Factor

From the moment I started reading The Story Factor I was satisfied. Finally a book that explains why stories are such effective communication tools. As a trainer and communication consultant I was looking for the deep structure behind storytelling. It's all here: how stories move and motivate people, the six kinds of stories you need to tell, the psychology of influence and how a good story trumps the facts. The author includes her own stories and draws upon those from other cultures as well. Nearly every page is complete with examples and anecdotes you can take into the classroom or boardroom.

It's a practical book. For example, chapter seven deals with convincing the "unwilling, unconcerned or unmotivated." While there are no surefire remedies for every situation, Ms. Simmons provides a common-sense overview of resistance and some skillful ways to work with it. Even if you're not telling stories regularly the psychology lesson is valuable. True, this is not a paint-by-numbers book because good story telling is too subtle for simple how-to formulae. You learn the art of storytelling by telling lots of stories.

The Story Factor provides solid structural principles and the tips and ideas to stimulate creativity. Start telling stories and use the book as a guide. The style is fast and readable with catchy phrases and subheads. My copy is thoroughly underlined and annotated so I'll never be able to resell it! If you're interested in how to craft stories that sell, motivate, inspire and persuade you'll be glad you bought this book.

As a business owner, I have a story to tell to our customers, our vendors, my co-workers, my financial partners and our industry. It's important that the people I'm talking to understand the point I'm trying to make and that they believe in my credibility and that of my organization.

This book is a great guide to discovering what the story is behind the facts and figures, and then creating illustrations to help those facts and figures come alive to the person listening to the story.

It contains numerous examples and tips that have helped me make my point in a more interesting and more compelling way. It's an easy book to read and digest, and will leave the reader with practical information that can be put to use immediately.

Definitely worth the time!

Ms. Simmons makes a clear stement in the Introduction that hers is not a prescriptive "how-to" book of rules for successful storytelling. She reveals beauty in the spirit of the story rather than in the details.

As a former participant at one of Ms. Simmons' seminars, I would like to emphasize an important point about the book's title. The book is about stories and how everyone has one to share. The book is not simply about telling the story but also about listening to and grasping the deeper meaning of others' stories.

For those in the marketing and sales arena, is your success based soley on spinning clever pitches about your products and services? Isn't it also about understanding your prospective clients' stories (e.g., past experiences, special needs, desired growth)? The Story Factor helps to unveil these important stories which are too often not told or not recognized.

The Story Factor can help you begin to remove the shell that masks your story and your ability to hear others' stories.

I am an Information Technology student at Georgia State University and I have found this to be an extremely valuable book. It has become my bible for disaster prevention and recovery. How rare to find a book this thorough and yet this easy to understand. Clearly, the author was a writer before he ever became a PC expert. Most technical books are written by technicians who don't know how to write.

The author devotes 350 pages to a subject glossed over even in the largest, heaviest book on Windows you can find. The absolute best, most useful computer book I have ever purchased, it tells you what to do and how to do it. Equally as important, it tells you what NOT to do.

This book is very easily read and understood even for the first time computer owner as well as all old-timers. The suggestions of the writer make perfect sense and the products recommended are all excellent. If you are concerned about any type of computer disaster, this book will put your fears to rest. This book should be a MUST READ for all computer owners from the home PC to the corperate Computer Administrators.
This is the BEST information I have ever read on computers!

Apparently, a "reader" from Fort Lauderdale, Florida is yet another bitter and out-of-work IT person. This book was excellent and is a crucial reference for the average home pc user like myself. Thirteen 5-star reviews are RIGHT-ON!!!

This Tracy guy really knows how to lay it out in plain english, so even a gorilla like me can absorb and benefit from these simple strategies. Way to go, Brian!

After reading this book, I finally found the inspiration to create my own luck and take charge of my life once and for all. Brian Tracy's 12 steps are informative, helpful and easy to follow. This is a book that everyone should read and utilize.

Just can't miss any of the part in this book, it really helps a lot. All the details in this book may not be helpful to you, but you will definitely find a part that can influence your whole life ! I am not exaggerating, it changes your point of view towards your life, you will become a more positive and aggressive person than ever you can imagine. Make sure you have read the details, then you will figure out how Brian Tracy has taught you a wonderful lesson that you won't figure it out by yourself within a very short time. If you wanna be a successful person, read his book and practice in your own life, you will see miracles happen for sure.

I found the "The G Factor:...' to be enlightening and thoroughly researched book on a fascinating topic. Although the basic premise, that intellignece matters and that it is primarily inherited was evident, the book was rarely boring. The basic premise regarding intelligence was broadened by Jensen to explain intellignece, G, in statistical and physical terms with forays into G's manifestations in life. The book will not appeal to people without a strong interest in statistics; it will not appeal to people who believe that the environment is the primary shaper of our personailties. I have two criticisms of the book. The book could have been omposed better; sentences were sometimes very long with excessive flourish. My second criticism concerns the authors purpose. Although I have no doubt as to the validity of the information presented, I would wonder about the emphasis of black and white racial differences... I would have liked to see more racial balance in the examination of racial differences. Overall, I found the book to be a fascinating and enlightening.

I found the "The G Factor:...' to be enlightening and thoroughly researched book on a fascinating topic. Although the basic premise, that intellignece matters and that it is primarily inherited was evident, the book was rarely boring. The basic premise regarding intelligence was broadened by Jensen to explain intellignece, G, in statistical and physical terms with forays into G's manifestations in life. The book will not appeal to people without a strong interest in statistics; it will not appeal to people who believe that the environment is the primary shaper of our personailties. I have two criticisms of the book. The book could have been omposed better; sentences were sometimes very long with excessive flourish. My second criticism concerns the authors purpose. Although I have no doubt as to the validity of the information presented, I would wonder about the emphasis of black and white racial differences... I would have liked to see more racial balance in the examination of racial differences. Overall, I found the book to be a fascinating and enlightening.

This is a great book. I have a BS in Psychology, so I did have some background on the subject before I jumped in, but anyone that's curious about the subject of human intelligence will find much of interest here. The only part of the book that I didn't "get" was the statistics (having only taken a couple of very basic stats courses in college). Overall, highly recommended!

The best part of this book is its historical photos, a history of our society told by its buildings. Worst part is its premise: that once we understand the importance of adaptability in buildings, we will build differently.

The fact remains building owners will never pay more than is necessary to meet their forseeable needs. (And if it weren't for building codes, even health and safety would be compromised.)

Another point: Although he values ordinary buildings, and wants an architecture free of pretense, pretense of some sort is the essence of architecture, which, as Frank Lloyd Wright said, begins where function ends. Do we really want a world of plain utilitarian structures?

So the book ends up being more of a criticism of our short-sighted culture, using buildings as examples. The arguments may not hold water, but the vast amount of research that obviously went into this book to document how buildings change over the decades still makes it interesting.

In a review in _The Last Whole Earth Catalog_ (1971), author Stewart Brand wrote: "We're not into utopian thinking around here, preferring a more fiasco-by-fiasco approach to perfection."

This perfectly captures the central thesis of _How Buildings Learn_: Once built, buildings do and must _change_ to fit the changing needs of their inhabitants. The interiors may be remodeled, roofs raised, additions made, plumbing and wiring added, rerouted or remodeled, & etc. Single-family brownstones become apartment buildings, homely warehouses may become lofts for artists and high-tech startups, and mansions may be turned into museums.

Good buildings can be changed gracefully; bad ones resist change. Brand shows us many examples of each. In many cases, "vernacular" architecture -- rather plain structures that wouldn't earn a place in an architect's resume -- prove the most suited to change. Brand reserves considerable fury for prestiege projects that seem more to serve the architect's ego than the inhabitants' practical use.

I'm not an architect, student of architecture, or what-have-you, so I don't know how this book ranks with other critiques of architecture. I can say that I found it immenseley informative, persuasive, and readable.

Stewart Brand's How Buildings Learn: What happens after they're built is as much a reflection of his life as it is about architecture. This potent clearly written essay provides valuable insights for a wider ranging audience while poking fun at established norms in the information age. Depreciatory of modernism casting doubt on the success of popular monuments paying homage to their creators, Brand does not limit his criticism of Wright for Falling Water in southwestern Pennsylvania or I.M. Pei's Media Lab Building at MIT. The strength of the book is the candid and thoughtful approach, interrelating complex issues with simple strands. Weaving a tale of old stuff in a new world, Brand proposes that buildings are most useful to their occupants and neighbors when they adapt. He assures that change will happen and that the only enduring monuments are those that can transform with time. Brand relies on a variety of primary and secondary sources and reinforces his examples with candid photographs, often visually comparing and contrasting to make his points. For each of these archetypes he tests the building against its function to perform basic living needs. He candidly makes observations without concern for political correctness within the broader architectural community.

Proposing six shear levels within a building based on their ability to temporally adapt, How Buildings Learn uses Site, Structure, Skin, Services, Space, and Stuff as a highly successful outline in delivering its message (p. 13). One source attributes this paradigm to that developed by British architect and historian F. Duffy's "Four S's" of capital investment in buildings. The site is eternal, yet often ignored by architects. The structure is most permanent defining the form and lasting 30 to 300 years. The skin is the part the architects get to play with. The services change every 10 to 15 years and, for ease of adaptation, should be kept separate to allow slippage from structure. The space (interior partition and pedestrian flow) and people's stuff change continually at the will of the occupants. After defining these layers, Brand then maps how buildings acclimatize over time based on their architecture.

The architecture is divided into three paths: low road, high road, and monumental. As a counter-culturalist, Brand observations should surprise no one that those dysfunctional places revered by society adapt the worse while despised "low visibility, low-rent, no-style" structures are functional, cost effective, and adapt easily to change. Contrasting the "temporary" World War II government warehouse Building 20 at MIT to I.M. Pei's Media Lab on the same campus, Brand illustrates his points with human testimonies and photographs. Though scheduled for demolition a number of times over the decades, Building 20's adaptable character has resisted. On the contrary, it appears the only forces retaining the overly designed and dysfunctional Media Lab are economic and social: the millions of dollars expended for its construction and the people that approved the funding for a monument to its designer. High Road buildings are high maintenance, described by Brand as a "labor of love measured in lifetimes." Citing original work by the Duchess of Devonshire, he attributes the character of these buildings to "high intent, duration of purpose, and a steady supply of confident dictators" (p. 35).

Unlike Low Road buildings that demonstrate value through utility, or High Road buildings that endure for their beauty and majesty, the worst buildings for adaptation are Famous buildings. For this arena, Brand has a target-rich environment. One book reviewer describes these buildings as "ignoring time, while time does not reciprocate." Because of its leaky roofs, Falling Water becomes, "Rising Mildew" and a "seven-bucket building" (p 58.) Famous buildings cannot adapt. They either exist as monuments to their creators, requiring significant investment to preserve, or as relics on the landscape succumbing to the forces of nature disintegrating into the landscape upon which they sit. Brand applied a similar logical approach to contrast exposed building elements. The Eiffel Tower, though despised by the locals at its inception, now stands as a monumental icon to the technical advances of the early twentieth century. The structure is beautiful in the nude. On the contrary, the exposed systems on the twenty-first century Pompidou Centre - originally celebrated for innovation and creativity - are now rusted and cracked. Without intervention, Famous buildings are destined to return to the landscape from which they were created.

How Buildings Learn mirrors Brand's interest in preservation and high technology. While one might interpret preservation and modern construction materials as diametrically opposed disciplines, Brand alleys these concerns. The chapters on Preservation and Maintenance allude to the desirable attributes of quiet, populist, victorious, and romantic. The space materials create environmental stewardship through their speed, efficiency, strength and effortless implementation. Traditional or "vernacular" materials will be touchable and aesthetic but come at a higher price. Smart materials, created from advanced processes, are cheaper and may provide the economic incentive to preserve an old building that might otherwise succumb to the financial pressures created by vernacular restoration. Brand suggests that future buildings will learn more quickly. He uses computer advances in sensory and motor response as metaphors; however, does not suggest to what part of his six "S's" illustration this prediction relates.

As a matter of fact, Stewart Brand has a history of predicting technical change and has built a contrarian consulting organization around this ability. Unlike most management consultants, yet consistent with How Building Learn, Brand helps companies adapt - designing for impending change instead of planning for a strategic future outcome. As Fortune magazine paraphrased him, "If mind-boggling change is the only constant, focusing on the avoidance of major blunders yields better results than the single-minded pursuit of the big win."

there is a lot going on and not muh is explained, we get some good fights and nice moments but little else.

it has it's place in x-men history to be sure and if you are an x-men fan then this may be imporant since it deals with the summers family, but if your just looking for a book that you can pick up and read with not much knwoledge of the x-men.. then this is not it.

and the art goes from great to really bad, this was a crossover that went into many x-books with many different artists and the change between chapters (issues) can be striking.

This TPB reprints Uncanny X-Men #294-296, X-Force #84-86, X-Men #14-16 and X-Factor #16-18.

Cable has been framed into the assasination of Professor Charles Xavier. But nobody knows this except Cable himself. So the X-Men, X-Force and New Mutants suspect each other as they try to find Cable. And the biggest of foes join in. This is also the prologue of the release of the deadly Legacy Virus from Stryfe, which will kill some great characters on later issues of X-Men.

The story is very long, but good enough. The art is okay and differs in style from book to book. But it's nothing bad at all. And at least the characters are drawn well, opposed to some more recent issues that put the characters to shame.

A lot of the X-members feature in this arc, but it's mainly more a Cable story.

this book is possibly one of the finest marvel comics books ever written. If you are an X-men fan you will enjoy it through and through. You form attactments to the character. it is well written. thoroughly enjoyable.

This book is so well written, it, should be taught in high schools to teach teenagers about investigative reporting. Evanzz brings it all together the Nation of Islam, Elijah Muhammed, the FBI, Malcolm X, and the world at his death into the middle of your heart. You will never forget a single fact or surprising circumstance. A must read.

To idolize Malcolm X, and to see his fight and struggle on both sides, really open my eyes to alot of his pain. I felt for him.

I read anything about Malcolm X I can get my hands on; he still lives in my heart. This book is extremely well written w/a broad scope. This one will never leave my library. A must.

ON THE HEALTH FRONT

It's far from the same old grind

BY DESONTA HOLDER

The Miami Herald
February 17, 2004

I walked into one of Sheila Kelley's workout classes last week in Aventura, expecting to find a few poles to latch onto. After all, the title of her book is The S Factor: Strip Workouts for Every Woman.
But there were no poles and no actual stripping at the Turnberry Isle Resort & Club, where about 200 women, clad in gym attire, gathered on Thursday for the free classes and a book signing by the author. It was a one-time event to show women that working out can be sexy and natural, if you add a few moves inspired by strippers.
''It's strip in the sense of learning the movements, but it has little to do with taking your clothes off,'' Kelley says. ``You strip away social mores like a banana, peel it away.''
Kelley, who has a recurring role on ER, discovered the benefits of stripper movements while preparing for a role in the movie Dancing at the Blue Iguana.

''After two months of prepping . . . I was taut, lean and strong,'' she says. ``I had such great muscle tone. I had danced all my life, but never felt quite as feminine and powerful as I had after the film.''
The S factor, so called because of the curvature of the female body, ''is my passion in life at the moment,'' Kelley says.
And that passion is evident as she takes charge of the class, with lights dimmed and music playing.
We let our bodies take over as we stretch like cats, hands forward, butts pointed toward the ceiling. We tighten our abs while planting our feet and moving our hips in a slow, circular motion. We stand and lower ourselves to the floor, up and down, up and down, feeling it in our quads. We don't walk; we glide like a lioness, dragging one foot diagonally in front of the other, almost in slow motion. We find our organic walk, our predatory walk.
And we don't move to the beat of the music. That's not allowed.
''When I move to the beat, the music has the power,'' Kelley says. ``When you don't move to the beat, everything's about you. You have the power.''
The moves are clearly inspired by stripping, but they also incorporate dance, yoga and Pilates.
For example, one move, The Frisk, is more about flexibility, rather than leaning against a wall with your legs spread, waiting for Officer Friendly to handcuff you.
''It's moving your body into its own shape,'' Kelley says. 'All of a sudden you go, `Hey! That's why I have a butt. That's why I have breasts.' I think women for so long have carried the weight of shame because certain movements make people get aroused. Women need to move their bodies freely. We were made to move.
``My 3-year-old is so unmarred. She moves freely and feminine. It's so breathtaking. I learn from her.''
But ``the message our culture is giving my children is that a woman's body, her breast is obscene and indecent. I take offense to that. What [Janet Jackson] did, you can go after her action. Her behavior . . . was bad, maybe. Go after the behavior, but don't tell my 3-year-old and 9-year-old that her breast is indecent and obscene . . . I find my husband's chest (The West Wing's Richard Schiff) incredibly erotic, but he doesn't have to cover it . . . Modesty should not be a law. It should be a personal issue.''
For women who think the moves are too sexy, Kelley asks: ``Are you looking at it from a male point of view or a female point of view? We need to . . . not get bullied around into thinking it's too sexual. It makes you feel beautiful because you're using your body 100 percent rather than moving up and down like a guy doing guy calisthenics. Look at your beautiful body. It's curving.''
The moves weren't too sexy for Michelle Mendez, 33. The DJ on 97.3 The Coast's Those Two Girls in the Morning show says: ``It's an amazing workout and it brings the sexy girl out in you. You feel very, very, sexy afterward. I'm gonna get a pole and [my fiancé] Honey Bunny's gonna love it.''

Take it off.
Take it all off.
Start with lifelong inhibitions and some unwanted inches. The clothes come later.
Actress Sheila Kelley calls it The S Factor - for strength, for sensuality, for sexuality, for the shape of a woman's curves. It's also the name of her new book. But she's thinking about changing the subtitle - Strip Workouts for Every Woman (Workman Publishing) - because it doesn't capture the essence of what she says she's created: a way to improve your body, your self-image - and your love life.
"It isn't about stripping off clothes," Kelley says. "It's about stripping away self-judgment, stripping away taboos . . . . It's about women taking back their sexual power."
Kelley, 39, didn't set out to forge a sisterhood of sensuality. She was researching a movie role as a stripper a couple of years back, hanging out at a Los Angeles club called Crazy Girls, learning everything she could from Symone and Devon - great strippers but crummy teachers.
So Kelley, a longtime dancer, broke down the moves and mastered them, on the floor and around the pole. The movie, Dancing at the Blue Iguana, got mixed reviews, but Kelley felt strong, sensual, energized. Her muscles became more defined, post-pregnancy weight she'd been carrying around for four years melted away and she dropped a jeans size.
Months later, after the birth of her second child, Kelley found herself longing for that body and that feeling. So she put up a dancer's pole in the office of her husband, The West Wing's Richard Schiff, and started dancing again - just for herself.
"And for my husband - if he's been very good," Kelley says.
Waiting list
Now she teaches 300 women a week in her Los Angeles studio - every age, every shape, every size.
"It's like their secret hideaway," says S Factor office manager Cindye Friedman. "They can't wait to get in the door, they can't wait to get into class. They look forward to it all week."
Kelley has trained eight other teachers, but there's still a yearlong waiting list for classes, which take place to beat-heavy music under the forgiving glow of soft red light.
"It's a private, wonderful, non-performance class," Kelley says. "It's about the absolute joy it is to live in a female body. It's a beautiful experience."
Women who have taken the class say it's a full-body workout that elongates and strengthens muscles they didn't know they had. It also stretches their minds, expanding their view of what it means to be a woman.
"It just gives you a different kind of confidence," says Janine Jones, 52, who never misses her weekly class at Kelley's LA studio. "You feel pretty. It empowers you. You have to try it."
Kelley considers the "S Factor" a way to heal the rift between the erotic and the spiritual by helping women unleash their innate sensuality.
"We've been made to feel ashamed and apologetic about our bodies. I'm so, so sick of that," Kelley says. "You got what you got. Have fun in it."
Kelley's book includes 15-, 45- and 60-minute workouts designed to stretch and tone every muscle group. It also features a breakdown of moves around a pole that focus on upper body and abdominal strength.
"I have a pole in my living room now - a fire-engine-red one," Jones says. "I stretch while I'm watching the news."
Friedman says sales of portable poles, suitable for home use, have averaged five to 10 a day since Kelley's November appearance on Oprah. (Poles, plus the book and a video, are available at sfactor.com.)
"It's scary territory freeing your body," Kelley says. "It's like being in a prison all your life, and then being let out to frolic in wilderness."
Adding sensuality
So the class starts gently, with movements that look and feel a little like yoga, a little like ballet, a little like Pilates.
"It's kind of familiar, but a little different," Kelley says. "Then we start to add in the sensuality and movement and music."
By the time they get to more erotic movements, the students float right into it, Kelley says.
"I tell them, 'What I'm about to teach you is like another language. You're not going to get it the first class,' " she says. Eventually, the women become completely caught up in what they're doing and where they're going - a journey that moves through six levels of difficulty to a place Kelley calls "the zone."
"It's totally, emotionally letting your body go, trusting and loving it," she says. "I give you tools to do that, the music, the sensuality, the touch, the movement, the curve. It's all about body integrity."
Along with that comes the "River," a fluency of movement that flows with absolute ease, a place where nothing bothers you - an incredible place to be.
"You just start to feel like the goddess that you are . . .," Kelley says. "Women are the eighth wonder of the world."

By Lisa Ryckman, Rocky Mountain News

February 10, 2004

I was a skeptic at first, but this book is pure fun. Those moves aren't as easy as they look, and that's the point--it's a workout! Sheila Kelley does a fantastic job of reminding women that stripping should be about them, and emphasizes the importance of making it your own. I'd give this book 4.5 stars because of that section on pole dancing--and most of us don't have poles to dance with, at least not safely--but I'm definitely intrigued. The most important thing of course is that the exercises really are very enjoyable to do, especially if you get bored easily. Have fun, and thanks Sheila!

"Bitch Factor" was so good, and so believable that I could not put it down! As a former Police Officer (Detective on a Police Force in a Minnesota location), and avid reader, I found this story to be one of the best ever! The character, Dixie Flannigan and her dog Mud, wormed their way into my heart within minutes and I shall be looking for anything written by one of the most talented authors ever! Chris Rogers can be compared to Mary Higgins Clark and all the other terrific writers! "Bitch Factor" gave the picture of a gentle-tough gal, living and working, as a realistic person, and as a good book should, I could put myself in her shoes throughout the story. The snow storm was so realistic that anyone who has lived in the north would visualize themselves experiencing the same. Ms. Rogers shows so much talent as a writer that I am waiting anxiously for her next book, and I hope dozens more, of Dixie Flannigan's experiences.

Critics who did n! ot like this story seem to be unable to realize a real life situation and probably live a most sheltered life. "Bitch Factor" shows life as it is, and those of us who have lived close to the edge know the life protrayed as Dixie Flannigan in "Bitch Factor", is what it really is like out there. "Bitch Factor" will be given, by me, to many friends that also love a great read.

Keep up the great writing Ms. Rogers. Write for those of us who appreciate a talented, thrilling, suspense, tension filled, humor-packed, adventure.

Chris Rogers has crafted a fast-moving story with characters who are believable and, in fact, memorable. The dialog is human and the story has just enough turns to keep it interesting. A resident of the Houston area, where the author lives, I attended the book launch and first scheduled signing. The word is that the books went so fast, the publisher's representative was scrambling to meet the demand, commenting this was the most successful first signing she had ever seen. I can't wait to read the next in the series, as much as anything else, to learn more about Dixie.

This series reminds me of Janet Evanovich's books with Stephanie Plum. If you like those, you should like these. I just wish Ms. Roger's would come out with them quicker!

While a decent portion of the book focuses on Star Trek, most of it does not. This is a book about Walter Koenig, a self-admittedly neurotic actor. For me, this difference made the book very enjoyable. Here you will get a humorous look into the actor's life, complete with looking for work, working as a hotel package boy, dealing with agent's lies, and more. This book was a lot of fun.

Having watch Walter Koenig on TV since he appeared on Star Trek and later seeing him as Al Bester on Babylon 5. I wanted to know more about this talented and complex man. I bought the book. I think most of us can identify with his story of life's many insecurites, our own periods of self doubts. Walter found a way to use all of his life experiences, good or bad, to become the gifted actor that has shared his talents and gift with us all in many theatrical productions, movies and television. The book is wonderfully funny and profoundly touching. Walter is a kind, caring man. This book is a must read for all Star Trek and Babylon 5 fans. Walter is special and unique in today world of famous inaccessible people, he has time for his fans.

I've just got into Star Trek and decided to read some of the books the cast wrote. The first book I read was Walter's book. He told some hilarious stories, but yet he told about the serious stuff too.

I've heard that some, if not all of the cast had issues with William Shatner. Walter could've made this a dirt book and tell about every dirty thing Shatner ever did to him. Walter didn't do that. He let it be known that he wasn't happy with some of the things Shatner did it on the set, but the whole book wasn't about that. I've read other books where stars and costars just let out all the bad feelings and the book turns out negative because it turns into 'I hate him because he did this and that, this and that, this and that- etc' I repeat that Walter's book ISN'T like that. It's worth a read if you are a Star Trek fan.