There is no easy way to identify grasses. And no one understands this better than H.D. Harrington, who observed thousands of students struggle and learn. His clear, concise, and well-organized guide will continue to be a basic and essential text for use in the classroom or in the field. The book contains over 500 drawings and an illustrated glossary.

First issued in 1957 by Swallow Press, this classic guide to the art of plant identification is now familiar to an entire generation of students. Harrington who was Professor of Botany and Curator of the Herbarium at Colorado State University, gives step-by-step instructions and definitions to help readers recognize and classify plants. The new printing has been reset and reformatted, and L.W. Durrell’s drawings and glossary—more than 500 images—have been digitally enhanced for clarity.

he says I deserve someone who will love me the way 

I love him. I want to kiss him, tell him love isn’t measured.

I squeeze his hand instead, afraid of the thought of anyone looking at us 

from the outside of my car.

—Excerpt from “Defying the Dangers of Being”

United in their fierce sense of place and infused with the fading echoes of a lost homeland, the stories in Jennine Capó Crucet’s striking debut collection do for Miami what Edward P. Jones does for Washington, D.C., and what James Joyce did for Dublin: they expand our ideas and our expectations of the city by exposing its tough but vulnerable underbelly.

Crucet’s writing has been shaped by the people and landscapes of South Florida and by the stories of Cuba told by her parents and abuelos. Her own stories are informed by her experiences as a Cuban American woman living within and without her community, ready to leave and ready to return, “ready to mourn everything.”

Coming to us from the predominantly Hispanic working-class neighborhoods of Hialeah, the voices of this steamy section of Miami shout out to us from rowdy all-night funerals and kitchens full of plátanos and croquetas and lechón ribs, from domino tables and cigar factories, glitter-purple Buicks and handed-down Mom Rides, private homes of santeras and fights on front lawns. Calling to us from crowded expressways and canals underneath abandoned overpasses shading a city’s secrets, these voices are the heart of Miami, and in this award-winning collection Jennine Capó Crucet makes them sing.

An instant classic when first published in 1991, How to Lie with Maps revealed how the choices mapmakers make—consciously or unconsciously—mean that every map inevitably presents only one of many possible stories about the places it depicts. The principles Mark Monmonier outlined back then remain true today, despite significant technological changes in the making and use of maps. The introduction and spread of digital maps and mapping software, however, have added new wrinkles to the ever-evolving landscape of modern mapmaking.

​Fully updated for the digital age, this new edition of How to Lie with Maps examines the myriad ways that technology offers new opportunities for cartographic mischief, deception, and propaganda. While retaining the same brevity, range, and humor as its predecessors, this third edition includes significant updates throughout as well as new chapters on image maps, prohibitive cartography, and online maps. It also includes an expanded section of color images and an updated list of sources for further reading. 
 

“At its simplest, this is the story of a restless search for a place to be– a way to live– after a series of devastating events. But there’s nothing simple about it. Kelle Groom has created a marvel: a haunted, haunting, beautifully sustained dream of a book.”
—Joan Wickersham

Structured around the fictional Brash family—Peggy and Buckley Brash and their two children—the book, originally published in 1964, includes chapters on such topics as “How to Dress in England,” “The Dream House and How to Rebuild It,” and “How to Live with the Upper Classes Without Having Any Money.” Through the Brash family’s encounters with the British and their amusingly bewildered conversations as they attempt to interpret this alien way of life, Mead answers with obvious affection and quirky humor such questions as “Is England really a pest hole?” and “Do English schools create sex madness?”

 

Written with Mead’s characteristic incisive wit and illustrated with the original dynamic cartoons, How to Live Like a Lord Without Really Trying is packed with pithy advice that is equally revealing of Britain in the 1960s as its bemused American visitors.

How to Live, What to Do is an indispensable introduction to and guide through the work of a poet equal in power and sensibility to Shakespeare and Milton. Like them, Stevens shaped a new language, fashioning an instrument adequate to describing a completely changed environment of fact, extending perception through his poems to align what Emerson called our “axis of vision” with the universe as it came to be understood during his lifetime, 1879–1955, a span shared with Albert Einstein. Projecting his own imagination into spacetime as “a priest of the invisible,” persistently cultivating his cosmic consciousness through reading, keeping abreast of the latest discoveries of Einstein, Max Planck, Niels Bohr, Louis de Broglie, and others, Stevens pushed the boundaries of language into the exotic territories of relativity and quantum mechanics while at the same time honoring the continuing human need for belief in some larger order. His work records how to live, what to do in this strange new world of experience, seeing what was always seen but never seen before. 

Joan Richardson, author of the standard two-volume critical biography of Stevens and coeditor with Frank Kermode of the Library of America edition of the Collected Poetry and Prose, offers concise, lucid captures of Stevens’s development and achievement. Over the ten years of researching her Stevens biography, Richardson read all that he read, as well as his complete correspondence, journals, and notebooks. She weaves the details drawn from this deep involvement into the background of American cultural history of the period. This fabric is further enlivened by her preparation in philosophy and the sciences, creating in these thirteen panels a contemporary version of a medieval tapestry sequence, with Stevens in the place of the unicorn, as it were, holding our attention and eliciting, as necessary angel, individual solutions to the riddles of our existence on this planet spinning and hissing around its cooling star at 18.5 miles per second.

Lobbying is about getting the right message to the right people in the right form at the right time. Even the most persuasive arguments or most influential groups will come up short if they aren’t combined with personal connections and an understanding of human nature. How to Lobby Alaska State Government is a guide to the essentials of organizing and implementing a lobbying campaign in Alaska that recognizes how you lobby is as important as who you lobby.

This book starts by helping new lobbyists to think politically, by explaining the structure and operation of state government, the psychology and needs of public officials, and where the power lies in Juneau—who’s got political clout. How to Lobby then moves into the nitty-gritty of a lobbying campaign. It covers the basics of group influence, campaign planning and management, the pros and cons of various group tactics, tips on face-to-face meetings, and the challenges of lobbying day-to-day. In addition to extensive guidance on what to do, this book also emphasizes the things to avoid that will undermine or eliminate a lobbyist’s chances of success. Pragmatic and portable, this book will be valuable to new and professional lobbyists both, and anyone looking for fresh perspectives on this important business.

An immigration story of crossing cultural bridges and finding family.

When Madeline Uraneck said hello to the Tibetan woman cleaning her office cubicle, she never imagined the moment would change her life. After learning that Tenzin Kalsang had left her husband and four children behind in a Tibetan refugee settlement in India to try to forge a better life for them, Madeline took on the task of helping her apply for US visas. When the family reunited in their new Midwestern home, Madeline became swept up in their lives, from homework and soccer games to family dinners and shared holiday traditions. By reaching out, she found more than she bargained for—a family who welcomed her as their own and taught her more than she offered them.

An evocative blend of immersion journalism and memoir, How to Make a Life shares the immigration story of a Tibetan refugee family who crossed real and cultural bridges to make a life in Madison, Wisconsin, with the assistance of the Midwestern woman they befriended. From tales of escaping Tibet over the Himalayas, to striking a balance between old traditions with new, to bridging divides one friendly gesture at a time, readers will expand their understanding of family, culture, and belonging.

Written During the Ascension of Nazi Germany and Stalinist Russia, an investigation of the Methods of Revolutionary Change
The first third of the twentieth century saw a seismic upheaval in global politics and society that still reverberates today. Communism and fascism toppled both traditional monarchies and representative democracies, while trade unions and other factions effectively challenged existing governments to adopt reforms or face crippling economic or social upheaval. Given these extraordinary events, Raymond Postgate set forth in How to Make a Revolution to objectively discuss revolutionary methods, and which tactics or strategies are the most effective. Drawing on his own idealistic experience as a young labor agitator and editor of a communist newspaper and more than fifteen years of close study of past revolutionary history and theories, the author dispassionately discusses Marxism, fascism, anarchism, and Blanquism (a doctrine within socialism), as well as syndicalism and industrial unionism. He then reviews revolutionary practice, including general strikes, financial pressure, armed revolution, and communist tactics, and ends with a prescient and frightening conclusion: without general consensus and determination, a peaceful revolution is impossible, and “if no action is taken, action of another kind will be taken for us. . . . The continuance of uncertain­ty will mean that the disillusioned will drift steadily across to a Fascist organization. Fascism means war; the character of a Fascist State is fairly well known. Once it is established, those who read, who write, who publish or who print, books like this are likely to be dead or in concentration camps.” Originally published in 1934, Postgate’s book was heralded for its clarity and scholarship. 

“We need a new poetry lexicon—a new way of moleculing the poem on the page, even—and Maya Salameh brings it. We need all the strange Arabic-diasporic ways we can find for being in this terrible and joyful and often frighteningly banalizing world, and Salameh’s poems are a generous find. Her writing is an unexpected cousin in the colonized and capitalism-razed city, bewildering and divining things you’ve never heard but want to learn. . . . Prepare to be stretched and delighted.”
—Mohja Kahf, from the Foreword

The divine and the digital achieve a distinct corporality in Maya Salameh’s HOW TO MAKE AN ALGORITHM IN THE MICROWAVE, winner of the 2022 Etel Adnan Poetry Prize. Layering prayer with code, Salameh brings supposedly unassailable technological constructs like algorithm, recursion, and loop into conversation with the technologies of womanhood, whether liner, lipstick, or blood. Exploring the relationships we have with our devices, she speaks back to the algorithm (“a computer’s admission to blood”), which acts simultaneously as warden, confidant, and data thief.

Here Salameh boldly examines how an Arab woman survives the digitization of her body—experimenting with form to create an intimate collage of personal and neocolonial histories, fearlessly insinuating herself into the scripts that would otherwise erase her, and giving voice to the full mess of ritual.

How to Make It as a Woman outlines the history of prosopography or group biography, focusing on the all-female collections that took hold in nineteenth-century Britain and America. The queens, nurses, writers, reformers, adventurers, even assassins in these collective female biographies served as models to guide the moral development of young women. But often these famous historical women presented untrustworthy examples.

Beginning in the fifteenth century with Christine de Pizan, Alison Booth traces the long tradition of this genre, investigating the varied types and stories most often grouped together in illustrated books designed for entertainment and instruction. She claims that these group biographies have been instrumental in constructing modern subjectivities as well as relations among classes, races, and nations.

From Joan of Arc to Virginia Woolf, Booth examines a host of models of womanhood—both bad and good. Incorporating a bibliography that includes more than 900 all-female collections published in English between 1830 and 1940, Booth uses collective biographies to decode the varied advice on how to make it as a woman.

Approaching poems as utterances designed and packaged for pleasurable reanimation, How to Play a Poem leads readers through a course that uses our common experience of language to bring poems to life. It mobilizes the speech genres we acquire in our everyday exchanges to identify “signs of life” in poetic texts that can guide our co-creation of tone. How to Play a Poem draws on ideas from the Bakhtin School, usually associated with fiction rather than poetry, to construct a user-friendly practice of close reading as an alternative to the New Critical formalism that still shapes much of teaching and alienates many readers. It sets aside stock questions about connotation and symbolism to guide the playing out of dynamic relations among the human parties to poetic utterances, as we would play a dramatic script or musical score. How to Play a Poem addresses critics ready to abandon New Criticism, teachers eager to rethink poetry, readers eager to enjoy it, and students willing to give it a chance, inviting them to discover a lively and enlivening way to animate familiar and unfamiliar poems.

Though they appear diverse, Homer's Odyssey and slam poetry from contemporary urban America both draw from the well of oral tradition. This unique, practical, and user-friendly guide explores the cultural contexts of verbal art to provide more-than-textual methods for understanding the structure, principles, and social applications of oral poetry.

Using dozens of examples, including a North American slam poet, a Tibetan paper-singer, a South African praise-poet, and an ancient Greek bard, John Miles Foley shows that although oral poetry long predates the invention of writing, it continues to be a vital culture-making and communications tool in societies all over the world. Based on fieldwork and archival research on epics, folktales, lyrics, laments, charms, and other oral traditions, How to Read an Oral Poem answers the questions, What is oral poetry? How does it work? What is reading, literally and figuratively?
This accessible and engaging work is enhanced by audio and video examples of oral poetry, which are available at http://www.oraltradition.org. The book can also be used as companion volume to Foley's Teaching Oral Traditions.
 

"The book has a rambunctious humor that complements its polemical spirit . . . As Disney has evolved from an animation studio into a corporate behemoth—with theme parks, a cruise line, and content streaming around the world—How to Read Donald Duck and its charge of cultural imperialism rings all the truer"—The New Yorker                       
 
First published in 1971, How to Read Donald Duck shocked readers by revealing how capitalist ideology operates in our most beloved cartoons. Having survived bonfires, impounding and being dumped into the ocean by the Chilean army, this controversial book is once again back on our shelves.
 
Written and published during the blossoming of Salvador Allende's revolutionary socialism in Chile, the book examines how Disney products reflect capitalist ideology, and are active agents working in this ideology’s favor. Focusing on the hapless mice and ducks of Disney, curiously parentless, marginalized and always short of cash, Ariel Dorfman and Armand Mattelart expose how these characters established hegemonic ideas about capital, race, gender and the relationship between developed countries and the Third World.
 
A devastating indictment of a media giant, a document of twentieth-century political upheaval, and a reminder of the dark undercurrent of pop culture, How to Read Donald Duck is once again available, together with a new introduction by Ariel Dorfman in which he writes.
 
"It is that joy in liberation, that alegria, that spirit of resistance, that I wish to share with America, as the book that Pinochet’s soldiers could not liquidate or Disney’s lawyers stop from entering the United States finally finds its way to its new home, deep into the land that invented Donald Duck and Donald Trump. Is the same country that gave me such a warm welcome as a child, and perhaps may now equally greet with open arms this critique of oppression and it certainty that we don’t have to leave the world as it was when we first encountered it."

“You can tell a true war story if you just keep on telling it,” Tim O’Brien writes in The Things They Carried. Widely regarded as the most important novelist to come out of the American war in Viet Nam, O’Brien has kept on telling true war stories not only in narratives that cycle through multiple fictional and non-fictional versions of the war’s defining experiences, but also by rewriting those stories again and again. Key moments of revision extend from early drafts, to the initial appearance of selected chapters in magazines, across typescripts and page proofs for first editions, and through continuing post-publication variants in reprints.

How to Revise a True War Story is the first book-length study of O’Brien’s archival papers at the University of Texas’s Harry Ransom Center. Drawing on extensive study of drafts and other prepublication materials, as well as the multiple published versions of O’Brien’s works, John K. Young tells the untold stories behind the production of such key texts as Going After Cacciato, The Things They Carried, and In the Lake of the Woods. By reading not just the texts that have been published, but also the versions they could have been, Young demonstrates the important choices O’Brien and his editors have made about how to represent the traumas of the war in Viet Nam. The result is a series of texts that refuse to settle into a finished or stable form, just as the stories they present insist on being told and retold in new and changing ways. In their lack of textual stability, these variants across different versions enact for O’Brien’s readers the kinds of narrative volatility that is key to the American literature emerging from the war in Viet Nam. Perhaps in this case, you can tell a true war story if you just keep on revising it.
 

Democracies are in danger. Around the world, a rising wave of populist leaders threatens to erode the core structures of democratic self-rule. In the United States, the tenure of Donald Trump has seemed decisive turning point for many. What kind of president intimidates jurors, calls the news media the “enemy of the American people,” and seeks foreign assistance investigating domestic political rivals? Whatever one thinks of President Trump, many think the Constitution will safeguard us from lasting damage. But is that assumption justified?

How to Save a Constitutional Democracy mounts an urgent argument that we can no longer afford to be complacent. Drawing on a rich array of other countries’ experiences with democratic backsliding, Tom Ginsburg and Aziz Z. Huq show how constitutional rules can both hinder and hasten the decline of democratic institutions. The checks and balances of the federal government, a robust civil society and media, and individual rights—such as those enshrined in the First Amendment—often fail as bulwarks against democratic decline. The sobering reality for the United States, Ginsburg and Huq contend, is that the Constitution’s design makes democratic erosion more, not less, likely. Its structural rigidity has had unforeseen consequence—leaving the presidency weakly regulated and empowering the Supreme Court conjure up doctrines that ultimately facilitate rather than inhibit rights violations. Even the bright spots in the Constitution—the First Amendment, for example—may have perverse consequences in the hands of a deft communicator who can degrade the public sphere by wielding hateful language banned in many other democracies. We—and the rest of the world—can do better. The authors conclude by laying out practical steps for how laws and constitutional design can play a more positive role in managing the risk of democratic decline.

A Leading Expert on Traditional Archery Offers Insight Into How the Longbow Was Drawn from Medieval Sources to Modern Recreations
“Soar’s book [The Crooked Stick] is indispensible.”—Bernard Cornwell, New York Times bestselling author
Relying on more than fifty years’ experience in archery, historian Hugh D. H. Soar reflects on how the longbow was drawn and shot across the centuries through examining the design of the bow and early literature about the bow, combined with his and his colleagues’ applied knowledge using replica bows. No complete medieval longbow has survived, but those found aboard the Tudor warship Mary Rose provide the best archaeological evidence to the possible construction of the medieval bow. Contemporary treatises written about the proper manner of shooting the bow, together with the resurgence in interest and construction of replica bows beginning in the late sixteenth century that form part of the author’s collection provide the basis for this work. How to Shoot the Longbow: A Guide from Historical and Applied Sources is a fascinating and practical look at the use of a legendary invention.

Our current agricultural system favors large-scale, industrialized farms made to produce monocrops that are shipped all over the world. Consumers are sold on the idea that this system keeps food cheap and affordable, but it also means that middlemen take much of the profits while greenhouse gas emissions run high. The Argus Farm Stop in Ann Arbor, Michigan’s model provides economic and cultural benefits as well as enhanced resiliency for the farmers and communities they serve. This guidebook outlines the benefits and challenges of implementing this consignment-based business model. It highlights best practices, offers resources and technical assistance for the establishment of additional Farm Stops around the country, and prioritizes the development of regional, circular sustainable food systems that empower local farmers and enrich communities.

While numerous studies over the years have focused on the ways in which art functions in our society, How to Study Art Worlds is the first to examine it in light of the organizational aspects of the art world. Van Maanen delves into the works of such sociologists as Howard S. Becker, Pierre Bourdieu, George Dickie, and Niklas Luhmann, among others, to examine the philosophical debates surrounding aesthetic experience—and then traces the consequences that each of these approaches has had and continues to have on organizations in the art world.

A complete guide for successful studying, How to Study is concise, practical, time-tested, and free of gimmicks. Designed originally for freshmen at the University of Chicago, this smart book has helped generations of students throughout the country improve their skills in learning quickly and effectively. It offers a no-nonsense plan of action filled with techniques, strategies, exercises, and advice for:

*Mastering rather than just memorizing material

*Learning the secrets of mental preparation before tackling difficult assignments or exams

*Strengthening skills for better reading, note taking, and listening

*Improving use of time in the classroom, the library, and at home

It offers a wealth of advice, from the commonsensical ("Never begin study immediately after eating" and "Check every tendency to daydream") to the more psychological ("Use your knowledge by thinking, talking, and writing about the things you are learning").

Thoroughly revised and updated, this powerful little book can help any motivated and capable student work smarter, not just harder, from high school through college.

When he wrote How to Study Arthur W. Kornhauser (1896-1990) was associate professor of business psychology at the University of Chicago.

After years of preparation and anticipation, many students arrive at college without any real knowledge of the ins and outs of college life. They’ve been focused on finding the right school and have been carefully guided through the nuances of the admissions process, but too often they have little knowledge about how college will be different from high school or what will be expected of them during that crucial first year and beyond. Written by an award-winning teacher, How to Succeed in College (While Really Trying) provides much-needed help to students, offering practical tips and specific study strategies that will equip them to excel in their new environment.

Drawing on years of experience teaching at a variety of campuses, from large research universities to small liberal arts colleges, Jon B. Gould gives readers the lay of the land and demystifies the college experience. In the course of the book, students will learn how to identify the best instructors, how to choose classes and settle on a major, how to develop effective strategies for reading and note taking, and how to write good papers and successfully complete exams.

Because much of the college experience takes place outside of the classroom, Gould also advises students on how to effectively manage their cocurricular activities, work obligations, and free time, as well as how to take advantage of the typically untapped resources on every campus. With candid advice and insights from a seasoned insider, this guide will leave students better prepared not only to succeed in college but to enjoy it as well.

Tucked away in Siberia, there are furry, four-legged creatures with wagging tails and floppy ears that are as docile and friendly as any lapdog. But, despite appearances, these are not dogs—they are foxes. They are the result of the most astonishing experiment in breeding ever undertaken—imagine speeding up thousands of years of evolution into a few decades. In 1959, biologists Dmitri Belyaev and Lyudmila Trut set out to do just that, by starting with a few dozen silver foxes from fox farms in the USSR and attempting to recreate the evolution of wolves into dogs in real time in order to witness the process of domestication. This is the extraordinary, untold story of this remarkable undertaking.

Most accounts of the natural evolution of wolves place it over a span of about 15,000 years, but within a decade, Belyaev and Trut’s fox breeding experiments had resulted in puppy-like foxes with floppy ears, piebald spots, and curly tails. Along with these physical changes came genetic and behavioral changes, as well. The foxes were bred using selection criteria for tameness, and with each generation, they became increasingly interested in human companionship. Trut has been there the whole time, and has been the lead scientist on this work since Belyaev’s death in 1985, and with Lee Dugatkin, biologist and science writer, she tells the story of the adventure, science, politics, and love behind it all.  In How to Tame a Fox, Dugatkin and Trut take us inside this path-breaking experiment in the midst of the brutal winters of Siberia to reveal how scientific history is made and continues to be made today.

To date, fifty-six generations of foxes have been domesticated, and we continue to learn significant lessons from them about the genetic and behavioral evolution of domesticated animals. How to Tame a Fox offers an incredible tale of scientists at work, while also celebrating the deep attachments that have brought humans and animals together throughout time.

It is common wisdom that the U.S. economy has adapted to losses in its manufacturing base because of the booming information sector, with high-paying jobs for everything from wireless networks to video games. We are told we live in the Information Age, in which communications networks and media and information services drive the larger economy. While the Information Age may have looked sunny in the beginning, as it has developed it looks increasingly ominous: its economy and benefits grow more and more centralized--and in the United States, it has become less and less subject to democratic oversight.

Corporations around the world have identified the value of information and are now seeking to control its production, transmission, and consumption. In How to Think about Information, Dan Schiller explores the ways information has been increasingly commodified as a result and how it both resembles and differs from other commodities. Through a linked series of theoretical, historical, and contemporary studies, Schiller reveals this commodification as both dynamic and expansionary, but also deeply conflicted and uncertain. He examines the transformative political and economic changes occurring throughout the informational realm and analyzes key dimensions of the process, including the buildup of new technological platforms, the growth of a transnationalizing culture industry, and the role played by China as it reinserts itself into an informationalized capitalism.

Before eHarmony.com, speed dating, and The Rules, there was W.H. Collingridge and his no-nonsense guide, How to Woo, When, and to Whom. Originally published in 1855 and newly reprinted here, How to Woo wrestles with the same problems men and women face today: seeking, seducing, and snaring a suitable mate. 

The book addresses every step in navigating the perilous territory of love, from instructions on writing love letters to the rules of public displays of affection to gracefully dealing with rejection. Also included are the most important characteristics to keep in mind when choosing The One, such as age, health, fortune, morals, and social position. On marriage, Collingridge wisely advises: “Both men and women vary greatly as to the age at which they arrive at maturity; marriage should never be undertaken before that age, and generally never after.” Even so, Collingridge lauds marriage as an institution of virtues, noting how young men’s “intellects become sharpened, their morals improved, and their energy, by certain necessity, enlarged.” (He does not, interestingly enough, note what marriage does for women.) Passages of verse by such famed literary figures as Shakespeare, Boswell, Dr. Johnson, and Lady Mary Wortley Montagu accompany the sensible advice, providing an array of poetic passages that capture the tumultuous and timeless emotions of love and rejection. 

Even though today’s social scene is more analogous to Sex and the City than Emma, much of the counsel in How to Woo is surprisingly applicable to contemporary daters. An invaluable resource for both lovers and the lovelorn, How to Woo is a delightful handbook on the age-old art of courting.

The senior thesis is the capstone of a college education, but writing one can be a daunting prospect. Students need to choose their own topic and select the right adviser. Then they need to work steadily for several months as they research, write, and manage a major independent project. Now there's a mentor to help. How to Write a BA Thesis is a practical, friendly guide written by Charles Lipson, an experienced professor who has guided hundreds of students through the thesis-writing process.

This book offers step-by-step advice on how to turn a vague idea into a clearly defined proposal, then a draft paper, and, ultimately, a polished thesis. Lipson also tackles issues beyond the classroom-from good work habits to coping with personal problems that interfere with research and writing.

Filled with examples and easy-to-use highlighted tips, the book also includes handy time schedules that show when to begin various tasks and how much time to spend on each. Convenient checklists remind students which steps need special attention, and a detailed appendix, filled with examples, shows how to use the three main citation systems in the humanities and social sciences: MLA, APA, and Chicago.

How to Write a BA Thesis will help students work more comfortably and effectively-on their own and with their advisers. Its clear guidelines and sensible advice make it the perfect text for thesis workshops. Students and their advisers will refer again and again to this invaluable resource. From choosing a topic to preparing the final paper, How to Write a BA Thesis helps students turn a daunting prospect into a remarkable achievement.

How to Write a BA Thesis is the only book that directly addresses the needs of undergraduate students writing a major paper. This book offers step-by-step advice on how to move from early ideas to finished paper. It covers choosing a topic, selecting an advisor, writing a proposal, conducting research, developing an argument, writing and editing the thesis, and making through a defense. Lipson also acknowledges the challenges that arise when tackling such a project, and he offers advice for breaking through writer’s block and juggling school-life demands. This is a must-read for anyone writing a BA thesis, or for anyone who advises these students.

To most people, technology has been reduced to computers, consumer goods, and military weapons; we speak of "technological progress" in terms of RAM and CD-ROMs and the flatness of our television screens. In Human-Built World, thankfully, Thomas Hughes restores to technology the conceptual richness and depth it deserves by chronicling the ideas about technology expressed by influential Western thinkers who not only understood its multifaceted character but who also explored its creative potential.

Hughes draws on an enormous range of literature, art, and architecture to explore what technology has brought to society and culture, and to explain how we might begin to develop an "ecotechnology" that works with, not against, ecological systems. From the "Creator" model of development of the sixteenth century to the "big science" of the 1940s and 1950s to the architecture of Frank Gehry, Hughes nimbly charts the myriad ways that technology has been woven into the social and cultural fabric of different eras and the promises and problems it has offered. Thomas Jefferson, for instance, optimistically hoped that technology could be combined with nature to create an Edenic environment; Lewis Mumford, two centuries later, warned of the increasing mechanization of American life.

Such divergent views, Hughes shows, have existed side by side, demonstrating the fundamental idea that "in its variety, technology is full of contradictions, laden with human folly, saved by occasional benign deeds, and rich with unintended consequences." In Human-Built World, he offers the highly engaging history of these contradictions, follies, and consequences, a history that resurrects technology, rightfully, as more than gadgetry; it is in fact no less than an embodiment of human values.