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Will be shipped from US. Brand new copy.

• Sales Rank: #6256124 in Books
• Published on: 2004
• Binding: Paperback

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Whether she is contemplating the history of walking as a cultural and political experience over the past two hundred years (Wanderlust), or using the life of photographer Eadweard Muybridge as a lens to discuss the transformations of space and time in late nineteenth-century America (River of Shadows), Rebecca Solnit has emerged as an inventive and original writer whose mind is daring in the connections it makes. A Field Guide to Getting Lost draws on emblematic moments and relationships in Solnit's own life to explore issues of wandering, being lost, and the uses of the unknown. The result is a distinctive, stimulating, and poignant voyage of discovery.

• Sales Rank: #18038 in Books
• Brand: Solnit, Rebecca
• Published on: 2006-06-27
• Released on: 2006-06-27
• Original language: English
• Number of items: 1
• Dimensions: 7.73" h x .59" w x 5.09" l, .38 pounds
• Binding: Paperback
• 224 pages

From Publishers Weekly
The virtues of being open to new and transformative experiences are rhapsodized but not really illuminated in this discursive and somewhat gauzy set of linked essays. Cultural historian Solnit, an NBCC award winner for River of Shadows: Eadweard Muybridge and the Technological Wild West, allows the subject of getting lost to lead her where it will, from early American captivity narratives to the avant-garde artist Yves Klein. She interlaces personal and familial histories of disorientation and reinvention, writing of her Russian Jewish forebears' arrival in the New World, her experiences driving around the American west and listening to country music, and her youthful immersion in the punk rock demimonde. Unfortunately, the conceit of embracing the unknown is not enough to impart thematic unity to these essays; one piece ties together the author's love affair with a reclusive man, desert fauna, Hitchcock's Vertigo and the blind seer Tiresias in ways that will indeed leave readers feeling lost. Solnit's writing is as abstract and intangible as her subject, veering between oceanic lyricism ("Blue is the color of longing for the distance you never arrive in") and pensées about the limitations of human understanding ("Between words is silence, around ink whiteness, behind every map's information is what's left out, the unmapped and unmappable") that seem profound but are actually banal once you think about them.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.

From The New Yorker
This meditation on the pleasures and terrors of getting lost is-as befits its subject-less a coherent argument than a series of peregrinations, leading the reader to unexpected vistas. The word "lost," Solnit informs us, derives from the Old Norse for disbanding an army, and she extrapolates from this the idea of striking "a truce with the wide world." It's the wideness of the world that entices: a map of this deceptively slender volume would include hermit crabs, who live in scavenged shells; marauding conquistadors; an immigrant grandmother committed to an asylum; white frontier children kidnapped by Indians; and Hitchcock's "Vertigo." Solnit imagines a long-distance runner accumulating moments when neither foot is on the ground, "tiny fragments of levitation," and argues, by analogy, that in relinquishing certainty we approach, if only fleetingly, the divine.
Copyright © 2005 The New Yorker

From Booklist
One can literally get lost in a city or the wilderness, or one can lose one's self, one's memories, one's spiritual grounding, one's way through the labyrinth of love. And by getting lost, much can be found. Lannan Award winner Solnit, a penetrating cultural historian, has written books about landscape, the wild, art, and activism. Here she ponders the Zen of getting lost in a lithesome essay collection. Using the evocative color blue as a polestar, she roams from her roots in Bialystok to the Great Salt Lake and beyond, entwining autobiography with musings on exile, how photographs both create and displace memories, captivity narratives, urban ruins, music, the death of a friend, the "deterioration of the local," and the brief, bright life of artist Yves Klein. Solnit not only thinks innovatively and writes beautifully, she also trips the wire in the mind that hushes the static of routine concerns and allows readers to perceive hidden aspects of life, thus opening up new inner vistas for us to explore, even to the point of getting blissfully lost. Donna Seaman
Copyright © American Library Association. All rights reserved

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100 of 106 people found the following review helpful.
Rationality and Mystery
By Anna Mills
The first question is, what is a field guide to getting lost? Field guides help us with finding, not losing or getting lost. We use them to classify the unfamiliar and figure out what surrounds us. They reassure us that the bewildering array of natural phenomena has an underlying order. Solnit's title suggests we might also want our schemas to break down. Can we catalogue the various ways of getting lost as we might catalogue songbirds? The paradox feels whimsical, mocking, alluring. Like the title, the tone of the book will hover between the urge to know and the urge not to know, between rationality and mystery.

In the middle of the first chapter, Solnit gives us a manifesto: "Never to get lost is not to live, not to know how to get lost brings you to destruction." "Lost," for her, means we lack a narrative for what we are experiencing. Getting lost is a kind of Zen rebirth because "to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty." Getting lost also has connotations of spiritual longing. Solnit titles every other chapter "The Blue of Distance." Blue "represents the spirit, the sky, and water, the immaterial and the remote, so that however tactile ansd close-up it is, it is always about distance and disembodiment." Voila the tone of the book--grand, abstract, sensual, yearning and inexorably aloof.

With a topic like the beauty of longing and loss, it is surprising how rarely Solnit lapses into cliché. Her prose is as smooth and bare as polished stone. It creates the feeling of waking from a dream and encountering the world, dazed and receptive. If Thoreau is the most cerebral of the philosopher-poets and Whitman the most sensual, Rebecca Solnit belongs at the midpoint. She does not allow herself academic verbal tics, or excess verbiage, but neither does she shy away from the syntactical complexity of acadmic writing. She integrates lyric sensuality and philosophizing as if these modes belong together, as if western civilization had never tried to separate mind and body. I admire her poise and authority a little as I admire Susan Sontag's. Solnit's is a supremely self-possessed voice, which may be the same thing as a voice that has abandoned the antic whining of the self. She draws deeply on experience, yet she resists the confessional mode.

You might say that Solnit offers an optimistic way to confront the globalized, alienated world of the twenty-first century, a sort of "If God gives you lemons, make lemonade," or "If God gets you lost, revel in it." You could argue that she offers a sophisticated alternative to the self-help genre, though I imagine Solnit would look down on self-help. She likes slipperiness and paradox too much. Still, she is interested in finding a way forward for the soul, and I, for one, am glad because my little soul is often bewildered.

I think Solnit dances between lostness and foundness. She notes that "nomads have fixed circuits and stable relationships to places," and her own wandering through the west is ritualized, repetitive. She doesn't need to go to Antarctica; she gets lost in America. Her home territory is simply vast and ambitious, her spirals broad. Still, in order to lose herself time after time, she has to find herself in between.

92 of 100 people found the following review helpful.
Gem of 2005
By Grant Barber
Solnit's book is as the title suggests--a discursive reflectoin on the many nuances of the idea of 'getting lost.' You find out that 'lost' is from the Norse meaning 'the dispersal of armies,' and that early Renaissance painters use blue to designate distance, that children are better (i.e., less likely to die) at getting lost because they don't rationalize the way adults do--all in just a few pages where the insight garnered is both spun out by the author, but left to the reader to stop and pursue in his/her own reflections. Of the twenty or so books of all genres which I've read in the last few weeks--and of those I will read in the next several I suspect--this book incarnates why I read: erudite, entertaining, entrancing. Solnit's book reaches out toward Wordsworth, Dillard, Thoreau--and the Clash, Plato, Robert Hass. The voice and perspective, though, are her own. The essays here can not be read in great, long gulps; switching metaphors, there is hearty sustenance here--you take in only so much, and you are sated with good things which you must digest before moving on. Side note: whoever edited the book did a disservice--occasional glaring errors, such as 'form' being spelled out 'from' and 'good' repeated a second time in a context where the repetition makes no sense (and when you know the author would have easily used another expression to capture the nuance intended over against using something as clunky as redundancy of such a limited word).

32 of 32 people found the following review helpful.
Reigning Queen of the Essay.
By Constant Reader
With a prodigious breadth and fearless depth, she takes the segue to a high art. Anything can be the occasion for connection. Any sentence can break your mind or heart wide open. Her most personal, and my personal favorite. Reading this book makes me feel alive.

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• Published on: 2004
• Binding: Paperback

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23 of 24 people found the following review helpful.
Practical - Fun - Get Started!
By David B Hastings Jr
A very, very, practical approach to diving in and building your own wierd bikes (and I thought I was the only one!) Doesn't assume much of any prior bike knowledge or skill. Also not clouded by any predujice or opinion on one type of biking vs, another - just focused on basic building and fun. Lots of cool projects and ideas - I feel "scooped" on a few. Check out the Atomic Zombie site for the latest cool tallbike.
Does assume that you have some basic tool and metalworking skills, but still beginner-friendly.

12 of 12 people found the following review helpful.
Not Quite as Expected, But Has a Variety of Bikes to Build
By Dylan Pitcairn
This book was only OK, simply put because all the bikes form their website (atomiczombie.com) remain only online and not in this book. The bikes on the website are the eye catching and cool looking ones, and this book does have a few interesting but not very practical bikes to build.

I'd think twice about buying this book because unless you have plans to build a skyscraper bike or something that is very non-practical, then you shouldn't get this book. Don't get me wrong, it is a good book for certain people and if you like bizarre and crazy bikes, this is for you. Otherwise, I'd suggest getting a plan from the internet based off their site.

12 of 13 people found the following review helpful.
Ok, for beginners
By E. J. de Cuba
This book is OK for beginners. It has good welding, chopping and technical tips but no significant and attractive designs. The designs are outdated and honestly not something I want to be seen with in public. The online designs are much more attractive and up to date. So if you are a experienced welder and chopper just get the online designs. If you are just starting out this book will help you on the way. Hence the 3 stars. If, even some of, the designs where included the 5 stars would be appropriate.

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Maybe you’ve noticed. Today’s superheroes and action heroes aren’t as brawny and muscular as they used to be. In fact, almost all the characters in comic books and on TV have a fresh, new look—simplified, streamlined, edgier, with a hint of anime/cartoon design, and appealing to kids and adults alike. Now Christopher Hart, the superhero of how-to-draw books, has come to the rescue of artists everywhere with Simplified Anatomy for the Comic Book Artist. Anatomy has always been a difficult subject, but for this book Hart uses his straightforward approach to show a simpler way. In clear step-by-step illustrations and text, he shows: how to draw streamlined figures in poses; body types and muscles; the mechanics of facial expression; how to know which muscles to eliminate in a simplified drawing; grouping muscles; muscle contours versus bone contours; muscles in classic comic-book poses like flying and punching; and more. Now artist can stop struggling with the fine points of anatomy and start creating modern looking heroes and heroines with help from Simplified Anatomy for the Comic Book Artist.

• Sales Rank: #429364 in Books
• Brand: Random House
• Published on: 2007-05-15
• Released on: 2007-05-15
• Original language: English
• Number of items: 1
• Dimensions: 11.00" h x .60" w x 8.60" l, 1.36 pounds
• Binding: Paperback
• 160 pages

About the Author
CHRISTOPHER HART is the world's bestselling author of drawing and cartooning books. His books have sold more than 6 million copies and have been translated into 20 languages. Renowned for up-to-the-minute content and easy-to-follow steps, all of Hart's books have become staples for a new generation of aspiring artists and professionals, and they have been selected by the American Library Association for special notice.

Most helpful customer reviews

17 of 19 people found the following review helpful.
FANTASTIC BOOK FOR THE BEGINNER
By Tim Janson
Simplified Anatomy for the Comic Book Artist is comic art instruction Guru Christopher Hart's latest book and one of his best yet. Hart has been doing comic art instruction books for many years with a long list of titles to his credit. In this latest book, Hart tackles the modern, more simplified, and streamlined comic book art. Inspired by recent animated series such as Batman, Teen Titans, and Justice League, we are seeing more and more comics today being produced in this more simplified, animated looking style. This modern style has done a couple of things for the comic industry. First, it's far less time consuming to produce this type of art than traditional comic art...less time means less money. Second, and no knock on those artists, but obviously you can get away with somewhat less talent with this style as there is a minimum of detail required. Finally, much of this art today is being produced on computer, again saving time and money. This certainly accounts for the recent popularity of this style of art.

Hart takes a step-by-step approach to his instructions. On one page he shows an example of a piece of art done in traditional style and next to it, the same piece done in the simplified style. Basically this is simply a matter of less definition being added to the character. Less muscle definition, fewer or no bone structure outlines to the face and body, hair designed as "one piece" as opposed to drawing several lines of hair and curls, etc...The examples are striking in their sheer minimalism.

Now, this isn't merely a matter of taking out lines, but rather a complexly different approach to drawing figures. There's a whole change in thinking about how to construct the anatomy in this approach. Remember, you're not going for realism anymore. Fully the first 50 pages are spent just on the head and facial features. Hart will show you how to simplify the look of the eyes, nose, and mouth with dozens of examples included along the way.

Next up is the body and it's the same process as before. Simple bone and skeletal structures, simple muscle definition... Again, Hart shows dozens of examples of body types from heroes to regular guys to mad scientists. In this style, bodies are more angular...the hips and knees often come to an exaggerated point as opposed to the rounder look of traditional comic art. In defining muscles, that standard six-pack now becomes a two-pack...the shoulders and chest exceedingly broad and triangle-shaped.

Hart rounds out the book with a look at forced perspective, getting your characters to look like they are virtually jumping out of the page at you. Honestly, I believe that this book and this style of art has opened up a lot of doors to artists who maybe were not quite good enough to make it with traditional comic art. It's also allows small press publishers to compete against the bigger publishers. Heck, you even see this style of artwork showing up at major publishers like Image and Dark Horse.

It's another well-done book by Hart and perfect for the aspiring comic book artist.

Reviewed by Tim Janson

11 of 13 people found the following review helpful.
If you know what your doing
By C. Stalmer
If you have never drawn comics and are not much of an artist then this book is not for you. Being someone that does not draw very well this book did not help me much. After consulting with someone who is a beginning comic artist this book is very helpful. They were able to gain new perspective in anatomy and body stylization that they were not aware of before. So if you have been drawing a little while and want to advance your style technique then this book could be for you.

4 of 4 people found the following review helpful.
Well worth having
By Kindle Customer
The only bad thing about this book is consistency due to the many different artists that worked on it. With that in mind this book is well worth having and a good resource about the adventure or Bruce Timm style of drawing.

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For over a generation, shocking cases of censorship at America's colleges and universities have taught students the wrong lessons about living in a free society. Drawing on a decade of experience battling for freedom of speech on campus, First Amendment lawyer Greg Lukianoff reveals how higher education fails to teach students to become critical thinkers: by stifling open debate, our campuses are supercharging ideological divisions, promoting groupthink, and encouraging an unscholarly certainty about complex issues.

Lukianoff walks readers through the life of a modern-day college student, from orientation to the end of freshman year. Through this lens, he describes startling violations of free speech rights: a student in Indiana punished for publicly reading a book, a student in Georgia expelled for a pro-environment collage he posted on Facebook, students at Yale banned from putting an F. Scott Fitzgerald quote on a T shirt, and students across the country corralled into tiny "free speech zones" when they wanted to express their views.

But Lukianoff goes further, demonstrating how this culture of censorship is bleeding into the larger society. As he explores public controversies involving Juan Williams, Rush Limbaugh, Bill Maher, Richard Dawkins, Larry Summers - even Dave Barry and Jon Stewart - Lukianoff paints a stark picture of our ability as a nation to discuss important issues rationally. Unlearning Liberty: Campus Censorship and the End of American Debate illuminates how intolerance for dissent and debate on today's campus threatens the freedom of every citizen and makes us all just a little bit dumber.

• Sales Rank: #88639 in Audible
• Published on: 2012-12-04
• Format: Unabridged
• Original language: English
• Running time: 546 minutes

Most helpful customer reviews

85 of 86 people found the following review helpful.
Fantastic book - Unfortunately for liberty
By Peter
Can't say it any better than Ken at Popehat.com (awesome free speach legal blog).

In Unlearning Liberty, Greg reviews the different occasions and excuses for censorship in modern American universities, marshaling a bewildering array of case studies. Some were familiar to me: the ludicrous reaction to posters at University of Wisconsin-Stout, the legal threats to critics of the administration of Peace College, and the entirely repellent tale of Indiana University punishing a student worker for reading a book about struggles against the Klan in front of coworkers. Many others were new to me -- and I follow FIRE fairly closely. Greg has a talent for describing instances of censorship in a way to outrage me anew even if I have heard of them before. (For instance, I defy anyone to read about the University of Delaware's frankly Stalinist reeducation program for frosh without feeling disgust and contempt; Greg offers new details that led me to put the book down and go take a walk for a while.)

But this is not merely a compilation of cases. Greg traces the history of campus censorship after the "political correctness" disputes of the 1990s, and weaves the incidents of censorship together to explain how different vaguely defined ideas (like "harassment" and "disruption" and "civility") are used in an unprincipled manner as trump cards to shut people up. Moreover, Greg rather convincingly illustrates how university censorship impacts the attitudes and tolerances of students, and explains why we should fear that students taught to submit to censorship and due process violations will not be reliable supporters of free expression or due process as voting adults.

46 of 46 people found the following review helpful.
something anyone going to college and their parents should read!
By K. Freberg
The book "UNLEARNING LIBERTY" is an insightful look into academia today and although Lukianoff points to the many administrators that have run an 'underground railroad' of sorts to funnel abused students and faculty to legal remedy... there are far too many administrators and faculty who feel that it is their right to restrict the rights of others, punish the guilty without due process and destroy the careers and lives of the innocent.

The book chronicles many of the cases of FIRE (Foundation for Individual Rights in Education) over a ten year period. Some will make you mad, some will make you cry. This book should be given to every freshman entering a college or university today... so they know what their rights are... where they can appeal if they find themselves unfairly under the administrative boot... and, most importantly, that they are not alone.

So, whether you are on the left or the right of the political spectrum, you will find this book quietly disturbing.... and a must read.

Roger Freberg

27 of 27 people found the following review helpful.
What Happens on Many College Campuses and Why It Matters for All of Us!
By Kevin Currie-Knight
Greg Lukianoff is one of the key figures in a 'watchdog' group called FIRE (Foundation for Individual Rights in Education). Similar to a group like the ACLU, fire is devoted to protecting students' speech and due process rights on college campuses. The fact is that most people don't seem to know - or are not concerned about - the extent to which many schools do censor student speech: from relegating student speech to small "free speech zones," to painfully ambiguous speech codes that ban everything from insensitive jokes to "inappropriately directed laughter," to out-and-out residence life programs designed around imbuing students with the "correct" political messages. This book not only profiles dozens of such cases, but makes a strong argument as to why all of us - whether in college or not - suffer as a result.

These chapters are organized in a sort of 'chronological order' based on a student's academic career. So, the first chapter focuses on student rights in high schools (which FIRE doesn't per se deal with, but are important for setting up the rest of the book). The next several chapters focus on things like the 'residence life programs' mentioned earlier - like the one at my current university, the U of Delaware. (I won't explain it here; you can easily find out more online.) Later chapters focus on how free speech and expression is often stifled in the classroom and how, in some cases, students have been made to engage in political acts with which they may not disagree as a condition for passing a class or graduating a program! Lastly, we focus on issues where professors have been removed from departments for speech that someone somewhere judged to be offensive (like the history professor who was asked to resign for using the word 'wetback' in class....with the point of explaining the historical origins of the term).

Throughout, Lukianoff argues as to why all of us - whether student, parent, or neither - should care about this. If we want students who become critical thinkers, innovators, and have a strong sense of individuality, then allowing free speech in those institutions that are supposed to aid students in all of these - colleges and universities - is a must. If we want to raise students who are capable of reasoned debate - as opposed either to students who learn to censor themselves automatically, or only 'discuss' amongst those with whom they already agree in an attempt to 'play it safe,' we need to model those things in the college and university environment. (Lukianoff also talks about a possible link between the quiet classroom syndrome' many professors know all too well and the punishing of student speech on campuses.) As it stands, Lukianoff cites several surveys which indicate that a very low number of students, and a lower number of faculty (!) believe it is 'safe' to hold unconventional opinions on campus. And if colleges and universities are preparing the leaders of the future, this uncomfortability with holding 'different' opinions will affect the overall social climate....for the worse, in my opinion.

[It is also worth noting that Lukianoff discusses cases of censorship on the "left" and "right." Why is this worth bringing up? Because just as the ACLU often gets berated as a "leftist" institution, FIRE oten gets branded a "right wing" institution. This is because a good many of the cases involve "conservative" folk getting in trouble in "liberal" institutions. But, as Lukianoff explains, this is not because FIRE seeks out cases by political motive, but because as it stands, the majority of campuses seem to be those where "conservative" opinions are more likely to offend than "liberal" ones. But, yes, Lukianoff profiles a good number of cases where "liberal" groups or individuals were defended, also.Lukianoff himself identifies as a moderate democrat.]

Anyhow, this is a really engaging and somewhat maddening book to read. While some of the stories Lukianoff recounts are quite maddening, what is worse is that Lukianoff is obviously frustrated that few seem to be alarmed. Students, in his experience, have often internalized and accepted a world of "free speech zones," applying for permits in order to pass out flyers and keeping one's mouth shut when one has an idea that may clash with the professor's or university's. I hope Lukianoff can convince more people about the seriousness of this issue.

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Corporate and Project Finance Modeling takes a clear, coherent approach to a complex and technical topic. Written by a globally-recognized financial and economic consultant, this book provides a thorough explanation of financial modeling and analysis while describing the practical application of newly-developed techniques. Theoretical discussion, case studies and step-by-step guides allow readers to master many difficult modeling problems and also explain how to build highly structured models from the ground up. The companion website includes downloadable examples, templates, and hundreds of exercises that allow readers to immediately apply the complex ideas discussed.

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Corporate and Project Finance Modeling provides comprehensive guidance and extensive explanation, making it essential reading for anyone in the field.

• Sales Rank: #469518 in Books
• Published on: 2014-11-10
• Original language: English
• Number of items: 1
• Dimensions: 9.30" h x 1.90" w x 6.35" l, 1.90 pounds
• Binding: Hardcover
• 624 pages

From the Inside Flap

Corporate and Project Finance Modeling is a comprehensive guidebook for creating, interpreting, and analyzing complex financial models. The book offers the information needed to master difficult modeling problems and shows how to build highly structured models from the ground up. Using the suggestions and techniques outlined in this important text, beginners and experienced professionals can hone their skills and take their performance to the next level in order to analyze and create flexible, efficient, and stable model structures.

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In addition to explaining how to solve a modeling problem, Corporate and Project Finance Modeling explores the finance theory underlying how to construct models with an exact approach. The author addresses modeling issues ranging from the fundamental structure of financial models to the creation of user-defined VBA functions that resolve circular references. Each issue covered includes a theoretical discussion and an explanation of the modeling mechanics as applied to various corporate structures. The book covers a wide range of vital topics including a review of valuation in the context of project finance, corporate finance, and acquisition finance; cash flow waterfalls; credit analysis in corporate and project finance; debt structuring; determination of items that should be in the bridge between enterprise value and equity value; and many other subjects. To enhance the text, the modeling problems are explained with illustrative diagrams and screen shots from actual models.

This comprehensive text includes a companion website that contains exercises, model examples, video explanations, and case studies.

Designed as a flexible resource, Corporate and Project Finance Modeling gives professionals the information needed to borrow subtle concepts from solutions to many different modeling problems so they can apply them to their own models.

From the Back Cover

The comprehensive, step-by-step guide to successful financial modeling

Corporate and Project Finance Modeling offers anyone interested in creating, interpreting, and understanding financial models a comprehensive guidebook with real-world applications. Based on Edward Bodmer's years of experience creating, reviewing, and teaching corporate finance modeling, project finance modeling, acquisition modeling, and real estate modeling, this important text explains how to master difficult problems and build highly structured models from the ground up.

Step by step, this comprehensive guide shows how to create flexible, efficient, and stable model structures, and contains unique solutions that address complex issues. Filled with essential information and detailed techniques, Corporate and Project Finance Modeling offers those new to the subject as well as experienced professionals a guide for taking their skills to a higher level.

Included with the text is a website that offers a wealth of exercises, model examples, video explanations, and case studies. It contains hundreds of customized exercises, many corporate finance and acquisition model templates, and a number of featured example models of business enterprises from a wide variety of industries.

Using the examples and information presented in this text will help develop the skills for solving modeling problems and creating effective financial models.

About the Author

EDWARD BODMER is an experienced financial and economic consultant, trainer, and lecturer. He has conducted many training programs around the world to both large corporations and public programs that have covered project finance, corporate finance, energy analysis, and mergers and acquisitions. Formerly, Bodmer was the Vice President at the First National Bank of Chicago, where he directed analysis of energy loans and also created financial modeling techniques used in advisory projects.

Most helpful customer reviews

0 of 0 people found the following review helpful.
Terribly Organized
By Amazon Customer
I ordered this book to learn project finance. The author is clearly knowledgeable but, for whatever reason, he decided to just randomly jump back and forth between corporate and project financial modeling techniques making it very difficult to focus on one or the other. That might not be terrible by itself but he compounds the problem by referencing comparative differences between Corporate and Project modeling so you are basically forced to read everything to follow along. I had wrongly assumed there would be a section focused soley on PF modeling and I could ignore the other parts. Under what circumstances you'd be trying to learn both at the same time, or compare the two methodologies, is lost on me but maybe that just means I'm not the target audience. Additionally, he seems to just ramble on over the 500+ pages with little flow or actionable practice. I'm shocked his editor let this go out this way.

I gave it 2-Stars instead of 1 because I could see this book being useful as a desk reference when already working on a model and attempting to solve a single issue, but as a guide for learning, I found it pretty useless. I will be returning it and searching for a more focused text.

0 of 0 people found the following review helpful.
Disorganized book
By kia
This book goes on and on with just text. There is a website for related files but it is so messy and disorganized with a bunch of excel files which look like draft version. So it is impossible to figure out how you can perform what you read in the book. It seems the author has not bothered to prepare some clean excel files for his instructions in the book.

4 of 4 people found the following review helpful.
Highly recommended!
By CONG
Probably the best modelling materials I've ever read.

Mr. Edward Bodmer introduced many unique approaches and concepts to tackle complex modelling issues that usually seen in corporate and project finance models.

Highly recommended for anyone who wishes to advance modelling skills.

See all 8 customer reviews...

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