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It begins with an overview of the big three pioneer theorists: Tsiolkovsky, Goddard, and Oberth. Winter decides to give most of the credit to Oberth, who was a big influence on von Braun and therefore the V-2. Tsiolkovsky was brilliant but unfortunately no one realized it until well after the fact. Most interestingly of all, all three writers were inspired by the writings of Jules Verne and H.G. Wells.
After that high point, it's never quite as good. It is a detailed, technical discussion of the various rockets, both Russian and American, that have made space exploration possible, and I learned a good bit from it (for example, that the rocket that launched Sputnik I and many following satellites was stronger than anything we could send up until we had the Saturn IB). However, it seems that a few good diagrams showing the genealogies of the rockets and what engines they used could have saved many pages of text. Instead, there are long and tedious descriptions of where each rocket came from, how big they are, how much thrust they have, etc. Even then there are startling exceptions: there's talk of the aforementioned Saturn IB, but no information on the first stage at all.
At the end there are an obligatory couple of chapters on the present state of things, discussing the rockets currently in use, and the future, which skims quickly over nuclear, ion, solar, laser, and a few other means of propulsion.
In addition, there are some actual or seeming inaccuracies: the explanation of specific impulse seems to contradict the units it's expressed in (seconds), and one of the space shuttles is referred to as "Discoverer" rather than "Discovery."
So it is a moderately useful book, but I was somewhat disappointed with it.
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The novel works much better as a character study of Komazawa Zenjiro, the owner of the company in which the strike occurs. I'm thinking that must have been Mishima's true purpose, seeing as every chapter title starts with Komazawa's name. Komazawa is a man who lives quite firmly in the past, and tries to adapt the ways of the past to this modern world. (This bears more than a slight parallel to Mishima himself.) His quasi-religious faith in those ways is poignant, and though he clearly has the author's sympathies, Mishima has admirably chosen not to whitewash his faults - Komazawa's hypocrisy, his occasional pointless cruelty and his refusal to even try to understand anything not in the scope of the old ways are all highlighted quite clearly.
However, a good character study does not a good novel make, and the other characters seem, to put it nicely, "unfinished." Otsuki, the strike leader, has precious few appearances to put in for such an important role, and his only motive for what he does, according to the author, is an almost childish chagrin at Komazawa's separation of him from his girlfriend. He seems like more of a plot device than a character. More frustrating, though, is the fact that this novel has many potentially fascinating characters that it simply chooses not to develop. Take the ex-geisha Kikuno, for instance, whose motives are never made anything approaching "clear" - does she love Komazawa? What is the source of her admiration of him? Why did she even want to quit being a geisha in the first place? Or what about the ominous intellectual Okano, who is depicted as a Machiavellian scheming sort of man, but is never given (and never gives) any rationalization for his actions? Did he do what he did solely out of mischief? Was he motivated by financial concerns? What about Komazawa's wife Fusae, who seems to have a (similarly unexplained) martyrdom complex? All these are things Mishima could really have taken some time to flesh out.
As it is, the novel's an often interesting portrait of a very specific type of person, but that's about it. It could have been more. If you're a fan of Mishima, you are of course going to read this, but if this is your first contact with his work, I doubt it will impress you enough to make you delve into the rest of his oeuvre.
What makes this book so interesting is Mishima's ability to flesh out all his characters. He does not fall into the simplistic "worker=good/boss=bad" trap, Mishima enjoys creating morally ambiguous characters. First, Komazawa-san, the company president, appears to be very hard working and inspiring to his employees. However, as I read about the horrible working conditions within the company, I found myself rooting for Otsuki-san, the strike leader. As Mishima continues to dig deeper into his characters' psyches, revealing their ethical blindspots, I discovered that no one is completely good or evil. How the protesters conscript other workers to join the strike, and how Komazawa-san's deteriorating self image reveals his pitiful humanity, make for very compelling reading.
The use of a strike situation is a wonderful crucible in which to combine all these differing emotions, motivations, and deceptions; resulting in characters on both sides of the picket line who are forever changed (scarred?) by the whole experience.
You may not be able to look at silk the same way again.
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The typical conn. details & the most useful details are presented with the sketches.
The dimensions, which we can't always keep in our brains, are tabulated very well.
Like this there are so many to describe....
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Most of the heroin literature I've read goes from bad (morality plays) to worse (junkies who seem to get high mainly on their own coolness). _Tales_ does not pretend to be anything but a bunch of stories, but I found it taught me more than any of its didactic cousins. If you want to know why Coleridge was so fond of his laudanum, you need this book. If you're the parent of a bright and inquisitive adolescent, and you're looking for an honest and effective way to make sure your child never ever goes near this stuff, you need it even more. _Tales from the Geronimo_ will probably never make the Stanford freshman reading list, but it is a true classic.
This young boy just stops talking all together and things are lost, ruined, and thing are just simply a mess. Well when a truck is about to drive over a little puppy Wyatt just can't stay quiet anymore. And from then on people are glad to hear him talk but he still hears quiet Wyatt once and a while.
This book was written by: Bill Maynard and illustrated by Frank Remkiewicz.