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Statistics Done Wrong: The Woefully Complete Guide

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Review

"If you analyze data with any regularity but aren't sure if you're doing it correctly, get this book." -- Nathan Yau, FlowingData"Of all the books that tackle these issues, Reinhart's is the most succinct, accessible and accurate." -- Tom Siegfried, Science News"A spotter's guide to arrant nonsense cloaked in mathematical respectability." -- Gord Doctorow, BoingBoing

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From the Author

What goes wrong most often in scientific research and data science? Statistics.Statistical analysis is tricky to get right, even for the best and brightest. You'd be surprised how many pitfalls there are, and how many published papers succumb to them. Here's a sample:Statistical power. Many researchers use sample sizes that are too small to detect any noteworthy effects and, failing to detect them, declare they must not exist. Even medical trials often don't have the sample size needed to detect a 50% difference in symptoms. And right turns at red lights are legal only because safety trials had inadequate sample sizes.Truth inflation. If your sample size is too small, the only way you'll get a statistically significant result is if you get lucky and overestimate the effect you're looking for. Ever wonder why exciting new wonder drugs never work as well as first promised? Truth inflation.The base rate fallacy. If you're screening for a rare event, there are many more opportunities for false positives than false negatives, and so most of your positive results will be false positives. That's important for cancer screening and medical tests, but it's also why surveys on the use of guns for self-defense produce exaggerated results.Stopping rules. Why not start with a smaller sample size and increase it as necessary? This is quite common but, unless you're careful, it vastly increases the chances of exaggeration and false positives. Medical trials that stop early exaggerate their results by 30% on average.

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Product details

Paperback: 176 pages

Publisher: No Starch Press; 1 edition (March 1, 2015)

Language: English

ISBN-10: 1593276206

ISBN-13: 978-1593276201

Product Dimensions:

6.1 x 0.5 x 8.9 inches

Shipping Weight: 10.4 ounces (View shipping rates and policies)

Average Customer Review:

4.4 out of 5 stars

90 customer reviews

Amazon Best Sellers Rank:

#112,470 in Books (See Top 100 in Books)

Let me front-load the criticism. I wish an experienced statistics instructor had reviewed the manuscript. The book does better in its second half, where it discusses what I would call problems with empirical-research culture, than in its first half, which has more textbook statistics. The author neglects to explain the basics - things like "sample", "statistic", "sampling distribution", "conditional probability" - and often confuses matters by bringing in issue Y when setting out to discuss issue X. (Appropriately, a section named "Confounding Confounders" is itself confounded: we start talking about "coarsening" data (not what I expected based on the title, by the way; a Y-for-X switch already took place), then get into something else. I will single out the introduction to the "base-rate fallacy" as another weak spot). A choice to be non-technical means that solutions to some problems cannot be effectively presented - although sometimes they are suggested after all. The "woefully complete" part of the title is, I take it, tongue-in-cheek, so no quibbles there.A few "similar" books come to mind, including (a) the drier "Common errors in statistics" by Phillip Good, (b) the three terrific popular books by Ben Goldacre - "Bad science", "Bad pharma" and "I think you'll find it's a bit more complicated than that" - and (c) the elegant "Understanding the new statistics" by Geoff Cumming. (I have not seen "How to lie with statistics" by Huff and Geis). Reinhart's book is more "big-picture" than Good's, and broader than Goldacre's or Cumming's. (The latter is a perfect "single-issue" book; the former are not specifically about cataloging statistics errors).Statistical semi-literacy of empirical researchers is a serious problem, and any effort to improve the situation is to be lauded. Alex Reinhart's book - engagingly written, and nicely produced (and fairly cheaply sold) by No Starch Press - is a force for good, and one which can have a material impact.

This book is great!Just make sure you are not new to statistics. If you start with this book, you will learn nothing useful, only some tidbits here and there, mostly unconnected.This book will tell you only about p values and power of a test. Some 90% of the contents of this book are related to what people does wrong with regards to p values, which is a lot, I have to say.I had no idea of the current status of many science topics and this book sadly illustrates about it. You will learn that many doctors, scientists and even reviewers have no idea about what they are talking about or commenting on.You need to be confident with the use and understanding of many statistics before you get to read and understand this book. This is not a book for everyone, this is for sure. Neither is it a book about statistics. It is a book on the misuse and bad implementation of p values and how people dealing with statistics make the wrong question and get the wrong answer out of their statistics and their data sets.If you are fluent with p values and the power of the test, and you can deal with hypothesis testing and all that stuff, then go read this book and you will learn something really useful.If you are not used to statistics, this book will teach you nothing. But it is a very well written book, a nice piece of any collection. So go get it even if you cannot deal with statistics. Then, learn statistics because it is a huge investment anyway. When you are done, read this book and learn something else.

A fantastically interesting book. Anyone who loves numbers, and loves science will appreciate the compiled research and examples Alex Reinhart published here. Many times, reading the stories and statistical studies, I thought back to my Ivy League university experience. Often times, a professor quoted some study based on a particular topic, described the nature of the study, and then presented the conclusion. Too many times, the conclusion struck me as nonsensical or counterintuitive. I asked several professors, "Why did they conclude "A" and not "B" or "C" or even something else? None knew answers to these questions. Then, I asked them, "Where is the data? Have you ever seen the data?" No, they had not. One tenured professor shrugged and told me, "You can try writing to the experimenter and asking to see it." That blew me away. Professors at top universities believed and professed unproven conclusions they had personally never challenged.Statistics, however, was a favorite class of mine.

This book only has one equation as far as I remember. It doesn't explain how to do statistics, and doesn't explain the math of how statistical tests work, or the proofs that they work. Instead it explains what the results mean, and the many many ways statistical results can mislead. It covers clearly and humorously topics missing from almost all statistics texts (but not mine!): pseudoreplication, multiple comparisons, false discovery rate, publication bias, Simpson's paradox, the challenge of nonreproducibility of published findings, .... Anyone evaluating published research, or anyone analyzing data, must understand these topics to understand (or do) science properly. This book is highly recommended.

This is an exceptional gazette to the current poor state of statistically-based research. Reinhart is efficient in his enumeration of the major sins committed by researchers, usually unfamiliar with the nuances of the statistical concepts that are made easily available to them in stats packages. Furthermore, he provides many useful tips for how to countering much of the backsliding taking place in research.Complex topics were made easy to understand, and best of all, not a word in the text was wasted. I read this in two afternoons and am better for it.

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Free Ebook Spencerian Penmanship (Theory Book)

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Spencerian Penmanship (Theory Book)

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Product details

Paperback: 64 pages

Publisher: Mott Media; Pck edition (February 1, 1985)

Language: English

ISBN-10: 088062082X

ISBN-13: 978-0880620826

Product Dimensions:

7.2 x 0.2 x 8.8 inches

Shipping Weight: 3.2 ounces (View shipping rates and policies)

Average Customer Review:

4.5 out of 5 stars

368 customer reviews

Amazon Best Sellers Rank:

#50,921 in Books (See Top 100 in Books)

These books are a (relatively) quick and practical guide to skills from a time gone by -- this is a part of its charm. If you want to purchase this, I say go for it, but try to keep in mind what you are signing up for:The Spencerian method depends on a decent-sized writing desk or table with ample room to "sit properly" as the theory book will explain in detail. It will be difficult to use Spencerian script in casual setting if you are holding a notepad in one hand and the pen in another. (You would have to master "whole-arm movement" first, and even then it gets tricky.)Good penmanship will only come if you commit to holding and wielding the pen in a way that is very counterintuitive for people of this day and age, and it will take a lot of effort and a little discomfort to do it correctly while still being able to relax the muscles you are using and not get cramped up. If you are serious about adopting this method, bite the bullet. It's very doable with practice. But you have to be willing to keep yourself from lazily resting your hand on the page at all, and only letting your ring finger and little finger skim the surface of the page. If you only want to copy what the letters look like without using the right muscular movements, then this style will be a lot more difficult, tiring and forced than it needs to be. In short, it won't be the real deal, and you will probably get discouraged over time. There are plenty of free examples of Spencerian letters for those who aren't interested in learning the right technique.The paper in these bindings is truly subpar for the kinds of pens and inks they were originally intended for, but don't let that discourage you unless you are genuinely purist and don't have the time to make your own practice sheets. No doubt the original editions had better-quality paper, but then, they were probably relatively more expensive. For everyday pens and pencils, they should work fine. Personally, I used the workbook exercises as a guide for ruling my own sheets of paper to practice on.These books don't delve into the strokes necessary to make any kinds of punctuation marks and other symbols. They equip you with just capital and lowercase letters and numbers 0 - 9. There is no instruction for indenting paragraphs, handling flourishes, drawing birds or any of the other skills that tend to fall into either the practical or the more calligraphic side of the Spencerian method. That being said, it's a great starting point if all you want to do is learn what makes this style "tick" and how to pull it off.You can use most pens and pencils for these exercises, but I don't recommend ballpoint pens because of the difference in the physical sensations you are looking for when learning the strokes, the way the ink behaves coming off of the tip, and because of the difficulties of using ballpoint pens for shading. It's easy, when learning this style of handwriting from a modern perspective, to over-stress the upward strokes. Historically, the down strokes usually carried the most weight, even when avoiding any shading. It is easier to feel the push and pull of the strokes and develop a good technique using any other kind of tip than with ballpoint (yes, even with pencil). For a real advanced-level learning experience, you might even want to try your hand at practicing with a dip-pen/quill and some good ink. Don't feel pressured, though. Figuring those kinds of pens out involve their own set of skills.Don't misunderstand what a "copybook" is for. The point isn't just to reproduce the images in each exercise. Each one is a puzzle. "How do I manage to make strokes that look like that using the muscles that the theory book is asking me to use? How do I do it without tensing up? How do I do it quickly without getting sloppy? What should the scratching of the pen against the paper sound like when I have it up to speed?" The method that this book is pushing is industrial, to say the least, and embraces this kind of mechanized teaching philosophy. That philosophy is part of what went into designing the Spencerian script in the first place.One final note on this product: If you do decide that it's worth the hassle to stick to it, you can definitely get amazing results. Keep in mind, though that, for the passionate hobbyist, this is just the beginning. There are many other styles of "modern" penmanship-- even within the umbrella of the Spencerian system. There are more in-depth (and more complicated) resources on the IAMPETH website at www.iampeth.com, which you can download for free. What this product has to offer is a simplified, comprehensive guide to breaking into Spencerian without having to read a lot of text and organizing lessons for yourself. That is why I think it is still worth buying, despite the amount of free and open resources you can find online or in libraries.This product is a great resource, not only for dedicated calligraphers and other hobbyists, but also for everyday folks who are willing to invest a little extra time into a skill in order to reap its practical benefits. Other resources out there are for more patient and passionate people who have the time to make sense out of it all for themselves.Best of luck!

I'm super thrilled with this book and the composition books that come with it. I did have to use some online videos to understand the description of the pen grip, but beyond that it's pretty self explanatory. I'm slowly working through them, and I have seen quite an improvement in my handwriting. I have attached a photo of my writing after using this for about a month. I still have a ways to go - these books aren't a quick fix - but I'm pleased with the progress.

Platt Rogers Spencer, the developer of the Spencerian method of penmanship in 1840, published this short book about the "theory of proper penmanship" in 1870, along with five Copybooks, making his teaching method the gold standard for handwriting instruction in the late 19th Century.It is almost unimaginable for us in the 21st Century, but there was a time not that very long ago when there were no computers, no typewriters, and all banking and bookkeeping records were done by hand. Poor handwriting could be disastrous: a misplaced space in a will could mean that instead of receiving "tobacco, two hogsheads" (loosely 2,000 pounds of leaf tobacco, and quite valuable), the nephew of a deceased Southern gentleman might receive "tobacco, two hogs heads", which might be a single pouch of tobacco and two cheeses made with the heads of pigs (far less than valuable). Handwriting was important.Under Spencer, it was also quite regimented. The theory book describes how writing classes for boys and young men should be implemented (women couldn't work as bank clerks or secretaries yet). From the beginning, the class was as regimented as Marine Corps boot camp. While there are four positions "allowed" for sitting at the desk-- Left-side, Front, Right-oblique, and Right-side-- the author insists that the class should all maintain the same, uniform position (note: there's no more allowance for left-handers than for women, although at least left-handers could learn to write with the non-dominant hand!). Everyone was told to sit the same way, "easily upright, and keep the shoulders square", to avoid becoming "hollow-chested or round-shouldered". Then, on the instructor's commands, they would "open copybooks", "open inkwells", and "dip pens", all in synchronization.Individual letters were broken down into their components-- students were taught to respond to questions such as "What do you call an angle of 7 degrees greater than 45 degrees?", and had to be able to be able to identify multiple points and angles of a circular diagram, with a special emphasis on "What is the slant of 52 degrees in the Spencerian writing called? The Main Slant. Why is it so called? Because it is the slant given to most of the main or downward strokes."This is not the handwriting class of my childhood.It was also too complex to last. In 1894, Austin Palmer published his "Palmer's Guide to Business Writing", which was a much simplified variation on the laborious and slow (though beautiful) Spencerian method. It supplanted Spencer's completely in short order, and was taught in American schools not only as handwriting but as a means of instilling discipline in young minds. It required too much manual dexterity for young children, though, so in the 1950s children began learning to use manuscript (block) letters in first grade and to write connected letters using the Zaner-Bloser method in third and fourth grade (usually just referred to as "print" and "cursive"). Zaner-Bloser was yet another simplification of the Spencerian method, and users of the one can usually read the other without difficulty.And then along came computers. Now, many schools no longer teach handwriting beyond the manuscript-style printing kids learn in first grade and from Sesame Street-- why bother, when no one writes by hand anymore?The Spencerian Penmanship Theory Book is a glimpse at an earlier world, and a proof that not all progress is completely positive. Handwriting could once be far more beautiful than a text on the smartphone's screen.

I don't think I really knew what I was getting into when I ordered this Theory Book plus workbooks. They are not kidding around. So this is from the 1800's in a time, lost to us. This teaches you to write each letter by a series of strokes, so like a "W" would be like a 1,2,1,2 or something, I actually think it is more strokes than that, but as for this example is concerned, you would write your 1 stroke, then your 2 stroke then 1 and again your 2 stroke. So, the first workbook the first of it, is just drawing these individual strokes. A lot of them. A LOT. Then once you get the hang of that (wink wink), you are asked to put strokes together which makes a letter.It took me a while to figure out what was going on, and then to my horror I realized what the book was asking of me.I took up fountain pens recently, Vintage fountain pens with Flexy nibs, and that has brought me down this path.I will do this. I will. I find myself, doing all sorts of other things, instead of this, but I will do this. I am just building up my resolve, that is all.I am excited, about the prospect of practicing this, one day, when I am ready, sometime in the future.. I am sure, it will be very rewarding and I am looking forward to the day, that I have enough in me to put that first stroke in that workbook and commit to starting my lessons.

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Audible Audiobook

Listening Length: 4 hours and 38 minutes

Program Type: Audiobook

Version: Unabridged

Publisher: AB Books

Audible.com Release Date: September 24, 2018

Whispersync for Voice: Ready

Language: English, English

ASIN: B07HKC3TMB

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If only this Kindle Edition preserved the translation enjoyed in print edition, it would be a wonderful read. But, it has been badly conveyed with phrasing that destroys much of the beauty of this classic work. An excellent author's turn of phrase, is preserved by an accomplished translator; this 'rendition' does not improve the text by its use of English simplifications and re-phrasings of the original literature. It is a disservice to anyone whom thinks they are reading Hesse.Object lesson: you get what you pay for -- I wish I'd gotten the (Buddha cover art) version, that appears to be same as paperback I've well read for decades: that superior version is also available as Kindle Edition, by Hermann Hesse (Author), Hilda Rosner (Translator). Next time I'll compare 'sample' with a known edition to avoid spending even very little money on something with damaged literary quality.Siddhartha

I just finished reading Siddhartha, and I can safely say without a shadow of a doubt, that it is now my favourite book. It's simply amazing that this was published in 1922, it is a timeless breath of simplicity and creativity. Herman Hesse was known for writing semi autobiographical novels, and this one is no exception; the character Siddhartha is even recognised for his writing ability at one stage of the novel. Siddhartha is heavily influenced by Hesse's close relationship with the great Swisse psychologist Carl Jung, and it is a treat to experience the archetypal imagery that Hesse manages to bring to life with sheer mastery. The novel reads like an old mythic tale, told with simple descriptive prose, and playful dialogue: the characters even refer to themselves in the third person! While reading Siddhartha, I couldn't help but picture the novel's world as being hand drawn, like the old drawings of the Buddha and the Hindu and Buddhist mythologies of old. The book is divided into three parts, which symbolically follow Siddhartha's birth, death, and rebirth. The Siddhartha in the novel is not related to the Siddhartha Gautama (Buddha), but he exists in the same time as him, and the two cross paths in the book. Even though they are unrelated, and the story hasn't much to do with the Buddha, the novel implies that the Buddha exists everywhere and in everyone and is merely a representation of the enlightenment available to anyone, at any moment. Whether it be at the moment of physical death, sickness, wealth, sadness, or simply holding and looking at a rock, one is capable of `waking up' and seeing the inter connectedness of everything.I won't elaborate any further on the book, I would hate to subtract any of your enjoyment out of reading it yourself, and if you haven't, I urge you to. One important thing to consider before reading it however, (it is a fairly short read - roughly 80 pages) is the translation. The original was written in German, so the translation of the book can make or break it. Some translations are really poor, while others capture the essence of the novel beautifully and gracefully, like a net catches a butterfly before releasing it into the wind. Below is a extract of the book, spanning all (or at least most) of the English translations available to you, to help you choose the right version for you. I've ordered them in order of best to worst, though you might have a different opinion to me.SIDDHARTHA ENGLISH TRANSLATION COMPARISON:Dover Thrift, introduction, translation and glossary of Indian terms by Stanley Appelbaum (1998)Instructed by the samana elder, Siddhartha practiced denial of self; he practiced concentration in accordance with new samana rules. A heron flew over the bamboo forest - and Siddhartha absorbed the heron into his soul; he flew over forest and mountain, he was the heron, he ate fish, he hungered with a heron's hunger, he spoke with a heron's croaking, he died a heron's death. A dead jackal lay on the sandy riverbank, and Siddhartha's soul slipped into the carcass; he was a dead jackal, he lay on the sand, he swelled up, stank, rotted, was torn apart by hyenas, was skinned by vultures, became a skeleton, turned to dust, blew away into the fields. And Siddhartha's soul returned; it had died, it had rotted, it had fallen into dust, it had tasted the dismal intoxication of the cycle of existences; filled with fresh thirst, like a hunter it was awaiting the gap through which it might escape the cycle, where causation would come to an end, where sorrowless eternity began. He mortified his senses, he mortified his power to remember, he stole out of his ego and into a thousand unfamiliar forms of creation; he was an animal, he was a carcass, he was stone, he was wood, he was water, and each time, upon awakening, he found himself again; the sun or the moon was shining; he was himself once again, he was moving through the cycle; he felt thirst, overcame his thirst, felt fresh thirst.Modern Library, a translation by Susan Bernofsky, foreword by Tom Robbins, translator's preface (2006)Instructed by the eldest of the Samanas, Siddhartha practiced the eradication of ego, practiced samadhi according to new Samana rules. A heron flew over the bamboo forest--and Siddhartha received the heron into his soul, flew over forests and mountains, was heron, ate fish, felt the pangs of heron hunger, spoke in heron squawks, died heron death. A dead jackal lay on the sandy bank, and Siddhartha's soul slipped into the corpse, was dead jackal, lay on the beach, grew bloated, stank, decayed, was torn apart by hyenas and flayed by vultures, became a skeleton, became dust, blew into the fields. And Siddhartha's soul returned, it had died, had decayed, become dust, it had tasted the bleak euphoria of the cyclical journey, and then, freshly thirsty, it waited crouching like a hunter for the gap in the cycle where escape was possible, where the end of causality began, an eternity free of sorrow. He killed off his senses, he killed off his memory, he slipped from his Self to enter a thousand new shapes, was animal, was cadaver, was stone, was wood, was water, and each time he awakened he found himself once more, the sun would be shining, or else the moon, and he was once more a Self oscillating in the cycle, he felt thirst, overcame the thirst, felt new thirst.Shambhala Classics, a translation by Sherab Chödzin Kohn, introduction by Paul W. Morris, translator's preface (1998).Taught by the eldest shramana, Siddhartha practiced self-abnegation, practiced meditative absorption according to the new instructions of the shramanas. A heron flew over the bamboo grove, and Siddhartha became one with the heron in his mind, flew over forest and mountain, became a heron, ate fish, hungered with a heron's hunger, spoke a heron's croaking languages, died a heron's death. There was a dead jackal lying on the sandy bank, and Siddhartha's mind slipped into the carcass, became a dead jackal, lay on the shore, swelled up, stank, rotted, was torn to pieces by hyenas, flayed by vultures, became a skeleton, became dust, blew about in the fields. And Siddhartha's mind returned, dead, rotten, reduced to dust, having tasted the dark drunkenness of the cycle of existence. With a new craving it lay in wait like a hunter for the gap where that cycle could be escaped, where the end of causation could begin, eternity without suffering. He slipped out of his ego into a thousand alien forms, became a beast, carrion, became stone, wood, water--yet each time when he awoke he found himself there again. By sunshine or by moonlight, he was once again ego, was pressed back into the cycle, felt craving, overcame the craving, felt craving anew.Bantam Books, a translation by Hilda Rosner (1951). This translation is also available in a number of different editions from other publishers.Instructed by the eldest of the Samanas, Siddhartha practiced self-denial and meditation according to the Samana rules. A heron flew over the bamboo wood and Siddhartha took the heron into his soul, flew over forest and mountains, became a heron, ate fishes, suffered heron hunger, used heron language, died a heron's death. A dead jackal lay on the sandy shore and Siddhartha's soul slipped into its corpse; he became a dead jackal, lay on the shore, swelled, stank, decayed, was dismembered by hyenas, was picked at by vultures, became a skeleton, became dust, mingled with the atmosphere. And Siddhartha's soul returned, died, decayed, turned into dust, experienced the troubled course of the life cycle. He waited with new thirst like a hunter at a chasm where the life cycle ends, where there is an end to causes, where painless eternity begins. He killed his senses, he killed his memory, he slipped out of his Self in a thousand different forms. He was animal, carcass, stone, wood, water, and each time he reawakened. The sun or moon shone, he was again Self, swung into the life cycle, felt thirst, conquered thirst, felt new thirst.Penguin, a translation by Joachim Neugroschel, introduction by Ralph Freedman, translator's note (2002).Taught by the eldest of the samanas, Siddhartha practiced unselfing, practiced meditation, according to the samana rules. A heron flew over the bamboo forest--and Siddhartha took the heron into his soul, flew over forests and mountains, was a heron, ate fish, hungered heron hunger, spoke heron croaking, died heron death. A dead jackal lay on the sandy bank, and Siddhartha's soul slipped into the cadaver, was a dead jackal, lay on the shore, swelled, stank, rotted, was shredded by hyenas, was skinned by vultures, became a skeleton, became dust, wafted into the fields. And Siddhartha's soul returned, was dead, was rotted, was dispersed, had tasted the dismal drunkenness of the cycle of life, waited in new thirst like a hunter, waited for the gap through which he could escape the cycle, where the end of causes came, where painless eternity began. He killed his senses, he killed his memory, he slipped from his ego into a thousand different formations. He was animal, was carcass, was rock, was wood, was water, and he always found himself again upon awakening. Sun was shining or moon, he was self again, swinging in the cycle, felt thirst, overcame thirst, felt new thirst.Barnes & Noble Classics, a translation by Rika Lesser, introduction and notes by Robert A.F. Thurman (2007)Instructed by the eldest of the shramanas, Siddhartha practiced moving away from the self, practiced meditation, following new rules, the shramanas' rules. A heron flew over the bamboo forest--and Siddhartha took the heron into his soul, flew over the forest and the mountains, was the heron, gobbled fish, hungered as a heron hungers, spoke heron croak, died the death of a heron. A dead jackal lay on the sandy shore, and Siddhartha's soul slid inside its corpse, became the dead jackal, lay on the strand, swelled up, stank, putrefied, was dismembered by the hyenas, skinned by vultures, became bones, dust, blew in open country. And Siddhartha's soul died, decayed, turned to dust, tasted the muddy rush of the cycle, waiting in new thirst like a hunter for the gap where the cycle would be escaped, where the end of causes, where eternity free of suffering would begin. He mortified his senses, he slew his memory, he slid out of his I into a thousand alien shapes, became beast, carrion, stone, wood, water, and found himself every time awakening again, in the light of the sun or the moon, again he was I, whirling around in the round, he felt thirst, conquered thirst, felt thirst anew.

Hermann Hesse’s Siddhartha is an absolutely amazing and engrossing tale of one man’s journey to find that all-elusive idea of enlightenment. The book’s title may suggest that it is simply a story that would have value only for people of the Buddhist persuasion, but this simply is not true. The work is well written and thought out, and it does a terrific job of showing us as human beings that often times what we are looking for is with us all along.Hesse’s book follows a young man named Siddhartha on his journey to find the true meaning of life and peace. The young man leaves his family of Brahman priests believing that they have spiritually achieved all that they ever will, and embarks with his friend Govinda down the path of a contemplative and restrictive existence. The young man soon realizes that these religious men (Samanas) also are lacking, to Siddhartha, what the path to true enlightenment really is. He continues on his journey coming by entering the company of the real Buddha—Gatama, but soon comes into contradictions with the Buddha’s teaching of removing oneself from the world. This leaves the man frustrated and lost, and eschews him down another path that is quite opposite of the one he originally intended to take.Siddhartha has now become rather restless with his pursuit of happiness, so he soon discards it for one of sexuality, greed and total reliance on the flesh. He falls in love with Kamala—a beautiful courtesan woman—and embraces the life of a merchant that furthers his greed and lustful desires. Siddhartha and Kamala conceive a son soon after their affair, but after a dream leaves Siddhartha puzzled, he becomes bored and sickened by his lust and greed, and decides to move on to find his enlightened path. With total despair encompassing his heart and soul, Siddhartha comes to a river where he soon hears a unique sound that will change his life forever. This sound signals the true beginning of his new and fulfilled life--the beginning of earthly suffering, human rejection and inner peace, and, finally, ultimate wisdom and enlightenment.The book is a harrowing tale of man’s lust for greed, power, sex and material gain; however, its ultimate purpose is to show that often times what we are looking for is in the simplest places imaginable. Hesse’s work craftily explains (through Buddhist and Hindu philosophies) that life is an all-encompassing journey that will eventually show all mankind what it is looking for. We suffer and struggle mightily through banal everyday tasks, but perhaps this daily grind of being in a symbiotic relationship with other life is what inner peace really is.

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