Moneyball [Kindle Edition]

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Billy Beane, general manager of MLB's Oakland A's and protagonist of Michael Lewis's Moneyball, stood a problem: the way to win inside Major Leagues having a budget that's small compared to that relating to nearly almost every other team. Conventional wisdom long held that big name, highly athletic hitters and young pitchers with rocket arms were the ticket to success. But Beane with his fantastic staff, buoyed by massive amounts of carefully interpreted statistical data, considered that wins could possibly be had by less expensive methods including hitters with good on-base percentage and pitchers who get a lot of ground outs. Given these records and a tight budget, Beane defied tradition with his fantastic own scouting department to create winning groups of young affordable players and inexpensive castoff veterans.
Lewis was inside room with the A's top management because they spent the summertime of 2002 adding and subtracting players and he provides outstanding play-by-play. In the June player draft, Beane acquired nearly every prospect he coveted (few of whom were coveted by other teams) and with the July trading deadline he engaged in a tense battle of nerves to obtain a lefty reliever. Besides being one of the most insider accounts ever discussed baseball, Moneyball is populated with fascinating characters. We meet Jeremy Brown, an overweight college catcher who most teams project to get a 15th round draft pick (Beane takes him within the first). Sidearm pitcher Chad Bradford is plucked through the White Sox triple-A club being an integral set-up man and catcher Scott Hatteberg is rebuilt being a first baseman. But one from the most interesting character is Beane himself. A speedy athletic can't-miss prospect who somehow missed, Beane reinvents himself as a front-office guru, relying on players completely unlike, say, Billy Beane. Lewis, one in the top nonfiction writers of his era (Liar's Poker, The Modern New Thing), offers highly accessible explanations of baseball stats and his roadmap of Beane's economic approach makes Moneyball a unique reading experience for people and sports fans alike. --John Moe
Lewis (Liar's Poker; The Modern New Thing) examines how in 2002 the Oakland Athletics achieved a spectacular winning record while having the actual player payroll of any major league baseball team. Given the heavily publicized salaries of players for teams such as the Boston Red Sox or Ny Yankees, baseball insiders and fans assume how the biggest talents deserve and get the biggest salaries. However, argues Lewis, little-known numbers and statistics matter more. Lewis discusses Bill James with his fantastic annual stats newsletter, Baseball Abstract, along with other mathematical analysis with the game. Surprisingly, though, most managers never have paid focus on this research, except for Billy Beane, general manager from the A's plus a former player; based on Lewis, "[B]y the beginning from the 2002 season, the Oakland A's, by winning much with so little, had become something of an embarrassment to Bud Selig and, by extension, Major League Baseball." The team's success is really a shrewd combination of luck, careful player choices and Beane's first-rate negotiating skills. Beane knows which players are likely being traded by other teams, anf the husband manages to involve himself even if the trade is unconnected towards the A's. " `Trawling' is what he called this activity," writes Lewis. "His constant chatter would be a means of keeping tabs about the body of knowledge critical to his trading success." Lewis chronicles Beane's life, emphasizing his uncanny ability to locate and sign the proper players. His descriptive writing allows Beane along with the others within the lively cast of baseball characters ahead alive.
Copyright 2003 Reed Business Information, Inc.





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Mockingjay (The Final Book of The Hunger Games) [Kindle Edition]

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Product Description
Against all odds, Katniss Everdeen has survived the Hunger Games twice. But now that she's made against each other in the bloody arena alive, she's still not safe. The Capitol is angry. The Capitol wants revenge. Who do they think should pay to the unrest? Katniss. And what's worse, President Snow has made it clear that nobody else is safe either. Not Katniss's family, not her friends, not individuals of District 12. Powerful and haunting, this thrilling final installment of Suzanne Collins's groundbreaking The Hunger Games trilogy promises to get one of the most talked about books from the year.
A Q&A with Suzanne Collins, Author of Mockingjay (The Final Book of The Hunger Games)
Q: You have said from the start that The Hunger Games story was intended like a trilogy. Did it genuinely end just how you planned it through the beginning?

A: Very much so. While I didn't know every detail, of course, the arc in the story from gladiator game, to revolution, to war, to the eventual outcome remained constant through the entire writing process.

Q: We understand you worked around the initial screenplay for a film to become according to The Hunger Games. What is the biggest difference between writing a novel and writing a screenplay?

A: There have been several significant differences. Time, for starters. If you are adapting a novel in a two-hour movie you can't take everything with you. The story has to become condensed to suit the newest form. Then there is the question of methods best to take a magazine told inside first person and offer tense and transform it in a satisfying dramatic experience. In the novel, you never leave Katniss for a second and therefore are privy to all of her thoughts so you need a strategy to dramatize her inner world and to produce it possible for other characters to exist outside of her company. Finally, there's the challenge of how you can present the violence while still maintaining a PG-13 rating to ensure that your core audience can view it. A great deal of situations are acceptable on the page that may not be over a screen. But exactly how certain moments are depicted could eventually be within the director's hands.

Q: Have you been in a position to consider future projects while working on The Hunger Games, or are you immersed in the world you're currently creating so fully who's is just too hard to take into consideration new ideas?

A: We've a couple of seeds of ideas going swimming during my head but--given much of my focus is still on The Hunger Games--it is going to be awhile before one fully emerges and I can commence to develop it.

Q: The Hunger Games is once a year televised event by which one boy and something girl from each from the twelve districts is forced to participate in a fight-to-the-death on live TV. Exactly what do you think that the selling point of reality television is--to both kids and adults?

A: Well, they're often create as games and, like sporting events, there's an interest in seeing who wins. The contestants are usually unknown, which makes them relatable. Sometimes they've very talented people performing. Then you have the voyeuristic thrill—watching people being humiliated, or taken to tears, or suffering physically--which I find very disturbing. There's also the potential for desensitizing the audience, in order that when they see real tragedy playing out on, say, the news, it does not hold the impact it should.

Q: Should you were instructed to compete in the Hunger Games, exactly what do you imagine your skill would be?

A: Hiding. I'd be scaling those trees like Katniss and Rue. Since I had been trained in sword-fighting, I guess my best hope can be to obtain hold of your rapier if there is one available. But reality is I'd probably get with regards to a four in Training.

Q: What can you hope readers should come away with once they read The Hunger Games trilogy?

A: Questions about how elements with the books may be relevant of their own lives. And, if they're disturbing, the things they might do about them.

Q: What were some of one's favorite novels when you're a teen?

A: A Tree Grows in Brooklyn by Betty Smith
The Heart Is a Lonely Hunter by Carson McCullers
Nineteen Eighty Four by George Orwell
Anna Karenina by Leo Tolstoy
Slaughterhouse-Five by Kurt Vonnegut
A Wrinkle in Time by Madeleine L’Engle
Lord of the Flies by William Golding
Boris by Jaapter Haar
Germinal by Emile Zola
Dandelion Wine by Ray Bradbury
(Photo © Cap Pryor)


Gr 7 Up–The final installment of Suzanne Collins's trilogy sets Katniss in a more Hunger Game, but now it is for world control. While it is a clever twist on the original plot, it means that there's less focus around the individual characters and more on political intrigue and large scale destruction. That said, Carolyn McCormick will continue to breathe life right into a less vibrant Katniss by displaying despair both at those she feels accountable for killing and possibly at her motives and choices. This is an older, wiser, sadder, and incredibly reluctant heroine, torn between revenge and compassion. McCormick captures these conflicts by changing the pitch and pacing of Katniss's voice. Katniss is both a pawn with the rebels as well as the victim of President Snow, who uses Peeta to try and control Katniss. Peeta's struggles are very well evidenced as part of his voice, which goes from rage to puzzlement to an unsure go back to sweetness. McCormick also helps make the secondary characters—some malevolent, others benevolent, and lots of confused—very real with distinct voices and agendas/concerns. She acts such as an outside chronicler in giving listeners just “the facts” but in addition respects the individuality and different challenges of every of the main characters. A successful completion of the monumental series.–Edith Ching, University of Maryland, College Parkα(c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.





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