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How to Write Horror Fiction (Genre Writing Series)
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Review
The aspiring horror writer would do well to sink his fangs into this book before the next full moon: this guide is a ghoulish romp through the work of today's masters of the macabre (including Nolan), full of useful suggestions designed to punch up one's writing to a salable level. In his chatty manner, Nolan manages to cover all the neophyte's questions on effective prose technique, but what makes this book different from the usual nuts-and-botts writing guide is the inclusion, in its entirety, of his own short short story, "The Pool." Here, the tale is painstakingly dissected for a discussion of its components, with the author illustrating his reasoning behind each step as he works towards a unified vision of sheer terror. The powerful clarity of this example provides an invaluable teaching tool, one that offers the newcomer real insight on the elements of good fiction. Nolan also stresses the importance of drawing from the well-spring of one's own experience, both as an idea source and to lend plausibility to writing. Above all, he encourages would-be Stephen Kings to learn by action, to begin by submitting work to small press periodicals while honing their skills. By way of inspiration, he adds short bios of successful authors who struggled early, yet prevailed to become the genre's giants. Despite all this cheer-leading, Nolan's simple approach lends credence to his expansive claim that horror fiction is both a perfectible and profitable craft. -- From Independent Publisher
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Product details
Series: Genre Writing Series
Hardcover: 143 pages
Publisher: Writers Digest Books; First Edition edition (February 1, 1991)
Language: English
ISBN-10: 0898794420
ISBN-13: 978-0898794427
Product Dimensions:
6.2 x 0.5 x 9.2 inches
Shipping Weight: 15.2 ounces
Average Customer Review:
4.4 out of 5 stars
12 customer reviews
Amazon Best Sellers Rank:
#715,857 in Books (See Top 100 in Books)
This book is a little thin. Although decent, overall, it could have been longer. Not for longer's sake, but the short sections in which Nolan writes left me wanting.As an example, he has you read excerpts by novelists and short story writers that are supposed to represent strong story endings; and, as you comply, you might nod perplexed, hoping he'd have commented more on what you were supposed to learn. (Specifically, he points out "shocking final lines," and I couldn't figure out what was shocking about them). It's not that Nolan doesn't know what he's talking about. He could have expounded in these areas, though.Like on page 25, he supplies an exciting list of what he calls "supernatural belief systems" as an aid in generating horror ideas. By the time you reach the end of the list, you see he's starting a new topic of discussion. The list wasn't self-explanatory.He also says something that bothered me: It's okay to let your characters run away from you: "Once you have created a realistic character . . . you may be surprised to find that he or she will take off on a tangent as you write, doing things you hadn't planned or expected this character to do. That's fine."Well, not really. Maybe "that's fine" in the discovery stage of plot, but not during the true writing of it. What happens when you become enamored with a character, quite arrogantly considering her to have a life of her own, is she does go off in her own direction-completely trashing your plotline. Or worse, if you're a lazy writer who never plots, your character will take you to irrelevant places. You'll write rambling, senseless prose.I believe Nolan would agree. He's too successful not to. I just wish, again, he hadn't switched off the topic so quickly. He could have warned against this outcome. Beginning writers could easily end up with some sloppy results.DON'T LET YOUR CHARACTERS PLAY. YOU'RE THE WRITER. YOU MUST CREATE CHARACTERS THAT ARE GOING TO DO WHAT YOU NEED THEM TO DO.The point is still, as Nolan was getting at, to create effective characters. But do create them with motivations that will promote the plot in the right direction.Slim, yes. But this book is nevertheless pretty decent. Not fantastic. . .just "pretty decent," if I can somehow connote my meaning to you with a couple of vague words.My feelings about this book were just as vague. At first I was hoping for a book full of gimmicks and tips and stuff that would practically write horror for me. I got something tamer. If you can already compose a piece of fiction, this book will help you slant it into, perhaps, a salable horror story. If you've not yet wrestled basic story structure, however, there's little in this book to make your writing work. This book is window dressing for the skills you should already possess.And that's not bad, as long as you know what you're getting. Nolan initiates his guidebook with an overview of the field of horror. In the next few chapters he talks about creating monsters, finding horror ideas in your past, creating protagonists, building suspense, and writing enticing "hooks" to open your story.In subsequent chapters he weighs the cons and pros of putting gory details in your story, gives you examples of how to end your story (see the beginning of this review), and tops off the book with contact information (possibly outdated) for publishers. And to top off the top-off, he gives mini-biographies of Stephen King, Anne Rice, James Herbert, Peter Straub, Dean R. Koontz, and Robert R. Mcammon, meant to inspire you with delineations of their struggles as writers. Oh, and there's also an Appendix of suggested stories and reference material. It's a nice top-off-top-off to the top-off contact information.Up in that last paragraph should be indications of Chapter 10: "A Dip in The Pool." I've saved it for last, though, because just when I'd thought this book would be merely entertaining (and it was entertaining), Chapter 10 jumped out at me with a very useful set of fangs. I've personally never seen it done in a book of writing, to date, and I've always wanted it.Nolan supplies one of his own short stories in its entirety. As you read it, he interjects paragraphs of explanation. He'll tell you why he included a sentence describing a character's smile. He'll tell you the importance of information in his dialogue. He'll tell you how he switched points of view at the end. Etceteras.I wish this were a trend. What I'd really like to see is an author who takes us through the entire process, from generating an idea (right before our eyes), to developing it, to writing it, to revising it, to selling it, to showing us the finished product--so we can actually revel in a short story in our hands and know exactly how the author produced it. Too often, we see a finished product without gaining a full understanding of how it came to be.Though not what I just described, Chapter 10 of Nolan's HOW TO WRITE HORROR FICTION was a mighty fine step in this direction. I benefited from it. I'd buy the book again just to have "The Pool" as a reference.This book was nice. I'm not sorry I bought it through Amazon, and I'll defer to it when I need a flavor injection before starting my next horror story. Just make sure you don't need any more instruction than that. You must have reasonably strong fiction skills to begin with. HOW TO WRITE HORROR FICTION is just the lovely paint on a picture; but, without the initial sketch, it's just useless splatter on canvas--and at best it will help you write abstract garbage.So learn how to write elsewhere. THEN come to Dr. Nolan and be honed. He's a good writer. He'll give you a nudge in that direction.
Nice read
Love this book
I hesitate to write a review. The problem I have with reviews is someone is telling you their opinion and you are using that to decide whether to buy or not. I almost didn't buy this because of the negative reviews but I took the plunge.Having said that . . . . . Glad I did. Some of this I've read before and some was new, but he has a way of writing that helps you absorb what he is saying. I liked his analysis of The Pool very much. It makes sense. I bought this book used so didn't spend a lot of money but I got my money's worth and then some.Will it teach you to write? Maybe not. Will it help you set up your plot? I think it will. And it shows how to get your novel running in a peak and drop fashion, if that makes sense.
I've been writing non-fiction for years and wanted to get some quick and easy ideas on how to format my new non-fiction story. This book gave me a keen insight on the hows and whys. Hightly recommend it to anyone who wants to write horror stories. Tom Monson [...]
It wont help you write horror.I write horror stories, and the process is very simple, but Nolan never gets around to furnishing the reader with instructions to duplicate what he does.
As someone who has read a few dozen how to write books as well as gorged on thousands of horror novels/movies/TV shows over four decades, this book didn't tell me much I didn't already know. The one important piece of advice in here was to never stop to revise a first draft or else you run the danger of never finishing it. Just make a note to yourself ("add dialogue attributions/tags here," "add setting details here," "do research on [blank]", etc.) and move on. You can fix all that stuff in your next draft.This is an OK book, one you can read in a few hours. The author breaks down one of his short stories and explains what makes each part work, which was also nice. He talks about the differences between short stories and novels, and how if you promise readers a certain monster, you damn well better deliver and not turn it into a Scooby-Doo episode where the "monster" is unmasked as some cranky old man pulling a real estate scam at the end. Also, no werewolves with wings or other weird, unexpected nonsense unless that's explained upfront. Why? Because readers feel cheated if they sign up for one thing and you give them something else. He does talk about different kinds of endings, which was helpful, and says extremely dark endings where everybody dies are better used in short stories than novels because readers have invested less time into those characters. The author recommends reading outside the horror genre to gain a wider exposure to writing styles and ideas, which I already knew, but is great advice. As a tip from me, two related genres that will help your horror writing in particular are noir (crime) and suspense, and action/adventure novels will help you write exotic locations and fight scenes (particularly those involving guns or explosives).This is an OK book, but not something you will read more than once or refer to often. Most of the resources (zines, publishers, etc.) are hopelessly outdated by several decades (the book was released in 1991).The best book on writing horror and the paranormal as of this review is Writing the Paranormal Novel: Techniques and Exercises for Weaving Supernatural Elements Into Your Story.. It's not amazing, but it is helpful (note that there is a little information overlap with this book). I can't really recommend any other how to write horror books. Most are pretty basic, and the ones that have a bunch of different authors contributing essays (ugh) are too scattershot and unfocused to be of much help. Various combination autobiographies/how to write by successful horror authors like Stephen King or Richard Laymon aren't all that helpful either. You're better off getting regular how to write any kind of fiction books to ground yourself in the basics of the craft first, then pick up some guides on how to write for specific genres.
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Free PDF House of Darkness House of Light: The True Story Volume Three (Volume 3), by Andrea Perron
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House of Darkness House of Light: The True Story Volume Three (Volume 3), by Andrea Perron
Free PDF House of Darkness House of Light: The True Story Volume Three (Volume 3), by Andrea Perron
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About the Author
Andrea Perron has embarked upon a new path as her spiritual journey continues to unfold. As a lecturer, she is humbled by the positive response, aware of the impact this memoir has made on many souls. Having seen her labor of love bear fruit, grateful to those who contributed to the cause, she looks forward to what dreams may come, reminding her readers to look to the stars. John Shaw created the cover portrait of their farmhouse as a parting gift. Two months after the Perron family abandoned this place in the country, John, all of nineteen years old, drove from Rhode Island to Georgia. He presented his friends with the watercolor; painted from memory, in memory of a special house which touched his life as well. It remains a treasured keepsake. They loved him then as they love him now.
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Product details
Paperback: 400 pages
Publisher: AuthorHouse (August 11, 2014)
Language: English
ISBN-10: 1491829907
ISBN-13: 978-1491829905
Product Dimensions:
6 x 1 x 9 inches
Shipping Weight: 1.5 pounds (View shipping rates and policies)
Average Customer Review:
3.7 out of 5 stars
39 customer reviews
Amazon Best Sellers Rank:
#600,858 in Books (See Top 100 in Books)
I really enjoy the actual storyline of the book. But the philisophical aspect was overboard. I actually only read the parts about the story. The author is excellent, don't get me wrong. But she is supposed to be telling a story. If she were to tell the story fully, then add her philisophical views after, it would have been more enjoyable and easier to read. And then the philosophy would be more welcoming. All three books are the same, with the third having quite a bit less of a storyline. The chronology of all three books is pretty jumpy, but well put together. Other than that, it is an in depth engaging story. Two stars for being so difficult to follow.
Very disappointed in this last installment as I totally loved volumes one and two! The author's philosophical and flowery language was way over the top! ! The remainder of the family's story could've been included and finished in volume two!! This book was too hard to understand.
Am having a very difficult time getting through. 3 volumes could have been condensed into 1. Also, found inconsistencies from interviews with the Perron family. Too bad. Had the potential to be one great novel.
Andrea Perron is an indecisive writer. From one novel to the next, she loses concentration, changes tack, misrepresents earlier details and embellishes her work with every scrap of poetry known to humankind. Not content with outlining the story of the frightening hauntings invading her Rhode Is. childhood home, she insists her parents and siblings contribute lengthy essays describing their time in this 'dreadfully cold and uninhabitable home'. Of all the contributors, Roger Perron, who eventually left his wife, writes the shortest most eloquent letter. Interestingly, Mrs Perron and Andrea write in a manner that is almost permanently hysterical and self-congratulatory. I feel rather sorry for Roger, in fact. Before the essays, Perron refers to this house as a "'portal"' of "magnificence" which "laid open its secrets" only to them and presented the family with faint and "magical" images of themselves both from the past and into the future. Of the Warrens, a decent and conservative couple, who were consulted to remove demonic influences, she isn't particularly enamoured, but like her writing, the descriptions are cumbersome and heavy. We do get a sense of the clarity of the creek, the snowy fun they had rolling down Winter hills, but it's mixed up with so much fanciful detail and eerie revelations about Bathsheba that it's hard to keep up! At first, Bathsheba is an evil witch ensnaring Mr Perron with artful touches in the dead of night (not to mention draining Andrea's mother from the moment they moved in) and later she's an innocent woman wrongly condemned by the town. I feel that whilst the first book had a moderate pace, this, for lack of new material is flagging and tired. Repetitive tropes of "class dismissed!" and "lesson learnt!" are unusual techniques in a college educated writer and the book is peppered with them. I hope we've heard the last of this House of Light and House of Dark. At least for now.
When you read the book you get a sense of what the family went thru when you meet the author and talk to her it all becomes really real
The third in this series too quickly became redundant and repetitive. I love this honest, exciting story. Yet this volume lost me as it seemed disjointed and a but jumbled. Loved hearing from each family member, as well as relatives and friends, as they told their story in their own words.
Again, the story is great but is buried by someone in bad need of an editor. The side tracks and musings of the author repeat frequently and are unneeded.
Riveting but long
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Free Download New Dark Age: Technology and the End of the Future, by James Bridle
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Review
“New Dark Age is among the most unsettling and illuminating books I’ve read about the Internet, which is to say that it is among the most unsettling and illuminating books I’ve read about contemporary life.” – New Yorker “Lucidly argues how our enthusiasm for, and reliance on technology is working against us by undermining our ability to reliably anticipate future risks … Bridle’s multidisciplinary research deftly hopscotches across science, politics and the arts.”—Frieze “I expect many readers will find Bridle’s perceptive and throught provoking book terrifying rather than enjoyable.”—Will Self, Guardian “Highlights the ways in which we are deliberately being kept in the dark and are sleepwalking into a future of non-stop surveillance and ‘the dark clouds [gathering] over our dreams of the digital sublime.’”—Financial Times [summer books of 2018] “My copy of this book is full of underlining and notes that climb around the margins. I feel like those overwhelmed organic chemistry students, highlighting everything because it all matters and it all connects, and yet ultimately the information world he’s describing—none of it makes sense. Which is kind of his point … Dense, demanding, and totally compelling.” —Barbara Fister, Inside Higher Education “An extraordinary, perceptive analysis of the various ways in which the rise of information technology has obscured, rather than illuminated, the operations of power in the world, and diminished our capacity to improve it. It’s brilliant and bracing.”—Mark O Connell, author of To Be a Machine, Guardian (Summer reads selection)“James Bridle is a master of finding contradictions within existing technologies [and] New Dark Age is an important text for the present moment.”—Bernard Hay, The Quietus “A masterful study of all the things approaching out of the future’s night. Compelling and essential.” —Warren Ellis, author of Normal and Transmetropolitan “James Bridle, one of our surest guides, here offers us a widely informed, deeply felt, and occasionally terrifying course on living in and with the enveloping darkness of our time. It’s a must-read for anyone who’s ever wondered how we might come to terms with technological complexity, and emerge with our humanity intact.”—Adam Greenfield, author of Radical Technologies“Computation brings humanity more darkness than enlightenment: a goblin horde of digital superstitions, invented and unleashed in just half a century. Yet James Bridle is fearless in our gloomy post-truth predicament; he’s a theorist, artist, technical visionary and even a moralist. Has he foreseen the worst?”—Bruce Sterling, author of Pirate Utopia“Technology is not the answer. Nor is it a solution. James Bridle’s lucid and fearless writing instead insists on technology as an open question and urgent problem—which nevertheless needs to be confronted in order to think the present and free the future from false algorithmic certainties.”—Hito Steyerl, author of Duty Free Art “One image that I cannot get out of my head reading James Bridle extraordinary new book is that even as we can access vast tech capabilities we may actually know less and less.” —Saskia Sassen, author of Expulsions “A book-length argument for the idea that vastly proliferating knowledge—from mass surveillance, social media, artificial intelligence, and other sources—is paradoxically making the world harder to comprehend, while the technology that underlies it is creating environmental damage that we’re ill-equipped to understand or solve … Highly nuanced in its analysis of technology, and it provokes [one] to think more about the unspoken social and political assumptions underlying a lot of [the] industry.” —The Verge “An Orwell of the computer age.” —Kirkus“A startling call to arms. Argues convincingly for a more informed integration with the technologies we have created.”—Ben Eastham, ArtReview“The young British artist is spearheading a conceptual-art movement—‘the New Aesthetic’—through Tumblr, Twitter, and Instagram, as he tries to capture technology’s strange effects on society.”—Vanity Fair“A doomy overture to a new era. A work of digital gothic in which the chills are provided by the unpredictable and unstoppable forces we’ve unleashed on the world in the decades since the Manhattan Project.”—Hettie Judah, Vice “Powerful insight and useful provocation throughout. Harrowing and fascinating.” —Jamie Bartlett, Spectator “Original and provoking book.” —Pat Kane, New Scientist “As an artist and author whose work explores the contested intersections of capitalism, surveillance, and computer intelligence, Bridle unravels these vexing issues across his new book.” —Tanner Howard, Rhizome “The glorification of technological progress is one of the cornerstones of the contemporary cultural and artistic mainstream, and Bridle justly stands up against it.” —Nikita Dmitriev, Port An essential read on the key subjects around AI, and the dangerous feedback loops that are currently being produced. —Ben Vickers, Dazed New Dark Age is enlightening but frightening, a dystopian warning about the implications of the convergence of data and robotics, code and quantum computing, science and technology. —David Gorin, Financial Mail Brilliant and beautiful. —The Australian New Dark Age is a paradoxical work, elegiac yet futuristic, which embraces paradox and the limits of knowledge—especially the limits of knowledge that the present moment’s technological advances, political instability, and environmental chaos have conferred upon us. —Tobias Carroll, Literary Hub Foreboding, at times terrifying, but ultimately motivating account of our technological present … He insists that what is needed is not understanding, but a new language, new metaphors—a new image—that would allow us to look at the darkness directly and—hopefully—begin to see. —Orit Gatt, The White Review Touching on a wide variety of topics, including search algorithms, surveillance, climate change, and many more, Bridle makes a compelling case for pumping the brakes on technology to allow ethics to catch up. —World Literature Today “[James Bridle’s] approach is more accurate than the ahistorical meme that everything is suddenly fake, and more exciting than the truth-hustling of disoriented pundits.” —Nathan Jurgenson, Real Life Magazine “Whichever way the reader veers, the argument that we need better education about technology and more careful thought about what is it for and what is it here to do is a compelling one.” —Tim Sandle, Digital Journal “[James Bridle’s] approach is more accurate than the ahistorical meme that everything is suddenly fake, and more exciting than the truth-hustling of disoriented pundits.” —Nathan Jurgenson, Real Life Magazine “Whichever way the reader veers, the argument that we need better education about technology and more careful thought about what is it for and what is it here to do is a compelling one.” —Tim Sandle, Digital Journal “[New Dark Age] is a shuddering, urgent, brilliant warning about our current direction of travel.” —Hands-Ulrich Obrist, Vulture “Each chapter of New Dark Age provides a different lens that reveals how deeply these imperatives have permeated our social relationships and how opaque they have rendered actual knowledge … [James Bridle] has done us a great service by emphasizing the tangible nature of the infrastructure that constitutes the internet.” —John Thomas, Intercept “[New Dark Age] offers something not often seen from white, male, techno-culture writers (of which there are seemingly so many): an acute sensitivity and unwavering commitment to earthly environments—soil and water—which are profoundly affected by the growth of technological industry.” —Lindsay LeBlanc, Prefix Photo “An unsettling but perceptive read.” —Wired, Best Books of 2018
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About the Author
James Bridle is a writer, journalist, technologist, and visual artist. He writes for the Guardian, Observer, Wired, Frieze, the Atlantic, and many other publications.
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Product details
Hardcover: 304 pages
Publisher: Verso (July 17, 2018)
Language: English
ISBN-10: 178663547X
ISBN-13: 978-1786635471
Product Dimensions:
5.8 x 1.1 x 8.5 inches
Shipping Weight: 1.1 pounds (View shipping rates and policies)
Average Customer Review:
3.7 out of 5 stars
17 customer reviews
Amazon Best Sellers Rank:
#65,975 in Books (See Top 100 in Books)
I think James Bridle and his lectures about the dangers of technological utopianism in an unpredictable world. Reading New Dark Age feels like reading an Adam Curtis documentary and is similarly informative (if a bit pessimistic).The problem aren't with James' ideas, they are mostly due to bad editing.Even though you can hear the author's voice in the text, the sentences are long and the metephors tend to overextend themselves. Seems like the handiwork of automated dictation software!Worst of all, the hardcover edition has equally justified margins instead of left-aligned, making the already difficult writing hard to read as well.I hope he writes another book and focuses on clarity and optimising the reader experience.
An engagingly-written, expansively-researched book that aims to reveal — and help us think through — the invisible and often incomprehensible networks that enmesh us. This book presents an ambitious and illuminating exploration of contemporary life "inside the network" — from the deluge of data from state-run surveillance efforts, to the financial markets’ ocean of algorithms, to the changing global climate, Bridle demonstrates the scope and cultural impact of these networks and the obscuring effects of endless data.Eye-opening and artfully constructed,"New Dark Age" offers what feels like a critical perspective on the Information Age. I would highly recommend it to anyone who has an internet connection, buys things, experiences weather, or otherwise exists in contemporary society.
Nightmarish book. The first chapters are really good, even if they provide you with a good dosage of insomnia. The last are less factual and somewhat erratic. Still an insightful read.
Succeeds in its central aim of forcing open your eyelids to stare at the unintended (or sometimes actively intended) horrors of the present sci-fi dystopia we have stumbled into.
The book takes on a number of important risks in how we use technology today. But each chapter oversells the dangers of a networked world. For example, one chapter explains the inherent bias in training data for machine learning applications, which is a serious topic. But we are left hanging waiting for a prescription to make things better - he could have explained how increased testing, outside certification, or more cautious use of opaque application logic would reduce bias. Some readers who already are aware of the risks explained here will find the book tedious. Most of those who are still learning about the issues will just be confused and frustrated by the labyrinthine writing style.
Extensive Research on Technology and Its Consequences written by a Technologist, Artist, Journalist and University LecturerExtensive Research on Technology and Its Consequences written by a Technologist, Artist and University LecturerSeldom have we seen journalistic and sociological works which both accurately understand the technologies currently affecting society, and the cultural and political influences they interact with. We are very much living in a world affected by the two cultures C.P. Snow characterized in his 1959 lecture but it takes both a technologist artist and scholar to accurately interpret the scientific and engineering facts that affect our society and give relevant social and political commentary on how they will influence our lives.This is a first class work of contemporary technology journalism and a realistic if somewhat pessimistic account of its social consequences. It also provides another two culture view of technology and society given in Verso Books vy Adam Greenfield "Radical Technologies The Design of Everyday Life" Radical Technologies: The Design of Everyday Life:
The title says it. James Bridle surveys the trends in technology -- with a focus on information technology -- and sees plenty of calamity ahead. His theme, and his conclusion, is:"Information and violence are utterly and inextricably linked, and the weaponisation of information is accelerated technologies that purport to assert control over the world. The historical association between military, government, and corporate interests on the one hand, and the development of new technologies on the other, make this clear. The effects are seen everywhere."He enumerates this, chapter by chapter (actual chapter titles). Computation: he traces the history of computers and their earlier disappointments. Climate: technology as vulnerable to climate change (e.g., sea rise) and technology's contribution to climate change. Calculation: the escalating technology of data and the problems of data overload in industry (e.g., pharmaceuticals) and research. Complexity: the effects drive economic inequality in the workplace and elsewhere, as well as financial instability. Cognition: the technology, and AI, outpacing human intelligence. Complicity: pervasive surveillance by national intelligence agencies and others. Conspiracy: the spread of conspiracy theorizing and online agitating. Concurrency: creepy online activity from children-oriented videos (YouTube et al) and programs, as well as troll farms and politics, and trolling, he tells us, can be a national industry (his example is Macedonia).It's well-researched and comprehensive, and a detailed warning on where we're headed, and it's not in a good direction. Highly recommend.
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Founded in 1915 as the Cartographic Group, the first division of National Geographic, National Geographic Maps has been responsible for illustrating the world around us through the art and science of mapmaking.Today, National Geographic Maps continues this mission by creating the world's best wall maps, recreation maps, atlases, and globes which inspire people to care about and explore their world.
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Product details
Series: National Geographic Adventure Map (Book 3407)
Map: 2 pages
Publisher: National Geographic Maps; 2019 edition (December 10, 2018)
Language: English
ISBN-10: 1566957591
ISBN-13: 978-1566957595
Product Dimensions:
6.2 x 0.4 x 8.8 inches
Shipping Weight: 2.9 ounces (View shipping rates and policies)
Average Customer Review:
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Amazon Best Sellers Rank:
#386,370 in Books (See Top 100 in Books)
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