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McGraw-Hill Education’s brand new guide for the 2016 SAT, completely reflective of the new test!

McGraw-Hill’s SAT guide is a complete SAT coaching program that focuses on building students’ skills. This book offers students skill-building techniques and strategies developed by professional SAT instructors who know the ins-and-outs of the new test.

The book features:

• 3 full-length practice SATs reflective of the 2016 exam
• Hundreds of practice questions
• Thorough coverage of all the new question types�
• Strategies specifically geared to the new format
• A new 16-page insert section featuring the top 40 strategies for test day
• Access to a free customizable test planner app

For a more interactive SAT prep course reflective of the�new�SAT, check out McGraw-Hill Education's SAT 2016 Cross-Platform Edition (isbn 978-1-259-58589-0)!

• Sales Rank: #163012 in Books
• Published on: 2015-11-09
• Original language: English
• Number of items: 1
• Dimensions: 12.00" h x 10.00" w x 1.00" l, 2.29 pounds
• Binding: Paperback
• 624 pages

About the Author

Christopher Black, MA (Greenwich, CT) is the founder of College Hill Coaching and author of MacGraw-Hill’s SAT.

Mark Anestis, MA (Hamden, CT) is co-author of McGraw-Hill’s SAT, and author of 5 Steps to a 5 on the AP Biology Exam.

Most helpful customer reviews

18 of 22 people found the following review helpful.
A must have study guide for new 2016 SAT format
By SBCincinnati
[[VIDEOID:3a188cb227171814e0971f700087a3ef]] Everything you need to study for the new SAT test is in the book. I was impressed with how well it is laid out. Very user friendly. Contains great and necessary information.

What's in this book:
1. First section talks about the layout of the test, what has changed and test taking strategies.
2. Second section is a complete diagnostic SAT test. At the end there is an answer key, plus explanations for the correct answer.
3. The middle chapters cover each section of the test, gives you things to study and ways to approach the material.
4. At the end of the book there are two more practice tests.

There is no CD included with additional information, The app that goes with this book is simply a calendar tool that helps you keep on track with your test prep. Everything you need to study for the test in contained in the book, which is reflected in its reasonable price.

9 of 10 people found the following review helpful.
Practice math tests are best suited to high scorers
By Richard Corn
I am a private math tutor and purchased this book because it got so many favorable reviews. I only looked at the practice tests and only the math sections so my review is limited (others have commented on the general review portion which comprises the bulk of the book). In my opinion the practice tests in this book are more difficult than what can be expected on the new SAT (though it is anybody's guess at this point). I intend to use these practice tests for stronger students seeking very high scores.

Also, I found a small error on the last problem on page 581. The solution on page 603 of the book is based on a 45 degree angle, but the angle in the problem on page 581 is 44 degrees. Therefore the solution and answer key are incorrect.

6 of 7 people found the following review helpful.
I don't like this edition quite as much as the old one
By Amy Cook
I don't like this edition quite as much as the old one. It's a small thing, but the pages with the practice tests aren't shaded on the edges anymore. Also, I don't like the vocab section as well. I loved the old format with smaller sections of roots and words with worksheets after each 7 lessons. I know there aren't vocal questions anymore per se, but a strong word base is even more important than ever in the reading section. Finally, I don't feel the sections are broken up as well for focusing on a particular area of weakness as they used to be.

I am a professional SAT/ACT tutor so this is all from the perspective of focusing on individual students and not from an overall guide to use on ones own.

See all 32 customer reviews...

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[R638.Ebook] Fee Download Modern Clinic Design: Strategies for an Era of ChangeFrom Vickery, Christine/ Nyberg, Gary/ Whiteaker, Douglas

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Shift Clinic design to keep pace with the evolving healthcare industry

Modern Clinic Design: Strategies for an Era of Change is a comprehensive guide to optimizing patient experience through the design of the built environment. Written by a team of veteran healthcare interior designers, architects, and engineers, this book addresses the impacts of evolving legislation, changing technologies, and emerging nontraditional clinic models on clinic design, and illustrates effective design strategies for any type of clinic. Readers will find innovative ideas about lean design, design for flexibility, and the use of mock-ups to prototype space plans within a clinic setting, and diagrammed examples including waiting rooms, registration desks, and exam rooms that demonstrate how these ideas are applied to real-world projects.

Spurred on by recent healthcare legislation and new technological developments, clinics can now offer a greater variety of services in a greater variety of locations. Designers not only need to know the different requirements for each of these spaces, but also understand how certain design strategies affect the patient's experience in the space. This book explores all aspects of clinic design, and describes how aesthetics and functionality can merge to provide a positive experience for patients, staff, and healthcare providers.

• Understand how recent industry developments impact facility design
• Learn how design strategies can help create a positive patient experience
• Examine emerging clinic models that are becoming increasingly prevalent
• Analyze the impact of technology on clinic design

A well-designed clinic is essential for the well-being of the patients and health care providers that occupy the space every day. The healthcare industry is shifting, and the healthcare design industry must shift with it to continue producing spaces that are relevant to ever-evolving patient and worker needs. For complete guidance toward the role of design, Modern Clinic Design is a thorough, practical reference.

• Sales Rank: #811024 in Books
• Brand: Vickery, Christine/ Nyberg, Gary/ Whiteaker, Douglas
• Published on: 2015-04-20
• Original language: English
• Number of items: 1
• Dimensions: 9.40" h x .90" w x 8.25" l, 2.26 pounds
• Binding: Hardcover
• 336 pages

From the Back Cover

Modern Clinic Design Strategies for an Era of Change

Between new healthcare legislation, shifting demographics, and advances in technology, clinics are one of the most rapidly evolving sources of healthcare in the United States. This book provides designers and owners with everything they need to know to understand these shifting factors and address them through the design of the built clinic environment. It covers the practical elements of clinic design—from front entry and waiting area to exam room—for clinics of all types, from traditional community clinics to newer clinic models that might be located adjacent to a hospital, in a commercial storefront, or within a retail pharmacy or big box store. Specific design strategies and examples of existing projects show how each of these spaces can be designed to optimize the patient experience. Innovations such as lean design, design for flexibility, and prototyping spaces with mock-ups will be covered within the clinic setting.

• Distills current developments in the healthcare industry—from legislation and government regulations to technological developments—and the related impact on the design of built environments
• Illustrates design strategies that can help create a positive patient experience, both in traditional and emerging clinic types
• Diagrams all aspects of clinic design
• Provides examples of the emerging types of clinic models that will grow in prevalence in the coming years, including clinics within pharmacies and big box retailers, community clinics, clinics adjacent to and affiliated with traditional hospitals, medical home model clinics, and healthcare boutiques
• Analyzes the impact of technology on clinic design
• Offers innovative ideas about lean design, design for flexibility, and the use of mock-ups to prototype space plans within a clinic setting

About the Author

Christine Guzzo Vickery, CID, EDAC, is Vice President and Senior Interior Designer with HGA Architects and Engineers and leads HGA's Healthcare Research Collaborative. She additionally speaks at national healthcare conferences, contributes regularly to industry journals, and writes a monthly Blog for Healthcare Design Magazine. She has a Bachelor of Arts from the University of Iowa.

Gary Nyberg, RA, is a retired Healthcare Principal from HGA Architects and Engineers, where he specialized in medical planning, master planning and design for more than 30 years. He has a Bachelor of Architecture from the University of Minnesota.

Douglas Whiteaker, AIA, is a Healthcare Principal with HGA Architects and Engineers. He teaches sustainable design at Cosumnes River College in Sacramento, and leads Architect Registration Exam prep seminars. He has a Master of Architecture from the University of Nebraska-Lincoln, and a Bachelor of Science in Advanced Technical Science in Architecture from Southern Illinois University-Carbondale.

Most helpful customer reviews

1 of 1 people found the following review helpful.
Essential New Healthcare Design Book
By Lorna D
If you design healthcare spaces you will want “Modern Clinic Design” on your bookshelf. This 336 page hardback from Wiley is an essential and practical guide.

Ambulatory care is one of the most rapidly growing parts of healthcare. This book is a comprehensive review of contemporary design practices. Given the rapidly changing nature of healthcare delivery the book wisely looks into the future and emphasizes the need for flexibility.

This book covers all aspects of clinic design including emerging topics such as clinics in retail settings. The book explains the strengths and weaknesses of lean design as it reminds us that that cost control is a key issue. Real-world examples from all over the US are used extensively to illustrate the ideas discussed in the text.

In addition to traditional design topics there is a helpful overview of legislation, government regulations and technological developments that should help designers better understand the unique needs of their clients. Thankfully these complex topics are covered concisely using easy-to-understand language.

I only have a couple of minor complaints. Artwork is hardly mentioned at all except for a brief entry on page 40. The other minor issue is that the projects are drawn from the US, especially the Midwest. Ideally there would be examples of clinic design from around the world. However the ideas covered in the book would apply to projects anywhere.

This 336-page book is printed on high quality paper and is filled with hundreds of illustrations and photographs in full color.

The writing is authoritative and clear. It was written by 3 leading healthcare Designers from HGA: Interior Designer Christine Guzzo Vickery and architects Gary Nyberg and Douglas Whiteaker.

Highly recommended for interior designers, architects and hospital staff involved with healthcare design.
Review by Henry Domke

1 of 1 people found the following review helpful.
Textbook & Coffee Table book in one
By MussSyke
What first struck me about this book is that it could almost be a coffee table book, with its many photos, diagrams, layouts, and well spaced/headed text. For an Engineer like myself - and probably plenty of architects and even interior designers - this is easy to pick up and become engrossed in, even if you just want to pick a random spot to start reading.

Soon after, I realized just what a wealth of information is in here. I've dealt with some military hospitals from a communications perspective, and from that, I already knew just how fickle dealing with clinics can be: everything is different than you would expect from other places. While this book doesn't go into design of utilities, communications, or other physical facilities, it is strong and in-depth on its subject matter, which is more the functional design and aesthetic appeal to ease the patient as she is quickly processed through as efficiently as possible.

It actually makes you realize just how purposefully one-size-fits-all and faceless healthcare is becoming. This reminds me of what I think about all other businesses, how they have everything thought out how to squeeze every last drop of blood (cent) out of the "average" customer, which - at least I like to think - often doesn't apply to me. If that involves pretending to care by putting the patient in decent surrounds, then so be it. This is no fault of the book, obviously.

Clearly, the book is a professional, thorough analysis that will appeal to anyone associated with the industry, and could easily be required reading for architectural students.

1 of 1 people found the following review helpful.
A Gift for Someone Else Had Me Perusing and Curious
By Satia Renee
I picked up this book for my daughter-in-law who is currently taking courses in interior design. I knew she would find it interesting but I didn’t expect to find myself flipping through the book myself, discovering some insightful photographs of different healthcare facilities that made me better appreciate the care that goes into designing physical space for people—from patients to physicians. As I continued flipping I noticed sections in the chapters devoted to specific issues that I honestly never considered a significant aspect in treatment and, yet, once I saw them they seemed so obvious. Creating an efficient yet welcoming space is an art form I don’t know that I fully appreciated. Sure, I can see elements of Bauhaus or even Asian influences but to see specific influences either from the local environment or past architects surprised me. If I, a novice to the idea of interior design, can find this book so engaging, I can only imagine what my daughter-in-law will think. I’ll be sure to update this review when she’s told me what she thinks.

See all 8 customer reviews...

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• Sales Rank: #533404 in Books
• Published on: 2016-01-19
• Original language: English
• Number of items: 1
• Dimensions: 8.00" h x .19" w x 5.00" l, .19 pounds
• Binding: Paperback
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• Sales Rank: #1118788 in Books
• Published on: 2000-02-02
• Ingredients: Example Ingredients
• Original language: English
• Number of items: 1
• Dimensions: 9.40" h x 1.85" w x 8.50" l, 4.00 pounds
• Binding: Hardcover
• 1056 pages

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Great
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• Sales Rank: #6560933 in Books
• Published on: 2010-09-20
• Original language: English
• Number of items: 1
• Binding: Paperback

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The must-have Pevear and Volokhonsky�translation of one of the greatest Russian novels ever written

Described by William Faulkner as the best novel ever written and by Fyodor Dostoevsky as “flawless,” Anna Karenina tells of the doomed love affair between the sensuous and rebellious Anna and the dashing officer, Count Vronsky. Tragedy unfolds as Anna rejects her passionless marriage and thereby exposes herself to the hypocrisies of society. Set against a vast and richly textured canvas of nineteenth-century Russia, the novel's seven major characters create a dynamic imbalance, playing out the contrasts of city and country life and all the variations on love and family happiness.

While previous versions have softened the robust and sometimes shocking qualities of Tolstoy's writing, Pevear and Volokhonsky�have produced a translation true to his powerful voice. This authoritative edition, which received the PEN Translation Prize and was an Oprah Book Club™ selection, also includes an illuminating introduction and explanatory notes. Beautiful, vigorous, and eminently readable, this Anna Karenina will be the definitive text for fans of the film and generations to come.�This Penguin Classics Deluxe Edition also features French flaps and deckle-edged paper.

For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

• Sales Rank: #13447 in Books
• Brand: Penguin Classics
• Published on: 2004-05
• Released on: 2004-05-31
• Original language: English
• Number of items: 1
• Dimensions: 8.30" h x 1.80" w x 5.70" l,
• Binding: Paperback
• 864 pages

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Amazon.com Review
Some people say Anna Karenina is the single greatest novel ever written, which makes about as much sense to me as trying to determine the world's greatest color. But there is no doubt that Anna Karenina, generally considered Tolstoy's best book, is definitely one ripping great read. Anna, miserable in her loveless marriage, does the barely thinkable and succumbs to her desires for the dashing Vronsky. I don't want to give away the ending, but I will say that 19th-century Russia doesn't take well to that sort of thing.

About the Author
Count Leo Tolstoy was born on September 9, 1828, in Yasnaya Polyana, Russia. Orphaned at nine, he was brought up by an elderly aunt and educated by French tutors until he matriculated at Kazan University in 1844. In 1847, he gave up his studies and, after several aimless years, volunteered for military duty in the army, serving as a junior officer in the Crimean War before retiring in 1857. In 1862, Tolstoy married Sophie Behrs, a marriage that was to become, for him, bitterly unhappy. His diary, started in 1847, was used for self-study and self-criticism; it served as the source from which he drew much of the material that appeared not only in his great novels�War and Peace�(1869) and�Anna Karenina�(1877), but also in his shorter works. Seeking religious justification for his life, Tolstoy evolved a new Christianity based upon his own interpretation of the Gospels. Yasnaya Polyana became a mecca for his many converts At the age of eighty-two, while away from home, the writer suffered a break down in his health in Astapovo, Riazan, and he died there on November 20, 1910.

Richard Pevear�and�Larissa Volokhonsky�have produced acclaimed translations of�Tolstoy, Dostoevsky, Gogol, and�Bulgakov. Their translation of�The Brothers Karamazov�won the 1991 PEN/Book-of-the-Month Club Translation Prize. They are married and live in Paris, France.

Excerpt. � Reprinted by permission. All rights reserved.
All happy families are alike; each unhappy family is unhappy in its own way.

��� All was confusion in the Oblonskys' house. The wife had found out that the husband was having an affair with their former French governess, and had announced to the husband that she could not live in the same house with him. This situation had continued for three days now, and was painfully felt by the couple themselves, as well as by all the members of the family and household. They felt that there was no sense in their living together and that people who meet accidentally at any inn have more connection with each other than they, the members of the family and household of the Oblonskys. The wife would not leave her rooms, the husband was away for the third day. The children were running all over the house as if lost; the English governess quarrelled with the housekeeper and wrote a note to a friend, asking her to find her a new place; the cook had already left the premises the day before, at dinner-time; the kitchen-maid and coachman had given notice.

��� On the third day after the quarrel, Prince Stepan Arkadyich Oblonsky — Stiva, as he was called in society — woke up at his usual hour, that is, at eight o'clock in the morning, not in his wife's bedroom but in his study, on a morocco sofa. He rolled his full, well-tended body over on the springs of the sofa, as if wishing to fall asleep again for a long time, tightly hugged the pillow from the other side and pressed his cheek to it; but suddenly he gave a start, sat up on the sofa and opened his eyes.

��� `Yes, yes, how did it go?' he thought, recalling his dream. `How did it go? Yes! Alabin was giving a dinner in Darmstadt — no, not in Darmstadt but something American. Yes, but this Darmstadt was in America. Yes, Alabin was giving a dinner on glass tables, yes — and the tables were singing Il mio tesoro, only it wasn't Il mio tesoro but something better, and there were some little carafes, which were also women,' he recalled.

��� Stepan Arkadyich's eyes glittered merrily, and he fell to thinking with a smile. `Yes, it was nice, very nice. There were many other excellent things there, but one can't say it in words, or even put it into waking thoughts.' And, noticing a strip of light that had broken through the side of one of the heavy blinds, he cheerfully dropped his feet from the sofa, felt for the slippers trimmed with gold morocco that his wife had embroidered for him (a present for last year's birthday), and, following a nine-year-old habit, without getting up, reached his hand out to the place where his dressing gown hung in the bedroom. And here he suddenly remembered how and why he was sleeping not in his wife's bedroom but in his study: the smile vanished from his face, and he knitted his brows.

��� `Oh, oh, oh! Ohh! ...' he moaned, remembering all that had taken place. And in his imagination he again pictured all the details of his quarrel with his wife, all the hopelessness of his position and, most painful of all, his own guilt.

��� `No, she won't forgive me and can't forgive me! And the most terrible thing is that I'm the guilty one in it all — guilty, and yet not guilty. That's the whole drama,' he thought. `Oh, oh, oh!' he murmured with despair, recalling what were for him the most painful impressions of this quarrel.

��� Worst of all had been that first moment when, coming back from the theatre, cheerful and content, holding a huge pear for his wife, he had not found her in the drawing room; to his surprise, he had not found her in the study either, and had finally seen her in the bedroom with the unfortunate, all-revealing note in her hand.

��� She — this eternally preoccupied and bustling and, as he thought, none-too-bright Dolly — was sitting motionless, the note in her hand, looking at him with an expression of horror, despair and wrath.

��� `What is this? this?' she asked, pointing to the note.

��� And, in recalling it, as often happens, Stepan Arkadyich was tormented not so much by the event itself as by the way he had responded to these words from his wife.

��� What had happened to him at that moment was what happens to people when they are unexpectedly caught in something very shameful. He had not managed to prepare his face for the position he found himself in with regard to his wife now that his guilt had been revealed. Instead of being offended, of denying, justifying, asking forgiveness, even remaining indifferent — any of which would have been better than what he did! — his face quite involuntarily (`reflexes of the brain', thought Stepan Arkadyich, who liked physiology) smiled all at once its habitual, kind and therefore stupid smile.

��� That stupid smile he could not forgive himself. Seeing that smile, Dolly had winced as if from physical pain, burst with her typical vehemence into a torrent of cruel words, and rushed from the room. Since then she had refused to see her husband.

��� `That stupid smile is to blame for it all,' thought Stepan Arkadyich.

��� `But what to do, then? What to do?' he kept saying despairingly to himself, and could find no answer.

�

II

�

Stepan Arkadyich was a truthful man concerning his own self. He could not deceive himself into believing that he repented of his behaviour. He could not now be repentant that he, a thirty-four-year-old, handsome, amorous man, did not feel amorous with his wife, the mother of five living and two dead children, who was only a year younger than he. He repented only that he had not managed to conceal things better from her. But he felt all the gravity of his situation, and pitied his wife, his children and himself. Perhaps he would have managed to hide his sins better from his wife had he anticipated that the news would have such an effect on her. He had never thought the question over clearly, but vaguely imagined that his wife had long suspected him of being unfaithful to her and was looking the other way. It even seemed to him that she, a worn-out, aged, no longer beautiful woman, not remarkable for anything, simple, merely a kind mother of a family, ought in all fairness to be indulgent. It turned out to be quite the opposite.

��� `Ah, terrible! Ay, ay, ay! terrible!' Stepan Arkadyich repeated to himself and could come up with nothing. `And how nice it all was before that, what a nice life we had! She was content, happy with the children, I didn't hinder her in anything, left her to fuss over them and the household however she liked. True, it's not nice that she used to be a governess in our house. Not nice! There's something trivial, banal, in courting one's own governess. But what a governess!' (He vividly recalled Mlle Roland's dark, roguish eyes and her smile.) `But while she was in our house, I never allowed myself anything. And the worst of it is that she's already ... It all had to happen at once! Ay, ay, ay! But what to do, what to do?'

��� There was no answer, except the general answer life gives to all the most complex and insoluble questions. That answer is: one must live for the needs of the day, in other words, become oblivious. To become oblivious in dreams was impossible now, at least till night-time; it was impossible to return to that music sung by carafe-women; and so one had to become oblivious in the dream of life.

��� `We'll see later on,' Stepan Arkadyich said to himself and, getting up, he put on his grey dressing gown with the light-blue silk lining, threw the tasselled cord into a knot, and, drawing a goodly amount of air into the broad box of his chest, went up to the window with the customary brisk step of his splayed feet, which so easily carried his full body, raised the blind and rang loudly. In response to the bell his old friend, the valet Matvei, came at once, bringing clothes, boots, and a telegram. Behind Matvei came the barber with the shaving things.

��� `Any papers from the office?' Stepan Arkadyich asked, taking the telegram and sitting down in front of the mirror.

��� `On the table,' Matvei replied, glancing inquiringly, with sympathy, at his master, and, after waiting a little, he added with a sly smile: `Someone came from the owner of the livery stable.'

��� Stepan Arkadyich said nothing in reply and only glanced at Matvei in the mirror; from their eyes, which met in the mirror, one could see how well they understood each other. Stepan Arkadyich's eyes seemed to ask: `Why are you saying that? as if you didn't know?'

��� Matvei put his hands in his jacket pockets, thrust one foot out and looked at his master silently, good-naturedly, with a slight smile.

��� `I told them to come next Sunday and till then not to trouble you or themselves needlessly.' He uttered an obviously prepared phrase.

��� Stepan Arkadyich understood that Matvei wanted to joke and attract attention to himself. Tearing open the telegram, he read it, guessing at the right sense of the words, which were garbled as usual, and his face brightened.

��� `Matvei, my sister Anna Arkadyevna is coming tomorrow,' he said, stopping for a moment the glossy, plump little hand of the barber, who was clearing a pink path between his long, curly side-whiskers.

��� `Thank God,' said Matvei, showing by this answer that he understood the significance of this arrival in the same way as his master, that is, that Anna Arkadyevna, Stepan Arkadyich's beloved sister, might contribute to the reconciliation of husband and wife.

��� `Alone or with her spouse?' asked Matvei.

��� Stepan Arkadyich, unable to speak because the barber was occupied with his upper lip, raised one finger. Matvei nodded in the mirror.

��� `Alone. Shall I prepare the rooms upstairs?'

��� `Tell Darya Alexandrovna, wherever she decides.'

��� `Darya Alexandrovna?' Matvei repeated, as if in doubt.

��� `Yes, tell her. And here, take the telegram, let me know what she says.'

��� `Testing her out,' Matvei understood, but he said only: `Very well, sir.'

��� Stepan Arkadyich was already washed and combed and was about to start dressing, when Matvei, stepping slowly over the soft rug in his creaking boots, telegram in hand, came back into the room. The barber was no longer there.

��� `Darya Alexandrovna told me to inform you that she is leaving. Let him do as he — that is, you — pleases,' he said, laughing with his eyes only, and, putting his hands in his pockets and cocking his head to one side, he looked fixedly at his master.

��� Stepan Arkadyich said nothing. Then a kind and somewhat pathetic smile appeared on his handsome face.

��� `Eh? Matvei?' he said, shaking his head.

��� `Never mind, sir, it'll shape up,' said Matvei.

��� `Shape up?'

��� `That's right, sir.'

��� `You think so? Who's there?' Stepan Arkadyich asked, hearing the rustle of a woman's dress outside the door.

��� `It's me, sir,' said a firm and pleasant female voice, and through the door peeked the stern, pock-marked face of Matryona Filimonovna, the nanny.

��� `What is it, Matryosha?' Stepan Arkadyich asked, going out of the door to her.

��� Although Stepan Arkadyich was roundly guilty before his wife and felt it himself, almost everyone in the house, even the nanny, Darya Alexandrovna's chief friend, was on his side.

��� `Well, what is it?' he said dejectedly.

��� `You should go to her, sir, apologize again. Maybe God will help. She's suffering very much, it's a pity to see, and everything in the house has gone topsy-turvy. The children should be pitied. Apologize, sir. No help for it! After the dance, you must pay the ...'

��� `But she won't receive me ...'

��� `Still, you do your part. God is merciful, pray to God, sir, pray to God.'

��� `Well, all right, go now,' said Stepan Arkadyich, suddenly blushing. `Let's get me dressed.' He turned to Matvei and resolutely threw off his dressing gown.

��� Matvei was already holding the shirt like a horse collar, blowing away something invisible, and with obvious pleasure he clothed the pampered body of his master in it.

�

III

�

After dressing, Stepan Arkadyich sprayed himself with scent, adjusted the cuffs of his shirt, put cigarettes, wallet, matches, a watch with a double chain and seals into his pockets with an accustomed gesture, and, having shaken out his handkerchief, feeling himself clean, fragrant, healthy, and physically cheerful despite his misfortune, went out, springing lightly at each step, to the dining room, where coffee was already waiting for him, and, next to the coffee, letters and papers from the office.

��� He sat down and read the letters. One was very unpleasant — from a merchant who was buying a wood on his wife's estate. This wood had to be sold; but now, before his reconciliation with his wife, it was out of the question. The most unpleasant thing here was that it mixed financial interests into the impending matter of their reconciliation. And the thought that he might be guided by those interests, that he might seek a reconciliation with his wife in order to sell the wood, was offensive to him.

��� Having finished the letters, Stepan Arkadyich drew the office papers to him, quickly leafed through two files, made a few marks with a big pencil, then pushed the files away and started on his coffee. Over coffee he unfolded the still damp morning newspaper and began to read it.

��� Stepan Arkadyich subscribed to and read a liberal newspaper, not an extreme one, but one with the tendency to which the majority held. And though neither science, nor art, nor politics itself interested him, he firmly held the same views on all these subjects as the majority and his newspaper did, and changed them only when the majority did, or, rather, he did not change them, but they themselves changed imperceptibly in him.

��� Stepan Arkadyich chose neither his tendency nor his views, but these tendencies and views came to him themselves, just as he did not choose the shape of a hat or a frock coat, but bought those that were in fashion. And for him, who lived in a certain circle, and who required some mental activity such as usually develops with maturity, having views was as necessary as having a hat. If there was a reason why he preferred the liberal tendency to the conservative one (also held to by many in his circle), it was not because he found the liberal tendency more sensible, but because it more closely suited his manner of life. The liberal party said that everything was bad in Russia, and indeed Stepan Arkadyich had many debts and decidedly too little money. The liberal party said that marriage was an obsolete institution and was in need of reform, and indeed family life gave Stepan Arkadyich little pleasure and forced him to lie and pretend, which was so contrary to his nature. The liberal party said, or, rather, implied, that religion was just a bridle for the barbarous part of the population, and indeed Stepan Arkadyich could not even stand through a short prayer service without aching feet and could not grasp the point of all these fearsome and high-flown words about the other world, when life in this one could be so merry. At the same time, Stepan Arkadyich, who liked a merry joke, sometimes took pleasure in startling some simple soul by saying that if you want to pride yourself on your lineage, why stop at Rurik and renounce your first progenitor — the ape? And so the liberal tendency became a habit with Stepan Arkadyich, and he liked his newspaper, as he liked a cigar after dinner, for the slight haze it produced in his head. He read the leading article, which explained that in our time it was quite needless to raise the cry that radicalism was threatening to swallow up all the conservative elements, and that it was the government's duty to take measures to crush the hydra of revolution; that, on the contrary, `in our opinion, the danger lies not in the imaginary hydra of revolution, but in a stubborn traditionalism that impedes progress', and so on. He also read yet another article, a financial one, in which mention was made of Bentham and Mill and fine barbs were shot at the ministry. With his peculiar quickness of perception he understood the meaning of each barb: by whom, and against whom, and on what occasion it had been aimed, and this, as always, gave him a certain pleasure. But today this pleasure was poisoned by the recollection of Matryona Filimonovna's advice, and of the unhappy situation at home. He also read about Count Beust, who was rumoured to have gone to Wiesbaden, and about the end of grey hair, and about the sale of a light carriage, and a young person's offer of her services; but this information did not, as formerly, give him a quiet, ironic pleasure.

��� Having finished the newspaper, a second cup of coffee, and a kalatch with butter, he got up, brushed the crumbs from his waistcoat and, expanding his broad chest, smiled joyfully, not because there was anything especially pleasant in his heart — the smile was evoked by good digestion.

��� But this joyful smile at once reminded him of everything, and he turned pensive.

��� Two children's voices (Stepan Arkadyich recognized the voices of Grisha, the youngest boy, and Tanya, the eldest girl) were heard outside the door. They were pulling something and tipped it over.

��� `I told you not to put passengers on the roof,' the girl shouted in English. `Now pick it up!'

��� `All is confusion,' thought Stepan Arkadyich. `Now the children are running around on their own.' And, going to the door, he called them. They abandoned the box that stood for a train and came to their father.

��� The girl, her father's favourite, ran in boldly, embraced him, and hung laughing on his neck, delighting, as always, in the familiar smell of scent coming from his side-whiskers. Kissing him finally on the face, which was red from bending down and radiant with tenderness, the girl unclasped her hands and was going to run out again, but her father held her back.

��� `How's mama?' he asked, his hand stroking his daughter's smooth, tender neck. `Good morning,' he said, smiling to the boy who greeted him.

��� He was aware that he loved the boy less, and always tried to be fair; but the boy felt it and did not respond with a smile to the cold smile of his father.

��� `Mama? Mama's up,' the girl replied.

��� Stepan Arkadyich sighed. `That means again she didn't sleep all night,' he thought.

��� `And is she cheerful?'

��� The girl knew that there had been a quarrel between her father and mother, and that her mother could not be cheerful, and that her father ought to know it, and that he was shamming when he asked about it so lightly. And she blushed for him. He understood it at once and also blushed.

��� `I don't know,' she said. `She told us not to study, but to go for a walk to grandma's with Miss Hull.'

��� `Well, go then, my Tanchurochka. Ah, yes, wait,' he said, still holding her back and stroking her tender little hand.

��� He took a box of sweets from the mantelpiece, where he had put it yesterday, and gave her two, picking her favourites, a chocolate and a cream.

��� `For Grisha?' the girl said, pointing to the chocolate.

��� `Yes, yes.' And stroking her little shoulder once more, he kissed her on the nape of the neck and let her go.

��� `The carriage is ready,' said Matvei. `And there's a woman with a petition to see you,' he added.

��� `Has she been here long?' asked Stepan Arkadyich.

��� `Half an hour or so.'

��� `How often must I tell you to let me know at once!'

��� `I had to give you time for your coffee at least,' Matvei said in that friendly-rude tone at which it was impossible to be angry.

��� `Well, quickly send her in,' said Oblonsky, wincing with vexation.

��� The woman, Mrs Kalinin, a staff captain's wife, was petitioning for something impossible and senseless; but Stepan Arkadyich, as was his custom, sat her down, heard her out attentively without interrupting, and gave her detailed advice on whom to address and how, and even wrote, briskly and fluently, in his large, sprawling, handsome and clear handwriting, a little note to the person who could be of help to her. Having dismissed the captain's wife, Stepan Arkadyich picked up his hat and paused, wondering whether he had forgotten anything. It turned out that he had forgotten nothing, except what he had wanted to forget — his wife.

��� `Ah, yes!' He hung his head, and his handsome face assumed a wistful expression. `Shall I go or not?' he said to himself. And his inner voice told him that he should not go, that there could be nothing here but falseness, that to rectify, to repair, their relations was impossible, because it was impossible to make her attractive and arousing of love again or to make him an old man incapable of love. Nothing could come of it now but falseness and deceit, and falseness and deceit were contrary to his nature.

��� `But at some point I'll have to; it can't remain like this,' he said, trying to pluck up his courage. He squared his shoulders, took out a cigarette, lit it, took two puffs, threw it into the mother-of-pearl ashtray, walked with quick steps across the gloomy drawing room and opened the other door, to his wife's bedroom.

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280 of 305 people found the following review helpful.
Move over, Mrs. Garnett.
By Thomas R. Gillett
Yes, this is the translation to read -- every sentence has been carefully thought through: a translation you could only get from a native-born Russian (Larissa Volokhonskaya) and an English-speaking person (an American, Richard Pevear, her husband) working together, with a native ear for BOTH languages. The prose just flows -- to the point I was hardly are conscious of reading a translation (the highest compliment). My wife (Russian) likes this English-language version so much she has read part of it, first out of curiousity just to see how good a translation can be, then for the pleasure of the English prose. She says Tolstoy in the original is better and since I can read some Russian, I agree. There are some words, expressions that are, after all, untranslatable -- maybe you can find a literally equivalent word, but not an emotionally equivalent one. So study your Russian (I intend to) and maybe someday read the orignial. Meanwhile, there's this. A great classic and a tour de force translation that just rings true on every page.

232 of 256 people found the following review helpful.
Greatest Novel Ever Written
By A Customer
I read this book in 1993, and I still remember the experience. It has been called the greatest novel ever written and I agree.

It is a very long book: I read a few chapters a day over a long period of time. Over time the feeling developed that the characters, and Tolstoy himself (in Levin), were people I knew -- people with whom I spent some time each day. The philosophy was mind-expanding; I'm sure my views were affected.
For me, the important thing in reading this book was not to try to "get through" it, but to "visit" it as I would visit congenial neighbors. When I finished, I felt loneliness over loss of contact with the characters.
I'm going to read it again some day.

265 of 296 people found the following review helpful.
A beautiful mosaic of interlinked stories ...
By B. Alcat
"Anna Karenina" (1873-7) is a book that could be compared to a beautiful mosaic of interlinked stories. Thanks to Tolstoy's book, we get to know characters who sometimes seem so real that we cannot help but living with them the series of events that are recounted in this book.
Who are the main characters?. Well, we might begin by telling something about Anna Karenina, the woman who gives this book its title. Anna is someone who has found some satisfaction in a marriage to a husband she doesn't love. Her life isn't exciting, but she is comfortable, and has a son that means everything to her. Her world will be shaken when a nobleman, Count Vronsky, falls in love with her. He pursuits Anna until he convinces her to become his lover, indulging in an adulterous affair. But... will he go on loving her, even after she risks all for him?. And did she do the right thing, by following her heart without thinking about the consequences of her actions?.
There are many more characters, but I would like to highlight one of them: Levin. Levin is a rather eccentric gentleman farmer, who worries about things like the meaning of life, and allows the reader to share with him the kind of doubts that many have had, but few voice. He ends up finding happiness, but his path is not easy, especially because he is prone to reflect on issues that cause him anguish. His story is linked at the beginning of the book to that of Anna and Vronsky because the woman he loves, Kitty Shcherbatskaya, thinks she loves Vronsky. However, as the story advances, you will probably end up comparing Anna and Vronsky's relationship to that of Kitty and Levin. One is all drama, and passion; the other, calm and contentment. Which one is better?. And according to whom?.
I want to point out how well Tolstoy depicted 19th century Russian society, especially the differences between social classes and how much hypocrisy permeated the moral codes of polite society. If you pay close attention you will notice that several themes also to be found in other classics are recurrent in "Anna Karenina". One of them is fate, and some of the others are the omnipresence of death, the meaning of life, and the power of faith. There are many more things I would like to say about this book, but I think you will do better if you start to read "Anna Karenina" right now, instead of spending more of your time reading a long review such as this one :)
On the whole, I highly recommend this book. It is one of those few books that don't allow you to remain indifferent. You might hate it or love it, but it will necessarily make you think about several important subjects, whilst reading a good story.
Belen Alcat

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