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The book is chokka with great and memorable characters and has an appealing plot which has a few twists in it to keep things very interesting indeed. In fact it starts as a simple premise of a family waiting for an inheritance, as such, as ends as a very sweet romance indeed.
It all starts with the sickness of a maiden aunt, Sissie - who lives in a mouldering pile and keeps threatening to will it all away from various relatives if only to keep them on their toes. Trouble is the various relatives - or at least two of them Mr Grant, and Francis and Brandon - don't actually want the mouldering estate anyway. No matter how poor they are they can see that it will be a bit of a white elephant - or at the very least a very damp hippotamus.
The Brandon's come with a wonderfully vague mother who keeps getting read bits of boring pieces of writing by adoring males in the area, and Hilary Grant comes with a hideously annoying mother whom nobody - except possibly the reader - can like. This book is very much in the vein of E E Benson's Lucia Series - although those were individual masterpieces of machivellian cunning- this book is a fun and rather distinguished country romp.
Apparently Thirkell wrote a number of stories in which the same characters turn up - all of which is set in the Barchester land of Anthony Trollope so there is enough connection among these books to make for quite an extensive bit of connected reading (if anyone is interested of course). It has all the satisfaction of a nice twisting plot with the pleasant relief of a happy and romantic ending to look forward to.
Of all the authors I have read with claims attached to them of being "modern day Austens", Angela Thirkell is the only one that lives up to that claim, in my opinion.
In "The Brandons", as in Austen's literature, one senses a "match" in the offing and Mrs. Brandon spends much of her thinking on how to match up Miss Morris with one of her eligible male friends. The book is delightful, charming, funny, and full of astute observations on human nature...just like Jane Austen's writings. Read it!
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One answer is to be found in "Hokusai and Hiroshige: Great Japanese Prints from the James A. Michener Collection, Honolulu Academy of Arts." Issued by the Asian Art Museum of San Francisco in conjunction with an exhibition, "Hokusai and Hiroshige" is typical of a new wave of "ukiyoe" books that combine excellent design (of layout and typography) with clear and interesting text. Every page displaying a print has a near equal amount of space devoted to text, and the book benefits as well from introductory essays by three established experts. The text in particular appeals to me, providing not only insights about the compositional nature of each print but also detail on the locales depicted by these two great landscape artists and appropriate historical information. There is room for improvement in "Hokusai and Hiroshige"--I would have preferred more standard romanizations for some Japanese words and the inclusion of an index covering well more than just print titles--but overall this is an excellent and valuable volume.
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The book also devotes a chapter to parts of previous drafts that included many scenes that were never filmed, mostly due to production costs, as well as notes and commentary about them. The most notable almost-scene is the time machine room, where the resistance sends Reese to 1984, and the second Terminator to 1994. Another abandoned moment is the T-1000 wreaking havoc at the Salceda camp (the trailer-park/junkyard-looking place in the desert) following the departure of the three heroes. This scene would've shown more T-1000 morphs and 'gags'. Like the photos that correspond with the final script, the storyboards of these lost moments are shown along with the script to give you an idea of what each scene would've looked like.
I found the most interesting part to be the introduction by co-writer/co-producer/director James Cameron. He talks about the grind of completing T2 in just a year, and probably his most profound revelation about himself: that writing the script is his least-favorite part of movie production. I found this little revelation to be rather ironic, because I always felt that his scriptwriting ability is his strongest suit. Well, maybe not with 'Titanic', but that's me.
Sadly, just about all of the stuff discussed in this trade paperback, and then some, has been incorporated into the Special Features disc of the Ultimate Edition DVD. If you've already entered the digital age of movie technology, this book is pretty much just a relic of the pre-DVD era.
'Late!
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Brock Osborn
S.E. Area manager
Sto Corp.
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Finally, this book is divided into 9 parts, one for each author, each one got his own way of coding and that is funny to see how they solve different problems, they got their touch !!
So, designers, coders get this book !!!!!!!
Particularly, I found the chapters on video and 3D, runtime 3D, "bezier creatures", and the set interval enticing. You should see the chapter on runtime 3D! A _full_ library of 3d code that is extremely easy to use (including incredibly insightful comments in the code). You do not need to know much math to make some crazy effects. Also the chapter on video and Flash enlightened me as I did not know of flash's capabilities in this field.
So, in the end, get this book! It is awe inspiring.
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However, this book is not very suitable for the technicians who actually make the web GIS. It does not have enough discussion on the related programming issues, namely, Java and Markup Languages. Its discussion on over-all system planning is also quite superficial from a programmer's point of view. Issues like how to make web GIS co-exists with other database systems (accounting, inventory control, etc.) are not discussed.
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Brandon's book promised to shed new light on the technological marvel-turned torture device that was and is the electric chair. Unfortunately, the book fails to deliver. There are many inaccuracies (the youngest person electrocuted in the U.S. was 14, not 17 as Brandon indignantly states; Fred Leuchter was prosecuted not because of a book he never wrote -- he wrote a report -- but because he testified in a Canadian criminal case that the Holocaust never occurred; Elliot hardly protected his execution techniques as "trade secrets" -- they're stated plainly in his book, "Agent of Death"). The book is much to "thin" (257 pages of text) for the high price of almost $40.