Jumat, 29 Juli 2011

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Mother Night, by Kurt Vonnegut

Mother Night is a daring challenge to our moral sense. American Howard W. Campbell, Jr., a spy during World War II, is now on trial in Israel as a Nazi war criminal. But is he really guilty? In this brilliant book rife with true gallows humor, Vonnegut turns black and white into a chilling shade of gray with a verdict that will haunt us all.

  • Sales Rank: #19939 in Books
  • Published on: 1999-05-11
  • Released on: 1999-05-11
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.00" h x .60" w x 5.20" l,
  • Binding: Paperback
  • 268 pages

Review
“A great artist.”—Cincinnati Enquirer

“A shaking up in the kaleidoscope of laughter . . . Reading Vonnegut is addictive!”—Commonwealth

“Vonnegut is George Orwell, Dr. Caligari and Flash Gordon compounded into one writer . . . a zany but moral mad scientist.”—Time

About the Author
Kurt Vonnegut’s black humor, satiric voice, and incomparable imagination first captured America’s attention in The Sirens of Titan in 1959 and established him as “a true artist” (The New York Times) with Cat’s Cradle in 1963. He was, as Graham Greene declared, “one of the best living American writers.” Mr. Vonnegut passed away in April 2007.

Excerpt. © Reprinted by permission. All rights reserved.
Chapter One


Tiglath-Pileser
The Third . . .

My name is Howard W. Campbell, Jr.

I am an American by birth, a Nazi by reputation, and a nationless person by inclination.

The year in which I write this book is 1961.

I address this book of mine to Mr. Tuvia Friedmann, Director of the Haifa Institute for the Documentation of War Criminals, and to whomever else this may concern.

Why should this book interest Mr. Friedmann?

Because it is written by a man suspected of being a war criminal. Mr. Friedmann is a specialist in such persons. He had expressed an eagerness to have any writings I might care to add to his archives of Nazi villainy. He is so eager as to give me a typewriter, free stenographic service, and the use of research assistants, who will run down any facts I may need in order to make my account complete and accurate.

I am behind bars.

I am behind bars in a nice new jail in old Jerusalem.

I am awaiting a fair trail for my war crimes by the Republic of Israel.

It is a curious typewriter Mr. Friedmann has given to me--and an appropriate typewriter, too. It is a typewriter, too. It is a typewriter that was obviously made in Germany during the Second World War. How can I tell? Quite simply, for it puts at finger tips a symbol that was never used on a typewriter before the Third German Reich, a symbol that will never be used on a typewriter again.

The symbol is the twin lightning strokes used for the dreaded S.S., the Schutzstaffel, the most fanatical wing of Nazism.

I used such a typewriter in Germany all through the war. Whenever I had occasion to write of the Schutzstaffel, which I did often and with enthusiasm, I never abbreviated it as "S.S.," but always struck the typewriter key for the far more frightening and magical twin lightning strokes.

Ancient history.

I am surrounded by ancient history. Though the jail in which I rot is new, some of the stones in it, I'm told, were cut in the time of King Solomon.

And sometimes, when I look out through my cell window at the gay and brassy youth of the infant Republic of Israel, I feel that I and my war crimes are as ancient as Solomon's old gray stones.

How long ago that war, that Second World War, was! How long ago the crimes in it!

How nearly forgotten it is, even by the Jews--the young Jews, that is.

One of the Jews who guards me here knows nothing about that war. He is not interested. His name is Arnold Marx. He has very red hair. He is only eighteen, which means Arnold was three when Hitler died, and nonexistent when my career as a war criminal began.

He guards me from six in the morning until noon.

Arnold was born in Israel. He has never been outside of Israel.

His mother and father left Germany in the early thirties. His grandfather, he told me, won an Iron Cross in the First World War.

Arnold is studying to be a lawyer. The avocation of Arnold and of his father, a gunsmith, is archaeology. Father and son spend most all their spare time excavating the ruins of Hazor. They do so under the direction of Yigael Yadin, who was Chief of Staff of the Israeli Army during the war with the Arab States.

So be it.

Hazor, Arnold tells me, was a Canaanite city in northern Palestine that existed at least nineteen hundred years before Christ. About fourteen hundred years before Christ, Arnold tells me, an Israelite army captured Hazor, killed all forty thousand inhabitants, and burned it down.

"Solomon rebuilt the city," said Arnold, "but in 732 B.C. Tiglath-pileser the Third burned it down again."

"Who?" I said.

"Tiglath-pileser the Third," said Arnold. "The Assyrian," he said, giving my memory a nudge.

"Oh," I said. "That Tiglath-pileser."

"You act as though you never heard of him," said Arnold.

"I never have," I said. I shrugged humbly. "I guess that's pretty terrible."

"Well--" said Arnold, giving me a schoolmaster's frown, "it seems to me he really is somebody everybody ought to know about He was probably the most remarkable man the Assyrians ever produced."

"Oh," I said.

"I'll bring you a book about him, if you like," said Arnold.

"That's nice of you," I said. "Maybe I'll get around to thinking about remarkable Assyrians later on. Right now my mind is pretty well occupied with remarkable Germans."

"Like who?" he said.

"Oh, I've been thinking a lot lately about my old boss, Paul Joseph Goebbels," I said.

Arnold looked at me blankly. "Who?" he said.

And I felt the dust of the Holy Land creeping in to bury me, sensed how thick a dust-and-rubble blanket I would one day wear. I felt thirty or forty feet of ruined cities above me; beneath me some primitive kitchen middens, a temple or two--and then--

Tiglath-pileser the Third.

Chapter Two


Special Detail . . .

The guard who relieves Arnold Marx at noon each day is a man nearly my own age, which is forty-eight. He remembers the war, all right, though he doesn't like to.

His name is Andor Gutman. Andor is a sleepy, not very bright Estonian Jew. He spent two years in the extermination camp at Auschwitz. According to his own reluctant account, he came this close to going up a smokestack of a crematorium there:

"I had just been assigned to the Sonderkommando," he said to me, "when the order came from Himmler to close the ovens down."

Sonderkommando means special detail. At Auschwitz it meant a very special detail indeed--one composed of prisoners whose duties were to shepherd condemned persons into gas chambers, and then to lug their bodies out. When the job was done, the members of the Sonderkommando were themselves killed. The first duty of their successors was to dispose of their remains.

Gutman told me that many men actually volunteered for the Sonderkommando.

"Why?" I asked him.

"If you would write a book about that," he said, "and give the answer to that question, that ‘Why?'--you would have a very great book."

"Do you know the answer?" I said.

"No," he said, "That is why I would pay a great deal of money for a book with the answer in it."

"Any guesses?" I said.

"No," he said, looking me straight in the eye, "even though I was one of the ones who volunteered."

He went away for a little while, after having confessed that. And he thought about Auschwitz, the thing he liked least to think about. And he came back, and he said to me:

"There were loudspeakers all over the camp," he said, "and they were never silent for long. There was much music played through them. Those who were musical told me it was often good music--sometimes the best."

"That's interesting," I said.

"There was no music by Jews," he said. "That was forbidden."

"Naturally," I said.

"And the music was always stopping in the middle," he said, "and then there was an announcement. All day long, music and announcements."

"Very modern," I said.

He closed his eyes, remembered gropingly. "There was one announcement that was always crooned, like a nursery rhyme. Many times a day it came. It was the call for the Sonderkommando."

"Oh?" I said.

"Leichentärger zu Wache," he crooned, his eyes still closed.

Translation: "Corpse-carriers to the guardhouse." In an institution in which the purpose was to kill human beings by the millions, it was an understandably common cry.

"After two years of hearing that call over the loudspeakers, between the music," Gutman said to me, "the position of corpse-carrier suddenly sounded like a very good job."

"I can understand that," I said.

"You can?" he said. He shook his head. "I can't," he said. "I will always be ashamed. Volunteering for the Sonderkommando--it was a very shameful thing to do."

"I don't think so," I said.

"I do," he said. "Shameful," he said. "I never want to talk about it again."

Chapter Three


Briquets . . .

The guard who relieves Andor Gutman at six each night is Arpad Kovacs. Arpad is a Roman candle of a man, loud and gay.

When Arpad came on duty at six last night, he demanded to see what I'd written so far. I gave him the very few pages, and Arpad walked up and down the corridor, waving and praising the pages extravagantly.

He didn't read them. He praised them for what he imagined to be in them.

"Give it to the complacent bastards!" he said last night. "Tell those smug briquets!"

By briquets he meant people who did nothing to save their own lives or anybody else's life when the Nazis took over, who were willing to go meekly all the way to the gas chambers, if that was where the Nazis wanted them to go. A briquet, of course, is a molded block of coal dust, the soul of convenience where transportation, storage and combustion are concerned.

Arpad, faced with the problem of being a Jew in Nazi Hungary, did not become a briquet. On the contrary, Arpad got himself false papers and joined the Hungarian S.S.

That fact is the basis for his sympathy with me. "Tell them the things a man does to stay alive! What's so noble about being a briquet?" he said last night.

"Did you ever hear any of my broadcasts?" I asked him. The medium of my war crimes was radio broadcasting. I was a Nazi radio propagandist, a shrewd and loathsome anti-Semite.

"No," he said.

So I showed him a transcript of a broadcast, a transcript furnished to me by the Haifa Institute. "Read it," I said.

"I don't have to," He said. "Everybody was saying the same things over and over and over in those days."

"Read it anyway--as a favor," I said.

So he read it, his face becoming sourer and sourer. He handed it back to me. "You disappoint me," he said.

"Oh?" I said.

"It's so weak!" he said. "It has no body, no paprika, no zest! I though you were a master of racial invective!"

"I'm not?" I said.

"If any member of my S.S. platoon had spoken in such a friendly way about the Jews," said Arpad, "I would have had him shot for treason! Goebbels should have fired you and hired me as the radio scourge of the Jews. I would have raised blisters around the world!"

"You were already doing your part with your S.S. platoon," I said.

Arpad beamed, remembering his S.S. days. "What an Aryan I made!" he said.

"Nobody ever suspected you?" I said.

"How would they dare?" he said. "I was such a pure and terrifying Aryan that they even put me in a special detachment. Its mission was to find out how the Jews always knew what the S.S. was going to do next. There was a leak somewhere, and we were out to stop it." He looked bitter and affronted, remembering it, even though he had been that leak.

"Was the detachment successful in its mission?" I said.

"I'm happy to say," said Arpad, "that fourteen S.S. men were shot on our recommendations. Adolf Eichmann himself congratulated us."

"You met him, did you?" I said.

"Yes--" said Arpad, "and I'm sorry I didn't know at the time how important he was."

"Why?" I said.

"I would have killed him," said Arpad.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Timeless, simple, touching and original
By Anastasiya Koroleva
I have yet to read a more multifaceted author. He never ceases to surprise me. I have been waiting for years to grow out of Kurt Vonnegut, the way we have grown out of denial of authority, teenage nihilism, adolescent maximalism and overwhelming passions and beliefs. His writing though doesn't become any less relevant, not with us ageing , not with the passage of time. The writing is what you have come to expect, simple straightforward, fluent. The plot is unexpected at every turn. Characters are fluid and relatable while completely absurd. Your beliefs come into question on every pageturn. Good thing he is also extremely prolific. I have yet to run out of books.

1 of 1 people found the following review helpful.
A New Perspective On Nazi Germany
By Rob Port
This book is fantastic. The plot itself is worth the price of the book but the ending will throw you for a loop, I know it did for me.
The book is a very quick read and doesn't really have alot of historical facts or detailed descriptions. This book is no different than any other Vonnegut book in that its very ambiguos. We never find out why the Nazi's decided to give Campbell his own show or why the OSS decided to use Campbell as a spy.
Despite this the book is a very fun read. Its funny and often hilarious (especially when describing aging racists in America). I would reccomend this book to any reader of any age. Its, quite simply, a good story.

0 of 0 people found the following review helpful.
Mother Night
By Ashley Love Holmes
I got this for class but I enjoyed the book a lot. This was the cheapest place I could get the book.

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Jumat, 22 Juli 2011

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Invention and Craft: A Guide to College Writing offers a new approach to teaching and learning in the first-year writing classroom. Invention and Craft draws onthe relationship between the writing process and the creative process model and teaches a problem-solving, insight-driven approach to writing clearly and effectivelyin all genres. Its emphasis on knowledge transfer instructs students to recognize the patterns that occur within and across genres and to apply what they knowto each new writing assignment. Invention and Craft offers special promise for casting students in the role of meaning-makers by pinpointing strategies for transferringknowledge―the hallmark of successful expository prose.

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  • Sales Rank: #153169 in Books
  • Published on: 2015-01-05
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .70" w x 7.40" l, 1.39 pounds
  • Binding: Paperback
  • 496 pages

About the Author
Professor Ronda Leathers Dively received her Bachelor of Arts degree in English (with teacher certification) and her Master of Arts degree in English (literature) from Eastern Illinois University. After gaining a few years of teaching experience in the secondary English classroom, she pursued her Doctorate of Arts degree in English (Rhetoric and Composition) at Illinois State University, completing her degree in 1994 and accepting an assistant professorship in the English Department at Southern Illinois University Carbondale that same year. Currently an associate professor at SIUC, Dr. Dively serves as the Director of Writing Studies for the Department of English and teaches in the Rhetoric and Composition program. Her areas of teaching specialization include composition pedagogy, empirical research methods, intermediate and advanced composition, and classical rhetoric. She has also enjoyed teaching special topics courses that explore intersections between creativity theory and composition theory. Professor Dively’s scholarship investigates how intersections of creativity and composition theory may illuminate how individuals negotiate transitions between various academic composing contexts―from high school to college classrooms, from general education to discipline-specific writing courses, from status as undergraduate student to graduate student, from status as graduate student to professional. Such interests generated a book-length empirical study entitled Preludes to Insight: Creativity, Incubation and Expository Writing (Hampton Press, 2006), as well as various articles and conference presentations. She has also published in the areas of knowledge transfer and religious expression.

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Minggu, 17 Juli 2011

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  • Sales Rank: #70260 in Books
  • Brand: Lindsell-Roberts, Sheryl
  • Published on: 2010-04-21
  • Released on: 2010-04-21
  • Original language: English
  • Number of items: 1
  • Dimensions: 9.00" h x .86" w x 7.00" l, 1.02 pounds
  • Binding: Spiral-bound
  • 208 pages

Most helpful customer reviews

18 of 18 people found the following review helpful.
Excellent way to teach yourself to touch-type
By Christine L. Carter
I first got this book out of the library and was impressed with how easy it was to use. I could type a little but not touch-typing. When I stuck to it, my touch-typing improved dramatically. I have never taken typing lessons and being middle-aged, was afraid I'd never be any good at typing, let alone touch-typing. The author teaches you not only typing but about the keyboard, the best way to sit while typing and other useful information. I especially like how you must look at the book to do the lessons, rather than the screen. I definitely recommend this book to anyone who wants to learn how to touch-type.

21 of 22 people found the following review helpful.
Mastering Computer Typing, Revised Edition
By sevierr
Everything involving this book was easy. It's nice, not too big, and has great excercises for anyone beginning to type or wanting to improve their typing skills.

7 of 9 people found the following review helpful.
I like it
By Jeannie Brown
This book will stand alone so it's easy to place on your desk top. Great learning tool, very easy on the eyes for a middle age person.

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Rabu, 06 Juli 2011

[L556.Ebook] Ebook Free Speak with a New York Accent, by Ivan Borodin

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Speak with a New York Accent, by Ivan Borodin

Finally, the go-to handbook for pulling off a convincing New York Accent. Hollywood dialect coach Ivan Borodin invites you to benefit from twenty years of preparing actors for stage and screen. The New York born instructor outlines the major aspects of this famously aggressive accent, including: * Monotone delivery * Increased nasality * Favoring the upper lip * 'Yuge' changes * Unraveling contractions After going through this program, you'll have the audience convinced you're a New Yorker mid-way through your first sentence. This course is innovatively supported by free-to-access YouTube videos. Study this book while a veteran dialect coach spoon feeds you the subtleties of the accent. Interested in mastering a New York accent? Then this course will take you there in a very different way. Benefit from the best of two decades of experience. Awaken the New Yorker in you with this straightforward publication from a dialectician with a profound love of accents. 'Speak with a New York Accent' takes the exotic art of performing with dialects and delivers easy-to-follow lessons. Break all barriers to learning the New York accent with this book, and at your next audition the casting directors will be scraping their jaws off the floor. This program is also extremely helpful for comedians and voice-over artists. Ivan Borodin has taught dialects and accent reduction since 1993 at Los Angeles City College and Los Angeles Valley College Community Services, and several other schools. He has worked as a dialect coach on several films, including 'The Truth about Angels'.

  • Sales Rank: #2034502 in Books
  • Brand: Brand: CreateSpace Independent Publishing Platform
  • Published on: 2012-06-28
  • Original language: English
  • Number of items: 1
  • Dimensions: 11.00" h x .9" w x 8.50" l, .21 pounds
  • Binding: Paperback
  • 36 pages
Features
  • Used Book in Good Condition

About the Author
Ivan Borodin has taught dialects and accent reduction since 1993 at Los Angeles City College and Los Angeles Valley College Community Services, and several other schools. He has worked as a dialect coach on several films, including ‘The Truth about Angels’.

Most helpful customer reviews

1 of 2 people found the following review helpful.
Master in craft, Native to the core
By Emilia Rutigliano
A Native-born speaker, with a critical ear for nuances, picking up the sublime, he avoids the overdone caricatures that others do--as they invariably insult other native-born speakers, like myself & embarrass themselves! I bought the book to tone down my dialect, when need be, (voice overs) to be more aware of my speech, never to purge/mock myself of my identity. A great book--in concert with his YouTube videos you'll see he is a Master.

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Senin, 04 Juli 2011

[J387.Ebook] PDF Download One Simple Idea, Revised and Expanded Edition: Turn Your Dreams into a Licensing Goldmine While Letting Others Do the Work, by Stephen Key

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One Simple Idea, Revised and Expanded Edition: Turn Your Dreams into a Licensing Goldmine While Letting Others Do the Work, by Stephen Key

With must-have updates, a new edition of the best-selling method that shows how anyone can turn their one simple idea into millions - without lifting a finger!

Stephen Key is an award-winning inventor who has licensed more than 20 product ideas. In 2011, he shared the secrets to his success in the best-selling book One Simple Idea. Since that time, many changes have occurred in the entrepreneurial world.

One Simple Idea, Revised and Expanded Edition has been revised and updated to reflect current trends and practices in the industry. In addition to teaching listeners how to turn their ideas into marketable products that companies will want to license, Key expands upon his cutting-edge product development, sales, and negotiation strategies, making note of the new opportunities and technologies available to creative people today. The book also features real-life success stories from people who have used the author's strategies.

  • Sales Rank: #14120 in Audible
  • Published on: 2016-01-29
  • Format: Unabridged
  • Original language: English
  • Running time: 533 minutes

Most helpful customer reviews

163 of 170 people found the following review helpful.
An essential guide to getting paid for your ideas!
By Chris Jaronsky
I really like this book because it has opened up a whole new avenue for me, and showed me with simple descriptions all the areas where I was doing it wrong. I almost felt stupid that I did not know about provisional patents. I thought the only way to protect your ideas was the traditional patent route, and the 10-20 thousand dollars that route can cost. I did not know that a simple provisional patent, that can be filed for $110 would give me even more protection than a patent the first year I filed it. And that I could get a company to pay for my patent when they license my idea! How can you not love this book?

Stephen Key walks you through the steps of taking your idea from birth all the way through getting some company to send you royalty checks every quarter. You come up with the idea, then follow the steps laid out to getting paid for that idea. You do not need to have really brilliant ideas either. A simple product improvement can be licensed. A manufacturing change can be licensed. A procedure change can be licensed. The list is pretty endless in regards to what you can do. Can you take an existing product, change it slightly, and use it for some other non-related use? Yes you can, and you can get paid to do it!

Here is how this book will help me. I started writing ideas down in a small five inch notebook on may 4, 2004. I date all the ideas, my memory is not that good. I have 7 of these notebooks filled with ideas, changes, upgrades, etc. I take notes on a voice recorder in my car because ideas always pop in my head while I am driving. I know a lot of people get ideas in the shower, but I was on a nuclear submarine a long time ago and got in the habit of taking very fast showers because we can't waste water. So my shower time is very fast and focused, no time for ideas, but driving really works well for me. The positive side of that experience is that many of my ideas relate to saving resources.

I looked through all 7 books this week. My old thinking told me many of these ideas need an expensive, and time consuming patent. Now that I know about provisional patents I am looking at these ideas in a whole new light. I came across 19 ideas that I can follow up with right now. Then there are many more that need some more thought, and quite a few that are already on the market. Someone that knew how to market them beat me to the punch. That will not happen again.

According to Stephen, licensing is a numbers game. You will not get every idea licensed, it is better to be prolific. With the details he gives in this book I am confident I can research the market, protect my idea, target specific companies, create a "sell sheet" and benefits statement, and approach my targeted companies to start discussing a licensing partnership.

If you have ideas that you think can make money, you need to read this book. I normally read a book once, but I have read and reread many chapters in this book. It is an excellent guide which I am positive will make a difference in my life. I look forward to one day meeting with Stephen and thanking him in person.

79 of 87 people found the following review helpful.
"Invent Yourself Out Of A Day Job One Idea At A Time"
By Bradley Bevers
One Simple Idea is a practical, real-world guide that will help you take your ideas and get them to market with minimum investment of time and money. It is a great read that motivates the creative genius inside to think outside of the box, dream big, and get paid for it. One Simple Idea is a 5 star book and a steal for anyone interested in turning ideas into cash.

Part 1 focuses on how nice it will be once your ideas pay off and you are earning extra income.

"Find Your Million-Dollar Idea" (Part 2) really kicks off the valuable information in the book. This section offers great advice on what makes an idea valuable and marketable. Key emphasizes simplicity and how small ideas can make big money. While this part is good, I think it's also the weakest section in the book. Key only offers three creative thinking methods to come up with ideas . . . each just a paragraph long. He focuses on other idea generation methods that are simpler, but creative thinking techniques can unlock tons of great ideas in my experience. Going in depth here would make this book too long, but it would have been nice to include some additional recommendations for idea generation. For a book that is really strong in this area, check out Thinkertoys: A Handbook of Creative-Thinking Techniques (2nd Edition). It makes a great companion to One Simple Idea: Turn Your Dreams into a Licensing Goldmine While Letting Others Do the Work

Also in Part 2, Key gives an "idea litmus test" (70-73) to measure the ideas that you dream up. This is a great tool and a step that could be easily missed.

"Prove Your Idea" (Part 3) offers real world techniques to prove the viability of your idea. The information in this section is easily worth the price of ten copies of the book. Key's thoughts on prototype development (105-110) remove financial and fear barriers from the inventor's equation. Using his methods anyone can test markets with a little research and create great prototypes of their invention with minimal investment.

"Protect Your Idea" (Part 4) is the most valuable section in the book. If Part 3 saves the price of ten copies, Part 4 could save the price of a thousand copies. The first chapter details Key's method of protection through patents. His thoughts on this (not to mention the additional information on StephenKey.com) could save an inventor thousands of dollars, if not tens of thousands. Getting advice like this from an entrepreneur is more valuable than advice from a patent attorney.

The second chapter in this section details the best method to protect yourself when presenting your idea to others. Again, the advice is not just theoretical. Key spells out exactly what to look for and what to add to your agreements (133-134).

"Prepare to Pitch Your Idea" (Part 5) details how Key has licensed his products. His two-step method is simple, easy-to-follow, and a great idea. Anyone who has evaluated products of any kind will appreciate his approach. It will give you success more frequently and limit your failures to substance, not style.

"Submit Your Idea to Potential Licensees" (Part 6) details methods to do just that. Key gives techniques to narrow down your list of companies and even includes access to a part of his site that will give you the names of more than 1,300 companies that license products through open innovation (see page 173). Chapter 17 then details what to do once you narrow your list of companies down. Key's advice on cold-calling is practical and very helpful. This section could easily be applied to a wide variety of businesses. Key has obviously made many thousands of calls over the years and presents methods that will help you secure a licensing agreement.

"Bring Your Ideas to Market" (Part 7) gives a brief overview of how to negotiate and cut your first licensing deal. While there is not enough information in this section to answer all your questions, it is a great start. It is helpful to know what the going rate for royalties on inventions is, and Key does not hold back any information.

Be sure and check out the last two pages of the book for Key's 10 Steps from Idea to Market (222-223). He references the steps a couple of times throughout his book, and finally gives them all in one place at the very end.

"Appendix: Valuable Resources" is the last part of the book. The only thing better than a great book is a great book that points you in the right direction to learn more. Most of the resources on this page direct you to a section of Key's website. The advice is valuable, though the page on his site could be better organized and indexed with hyperlinks. Also, the recommended business book section is weak with only two books recommended. However, this could all be updated quickly and the resources themselves are very valuable.

*Pros
- Excellent advice. Real-world help, not conceptual theory.
- Will help you take your ideas to the marketplace
- Additional resources and the value added from this book outweigh the cost of the book a thousand times over
*Cons
- Weak on the creative thinking & idea generation sections
- References other chapters throughout the book. Helpful if you read a chapter here and there, annoying if read cover to cover
- Uses same examples too often. I know much more than I want to about Michael Jordan's Wall Ball now.

If you are interested in a book that can actually deliver on its promise to make you money with minimal investment, this is a great one. It is refreshing to read a book that gives real advice, has very little theoretical filler, and clocks in at less than 240 pages. It is a book you will read through once and refer too often when you come across a great idea that has market potential. Buy it and, as two of Key's students say on page 151, "Invent yourself out of a day job one idea at a time."

133 of 156 people found the following review helpful.
Not life changing
By Il
So I read this book about 5 months ago. After I finished it, I started writing a review but got sidetracked. I was just looking up new books to read and saw that this book had 111 undeserving 5 star ratings, so I am now re inspired to finish my review and caution others. Unfortunately I can't remember all of the things I wanted to say about it, but I do remember finishing the book and being completely unsatisfied. This review is based off what I could remember and the notes that I took.

I had a few a few ideas that I was hoping to bring to the marketplace. With all of the 5 star reviews I thought for sure this book would be enlightening and the "key" to my shortcomings. Unfortunately I was completely wrong. The only way this book can be that great, is if you've never heard of provisional patents or that you can license an idea. I was not that familiar with licensing, so I could appreciate that concept alone. Basically you come up with an idea, file a provisional patent and present the idea to a licensing company who handles all of the production, marketing and sales. You receive a royalty from the sales and you now have more time to license more ideas. If you've never heard of provisional patents, look it up.

Idea Lab's comment about the book's repetitiveness is completely accurate. It's like a 7th grade essay that repeats the same points in the same manner to drive a point home. Here's a list of the redundancies you'll read:

-The most marketable ideas are usually simple ones; small improvements to existing technology
-He has 20 licensed products under his belt
-The conventional way of developing and licensing an idea is dumb and unnecessary, i.e. spending thousands of dollars and tons of time on creating prototypes and patents
-He developed the rotating label
-It's a numbers game; generate a lot of ideas

I actually found it insulting that he would repeat these things along with a few others as if I never read any of the previous sections or understood some of the most simple concepts.

The strongest section was chapter 17 on actually contacting potential licensees. It had some insightful points on the nuances of communicating and presenting to these companies. Overall though, the book was a waste of time. It had a few good ideas, but too much filler and repetitiveness to be worth the read. As long as you understand that you don't need a prototype and patent and that your idea can be licensed, skip this book and learn how to make a provisional patent. I've found this to be the real challenge.

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