In "Insurgency and Terrorism", Bard O'Neill has provided his audience (whether a fighting man or a student) with a framework through which to analyse insurgencies, past, present and future. O'Neill states that he believes that insurgencies are likely to remain a key level of conflict in the future. I agree with him. This is an important area and one which receives all too little attention, especially, in my experience, among the armed forces of the United States. Hopefully Dr O'Neill will redress the balance a little.

The book is split into 9 sections;

- Insurgency in the Contemporary World
- The Nature of Insurgency
- Insurgent Strategies
- The Environment
- Popular Support
- Organisation and Unity
- External Support
- Government Response
- Conclusions

In each case, O'Neill splits the areas up into smaller sub-sections for easy reference. He deals with different types of insurgent groups, different ways insurgents operate, the effects of terrain and outside support, the coverage is fairly comprehensive. He also, usefully, uses historical examples to illustrate his points.

As O'Neill himself points out, no framework for analysis can be infallible or perfect, but this is a pretty good start, whether you are in a counter-insurgency situation or in a seminar room. Good stuff. It should, of course, be supplemented with further reading (a bibliography would have been useful) but all in all this is an excellent piece of work in a field that has been somewhat neglected in recent times (it isn't fashionable in America at the best of times and many of the classic texts are now out of print).

A good piece of follow-up reading to this book (especially for a student) would be Ian Beckett's "Modern Insurgencies and Counter-Insurgencies".

Dr. Bard O'Neill has written a superb book that presents a clear framework for analyzing and understanding terrorist activity and violent insurgent activities. I highly recommend this book for the military student, political scientist and the armchair strategist alike.

Insurgency & Terrorism was one of my textbooks when I attended the U.S. Army's Command & General Staff College. The author systemically dissects insurgency and terrorism so that one may understand the causes, effects and very nature of revolutionary warfare. He examines the nature of revolutionary war (causes and effects)and the strategist's ways, means and ends. He clearly lays out a framework for one to understand the nature of a particular conflict. O'Neill then goes on to examine various strategies used by terrorists and insurgents. He discusses such critical factors as popular & external support, governmental response, and the political conditions that created the atmosphere for insurgency. He uses historical examples to illustrate specific points. O'Neill discusses the Spanish guerrilla movement to combat Napoleon's invasion, the American revolutionary effort, Soviet partisans attacking the Nazi invaders, the numerous Central American insurgencies and Cuba, and Bernard Fall's commentaries on the Vietnamese insurgency of the 50s and 60s. O'Neill also delves into the theoretical, Lenin's theories of revolution and Mao's guerrilla war strategies are particulary valuable in illustrating his points.

The value of this book is in providing the student of revolutionary warfare a framework with which to evaluate and analyze insurgencies and terrorist activities. An excellent tool and highly recommended.

This book is nothing but the "Bible". Parker Smith (Wolf?) and Burris-Meyer & Cole is the staff of the scenery education. Packed full of pertinent and necessary information. After 25 years of building scenery this is still one of my foremost resources. Unlike Parker Smith which also covers lighting design and as such, older editions can be outdated due to changes in basic technology, Burris-Meyer & Cole is a timeless reference book dealing hands on with techniques that have been and will be around for a long time. If you haven't a copy of this and intend to be a serious scenery professional find a copy.

This book has been a constant source of answers for all of my questions. It is the foundation that all theatre designer/technicians need. If you can find it, get it!

Mr.Meyer claims not to be a writer, but he has done a superb job of this biography of the late jazz pianist Dick Wellstood. (the only biography of Wellstood) The personal information he garnered from Dick's family and fellow musicians is both revealing and insightful. Since the book includes a complete discography of all known Wellstood recordings, it is a "must have" for all admirers of one of the greatest jazz pianists in history. Sadly, Wellstood died in 1987 at the early age of 59, but this book brings him to life again for the reader.

The structure of this book was absolutely awful. The content even worse. This book has no clear storyline and jumps from pictures to uninspired text. It is mostly pictures, as if intended for a 1st grader. In summary, this book offers nothing of value.

I come from an Army family and I loved this accounting of a year in the life of a cadet. The book was fun and interesting to read, plus the photos are fantastic! I have left it on my coffee table and my guests love to flip through it. Thank you Mr. Stewart for your insightful view of a year in the life of a cadet.

Beautifully writen and photographed!

Philosophers should enjoy this one. The story is about coming to grips about who you are, expectations and perceptions. This book can be insightful for some, but for me, a little dry. Forster did not foster a logical basis for Rickie to fall in love - or a hopeless romantic one for that matter. From there, the story lost steam.

I find Forster an engaging and compelling writer. His novels often become absorbing despite flat passages and parts that, for me at least, are bordering on the unacceptable - the actions and thoughts of characters sometimes seem contrary to behaviour that seems at all natural to me.

I missed the sense of the exotic in this novel that I got from 'A Passage to India' and 'Where Angels Fear to Tread' - and yet the world of the priveleged in the UK and the cloisters of Cambridge University are exotic for me. It's just that they are so gloomy in this novel - gloomy and troubled. Even the countryside is blighted by the freight trains that repeatedly claim lives as they tramp the landscape.

This novel also has melodramatic elements that stretched my sense of credibility, however revelations of surprises are wonderfully managed. While my thoughts were heading in the right direction with the major revelation, when it did come it brought a true 'aha!' feeling - it made so much sense and yet I, like the characters in the story, had not seen it coming.

But, perhaps for me, the most disappointing aspect of this novel is its attitude towards the 'disadvantaged'. As in the movie 'Edward Scissorhand' the 'distorted' person, while capable of receiving small 'gifts of love' (as Morike put it - see Hugo Wolf's song 'Verborgenheit') it seems from these views of life that the realistic approach to the 'distorted' is that they are incapable of true happiness or fulfilment. This is a view I certainly don't subscribe to.

The Longest Journey's suspicious form and strange conclusions were quite accurately detected by Lionel Trilling who declared this novel in comparison to Forster's others to be his least perfect, least compact, least precisely formed and, simultaneously, his most brilliant, most dramatic, and most passionate. Such a multi-faceted existence is an exact indication of the risky and unfamiliar lines upon which modernists walked. One can assume that Trilling considered A Passage to India to be the wiser and more perfect of Forster's novels in comparison. Where A Passage to India is socio-political, The Longest Journey is personal. The philosophical issues portrayed can be interpreted as being in dialogue with Forster's fellow scholars, pontificating upon the arguments of his academic circles. Scholars who engaged with these same philosophical arguments will no doubt warm to the affable and ironical gestures Forster uses to argue his case.

The structure in which Forster composes The Longest Journey sometimes borders on an obsessive control of the novel's plot and particularly the characters. As the events of the story unfold, we see the frame leading us to a central statement about the human condition. The overemphasis of these points crowded with immense symbolism leads us to question the effectiveness of Forster's statements. Particular points in the story, such as Rickie's realisation that Stephen is his half brother and the reintroduction of Ansell teamed with Stephen, leave us in a troublesome position asking whether this highly personal story was sacrificed to the musically fluent style Forster was working. The Longest Journey's most difficult problem is that it introduces itself as a modernist novel whose commitment is to style, yet its story is obviously Forster's personal account of a series of emotions and events in his own life.

The narrator's voice and Rickie's are essentially interchangeable. The only difference between the two is that the narrator is consciously aware of what Rickie's subconscious knows, but can't admit. If Rickie were so closely intertwined with the authorial voice, then it would seem that there is no room for intimacy with the reader. Yet, the story redeems itself through Rickie's struggle because it is so personal in its metaphysical complications. It is only later in the story, as it drifts farther away from Rickie's consciousness that the emotional impact lets go and we are left wandering through labyrinths of overt symbolic designs. The design in which Rickie is brought to his end is ultimately unfulfilling because the tragedy of the human condition makes itself so poignantly clear when the story is brought full circle to the ending ominously predicted from the outset. Instead, we are asked to accept that no life is tragic because of the enduring factor a human's spiritual hope. If Stephen were created as a character more complicated than a pastoral hero, then this resolution might be effective. However, in the troublesome structure it exists in, it falls short of an enlightening resolution.

Within the complex faults that unfold from an authorial voice inseparable from a central character's consciousness, there is a meaning that resounds through. Apart from stylistic concerns, the modernists were intensely concerned about the human's existential crisis that results from an awareness of the bleak resistance to have faith in either scientific or theological assertions. Rickie is the only vehicle with which we can understand and interpret the complicity of an early twentieth century man's reality. The other characters exist as mere paper figures that serve stilted plot functions. It is through Rickie alone that we understand this particular metaphysical crisis. These sentiments are what make The Longest Journey an important work of modernist fiction in the historical sense. Its theoretical importance lies in the fact of its mismatched structural and sentimental tale's existence.

There is an odd coincidence between symbols he and other modernist writers use. For example, Rickie hangs a towel over a painted harp in the room he is sleeping in at Ansell's house just as Woolf wrote about Mrs. Ramsay hanging her shawl over the skull hanging in the children's bedroom. The symbolic meaning of this can be interpreted in various ways. Yet, in Woolf's writing the meaning makes itself abundantly more clear because the style with which she works supersedes the story in To the Lighthouse. This is why To the Lighthouse is a more successful modernist experiment. A writer that does not work within the laws of the form in which they are working will inevitably fail in their efforts. Forster does not seem to be ignorant of these laws, but he is so enthusiastic about the application of them that his obsessive use of the stylistics becomes rather inappropriate.

Forster often declaimed himself as "not a great novelist". The reason he felt this was probably because he was not able to abide by the standards that he himself set as the qualifications for great novels. This is, at least, the primary objection to be made toward The Longest Journey. In Aspects of the Novel Forster writes, "The novelist who betrays too much interest in his own method can never be more than interesting; he has given up the creation of character and summoned us to help analyse his own mind, and a heavy drop in the emotional thermometer results". The obsessive control of style as an opposition to the driving story he wanted to tell in The Longest Journey proves to be a fatal merging of a novelist who wants to keep with the artistic innovations of his time. Forster is too aware of his use of stylistic method to make the novel a wholly satisfactory piece of literature. Yet, because there is so much of Forster in the novel, it remains a very interesting book to serious and passionate readers.