Paul Mees grew up in Melbourne, and in this book compares the public transport of Melbourne with that in other cities, and tries to examine why in Melbourne it doesn't work as well as it could. He looks at how different cities have developed, and how transport has developed to get people around them, what seems to work and why, and what doesn't. He looks at the various elements that go into making a public transport system work - such as population density, route structure, quality of service - and then compares the systems of Toronto and Melbourne. Toronto, he says, has a more successful system because it is integrated, well designed, and aims at competing with car travel. Melbourne on the other hand has public transport modes competing against each other instead of against the car. He suggests that even sprawling cities such as Melbourne can make their public transport systems run much better if they are co-ordinated from a single centralised authority, and look to examples from similarly built cities such as Toronto for inspiration.

The book will be of particular interest to those living in places mentioned, but anybody interested in transport planning, especially for sprawling suburban areas similar to Melbourne or Toronto, should find this book useful.

El libro me parece que está muy completo principalmente en lo que corresponde a las bases microbiológicas de Vibrio cholerae,nos un bastante información de lo que es la bacteria, la enfermedad y toda la información que se necesita saber acerca de ellas.

Mary Hallock Foote came west with her engineer husband Arthur D. Foote, a dreamer-engineer, to build dams, lay out canals, and tame the vast desert areas. While they waited through one frustration after another with various backers, she kept the family solvent with her delightful sketches and stories, all the while raising her children on the boundary of civilization. Oh, that's with the help of a proper English tutor, of course.

Her prose is grandiloquent in the early chapters, something of an annoying Victorian mannerism in my mind. She lavishes compliments with abandon on her family and associates, as well as the landscape. Thank goodness the editors carefully footnoted Mrs. Foote! Otherwise the reader wouldn't have a clue as to whom she was writing about so ecstatically. (Actually, the volume is soundly annotated and edited throughout.)

However, in the later chapters, when the family settles down in Idaho, near what was to be the highest dam in the world at the time, the Arrowrock, her prose deepens and her style strengthens. She begins to incorporate her western life, the engineers and workers lives, into her stories. The geological phrase, "Angle of Repose," emerges in this section. The prose, like the work, becomes purposeful in its passion.

Is is, after all, of Mary Hallock Foote and her husband, Arthur, that Wallace Stegner wrote in his Pulitzer prize-winning fictional account, "The Angle of Repose." Here we really get the story in the words of those who lived it.

The frustrations of engineering the dam and engineering the financial and political backing are superbly related. The latter half of the book is more than worth the slower early portion. The account it bears of life in the early western United States is a treasure of its times. I heartily recommend it.

Published in 1980, this book provides a comprehensive summary of the various VideoDisc systems expected to soon hit the market. Besides discussing CED and LaserDisc, the book also covers the less well-known VideoDisc formats like TED, VISC, VHD, Thomson-CSF, I/O Metrics, ARDEV, and Optidisc. This hard cover book and its soft cover counterpart were the only general VideoDisc books to features CED's on the cover.

Expensive little book runs just 102 pages: 25 pages for Yngvar's Saga and 20 for Eymund's Saga. The rest of the book comprises a lengtly introduction and a collected glossary of Icelandic Sagas. Both saga's relate stories of forays into Russia in an economy of style that makes them quick and easy to follow. Interesting, but probably hardly historical, they are filled with some true references but much embellishment by the storytellers (not the translators). Yngvar's Saga reminded me of a kind of Argonautica (Jason and the Golden Fleece) as Yngvar searches for the source of a river, while Eydmund's speaks instead of Vikings acting as a mercenary army for Russian Kings. Unlike some other sagas, these would have benefitted from being more fleshed out.

The place for a full review of this book is in an academic journal of some sort.-Consequently, this is not my task here. I'm limiting my critique to what I find most fascinating and controversial in the work, contained in the first chapter, The Prose of Apocalypse, where Bullock finds marked similarities between a passage of Junger's and Shelley's "Mount Blanc." Bullock (perhaps because he is a professor of German?) finds that Junger and his teutonic colleague Benjamin plumb greater depths than Shelley. Thus, for Bullock, what look at first to be similarities merely point to the greater depth of Junger's metaphysics. Here is the difference: Junger says, "...the unity and multiplicity of our so mysterious world are hidden"; while Shelley says, "The secret strength of things which governs thought, and to the infinite dome of heaven is a law, inhabits thee! And what were thou, and earth, and stars, and sea, if to the human mind's imaginings silence and solitude were vacancy?" The last question of Shelley's poem is clearly rhetorical and it is clear that Shelley sees a "secret stength of things" in this poem where Junger feels only only hidden, perhaps dark, mystery.-But this comparison, meant to show that Junger is the more profound, is hardly fair to Shelley and, in fact, sets the great English poet up as a foil.-What, if instead of "Mount Blanc," Bullock had chosen Shelley's ironic, despairing poem, "The Triumph of Life," unfinished because Shelley drowned himself before completion? Its images are darker by far than Junger's, a parade of grotesque twisted shapes ravaged by time, and Shelley's last line, after a lifetime and a mass of work delving into these dark metaphysical matters is heartshattering, " 'Then what is life?' I cried."-Bullock, in fairness to him, later in the book seems to imply not so much that the Germans gazed deeper into the abyss than a poet like Shelley. But that Junger's "auratic prose" is somehow better writing. The reader must, of course, be the judge of this. I personally find what Bullock calls (not altogether complimentarily) Shelley's attachment to the "sublime" and Junger's manly confrontation with the abyss a more than somewhat nonsensical and tendentious semantic wordplay.-Both men were interested in the sublime and both courageously confronted the abyss.-Bullock more or less admits this later on.-One should always be careful using terms like "the sublime" and "the abyss." They've been the subjects of so much academic doublespeak over the years that one hardly knows what one means by using them anymore.-Enough said, anyone interested in Junger (or Shelley, for that matter) should read this book. Anything that provokes thought and meditation is so rare these days.

I'm not an anthropologist or Bisayan, so I cannot comment with any authority on the author's treatment of these topics. I am an amateur student of the Bisaya language and Filipino culture, and I very much appreciated the author's effort to understand his subjects and their culture through revelations embedded in their language. Literally every page has examples of the language and the insight it help to provide in understanding/clarifying the people and how they viewed their lives. The book raised an obvious question - "how can a people be understood and described without making their language central?"

A great read for fans of the genre. I just wish they would reissue book one of the series so I could read how it all began.

An all in one book for those looking into learning a thing or two about visual communication. Covers areas like eye physiology, seeing, gestalt laws, seeing as a social construct and communicating with visual images. Illustrated throughout in black & white with a colour insert. The paperback version in particular is great value for money. Combine this with a good book on cognitive psychology (like "Cognitive psychology and its implications") and you know more than most of the graphic designers I know.

I am, at the moment, starring in this play as Pappy Yokum. It is a witty, satiritical play about folks in a Southern town. Even though the slang may get annoying, it's still a hilarious piece of theatre.