This is a great book for any Ham Radio operator. More information in this book than you could shake a stick at.

This is a great book for both beginner and experienced Amateur Radio Operators. This book has more information than the previous books and has a lot more projects. The Arrl Handbook for Radio Amateurs 2002 truly upholds its reputation as "The Bible" for Amateur Radio Operators.

This is the best ever issue of the annual ARRL Handbook. With more projects to complete at home than in many years. DSP is also covered in more depth than ever. Get up to date on the latest, keep fresh on the past, and have fun with amateur radio with your new 2002 ARRL Handbook.

Hutchinson writes with grace and flair. His judgments of Moore are penetrating and wise, neither adulatory nor inimical. Unlike most writers on Moore, Hutchinson is at home also with Moore's epistemological and metaphysical works. He correctly ties Moore's realism ("objectivism") in ethics to his defense of common sense in epistemology. Moore's "innocence" (Keynes's word) regarding the existence and knowability of values is nicely compared with his much discussed, with derision or admiration, "innocence" regarding the existence and knowability of material objects. Moore thought that both are obvious, and that only intellectual confusion leads to thinking they are not. Hutchinson's book is an important contribution to the current literature in ethics. It would be an excellent "companion" for readers of Moore.

The stories, poems, and excerpts convey the briliant language, shape, and humanity of this great author's work. Adjectives like "unusual" or "experimental" may be bandied about, but what I come away with is a deep sense of delight and mystery that is fully accessible and to be cherished.

Robert Hutchinson captures the innermost workings of western civilization in his moving photographic tribute to the spirit of New York. Its power and beauty are symbolized by the World Trade Towers. And now in the aftermath of 911 so is its passion. I hazard that many of us who once lived in Manhattan and have since moved away have forgotten how much we loved New York. Hutchinson reminds us how much of a state of mind the city is. For you can never truly move away. Just as we can never truly move away from the verity infused in the Bard's sonnet that the author briliantly matches to the stretchings and tragedy of modernity in the tower's tragic end. In a single allusion, he redeems the tragedy. The coldly compelling text describing the impacts and collapse of the towers stands in bleak and deathly juxtaposition to the soaring inspiration of New York. For as real as the towers is the kind of society that built, used, and toiled in it. It is an international, indeed global society, a triumph of western ideas of tolerance, inclusion, vibrancy, freedom. In my Columbia University days we used to refer to the neighborhood as "Bagdad on Hudson," in celebration of the rich diversity and energy of the place. That in the end was the target of the attack. Hutchinson's memorial helps us weep for the victims, recognize the simple heroism of ordinary inhabitants ... and holds up a mirror to our glory.

Browntrout Publishers, the writer Robert Hutchinson, and the photographer Jake Rajs have achieved something extrordinary. Six weeks after September 11, 2001, they have produced a gripping, breathtaking, timeless memorial to the World Trade Center. "Sometime Lofty Towers" (the Shakespearean sonnet to which the title alludes seems eerily prescient) tells the story of the creation and destruction of the Twin Towers with heartbreaking, riveting photographs by Rajs and an equally heartbreaking, riveting essay by Hutchinson. There is a grandeur, solemnity, and physicality to Hutchinson's style that perfectly suits the subject. He seems to build the Twin Towers for us from the ground up, making us marvel at the ingenuity of their design; his concluding account of precisely how the two terrorist-guided planes annihilated the towers thus seems all the more awful and tragic. This is a fitting tribute indeed for the World Trade Center--and for those to whom Hutchinson eloquently dedicates the book, "the heroic rescuers who died striving in the name of mercy."

When sometime lofty towers I see down razed,
And brass eternal slave to mortal rage ....

It will always be difficult to grasp the enormity of September 11. The immense loss of life, the towering buildings reduced to rubble, the massive amounts of ensuing information, all left me feeling helpless and overwhelmed. The sheer volume of the catastrophe made me long for something tangible, something I could hold in my hands.

What I finally found was Sometime Lofty Towers, a quiet, beautifully compiled tribute to the World Trade Center. The breathtaking photographs by Jake Rajs (et al) of the towers - which at one time would have been memorable for their composition and technical expertise - are now infused with loss. From the elegant long shot of the towers rising through a night sky, to the inspiring ant's-eye view of soaring steel, to the chilling sight of a smoke-filled skyline forever altered, each portrait has been transformed into something uniquely emotional.

The photographs do not stand alone. The introduction, by Robert Hutchinson, was a revelation. Mr. Hutchinson has the uncanny ability to take a dizzying amount of information and make it instantly comprehensible. He takes us through the buildings' conception and creation and makes their vital statistics meaningful. He describes the two airliners that brought them down, then, most importantly, explains how they brought them down, using a skillful mix of hard numbers and easily understood comparisons. ("The weight ratio between one WTC Tower and one Boeing 767-200ER equals that between a 275 lb human being and a 1 ounce sparrow. How could (one airplane) have such a devastating effect on a WTC Tower?")

I was grateful for the dignity of this book. Its prose was beautifully written, sorrowful without being overwrought; its photographs were striking, memorable without being graphic. And it even let me help: the publishers will donate a portion of the sale of each book to the Uniformed Firefighters Association's Widows' and Children's Fund. I highly recommend it.

Written back in 1923, CANE is one of the touchstones of African-American writing. Jean Toomer, despite his rather uncertain relationship with the African side of his ancestry, must be recognized as a founder. That said, this is a pale, difficult book, wandering sadly through the tempest-tossed fortunes of African-American life in the first decades of the 20th century. CANE is not for the casual reader, nor for those who want to be fed meaning. You must reflect, add to the text from your own knowledge and experience. The characters appear in pale colors, dressed in weariness and often verging on madness. Blue saxophone tones amidst the fogs of prejudice and blind hatred for all intelligent behavior by a despised minority. What more could a gentle man, human and tender, make of such craziness ? Poetry, broken images that pass slowly, pale by smoke, pale by moonlight, whisper of yellow globes, and decline of that distant hope that someday "they" would learn. Part of this book is poetry, part is prose, and part a strange play about a man named Kabnis ("Sinbad ?) who seems an unlikely traveller on life's roads. It is not a novel in any usual sense of the word, since it is made up of completely disparate parts with no connection other than that they describe the vicissitudes of African-American life in the South and in Washington DC. Plot is absent, as is continuity. This is a volume of ashen portraits, not much flattering. This is a volume worth more for its history than for its literary merit, yet it will touch you if you let it.

Not yet published were the forthright descriptions and defiance of Wright, Ellison, Baldwin, and many others. The bold fulminations of Malcolm, the brilliant oratory of King---not even dreamt of. Toomer asks---but through a mist of poetic images, through the circuitous meanderings of the oppressed---what have we done to deserve this fate? Who am I ? No firebrand he. "Wish that I might fly out past the moon/ And curl forever in some far-off farmyard flower." This is hardly rebellion. But he wrote, he dared that. From our so-privileged vantage point of eight decades into the future shall we challenge him, shall we scorn him ? Let's praise him, for he began the trickle that turned into a mighty flood.

This is perhaps one of my favorite works of literature I've ever read. This piece of literature uses poetry and short stories to portray the vast experiences of Afican-Americans in America. This novel (of sorts) opens your eyes and does so subtly and beautifully through various characters and the experiences they go through or fight against. Although written over fify years ago, Toomer's work relates well to the problems/concerns of race in America today. I feel this should be a required work in studying Modern American Literature and the African-American Experience. If there is a firm "canon" ever established, this should be included.

Written in Post-Emancipation America, Jean Toomer's novel Cane represented a strong voice within the African-American community during an era where segregation was a way of life, and lynching was (in some areas of the country) an accepted means to an end. A conglomeration of images and metaphors, Cane is honestly a difficult text to read and should not be considered merely as an "easy" set of poems, prose, and stories. There are many intricate layers of meaning within the phrasing and style of writing. The title is a double meaning in itself. Upon hearing the title, one may think that it refers to the biblical tale of Cain and Abel. This is an important aspect since some religious Christian followers interpreted the "mark" of Cain as blackness, therefore using religion as propaganda for pro-slavery agendas. In addition, readers who are more conscious minded to the dynamics of the early 1900's concerning race relations, and its history (specifically in the South) would find this text less confusing. Some sections, which stand out within the text, are "Becky", "Song of Son", and "Blood Red Harvest".

When I picked up this book in a bookstore, I knew that this would be a worthwhile read. I was not disappointed. Hutchinson's book shows the Harlem Renaissance as it was--the first true experiment in cultural pluralism. From this book, I became one step closer to understanding the Harlem Renaissance. Anyone who is interested in learning more about the greatest artistic movement in American history should read this book!