Science writing is rarely both illuminating and entertaining, and that is why this book is exceptional.

Having read many science and nature writers, this was my first experience reading Quammen. I was thrilled. Quammen is a fabulous writer. This book is a collection of Quammen's essays on topics ranging from Sea Cucumber to cockroaches to crows to amimal rights to deserts to rivers to turtles and much more. I doubt if you'll find such a rich, diverse and eclectic collection of natural writings anywhere else. Must read and own.

Quammen's first work in book form is merely a collection of his various magazine articles. You may be slightly annoyed when reading the book in a couple days because some subjects are repeated. But when you realize they appeared 2 or 3 yrs apart in a magazine, its easily excusable. Especially when the writing is so superb, timely (actually ahead of its time, since much of it was written 20+ years ago), interesting and educational. Some of the more dire environmental predictions havent exactly come true (YET), but that does not diminish the urgency of our ecological nightmare.

Read this book as a primer, then read Quammen's "Song of the Dodo," to gain some true knowledge.

This book is the result of a three-way collaboration between a scientist, a philanthropist and artist dedicated to producing a diorama depicting 300 years of New England's natural and cultural history.

The work, started in the late 1920, captures the essence of the Harvard Forest approach to environmental science, in which a solid understanding of the landscape history provides a basis for interpretation and conservation of nature.

Lifelike and detailed, the dioramas' historical and ecological approach remains relevant today as it becomes more apparent that changes in nature can only be assessed through long-term perspectives.

Many people do not realize that Harvard University has its own forest in New England. The forest has been a source of study for silviculture since its founding in 1907 for almost 100 years.

In the late 1920s, Harvard professor Richard T. Fisher joined with a philanthropist, Dr. Ernest G. Stillman, and talented artisans in the studio of Guernsey and Pitman in Harvard Square to develop a remarkable series of dioramas to capture conservation issues for future generations of silviculture students to study. These dioramas are the basis for the text and illustrations in this book.

New England was mostly ancient forest when the European settlers arrived. The small Native American population cleared only a modest portion of the forests, and used the game from the forests rather more than the timber. With immigration, New England rapidly became one big farm. So much for the original forests. Next, the New England farms were put out of business by richer, midwestern farms shipping their goods to the east. Within a few decades, new forests arose to cover the temporarily cleared and abandoned fields. With rapid growth in pines, a second wave of clearing occurred about a hundred years ago, leaving the forests to start to regrow again. The current hardwood-dominated forests are a result of this man-driven process. These experiences provide many lessons for understanding the impact that people have on forests, and for suggesting better practices for the future.

In one sequence of seven dioramas depicting the same place over time, you can see the whole historical process take place. I found it fascinating. I recognized in each image places that I had visited in New England. Now I can connect each site to what it represents in terms of environmental circumstances. That is like learning to read nature in the way I can read a book to get a message.

Today, we think ahead further (but probably not yet far enough) to consider the implications of our actions on future generations and other species. These dioramas show the importance of capturing the natural history of an area to begin to draw those lessons.

Another set of dioramas were designed to exemplify the conservation issues in New England forests, including loss of old-growth forests, habitat needs for wildlife, natural losses due to hurricanes, erosion from cutting forests, imported pests that feed on forests, and the impact of natural fires and fighting forest fires.

To me the most fascinating part was in the suggested good principles of forestry management. Each stage of forest growth and regrowth is displayed, along with what needs to be done for each stage. This reminded me of being asked about what to do by a client with very large holdings of forests in Maine a few years ago. If I had known about these dioramas, I could have given much more appropriate and valuable advice. I do feel quite a pang of regret at the missed opportunity, as a result.

The final section of the book shows the detail of how the dioramas were created.

The book also tells you about the history of the Harvard Forest and how to reach the Fisher Museum where the dioramas are displayed. I recommend the visit!

The reference to Bullough's Pond in the title of this review is for the highly regarded book that slightly preceded this one, about the ecological history of a man-made pond in Newton, Massachusetts. If you have not yet read that fine work, you have a real treat ahead of you. Anyone who is interested in understanding the rhythms between humans and nature can learn much from these two books.

Having read these two books, a new question occurs to me. At one time, forest fires were aggressively avoided in New England. The current view is that these are a natural process and should not be so aggressively countered. Where else do our views need to be shifted to reflect the long-term best interests of all?

How should use of forests and water reserves be adjusted to reflect optimum benefits for the next ten generations? How would our use change if this question were stretched to cover twenty generations? Do we even know how to think about these questions? Do we have plans to be able to learn how?

Overcome the presumption that only the here and now is important. What we do here and now is very important, but our decisions need to be much more independent of momentary needs and perspectives.

Perhaps microcosm is not quite the world, Forests Through Time offers a fascinating angle of insight into one aspect of the ecological development of New England. For a wider angle, one reads Bullough's Pond, and for the complete picture of the land in colonial times, Changes in the Land. This however is a fascinating view and well worth perusing.

10/18/2001 - Ommmmm along for peace of mind
By Deirdre Donahue, USA TODAY

This autumn, our national psyche's Teflon shield has been severely scratched by terrorist attacks and anthrax headlines. We cannot change reality, so people need to find healthful ways to cope. For centuries, people around the world have found an inner calm through meditation.
It seems easy. Just sit or lie down, close your eyes and clear your mind. Alas, taming those wild monkeys that jump around your mental tree is very difficult. This book and audio presentation explores the practice of meditation:

• The One-Minute Meditator by David Nichol, M.D., and Bill Birchard (Perseus Press, and Audio Renaissance, 3 hours, abridged). Read by Nichol, the tape is fervent in describing the way training one's mind can decrease stress.

I have meditated daily for the last 3 years and have found this book very helpful. I had let my meditations become more "routine" than "mindful". The very easy excercises through out the book helped me find my center again.

I would recommend this book to anyone at any level . . . beginner to experienced!

I enjoyed this book very much. I especially liked the second half with the instruction on meditation. It also had the best description of mindfullness that I have ever heard. Great book!!

I got a copy of Eliot Porter's Glen Canyon book after reading Edward Abbey's "Desert Solitaire," a chapter of which is devoted to a downriver rafting trip along this stretch of the Colorado River just before the dam was built. While Abbey's descriptions are vivid, I wanted to see with my own eyes what he was describing. And Porter's camera is the closest you can get to doing that today.

His pictures are, of course, not the real thing, but they are about as breathtaking as photography can be. The colors, textures, reflections, and the play of light and shadow are wonderful, and each photograph is distinctly different. His own description of the canyon's display of color and light in the introductory essay "The Living Canyon" give an instructive insight into the eye of the photographer. His awareness of what he is looking at and his ways of choosing to look help the reader to see even more in the 80 photographs that follow.

While some of the photographs capture the monumental scale of the canyon walls and formations, many focus on the myriad surfaces that are revealed to the eye: erosion patterns, lichen, rippling water flow, the dark streaking mineral stains extending from seeps, the rough texture of weathered sandstone in glancing sunlight, smooth river stones, the layered stripes of exposed sediment, the trickling spread of water falling from overhead springs, the hanging tapestry coloration of the walls, whorled and striated rock, dry sand. There are also photographs of plants: moonflower, maidenhair fern, willow, tamarisk, redbud, columbine, cane. Above all, there is the rich array of colors, capturing a great variety of moods and attitudes.

Porter was recognized for his photography of birds, and while there are no birds visible in these photographs, his introductory essay makes mention of them, and when looked at with that awareness, many of the pictures also seem to capture a sense of "air space" for flight. Before turning to photography, Porter was a Harvard professor of biochemistry and bacteriology, and it's interesting to see the somewhat dispassionate eye of the scientist in the way he uses the camera. While the story of Glen Canyon may induce sorrow or anger, the photographs are strong for their lack of sentimentality.

The pictures also excite a curiosity about the geology of the river, and the book concludes with a short essay describing how the canyon walls reveal the geological ages that have gone into forming this part of the earth, going back millions of years. The book also includes a catalog of all the plants and animals that inhabited Glen Canyon before its inundation. Altogether, with its quotes from other writers, including Loren Eiseley, Joseph Wood Krutch, Wallace Stegner, and members of John Wesley Powell's expedition in the 19th century, this book is a fitting record of a great lost national treasure.

These photographs are just about all that is left of Glen Canyon. After the Sierra Club and other environmentalists had lost the battle to prevent the Glen Canyon River Dam from being built, Eliot Porter took this extraordinary series of photographs to memorialize the gorgeous area that has been lost forever. Few people at the time knew much about the Canyon. It was too remote, too difficult to get to. Although it was one of the areas that John Wesley Powell found most beautiful in his first expedition down the Green and Colorado Rivers, no access roads or paths were ever built to make it possible for many people to view the areas firsthand. As a result, very few people knew precisely what we were about to lose.

The tragedy is that these areas are really, truly are gone. Even if the Glen Canyon River Dam were magically removed, many of the areas viewed in these gorgeous photographs have already been silted up. The Green and Colorado Rivers carry extreme quantities of minerals, and when the dam stops the flow to form a reservoir, they tend to drop to the bottom. All dams have a limited life. They don't last for as long as one might imagine. Basically, they create a new landmass behind them over the course of a century or so. Many of the spots photographed in these pictures are now solid earth.

One would hope that such beautiful photographs as these, photos that create tremendous longing for what we have already lost, would make us more concerned to preserve what is left. But with the current presidency even today as I write this review opening the national parks to snowmobiles and with people speculating that there will be new attempts to open arctic areas in Alaska to oil exploration, we can't assume that in the least. These photographs may end up being emblematic of all endangered areas, of the ongoing fragility of all of nature.

I was expecting a reprint similar to the small-sized Ballantine issue of the late 1960s. I was surprised to receive a book almost as large as the original Sierra Club hardback! The color in several of the photographs is even better than in the original (and difficult to find/very expensive) book, thanks in part to the cooperation of the museum which received Porter's works as a bequest.

I really enjoyed this book. Basically this is a history book of science and religion and how they have interacted over the history of mankind. Bertrand explains how almost every great scientific finding or revolution is oppressed ...by religion in some way or another. Copernicus, Newton, Galileo, Darwin, Vesalius, Harvey, Simpson, and many other distinguished scholars have all been at least fearful of the reactions of the churches, but also of the general population. Bertrand also goes into detail how the idea of ?soul? has changed through time: ?We not only react to external objects, but we know that we react. The stone, we think, does not know it reacts, but if it does it has ?consciousness.? Here also, on analysis, the difference will be found to be one of degree.? I rate this book with five out of five stars; I enjoyed it and still do enjoy it thoroughly.

Russell's "Religion and Science" explores, in a thoughtful and intelligent fashion, essentially the dark side of religion and its historical resistance (to say the least) to scientific discovery. This is clearly a must read for any rational thinking human.

"Religion and Science" provides excellent insight into the historical struggle between religious faith and the scientific pursuit of facts. Russell outlines the differences in methodologies that inevitably lead to conflict between religion and science. He sites various examples of such conflicts including opposition to the heliocentric view of the universe and Charles Darwin's theory of evolution. Russell infers throughout how science is superior to religion, at least from a pragmatic standpoint. This is perhaps not a revealing fact to enlightened readers. However, as Russell points out, in every age there are religious adherents and systems that have opposed progressive ideas and technologies made possible by scientific discoveries. Russell makes it clear that the reader should at least be aware of such historical precedence in order to be prepared to handle modern instances of conflict between religion and science.

We received this book as a gift and have since bought the whole series for ourselves and other friends. A pop-up book that is full of laughs for young children.

My daughter wanted this for her birthday. It's a pop-up book that we simply have fun reading together. I think it's good in that it teaches your child that reading is enjoyable.

I have a daycare, which ranges from 1 year olds to 6 year olds, and they cannot get enough of this book. They beg me to read it daily. This book is fun for all ages, and the kids are surprised and excited every time we read it. We are planning on getting more of these books.

It is an excellent book!

I used this book to pass tho of the exams. I am confident I will pass the rest. But this book is boringly lengthy. Again it is tooooo lengthy. He is adding many non-relevant text. Almost 20 percent of the book is unnecessary stuff.

BUT, it is the most accurate book. In other books, you can find a lot of errors. This has few. NO book on CNE is better than this book. Some other books are easy to read and understand. But, they are not enought to pass the exam!

-Why I bought his book? 1. You can fill up the small room with MS stuff books. It's tough to find any decent one Novell book. I believe this is the only authoritive book on the market.

-Why I bought this book set instead of the CNA guide?

1. This book set comes with the evaluation Novell 5.0 CD. CNA study guide 5.0 does not have evaluation CD. Now he has a CNA 5.1 study guide which comes with evaluation CD. If you are interested in getting CNA like me, you might want to check that out.

-How do I like this book?

1. Overall this is decent. I would say "wordy" instead of "fluff.":) 2. Be patient:). He repeats same stuff MANY times. That might be useful way for study.

-Did I pass the exam?

1. Yes I did. No sweat.

-What else do I need to pass the exam?

1. I read his CNA note. It focus more on the exam with useful notes. Basically it's less wordy CNA study guide.

2. I bought a practice exam from certify.com which seems authoritive Novell practice test like Transcender for MS

3. After all those readings and practice test, I feel I spent too much time for preparation. Don't spend too much time and money.

-What's the deal?

1. You need CNA. --> check out his new CNA 5.1 Study guide. Maybe practice test. Remember not to spend too much. 2. You need CNE. --> I believe this is it.

-Why do I write review?

1. IMHO, this book deserves better review.

---- Nwadmin32 is under sys\public\win32

Mason's collection of essays is a wide-ranging and overall pretty good collection of essays. The title essay is sort of a 'literary memoir', and while I expected it to be one of the better essays, it really isn't. But there are some excellent essays on Auden, Tennyson, Frost, Heaney, Louis Simpson, J.V. Cunningham, Anne Xexton, and Irish poetry. And then there are the essays meant to further the cause of the New Formalist movement. They almost sound like propoganda, but they are well written, enjoyable essays that make sense. And my favorite essay is "Other Lives: On Shorter Narrative Poems." Mason is a phenomenal narrative poet, and anyone with an interest in narrative poetry should read this essay.

This book is a collection of essays and reviews by poet David Mason, who thinks that contemporary poetry and its professional readers have neglected "nonacademic readers" like "the educated common reader." Through a critical style that incorporates the anecdote and that admires Louis Simpson's "refreshingly personal criticism," "as if we were hearing after-dinner opinions," Mason's text follows the goal of his Preface: "I have in mind that audience of grown-ups arguing about books even while they discuss . . . the latest political tremors or a new movie coming to town." Mason's taste for life in poetry criticism, whether communicated through autobiographical or biographical techniques, doesn't mean that he remains uncritical of self-absorbed forms of art. In the title essay, for instance, Mason acknowledges "the useful legacy of Eliot's ideas" in support of "the self so distanced from itself." Of the book's sixteen sections, five open with personal anecdotes. These anecdotes quickly become relevant to their subject matter (whether regionalism, self-indulgence, sentimentality, Tennyson, or Yeats). Given Mason's opposition to self-indulgence, one might argue that Mason develops contradictory attitudes toward forms of expression, or that he is critical of the personal in art, but then makes self-absorbed statements like, "Nowadays close reading often bores me," or, "I have sometimes felt that I was part of a story, and that I had a sacred duty to transcribe as much of it as I could." Yet such personal statements have relevancy to the larger poetics/rhetoric of the essays. Besides, wouldn't it seem odd--and bad writing at that--to claim that "poetry helps us live our lives" without then providing here and there a few examples from life when it has? Mason claims, "People do quote poetry, or refer to it--some do, anyway--and they connect it to their lives." He then supports this claim with the example of when his mother once remembered six potent lines by Yeats. Yet Mason's theory about why "people remember poems or songs or key phrases at surprising moments in life" is questionable. He says that "the best forms of expression are often those we most want to remember." But he suggests that these best forms of expression are those that are so large, so universal, so full of matter, that they "convey 'a general truth'." "Universality is suspect in some quarters, I suppose, but I submit," Mason says, "that we cannot have great art without it." When Mason then quotes from W.H. Auden's New Year Letter, he means to show how such poetry that conveys truth makes things happen because, as Auden once said, it survives--in the memory, among other places--as a way of happening, a mouth." Yet the section he quotes, like so many Auden lines, might seem to some less like a memorable poem and more like lineated philosophical text. What are the best forms of expression for poetry? This is an important question for Mason. On the one hand, there is the often difficult poetry of magnitude, and on the other, that of locality, which is less difficult. Mason proposes that the former is usually formal, whereas the latter is typically free verse. He worries that the latter is generally practiced by poets who "ought to hold themselves to higher standards than they sometimes do." These standards are the focus of Mason's important essay "Louis Simpson's Singular Charm." A New Formalist and one of the editors of the anthology Rebel Angels: 25 Poets of the New Formalism, Mason believes that meter "is . . . a kind of compression that, in the right hands, lends language a supercharged memorability." He finds that Simpson, with his rejection of meter, "has courted danger, choosing a slighter technical range that often highlights his lackadaisical diction." Mason's essay is good at providing us with passages--from articles by and interviews with Simpson--about this Jamaican-born poet's reasons for this rejection. The reasons involve Simpson wanting his poetry to be more accessible and direct for an audience like the one Mason advocates. Simpson believes free verse better lends this accessibility and directness. Mason disagrees, making some convincing arguments; one is that Simpson "comes to that tired solecism that meter is un-American." Readers need only digest what is arguably the most important essay in The Poetry of Life, "American Poetry in the Nineteenth Century," to be reminded of the great American poets who worked sometimes accessibly and gorgeously in traditional forms. But in arguing that Simpson's stylistic change toward accessibility and directness "leaves disturbing implications for the art," a change which sometimes lends Simpson's poetry what Mason calls "deliberate banality," Mason may not be true to his aversion to the Twentieth-century critics who have prized difficulty in poems. Perhaps Mason, who from time to time in this book reminds readers of his career as an English professor, is more on the side of J.D. McClatchy, "accustomed . . . to respect the authority of difficulty," than he is on the side of Dana Gioia, to whom Mason devotes a chapter, desiring neither anti-intellectualism nor a ban of difficulty in art, but, instead, a popular audience for poetry? Accessibility, difficulty, formality, memorability, popularity, universality--these are the interesting buzzwords of The Poetry of Life. They are perhaps defined and discussed with the most clarity and precision in Mason's superb "Robert Frost, Seamus Heaney, and the Wellsprings of Poetry." Though this essay has as its primary concern a comparison of Frost and Heaney, it draws this definition and discussion in, and in very enlightening ways. Though different in many ways, both poets, Mason asserts, "have made use of colloquial speech in their poetry" and "refreshing rhythm and idiom with materials that are at least partly extra-literary." Mason demonstrates this use, rhythm, and idiom through focusing attentions on and drawing connections between each poet's images of work, play, and water. No doubt, these images are universal. And Mason knows precisely when and from what poem to quote, showing that Frost and Heaney often image the world without either that magnitudinous air of Auden and Eliot or that more banal, informal language of Simpson.

Mason is a rarity in this day and age--a poet-critic who writes in a public idiom. He is clear in his aesthetic criteria, but not so dogmatic that his work lacks room for surprise (I was surprised to see him so enthusastic about John Haines, for instance). What is most important about his writing, though, is that it is elegant as well as insightful; these essays are as much a pleasure to read as the poets he discusses. My own efforts at poetry criticism lack the warmth and elegance that allow Mason to wear his erudition lightly. The elegance, direct tone, intelligence, and accessibility of these essays give me hope that poetry criticism outside the university is not in critical condition. Cheers to Story Line Press for supporting this important poet's work.

I found the book very entertaining to read, Yewdall tells many personal stories which he uses to illustrate points. In fact, I read it more like a novel. He passes his knowledge, and experience to the reader through stories of things he's done, and has seen in his many years recording, producing and creating sound for motion pictures. Some is fact, some is opinion, but his opinions are clear and are backed-up with his own unique style of logic.

There are also more technical areas of the book that cover topics like mic placement, how to record cars/explosions/dialogue, how to catalogue your own sound effects libary, etc. This book would also be useful to directors and producers who want better sound in their films. There's definately lots to learn about sound, and the author has done a good job giving the reader an idea about what motion picture sound is all about.

David is one of my teachers at North Carolina School of the Arts School of Filmmaking and his class is incredibly indepth. Of course, this is the book he uses in class. It is so easy to read and understand. I recommend this book to everyone, even if you know nothing about sound as this book will get up and going quickly and give you everything you need to be successful.

Author/recordist David Yewdall does a terrific job explaining the highly-technical goings-on behind the scenes in the world of film sound. Recording, mixing, dubbing, and digital audio techniques are all covered in a way that never talks over the reader's head.

The content is absolutely state-of-the-art (as of mid-2000), and is the first thorough book I've ever seen on the subject. Anybody who's interested in recording sound for TV or films -- high budget, low budget, or inbetween -- will get something positive out of this book. Highly recommended!

This book is a perfect addition to your learning library if you are into primitive skills. It is very informative, though some of the articles are hard to follow, but it leaves it open for experimentation on your own, which I liked. If you get this book. Good luck with it all if you do decide to purchase this book.

This is, in my humble opinion, the BEST single source for Primitive Skills out there - PERIOD. If you've ever looked through a scientific journal or periodical, that is the basic layout for this book: a compendium of articles, each one detailing a different tool, task, method, or application of a primitive skill. It isn't a high-cut, Ph.D.-required-to-understand kind of book - you can take this out in the backyard and follow right along, AND SUCCEED! That doesn't mean it isn't chock full of data and information - plenty here to satisfy any skeptical practitioner of primitive skills. Learn from the leaders in each skill area as they share with you their tips and techniques that they've learned over time (the hard way). This is essentially a "best of" compilation of skill articles from the Society of Primitive Technology's bulletins over the past 10+ years. I challenge you to read it without wanting to get your hands dirty right then and there.

CONTENTS

Section 1 - PRIMITIVE TECHNOLOGY
Section 2 - FIRE - Where We Begin
Section 3 - BONE, STONE, & WOOD - Basic Elements
Section 4 - FIBERS - Holding the World Together
Section 5 - PROJECTILES - Power From the Human Hand
Section 6 - ART & MUSIC - Discipline and Meaning

This is a wonderful book. It covers all sorts of experimental archaeology. It has lots of short articles on numerous topics. You are sure to learn something from it- I did.