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For starters, it's a very well-written book - starts with some great explanations of Security Fundamentals - the buzzwords, the protocols & algorithms, threats, risks, and vulnerabilities. I've read many security books, but seldom have I found just the right balance - as technical as it needs to be, but still interesting enough for the non-techies.
The section on Installing Exchange With Security in Mind is particularly interesting. Everything you want to know about messaging/Exchange security is covered - SMTP Relays, spam, content filtering, antivirus, SSL, MAPI/RPC security, et al. Great coverage of email encryption and Public Key cryptography, Outlook client security, POP/IMAP security. Can never get tired of readng about securing Outlook Web Access.
Overall, a must-read for Exchange admins. The only thing I would've liked to see is: i) this book to be released at least a year ago.. this one's at the tail end of the Exchange 2000 lifecycle - too close to the Titanium (Exchange 2003) release. ii) Perhaps some more coverage of specific vulnerabilities of SMTP and Exchange, and how secure Exchange is compared to other messaging systems - Notes, Sendmail, etc. THE TRADEOFF (or benefit rather) is we have a book that can still be carried with one hand... still under 400 pages without the index. Remarkable! (A round of applause for Paul Robichaux..)
Bharat Suneja
MCT
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W. deals with the fundamental, painful, necessity of the human being to be unhappy (in order to be quiet). And in fact, he contends that the best chapters of universal literature dwell with disaster, tragedy, guilt, madness, etc.
Dante's Inferno-W. writes- is very superior to his Paradise; same case as Milton's Paradise Lost compared with his Paradise Regained; Faust I's greatness is proportionally inverse to the tediousness of Faust II. So the author embarks hilariously in a methodic introduction to the best and more verifiable mechanisms to achieve unhappiness. Samples:
Always be truthful to yourself. A principle, from Polonius in Hamlet,of the outmost necessity for us ( its application is what gets the guy killed by Hamlet like a rat). So then, we must resist any temptation to yield to any other criteria or opinion, apart from ours. Never compromise or accept someone else's advice. The author then addresses the issue of the old saying: "time cures all wounds"..... According to W. four sound mechanisms exist if you want to avoid time's healing effects and transform the past into a present source of suffering. In the exaltation of the past we find those that only remember the good things about their youth and not the years of insecurity and anxiety. In so doing, they have a consistent reserve of sadness about their miserable present...... Also, this fidelity to the past, impairs our ability to enjoy the present and fully dedicate our efforts to the endeavors of the moment. Another mechanism is to consistently dwell with the guilt complex that past errors create, finding excuses or scapegoats (our parents, God, chromosomes, teachers etc.) while doing nothing to avoid committing the same mistakes again.
The author drives his point with practical examples. For instance the story of the hammer. A man wants to hang a painting. He has the nail, but not the hammer. Therefore it occurs to him to go over to the neighbor and ask him to lend him his hammer. But at this point, doubt sets in. What if he doesn't want to lend me the hammer? Yesterday he barely spoke to me. Maybe he was in a hurry. Or, perhaps, he holds something against me. But why? I didn't do anything to him. If he would ask me to lend him something, I would, at once. How can he refuse to lend me his hammer? People like him make other people's life miserable. Worst, he thinks that I need him because he has a hammer. This is got to stop ! And suddenly the guy runs to the neighbor's door, rings, and before letting him say anything, he screams: "You can keep your hammer, you b......"
Watzlawick not only discussess techniques to create false problems, but also the ones that make it actually possible to avoid solving problems and conver them into eternal torments. Here we get the example of the man that claps his hands every ten seconds. Asked why he does that, he answers: "to drive away the elephants..." -"But why, there are no elephants here"- The guy says: "Precisely".
This is a very funny book. It deals, with a fresh and delightful approach, with many of our karmas and mind bothering mosquitoes.......
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This does not mean the volume is useless. French students struggling with the originals can use the translations as a kind of grammatical glossary, and will find MacIntyre's synopses and explanatory notes, with background and critical infomration, helpful, if dated. The casual reader, however, will find much to enjoy. After a few poems (including the famous 'Herodiade' and 'L'apres-mide d'un faune'), I gave up struggling with Mallarme, and gave into the pleasures of MacIntyre's annotations. A real-life Charles Kinbote, he doesn't even seem to like Mallarme very much: one poem 'is built up of so much nothing, like a fragile pastry of whipped cream. It is artful in the worst sense of the word... He should have had a stern editor! (As I have)'; 'Line 4 is particularly good, [a critic] insists, because it suppresses the classic caesura! I don't think many readers would suffer if the whole sonnet had been suppressed'. He refers to Mallarme's art as a 'dead end', execrates 'his miserably bungled up French', and cheerfully admits that he doesn't really understand the poems! So what qualified him to translate them?! A delectable egotism blows through the pages, from its overheated, homoerotic dedication, and the unwarranted, though very welcome, detours into autobiography and war memories, to the Olympian sneers at previous commentators. Published in sexually unliberated 1957, MacIntyre is forced to euphemise Mallarme's detailed and relentless erotics, which leads to some splendid tongue-twisting; the frequent suspicion that MacIntyre himself misses the point of a poem like 'What silk...' ('the mouth will not be sure/in its bite of finding savor,/unless he, your princely lover,/breathe out, diamond-like, in your/considerable tuft the cry/of Glories stifled as they die'), which he says is about a woman brushing her hair at the mirror (!), is quashed by his mocking one persistently misreading critic: 'Really now. I wish I still had Herr Wais's niaive innocence. I really do'. Barmy, endearing and delightful.
Verlaine is not as close as Rimbaud to the free verse dogma of recent decades, but precisely for this reason he plays a vintage music in his poems, mixing whimsical subject matter with rock-solid traditional verse forms. (I don't agree that he did better work after his encounter with Rimbaud-- far from it, in fact.) Consider this lovely, even haunting refrain:
In the ennui unending
of the flat land,
the vague snow descending
shines like sand.
With no gleam of light
in the copper sky,
one imagines he might
see the moon live and die.
Wind-broken crow
and starving wolves too,
when sharp winds blow
what happens to you?
In the ennui unending
of the flat land,
the vague snow descending
shines like sand.
This sort of melodic drollery is mastered by nobody in the history of poetry like Verlaine, and MacIntyre is just the man to capture it. (He also does fine versions of the early Rilke.)
Don't miss this volume!
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Reading the book has insipred me to want to read further about events that has shaped the history of the Chinese ie the Opium War.
Definitely a book every Chinese and everyone else should read.