best Best Friends, by Margaret Chodos-Irvine

Clare and Mary do everything together. After all, they're best best friends. But on Mary's birthday, she gets a party, a shiny crown, and lots of attention--and Clare gets jealous. The best best friends get into a big, big fight. Only after Clare comes up with a way to make peace do the girls realize that between true friends, love triumphs over jealousy every time (even when it comes to crowns and cupcakes).

  • Sales Rank: #1211340 in Books
  • Published on: 2006-05-01
  • Released on: 2006-05-01
  • Original language: English
  • Number of items: 1
  • Dimensions: 10.00" h x .36" w x 9.00" l, .85 pounds
  • Binding: Hardcover
  • 40 pages

From School Library Journal
PreSchool-Grade 1–Mary and Clare spend their days at preschool together. They hug when they meet, hold hands while going out to the playground, and sit next to one another at storytime. All goes smoothly until the day of Mary's birthday, when she gets special privileges and much attention from the teacher and other students. Clare grows resentful and starts an argument, which ends with both girls angrily yelling, YOU ARE NOT MY FRIEND! They each play with other children and have time to cool off. When naptime is over, Clare presents her friend with a hand-drawn picture and wishes her a Happy birthday. Mary graciously accepts the gift, an unspoken apology, and the two are friends once again. No adult guides them toward reconciliation; these children simply figure out for themselves what is important. Various printmaking techniques are used in the artwork to create bold, flat shapes, with enough white space to allow the colors to pop off the pages. The illustrations, in a warm palette, give a retro feel to the story but the multicultural classroom takes the tale to the present. This is a story of true friendship that is stronger than envy or jealousy.–Maryann H. Owen, Racine Public Library, WI
Copyright � Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From Booklist
*Starred Review* PreS-K. In spot-on words and crisp, gaily patterned prints, the illustrator of the Caldecott Honor Book Ella Sarah Gets Dressed (2004) captures the unselfconscious affection and quicksilver shifts in mood that characterize preschool friendships. Classmates Clare and Mary hug hello, sit together at storytime, and hold hands when they go outside to play. But when Mary's birthday merits queen-for-a-day treatment, Clare vents her jealousy by informing her pink-clad friend that "yellow is prettier." The argument explodes in double-page spreads that zoom close to the girls' furious profiles, culminating in a bitter outburst: "YOU ARE NOT MY FRIEND!" After time apart, a nap, and a birthday card lovingly crayoned in both girls' favorite colors, the children reestablish their "best best BEST" bond. Like Molly Bang's When Sophie Gets Angry--Really, Really Angry (1999), this shows children working through conflict without adult intervention, and the message is further buoyed by a cozy classroom backdrop that will prompt chatter about kids' own preschool routines. A perfect choice for supporting the socialization aims of the earliest years of school, when instincts about generosity, empathy, and loyalty begin to balance the egocentric impulses of babyhood. Jennifer Mattson
Copyright � American Library Association. All rights reserved

About the Author
MARGARET CHODOS-IRVINE is the author and illustrator of Ella Sarah Gets Dressed, a Caldecott Honor Book, and the illustrator of several other highly praised picture books. She lives in Seattle, Washington.

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1 of 1 people found the following review helpful.
Good Book about Friendship and Envy
By Tinkster
This is a great book for young preschoolers who are just learning to understand their feelings. It is very simple and straightforward and shows children that everyone feels jealous sometimes but a friend is a precious commodity.

1 of 1 people found the following review helpful.
Perfect book for preschoolers
By C. Schmidt
I bought this book for my daughters Ella and Sarah because we enjoyed the authors other book, Ella Sarah get's dressed. Perfect story about true feelings young children experience. Great books to give as birthday presents.

0 of 0 people found the following review helpful.
Read it to your preschool child.
By Bonnie Ferrante
This is a perfect book for preschool and kindergarten children. Clare and Mary are best friends. They do everything together and love each other’s company. But, on Mary’s birthday she gets to be first in line, wear a golden birthday crown, and have a special cupcake. In a jealous moment, Clare is unkind to Mary and a fight ensues. The girls go their separate ways. After a while, Clare draws a birthday card for Mary and their friendship is repaired. When their parents come to take them home, the girls wave to each other and call, “See you tomorrow!”

The storyline is simple and relevant to children who attend day care or kindergarten and are venturing into a social world beyond their family. Each page has only a few words and the pictures are easy to understand.

Every child has squabbles with her best friend. This book will enable parents to discuss jealousy and hurtful remarks with their young child. It is important for children to understand that fights don’t have to be forever and there are ways you can repair a relationship.

The pictures are bright and simple collages with detailed patterns stamped on items of clothing with paint. With the simplest of lines and shapes, Chodos-Irvine portrays the girls’ happiness, anger, resentment, and acceptance.

It is easy to see why this charming little book is a Caldecott Honor Winner. Highly recommended.

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Jumat, 19 Desember 2014

[X919.Ebook] Free Ebook Storytelling at Work: How Moments of Truth on the Job Reveal the Real Business of Life, by Mitch Ditkoff

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Storytelling at Work: How Moments of Truth on the Job Reveal the Real Business of Life, by Mitch Ditkoff

Storytelling at Work is a groundbreaking book about the power of personal storytelling to spark insight, meaning, and innovation – especially in the modern day workplace where data and information have too often supplanted knowledge and wisdom.�The author of the book, Mitch Ditkoff, has been an “innovation provocateur” to some of the world’s most forward thinking organizations since 1987 and has come to realize that the single most effective way to jump start wisdom in the workplace is via the sharing of well told stories – first person “moments of truth” that have embedded within them the DNA of what it really takes to be a positive force for change, on or off the job.

Part One of Storytelling at Work includes 37 of the author’s own stories from the front lines of business, both as the Co-Founder of Idea Champions –�a leading innovation consultancy – and earlier in his life, as a young entrepreneur trying to find his way in the world. The stories are entertaining, evocative, and mind opening. Each one is followed by a brief reflection – a simple way for readers to apply the message of the story to their own lives.� Part Two of the book is a collection of 16 essays on the art and science of storytelling, a thought provoking exploration of why stories are such a powerful communication medium and how the reader can make best use of stories to have the most possible positive impact on others.

"I truly LOVE this book! Mitch Ditkoff has delivered a modern classic on how to communicate with wisdom. Kudos!"

—Rowan Gibson, author of The Four Lenses of Innovation

"Storytelling at Work is filled with Eureka moments that will spark your creativity and ignite your motivation. Original and deeply insightful!”

—Marshall Goldsmith, author of Triggers, a New York Times and Wall Street Journal #1 bestseller

“Mitch Ditkoff’s powerfully written book shows us how storytelling, well done, humanizes the world of work and helps us tune into the deep well of timeless wisdom within.”

—Tim Gallwey, author of The Inner Game of Tennis

  • Sales Rank: #207242 in Books
  • Published on: 2015-10-27
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.50" h x .60" w x 5.51" l, .73 pounds
  • Binding: Paperback
  • 284 pages

About the Author
Mitch Ditkoff, author of Stoytelling at Work, is the Co-Founder and President of Idea Champions, a leading edge innovation consulting and training company headquartered in Woodstock, NY. His previous book, Awake at the Wheel, won a much coveted Silver Medal in the Axiom Book Award competition. In 2010 and 2011, Mitch was voted "Best Innovation Blogger in the World" and is a regular contributor to the Huffington Post. He is the father of two (Jesse and Mimi) and the husband of one (Evelyne Pouget), renowned peace artist and humanitarian. He wants you to tell your story. Will you?

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3 of 3 people found the following review helpful.
Stories That Spark New (Our Own) Stories
By TedP
“Storytelling at Work” by Mitch Ditkoff

“In most organizations, information is no longer sufficient to spark change. Data is no longer king. Thinking takes us only part of the way home. It’s feeling that completes the journey, feeling and the courage to communicate our message in a fresh, new way.” p. 59

As with any decent book, there are reasons to read it; as with some, there are also good reasons to have it. I got my first (we have five now, Christmas gifts) copy of Mitch Ditkoff’s storytelling book at his workshop in Woodstock on workplace storytelling. It was a couple of weeks before the book was officially launched. The event was November 10, Tuesday evening. Three days later, Friday afternoon, the world watched as mis-wired humans under the influence of ISIS killed 130 people in Paris. It had been a long day for me by the time I sat in bed to turn off the lights. I needed a story to digest the day and properly turn its page. By my bed, among a goodly herd of books, the Bible and Ditkoff were looking at me, each book, as Ditkoff’s states on his cover, offering to show “how moments of truth on the job reveal the real business of life.” I chose Ditkoff; I needed something new to match the news. And turning to the bookmark where I had left off two days earlier, I saw this arresting title: “The Afghani Cab Driver.” As you can sense even from the title, this story was timed well, but you need the story itself to see how it was a perfect dressing for the wounds of that particular day, and if it weren’t a spoiler, I would talk about it now.

But that is how the book can work. There is a story, even as I have told a little one here, and it fits into some piece of work or part of the life of a real fellow, making his way in the world. A lot of discovering, a lot of courage and what shows up as wisdom when looked at later. We the readers can let these be stories that move us, as I did on November 13, and we can also do something more with them, which is why the book is good to own. Ditkoff’s mission is much more than setting up another case of teller and audience, cool as that always is, in his (and my own) view. In addition, he hopes that we will begin telling our own stories in some new, more intentional way. There are good reasons to do that in our jobs, careers, families, arts, organizations. In anything that qualifies as work (this is me talking here), we are focusing intense energy of the mind and body to influence a change. Stories make that work better. As he states after his 11th story (“The Martial Arts of the Mind”),

“In most organizations, information is no longer sufficient to spark change. Data is no longer king. Thinking takes us only part of the way home. It’s feeling that completes the journey, feeling and the courage to communicate our message in a fresh, new way.” p. 59

So, in addition to the stories, after each of them he gives us something to think about in a “So What?” section and then a sentence or two you can use right at the moment, called “Now What?” that extends to us the reason Ditkoff offered us the story. Here is part of it from “The Seven-Letter Word”: "Now What: What is your version of the seven-letter word? How might you move some tiles on the board of your life until it fits? If that doesn't work, how can you start a new game?" P. 180.

I have probably a ton of books (that being a unit of weight) and have long ago realized that getting one more book physically onto the shelves, might seem ridiculous when I am picking one up in the bookstore or at a live book reading. But eventually I stopped that struggle when I realized something that I now remind myself with this mantra, “Price of Admission.” For me, it means that somewhere in a decent book I will find an idea that will help or change me in ways that transcend the price of buying it and the effort to find a place for it in the house. So, with “Storytelling” you get 38 clear chances to find that “price of admission” with his stories. He keeps the stories short—truly short—which I appreciate. I know how hard that is. So, you can read one aloud in a few minutes. I just timed “Arm Wrestling the CIA” at four minutes. Reading aloud in such short a time makes these morsels eminently shareable.

Helping us get into storytelling ourselves, even just informally as most people probably do many times a week, the book’s Part 2, called “The Art and Science of Storytelling” gives another set of short essays or inspirations, like blogs. And if you want to join him on his spirited mission to bring storytelling to more places, especially to your own living room, he gives some (10) tips in Chapter 14, “How To Facilitate Storytelling Circles.” And while anyone who actually had the guts to try that at work might figure out many of these tips, it helps to have it here. That is often the best part of owning a book like this: it helps the others you are trying to rally to see it in print, authored by an outsider, by someone with a great track record. You are not the one inventing “No cell phone usage” or “No therapizing, criticizing, or preaching.” You just photocopy page 255 and hand it out. You let Ditkoff say, “Allow you to facilitate.”

So, as with most of my books, there are good reasons to read this, but also good reasons to have it, to own it. Page 249 gives three dozen one-word prompts under the heading “Choose a word and identify a story it triggers.” It is fun to have that on a gray day to prompt me. Here’s the last of his list to try out right now: Connection.

3 of 3 people found the following review helpful.
Wise and Enjoyable
By Danna W.
Mitchell Ditkoff is one of the world's leading innovation experts. He also happens to be a wise and witty man. The meta-moral in this collection of engaging stories is that wisdom emerges unexpectedly out of real-life experience. And (I guess this is Meta-Moral #2): That wisdom can be applied effectively in the workplace. The book provides examples of how this happens in a style that makes the material fun and easily digestible. It's stimulating personally and will also be useful to anyone in business who's interested in how stories (the stories that happen to us AND the stories in our head!) feed and support creativity. Recommended!

2 of 2 people found the following review helpful.
I Couldn't Put This Book Down
By TR
I have one problem with Mitch Ditkoff's new book: it's so good that I can't put it down. Normally, that's what I look for in a book, a page-turner that keeps me chomping at the bit to get back to it. And Mitch's collection of stories from his rich and varied career have everything I love: humor, wit, insight, and urbane-and-everyman-sensibility combined. Whether he's writing about working as a night clerk in a seedy hotel and being challenged to an arm-wrestling match by a CIA agent, or interviewing homeless people on the streets of NYC, or leading creative thinking seminars for Fortune 500 companies, Mitch knows how to to draw us in, then peer into the human beings he encounters, and finally arrive at some glimpse of wisdom.

But it doesn't stop there. Mitch asks readers to reflect on the story, and recall similar situations from their own lives and what they can glean from it. This is where I am supposed to stop reading, and in fact I want to. I want to take the time for reflection. But I give into the temptation to read more. Each story packs equal parts humor and heart and is as interesting as the next one. So I keep reading and loving it.

Mitch has created something more than a collection of stories and prompts for reflecting. The last section of the book is devoted to "The Art and Science of Storytelling" includes a series of short essays on the power of stories, how to find stories of our own and bring them to life. Finally, he lays his cards on the table and reveals his grand scheme: to involve us in creating a storytelling culture. After reading this book, and knowing that I will read it again to take time for reflection, I'm game.

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Kamis, 18 Desember 2014

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Since 2001 the Van Haren Publishing Itil Pocket Guides have helped readers all over the world to understand the essentials of Itil (It Infrastructure Library), the leading framework for It service management. This pocket guide does exactly the same as previous editions: offering a concise summary of Itil, based on Itil� 2011 Edition. We have condensed the full Itil framework, found in 2000 pages, into just 200 pocket-sized pages! It means that this book is an essential time-saving and cost-effective guide to Itil 2011 Edition -- for both industry experts and students alike. Primarily it is a quick, portable reference tool to Itil for all professionals in the service management community. What is the lifecycle approach? What are the key service management processes and functions? Secondly the Itil pocket guide can be used as part of the training material for everyone who wants to certify for the Itil Foundation exam. The guide contents cover all of the specifications of Apmg s Itil Foundation Certificate syllabus.

  • Sales Rank: #611367 in Books
  • Published on: 2011-12-30
  • Released on: 2011-12-30
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.09" h x .44" w x 4.80" l, .39 pounds
  • Binding: Paperback
  • 188 pages

About the Author
Jan van Bon, founder of the IT Service Management Forum in the Netherlands, is chief editor of ITSMF publications and currently manages ITSM PORTAL, the only Internet portal on IT Service Management.

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9 of 10 people found the following review helpful.
Excellent quick-reference guide!
By tig
I found this to be a very quick read (

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  • Sales Rank: #5047098 in Books
  • Published on: 1967-01
  • Original language: English
  • Binding: Hardcover
  • 246 pages

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  • Original language: French
  • Dimensions: 9.06" h x 1.22" w x 5.91" l,
  • Binding: Paperback

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Jumat, 05 Desember 2014

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Encyclopedia of Animal Behavior, Vol. 3: R-Z, by Marc Bekoff

  • Sales Rank: #4016237 in Books
  • Published on: 2004-12-30
  • Ingredients: Example Ingredients
  • Original language: English
  • Number of items: 1
  • Dimensions: .0" h x .0" w x .0" l, .0 pounds
  • Binding: Hardcover
  • 464 pages

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Rabu, 03 Desember 2014

[V144.Ebook] Ebook The Rhetoric of Fiction, by Wayne C. Booth

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The Rhetoric of Fiction, by Wayne C. Booth

The first edition of The Rhetoric of Fiction transformed the criticism of fiction and soon became a classic in the field. One of the most widely used texts in fiction courses, it is a standard reference point in advanced discussions of how fictional form works, how authors make novels accessible, and how readers recreate texts, and its concepts and terms—such as "the implied author," "the postulated reader," and "the unreliable narrator"—have become part of the standard critical lexicon.

For this new edition, Wayne C. Booth has written an extensive Afterword in which he clarifies misunderstandings, corrects what he now views as errors, and sets forth his own recent thinking about the rhetoric of fiction. The other new feature is a Supplementary Bibliography, prepared by James Phelan in consultation with the author, which lists the important critical works of the past twenty years—two decades that Booth describes as "the richest in the history of the subject."

  • Sales Rank: #138680 in Books
  • Published on: 1983-02-15
  • Original language: English
  • Number of items: 1
  • Dimensions: 1.50" h x 5.33" w x 8.08" l, 1.33 pounds
  • Binding: Paperback
  • 572 pages

About the Author
Wayne C. Booth (1921–2005) was the George Pullman Distinguished Service Professor at the University of Chicago. His many books include The Rhetoric of Fiction, A Rhetoric of Irony, The Power and Limits of Pluralism, The Vocation of a Teacher, and Forthe Love of It, all published by the University of Chicago Press.

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146 of 148 people found the following review helpful.
expand your appreciation of fiction
By Paul Vitols
This thoughtful, probing exploration of how fiction is narrated will make you a better reader and a better writer.

The title's reference to "rhetoric of fiction" makes this book sound obscure and academic, but I found Booth's inquiry into fictional "rhetoric"--that is, the techniques used by authors to persuade readers to accept what they are reading--accessible and insightful. Starting from the old "show vs. tell" debate of fiction-writing (the relative merits of presenting action directly vs. summarizing and explaining), Booth points out that storytelling has always involved the artifice of the author's giving the reader information, as of the inner nature of a character, that is not available to us in real life. We accept the biblical narrator's description of Job as a man who is perfect, upright, and who eschews evil, when we would never accept any such statements made by one living person about another.

Taking examples from a variety of works, from "The Odyssey" to "The Decameron" to "Emma" to "A Portrait of the Artist as a Young Man", Booth shows how writers' approaches to narration have evolved to the 20th-century situation of authors' attempts to efface the narrator altogether and give the impression that the narrator is not providing any point of view at all (Booth thinks this effort hasn't exactly worked--at least, not without large and perhaps unintended tradeoffs). A recurring touchstone in the book is Henry James, who Booth feels is a particular master of the subtleties of narration and its authority.

Booth is clearly a knowledgeable and perceptive reader, but his tone is common-sense and reader-friendly. He is not an ivory-tower lecturer; he comes across as someone who loves fiction and who enjoys delving into its mysteries. He is disarmingly candid about the lack of critical consensus on just about any aspect of literature, and what this implies about its so-called experts.

Of course, the more of the works you have read that he discusses, the more you can get out of the discussion, although I enjoyed reading about works I had not yet read, and indeed Booth's appreciation of them encouraged me to read some I might not have otherwise (in my case, Jane Austen's "Emma").

One of my main recurring thoughts in reading this book was, "Hm, I never thought about that..." This is a critical work that does not kill works of art through analysis, but rather stimulates a heightened appreciation by looking at new subtleties in fiction. My relationship with fiction--a relationship that is very important to me--was deepened by reading this book.

40 of 42 people found the following review helpful.
Every book expresses a set of values
By Evelina
Booth wrote this excellent work to counter the notion that readers can enjoy a novel purely on aesthetic grounds, without regard to the meaning of the book. He counters the notion that meaning does not matter or that it is possible to write without meaning. The book is a response to the theory of deconstructionism. Booth makes the point that every novel expresses an idea of what the author thinks is right and what the author thinks is wrong, even if the author denies any such intention. Many modern works, such as those by Camus, for instance, seem at first reading to be completely bare of endorsing any values. I don't believe in good or bad, they may appear to be saying. But upon closer examination, we see that Camus tells the reader that art is good or that feeling or being alive is good. So he does have a value system. Modern authors may claim that they do not take sides or that they are purely relativistic. But in the end, they all show that they value one thing over another thing. Many modern writers who deny having values turn out in reality to value tolerance or freedom.

Everyone who reads Pride and Prejudice agrees that the author is telling us that it is good that Elizabeth gave up her prejudice and that Darcy gave up his pride. Even if there is a reader who does not agree with such sentiments, he or she cannot deny that Austen does express those sentiments.

Having made the point that a writing must express a value system, Booth goes on to ask what kind of values books generally endorse. He finds that writers almost universally endorse what most of us understand to be the good and dislike what we understand to be the bad. At one point, Booth asks if someone had written an excellent book from the viewpoint of a nazi officer for whom the end of the Third Reich was a tragedy, a book with wonderful language, sentence construction, imagery, etc. would we like it as much as we like Hamlet. Would we regard the fate of the nazi officer, death at the hands of allied troops, as great a tragedy as the fate of Hamlet? Unlikely. And what about a reader who knew nothing about the nazis? What if the writer said that he was not endorsing the nazi viewpoint but was careful not to state that explicitly. Would a description of nazi beliefs or actions be enough to make them repugnant to the reader? Booth's answer is no. He believes that unless the context has a definite message - this is bad (or good)- the writer cannot rely on the reader coming to that conclusion, no matter what the writer puts down on paper. Recording the action say, of putting people in death camps, will not necessarily lead to the conclusion that such is a bad action. The writer, including writers who deny any such intent, guides the reader in what and how to think. (I don't remember Booth talking about it, but has not Gone with the Wind for many decades given readers the impression that slavery was not that bad?)

Booth does not believe that it is possible to record a purely neutral action. Every word that is put to paper stakes out one position or another.

Booth provides a masterly discussion of how literature affects the reader.
Many people, the people among us that apparently have the highest IQs, deny any connection between values and art, much less morality and art. But Booth points out how we feel when we read a book that does not endorse our values. We feel repugnance. Many readers, for instance, find it hard to like Mansfield Park. They find it hard to accept that Austen is endorsing the conservative scheme of morality in the book.

All in all, Booth shows us, in very clear language, how fiction works.

18 of 19 people found the following review helpful.
Booth's Most-Recognized Book
By J. F. Stanley
Here is what I wrote on Wikipedia about this book (I am Jstanley01 on the Page History document there):

In what was likely Booth's most-recognized book, The Rhetoric of Fiction, he argued that all narrative is a form of rhetoric.

The book can be seen as his critique of those he viewed as mainstream critics. Critics according to Booth, who cites an abundant array of sources, that beginning roughly with Henry James began to emphasize the difference between "showing" and "telling" in fiction. And who have placed more and more of a dogmatic premium on "showing."

Despite the realistic effects that modern authors have achieved, according to Booth, trying to distinguish narratives in this way is simplistic and deeply flawed. He argued, citing authors of a variety of stripes, that they invariably both show and tell. And he observed that they appear to choose between the techniques based upon decisions about how to convey their various "commitments" along various "lines of interest."

Booth's criticism can be viewed as distinct from traditional biographical criticism (still practiced, especially among popular critics), the new criticism which argued that one can only talk about what the text says, and the modern criticism which argues for the "eradication" of authorial presence. Booth claimed that it is impossible to talk about a text without talking about an author, because the existence of the text implies the existence of an author.

Booth not only argued that, whether or not an author -- as distinct from the narrator of a text -- intrudes directly in a work, that readers will always infer the existence of an author behind any text they encounter. He also claimed that readers always draw conclusions about the beliefs and judgments (and also, conclusions about the skills and "success") of a text's implied author, along the text's various lines of interest:

"However impersonal he may try to be, his readers will inevitably construct a picture of the official scribe who writes in this manner -- and of course that official scribe will never be neutral toward all values. Our reaction to his various commitments, secret or overt, will help to determine our response to the work."[1]

This implied author (a widely-used term that Booth coined in this book; who he also called an author's "second self"[2]) is the one who "chooses, consciously or unconsciously, what we read; we infer him as an ideal, literary, created version of the real man; he is the sum of his own choices"[3]

Booth also spent several chapters -- which include numerous referrals to and citations from widely-recognized works of fiction -- describing the various effects that implied authors achieve along the various lines of interest that he identifies, and the pitfalls they fall into, depending upon whether or not the implied author provides commentary, and upon the degree to which a story's narrator is reliable or unreliable, personal or impersonal.

Booth detailed three "Types of Literary Interest" that are "available for technical manipulation in fiction":

"(1) Intellectual or cognitive: We have, or can be made to have, strong intellectual curiosity about "the facts," the true interpretation, the true reasons, the true origins, the true motives, or the truth about life itself. (2) Qualitative: We have, or can be made to have, a strong desire to see any pattern or form completed, or to experience a further development of qualities of any kind. We might call this kind "aesthetic," if to do so did not suggest that a literary form using this interest was necessarily of more artistic value than one based on other interests. (3) Practical: We have, or can be made to have, a strong desire for the success or failure of those we love or hate, admire or detest; or we can be made to hope for or fear a change in the quality of a character. We might call this kind "human," if to do so did not imply that 1 and 2 were somehow less than human."[4]

In the 1983 edition of The Rhetoric of Fiction, in which a lengthy addendum to the original 1961 book was published, Booth outlined various identities taken on by both authors and readers: The Flesh-and Blood Author, the Implied Author, the Teller of This Tale, the Career Author, and the "Public Myth"; and, the Flesh-and-Blood Re-Creator of Many Stories, the Postulated Reader, the Credulous Listener, the Career Reader, and the Public Myth about the "Reading Public."[5]

[...]
_______________________________

[1] The Rhetoric of Fiction 71.

[2] The term "second self" was brought into prominence by Kathleen Tillotson (1959), see Tom Kindt, Hans-Harald M�ller, The Implied Author: Concept and Controversy (2006) p. 50).

[3] The Rhetoric of Fiction 74-75.

[4] The Rhetoric of Fiction 125.

[5] The Rhetoric of Fiction 428-421.

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