The Art of M&A Structuring

Real-world advice for determining the most advantageous structure in a merger, acquisition, or buyout

The actual structuring of a merger or acquisition is key to the success of the entire procedure. The Art of M&A Structuring explores ways to approach a deal as an investment and satisfy the often conflicting financial and operational goals of all parties, from buyers and sellers to investors and lenders. Written in the trademark Q&A style that made The Art of M&A a landmark business bestseller, this book is filled with real-world examples and cases. Decision makers in any organization will quickly find the M&A information and insights they need, including:

* Up-to-date GAAP and tax considerations
* Advantages and disadvantages of spin-offs and spin-outs
* Special considerations for off-balance-sheet transactions

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The Art of Software Testing

Provides a practical rather than theoretical discussion of the purpose and nature of software testing. Emphasizes methodologies for the design of effective test cases. Comprehensively covers psychological and economic principles, managerial aspects of testing, test tools, high-order testing, code inspections, and debugging. Extensive bibliography. Programmers at all levels, and programming students, will find this reference work indispensible.

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The Art of Teaching Art: A Guide for Teaching and Learning the Foundations of Drawing-Based Art

Often the finest artists do not make the best teachers. Many frustrated college students of art know this all too well as they suffer through unstructured classes with inexperienced teachers or graduate student instructors. In these situations, it is easy to blame the teachers. But the problem is largely institutional: most students graduating with MFAs from art schools receive little if any instruction in teaching art. If you find yourself in this predicament as teacher or student, this book is for you.
The first book to provide a comprehensive guide for teaching college-level art, The Art of Teaching Art is the culmination of respected artist and instructor Deborah Rockman's two decades of teaching experience. Believing that drawing is the backbone of all of the visual arts, she begins with a complete explanation of drawing concepts that apply to any subject matter, e.g., composition, sighting processes, scaling techniques, and methods for linear and tonal development. She then illustrates these concepts with step-by-step methods that easily translate to classroom exercises. Next, she applies the drawing principles to every artist's most important and challenging subject, the human figure. After an extended section on understanding and teaching perspective that explores illusionistic form and space, the focus of the book shifts to the studio classroom itself and the essential elements that go into making an effective learning environment and curriculum. From preparing materials lists and syllabi, to setting up still-lifes, handling difficult classroom situations, critiquing and grading student artworks, and shooting slides of student artworks, she leaves no stone unturned.
The Art of Teaching Art is the guide every new or experienced teacher of college-level art must have. Its helpful suggestions and numerous examples of student artwork from Rockman's classes will impart confidence to the inexperienced and fresh inspiration to the veteran instructors.

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Art in America

One of my fondest memories of McLarty's excellent novel Traveler was Riley's work in New York as a bartender and actor. The description of Riley acting in obscure plays before audiences that usually numbered in the low single digits in a theater that seated 12-15 people was a real delight. Being a patron of the arts, a performer of the arts, and an artist took on a whole new meaning. You wonder--does this subculture really exist in New York? Is McLarty exaggerating for dramatic (you'll pardon the pun) effect? So after the first dozen or so pages of Art in America I thought that McLarty would be expanding on that memorable part of Traveler.

Steven Kearney is a writer--novels, plays, musicals--but not a successful one. The prologue lists "selected works"(all unpublished): 10 works that run to well over 17000 pages, for an average length of 1700+ pages, and if you omit the two "short" works of only 822 and 231 pages, the remaining 8 works average over 2000 pages. Typical of these is "The Barrelli Retrospective Works", 1930 pages: "A failed Rhode Island artist looks back over his long career as oil painter/short-order cook at Manny's Big Eats in Cranston". It's a great prologue! After reading it I sent (through Amazon) 4 copies to friends and family--perhaps prematurely. Kearney soon leaves New York for Creede (called Creedmore for some reason in the novel) Colorado, where he's been commissioned to write a play. So the rest of the novel mostly takes place in the greater Creede area.

Creede should certainly be a culture shock for a New Yorker. McLarty introduces a lot of characters, almost all of whom seem rather, well, eccentric. There's Sheriff Petey Myers, a New England transplant, who talks a lot to his deceased partner, the very rich Ticky Lettgo, entrepreneur Red Fields, and these seem quite normal compared to many others. There is a lot going on--almost too much going on--and it gets a bit confusing at times. Traveler was a much tighter novel--focussed, carefully-drawn. You were pulled into the mysteries and the decades-old questions and uncertainties. Art in America has a wonderful core to it, and some pruning of distractions might have been beneficial: leaving out the radicals, the bomb-throwers, and the like and concentrating on how Kearney adjusts would have worked well. Creede is a fascinating place--narrow streets, towering canyon walls, precariously-situated mine entrances, and the memories of Soapy Smith who went on to notoriety and death in Skagway and the town's motto "It's day all day in the daytime and there is no night in Creede". Art in America captures some of this flavor, but there are too many other things happening. Traveler took a part-time actor back to his roots in Rhode Island--a rediscovery. Kearney's roots are not in Creede, but the voyage and the effect on his character in many ways match those in Traveler.

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