The "Best Editorial Cartoons of the Year" series has been around for at least 30 years now.

I know this because I actually remember the 1972 and 1973 editions. The differences between those editions and this one show how far the art of political satire has declined and how far the Matriarchy has progressed.

We're never told what standard is used to rate a particular cartoon as among the "best" of the year, and it's fairly safe to say that it's purely based on the subjective preference of the editor, Charles Brooks. And this much has to be said for him - he includes cartoons from a number of perspectives but leaves out left-wing heavy hitters such as Conrad, Trudeau, and the recently deceased Herblock (did they hit him in the head with a shovel to make sure?). This is important for balance, simply because there are no right-wing heavy hitters among political cartoonists to even the score.

For the most part, the cartoons included in all collections have been from relatively obscure contributors - both left and right. This is all to the good.

But this year's edition was just a lot of pap. For one thing, Gary Condit had been the big story before September 11. Where are the Condit cartoons?

Of course, the biggest story in 2001 turned out to be the terrorist attacks on the Pentagon and the World Trade Center. So the "best" cartoons mostly repeat conventional sentiment - what a tragedy, but we're strong and united now so we'll get the bastards, blah blah blah.

How many cartoons were drawn which showed the Statue of Liberty, Uncle Sam, and the American Eagle alternatively weeping, praying, retaliating etc. etc.? What a self-replicating show of pompous victimologistic self-assuming virtue!

Incisive masculine wit is disappearing from the modern political cartoon, and cartoons that are supposed to make you EMOTE without THINKING have become the rule.

Get a load of the contribution from Richard Wallmeyer of the Long Beach Press Telegram about "anti-bully" legislation. In the penultimate panel, one kid suggests that people just live by the Golden Rule instead of passing a law and in the last panel, his friend responds by reminding him that religion isn't allowed in public schools.

That's it. No wit; no nuance; no attempt to make the reader THINK about what the cartoonist is trying to say. No symbolism even. Wallmeyer tells you straight out what you should believe.

And Jeff Parker's post-September 11 contribution from Florida Today showing two Floridians wearing "I Love NY" paraphernalia and agreeing between themselves that "We are all New Yorkers now".

No biting masculine wit, no nuance, no intellect, no symbolism. And suck a lozenge, Jeff Parker. All of the terrorists attacks in the world won't turn the average New Yorker into a human being, any more than the 1989 earthquake could do so for the average San Franciscan. Parker is just engaging in cheap sentiment masquerading as patriotism.

The decline in quality of political cartoons stems from the fact that as women continue to make war on men and as the Matriarchy's grip becomes more crushing, male cartoonists have become softer and more effeminate (this is happening in other settings too, obviously).

And more women have become political cartoonists. There's an Ann Telnaes cartoon in which Joseph Lieberman's statement at Notre Dame that public morality should be based on faith is juxtaposed against a picture of Moslem women wearing veils.

Even assuming that it's BAD for women to hide their features, is it really accurate to suppose that a faith-based public morality would require an imposition of the burqua? No more than it would require baptism or a kosher diet but in a feminized world, the reader is not supposed to think but to emote, emote, emote.

Of course, as anyone who has seen her recurring appearances on C-SPAN knows, as a political cartoonist, Ann Telnaes is one hot babe whose face definitely should NOT be covered. But her cartoons would only be improved by the camouflage that a veil would provide. They are hardly worthy of inclusion among the country's "best".

And the feminization of the American political cartoon isn't just limited to matters of style.

Resistance to the Matriarchy has become unthinkable. In the 1973 edition, there is an entire section devoted to "Women's Lib", most of the contributions deliciously skewering the feminazis.

In one uproarious example, a man is standing at the altar looking apprehensive while hooked in his arm is his "bride", a man in drag. The preacher performing the "marriage" ceremony asks the "groom", "Do you, John, promise to love, honor and obey the Equal Rights Amendment?"

Go try to find a cartoon like that today! We've come a long way from when Thomas Nast cartoons afflicted and ultimately defeated party bosses such as Bill Tweed. Today's feminist bosses have no reason to moan, "Stop them damned pictures!" The people drawing them come from the same New Class that their masters do.

So where gender issues are concerned, the drawing board cult members bow their collective heads in deference to the "women are strong and good; men are weak and bad and deserving of punishment" party line. The 2002 edition shows an androgenized Statue of Liberty punching a Taliban member in the face in a display of women's "rights" (get it? She'll throw her "left" at him next).

The Evil Rights Amendment might not have been enacted, but feminism has still become the official state religion of both left and right. As such, it stifles masculine energy, independence, and creativity. These can only return when and if a younger generation of males rebels against the imposition of public morality in the name of this particular faith.

Until then, the quality of written protest, in the form of political animation, can be expected to continuously decline. But I wonder what the 2032 edition of "Best Editorial Cartoons" will look like.

First, a set of rejoinders: (1) One of the bedrocks of the patriarchy is private property and there are plenty of noted cartoonists, such as Garry Trudeau and Pat Oliphant, who I suspect do not allow their work to be reprinted in a collection such as this because all of their cartoons are going to be published in their own collections. (2) The absence of heavy weight conservative editorial cartoonists is compensated for by the abundance of right wing radio talk show hosts; however, this begs the question of whether a list naming heavy weight conservative editorial cartoonists can be produced in the first place. (3) As a rule of thumb, it is always more fun to attack than the praise, especially when it comes to sitting Presidents. (4) There are, in point of fact, eight cartoons on Gary Condit, appearing on five pages in three different sections of "Best Editorial Cartoons of the Year, 2002." (5) Yes, editorial cartoonists around the country responded in exceedingly similar fashion to the events of September 11th. A lack of creativity is indeed one explanation, but so is the fact that the destruction of the World Trade Center and its aftermath present exigencies and constraints that suggest a particular iconography: two towers suggests two legs or two figures. An attack by terrorists on the United States means the latter will be represented in editorial cartoons by icons like Uncle Sam or a Bad Eagle; because the attack was on New York City within sight of the Statue of Liberty, she serves as an appropriate symbol as well. Using the eagle as America's totem makes it easy to cast the terrorists as rats, snakes, or other vermin.

Beyond that, I am certainly curious as to what sort of cartoons conducive to provoking thinking rather than emotion would be appropriate to depicting September 11th, not to mention those that would display wit or patriotism that could not be dismissed as cheap. For that matter, I would also add that there are some cartoons displaying such qualities amongst those depicting The Response to the attack.

Still, the idea that sexual equality is responsible for the lack of true genius in the over 400 editorial cartoons from 175 cartoonists instead of the ennui that has afflicted every other commercial art form in the world is certainly provocative. I suppose that if the Equal Rights Amendment was still on the political table there would be some choice cartoons on the subject, but since it is not pillorying Hillary Clinton and her spousal unit will just have to do.

Besides September 11th and related subjects (e.g., the administration of George W. Bush, the anthrax scare), this collection of editorial cartoons looks at other major news stories from 2001 such as the surprise takeover of the U.S. Senate by the Democrats, the execution of Timothy McVeigh, China trying to get the Olympics, the death of Dale Earnhardt, and the (stupid) economy. In each of these collections I also find the work of a couple of cartoonists standing out. This time around for me it was Nick Anderson, who won the 2000 National Society of Professional Journalists Award for his cartoon on the Florida recount circus and Rick McKee for his cartoon following McVeigh's execution, a drawing which is doubly icon, and therefore quite powerful.

As always, I find these visual excursions down memory lane to be quite effective for recalling the topics and tenor of the times. It would not have been difficult to devote an entire volume to editorial cartoons just about September 11th, although we could certainly anticipate that not everybody would be interested in seeing the recurring iconic elements that would be worked into dozens of similar cartoons.

Leading editorial cartoonists are presented in a volume which focuses on concerns over terrorism and political actions. Best Editorial Cartoons Of The Year, 2002 Edition packs in popular black and white editorials that reflect the major concerns of the Year 2001: any that wants a record of events and opinions will find Best Editorial Cartoons Of The Year, 2002 Edition intriguing and fun.

The book is far too easy for professionals and for university students. The blanks exercises are really stupid. If you are not experienced in mathematics or statistics you will probably like the book because there are no derivations of formules or demonstrations of theorems.

The person I bought this book for found it very useful for his studies and the attached Cd-ROM very useful with its chapter reviews and tests.

Because of the deep grade themes are studied. Basic for student and professionals...

While this book has many great pictures from the decade and examples of artwork inspired by psychedelic rock, it is a very lightweight effort. Perhaps it was meant to be that way. Concentrating almost solely on London and the Haight-Ashbury district of San Francisco, the book consists mainly of reminiscences of aging hippies, most of whom were involved in the music and/or art scene of that era, either in San Francisco or London. Pretty much all of these consist of uncritical reminiscences about the hippie movement, whose downfall, if we are to believe these people, apparently came only from its eventual invasion by those looking to get rich off the movement (i.e., the establishment), totally disregarding the fact that those hucksters and exploiters were there from the beginning within the movement. One thing that also bothered me is that the rampant drug use of the period was presented almost completely as a positive thing. Indeed, it was glorified. With the exception of mentioning that Syd Barrett apparently became emotionally unhinged at least in part due to his use of LSD, there is almost no mention of the lives destroyed by the hedonism and drug use of the period, including such famous rock pioneers as Janis Joplin, Jimi Hendrix, and Jim Morrison, to name the most prominent. While it was interesting and entertaining to read many of these reminiscences, I wanted to know more. I wanted the authors and editors to dig a bit deeper than the superficial outline of that period's history that we've heard about before. One good effort in that direction was the timeline that was at the bottom of every page, spanning the years from 1965-1969 throughout the course of the book. Basically, I recommend this book, but mainly for the great photo spreads and not as much for the commentaries and reminiscences.

i found that this was a wonderful book. i was not around during the sixties, but i have been in love with them for a while. this book is a great trip back to the sixties for those of us who weren't fortunate enough to be there, and i'm sure it is great memories for those who were. i would reccomend this book to anyone in search of information about the sixties/hippies. it is definately a must read!

This book is an excellent portrayal of life in the 60's. It is great nostalgia for those who were there, and a great taster for those who wish they were.

I've been involved with outsourcing for just over 2 years - as a customer. I found this book to be extremely well written and structured and would be of benefit to a range of readers, those considering embarking on an Outsource for the first time will get a very clear picture of what they need to consider, and how to aproach the objective. Anyone already involved in outsourcing will recognise many of the items discussed and may find tips that will help them in their role. If nothin else then the survey information will be useful when considering how the services are performing compared to others, as a separate exercise to formal benchmark procedures.

Book talks about outsourcing as one of the promising businesses of the future. This is talking about Special Skills needed to manage Strategic Sourcing. It's Like you make non core businesses of others as your core business and put in your best effort in achieving and not only achieving but achieving them efficiently. This book has covered various incidences experienced by US companies. This also highlights that 35% of the such ventures have failed in last eight years which is a shocking statistics. But this is not dicouraging as those ventures failed because they were carried hurriedly and with a very narrow objective. I have found this book worth reading for Persons with an ambition to start their own setup like this.

Books that help a business consultant promote consulting can be suspect. After all, the consultants' first piece of advice is that you need to hire them. That caveat aside, you will find this a well-conceived view of the practical mechanics of setting up a good outsourcing program. The text can be redundant, telling you many times over that you need to agree on measures to define a project's success. However, even though authors James Essinger and Charles L. Gay don't dodge all the pitfalls, they do hand you the common-sense fundamentals you need to safely navigate the trendy world of outsourcing. Overall, we [...] recommend this as a useful volume that will help any executive who is thinking of setting up an outsourcing program or wondering how to do it better next time.

Charles Brockden Brown's importance in the field of American literature is indisputably very high; thus, how unfortunate it is that his works are so unknown to us today. Were it not for H.P. Lovecraft's mention of him in his essay "Supernatural Horror in Literature," I myself would remain ignorant of his very existence. Brown is arguably the father of the American novel, a brave pioneer in the era of the early Republic. This man set upon himself the noble purpose of writing fiction for a living, going against the wishes of his family and the dictates of contemporary society. Had there been no Charles Brockden Brown, there may never have been a Poe--at least, not Poe as we know him today.

The story is an Americanized Gothic romance. The spirit of Gothic literature pervades the tale, but the setting has been transferred from old castles and courtly settings to a recognizably American rural landscape which is preeminently beautiful rather than spooky. The horrors described so effectively by Brown are borne in the minds of the characters. The female protagonist Clara narrates the tortured history of her family. Her father dies mysteriously, perhaps by spontaneous combustion, ostensibly due to his failure to follow God's will in his life. She enjoys a happy adult life with her brother and his wife until a stranger named Carwin appears and quickly becomes a part of their inner circle. Carwin eventually becomes Clara's tormentor. She, her brother, and their mutual friend Pleyel all hear mysterious, unexplained voices warning them of danger and imparting fateful news on several occasions. Her brother, deeply religious like his father, is greatly affected by these phenomena--how much so we learn later in the novel. Carwin fatefully destroys Clara's life when his evil designs paint her as a harlot in Pleyel's eye. Her unrequited love for Pleyel is now met with his condemnation of her--the agony of the charges against her is particularly poignant in the early American era in which the story takes place. On the fateful night, she discovers Carwin hiding in her home, and he admits to having had murderous designs on her. Her sorrows are greatly magnified the following day by the murder of her brother's wife and five children by none other than her own beloved brother. She blames Carwin for having influenced her brother to commit murder, but we later learn that dementia itself is almost surely to blame for her brother's wrongs. Before the tale ends, she faces a confrontation with both Carwin and her murderous brother, an experience which she is fortunate to survive.

The tale itself is wonderful. The suspense Brown draws out and continually heightens is first-rate. Clara's encounters with voices and human spirits hidden in the darkness of her bedroom are spine-tingling. The language of the novel does make it a work that requires some concentration on the part of the reader and may serve to frustrate some, but I think it greatly magnifies the horrific aspects of the tale. The dialogues of the actors are admittedly overdramatic and drawn out. No one speaks in this book; rather, everyone makes speeches. The protagonist often resorts to long laments of her great woe and asks how she can possibly go on with the story. Despite such dramatics on her part, though, Clara is clearly a brave, independent woman (reflecting Brown's strong and admirable commitment to the rights of women). Overall, the tale delivers a buffet of the passive voice style of writing, which I for one refuse not to love; even the most unimportant sentences are graced with a flowery, beautiful aspect.

In terms of the Gothic element to the story, one cannot say that the supernatural aspects are wholly disproved in the end--to some extent they are, but not to such an extent that Wieland's murderous actions can be explained by them. Clearly, Wieland did hear voices other than those made by Carwin the biloquist. The air of mystery that remains about Wieland's dementia and the causes of it makes the ending more successful than I feared it would be once I learned of the power of ventriloquism exercised by Carwin to dictate many of the related events. My only complaint is with the final chapter, which is basically an epilogue in the protagonist's journal. Inexplicably, it introduces a new character to explain something about a minor character whom I frankly could not even remember.

This book has a very original plot line. The influence of the bazzar, mystical death of the father of this family set off much questioning and fear when similar occurances happen decades later. You will be desperatly trying to piece together what is going on as this family is ripped apart. The true cause of these events is far to bazzar to be guessed. This essencial Gothic classic can be a bit slow to read at parts, but the conclusion is well worth hanging on for.

Charles Brockden Brown has been almost completely forgotten today. Unlike the more famous James Fenimore Cooper, who is often accorded the title of the first American novelist that Brown should bear, Brown's reputation is largely borne up by those few literary critics who love the earliest roots of American fiction. "Wieland" is Brown's best novel, and still quite readable today as a Gothic novel (although the secret of the villain seems rather mundane today, as the 'power' he exhibits has been played largely for laughs since the days of vaudeville and radio). Brown was born in Philadelphia in 1771, trained in the law, was one of the first to try and make a living as a writer in the early years of the American republic, and died young in 1810. If you like Gothic novels, or you have a passion for early American literature, you will enjoy "Wieland." Myself, I prefer him to Cooper, who has been forever rendered laughable in my mind by Mark Twain's hilarious essays on Cooper's literary sins.

WHEN I WAS IN JR. HIGH SCHOOL IN HOUSTON IN 1964, THIS WAS THE FIRST NOVEL I EVER READ. IT LAUNCHED ME ON A LIFETIME OF READING AND A LOVE OF HISTORY. IT'S TREATMENT OF THE "HERO" ALLOWS ALL OF US TO RELATE TO HIM. HE IS JUST A PLAIN YOUNG MAN WITH AVERAGE ABILITIES, AND HAS AVERAGE SUCESS IN THE COCKPIT, OTHER THAN THE FACT THAT HE STAYS ALIVE.

THE BOOK TRACES THE EXPLOITS OF CHARLES SELDEN FROM THE TRENCHES THROUGH FLIGHT TRAINING, THE LAFFAYETTE ESCADRILLE, AND INTO THE U.S. ARMY FLYING CORPS WHERE HE IS SHOT DOWN AND CAPTURED. THE BOOK CLOSES WITH HIS ESCAPE AND RETURN.

THE REGULAR MEN AND WOMEN AND THE HEROS OF HISTORY ARE VIVIDLY PORTRAYED TO THE EXTENT THAT YOU SEEM TO KNOW THEM ALL AND MAKE FRIENDS WITH CHARLES SELDEN. IT'S 1999 NOW AND I HAVE ONLY AVERAGE MEMORY, BUT I'VE NEVER FORGOTTEN THIS SPECIAL BOOK EVEN THOUGH I'VE NOT READ IT SINCE 1964. IT'S THAT GOOD.

For anyone interested in the air war of WWI, I have to recommend "Falcons of France." A wonderful read from the first page on. All the drama of friends, combat, capture and escape are in it. And when your done with "Falcons of France," you must read "Fighting the Flying Circus" by Eddie Rickenbacker. The two books parallel each other until the mid point and then go off in two directions. I got a better understanding of "Fighting the Flying Circus" after reading "Falcons of France." I highly recomend "Falcons of France."

Falcons of France is a novel of flying, World War I, growing up, and the moralities of the time. Written by two American veterans of the Escadrille Layfayette (who later wrote Mutiny On The Bounty), both the action of battle and the routine of the aerodrome are immediately believable. I first read Falcons of France as a teenager, barely younger than the novels characters. Having reread it numerous times over the years since, the saga still facinates, still captivates, and still ends sooner than I would wish. Reading this novel is the closest any of us will ever come to being a young World War I fighter pilot struggling to stay alive in the skies over France.

This book was written in 1895 and according to the forward, was "'lost' for nearly half the years since its publication". After suffering through it I now know why. The plot is dull and little background is given as to the reasons for the strike that the events do center around. Many happenings are expected and do not help to keep interest in the story. The characters are all underdeveloped. After reading the whole book I still don't feel like I know who Andrew, the preacher, is; or why Stuart and Eric felt such a close attachment to each other and were willing to go to such lengths to keep their friendship.

The only redeeming qualities of this book are seeing a man commit himself to Christ and for a group of people to try to settle their disputes in a "Christian" manner - meaning through discussions and mutual respect (I don't see what is necessarily Christian about that!). I was disappointed in Stuart's "conversion" however as it comes upon him very quickly, early in the book and with seemingly no impetus for it. A friend tells Stuart that he has committed his own life to serving Christ and then the next morning Stuart is a believer and begins to do what he thinks is right in God's eyes. The problem is it happens to quickly and we don't get a look at the thought process that led him to this decision. In addition, a major character flaw in Stuart and the rest of his friends is they become very judgmental of those who are not believers and go so far as to think they are better and tell others what to do. It was a struggle for me to finish this book as it was not only boring, but promoted qualities and behaviors that I do not feel are living God's way. Perhaps these characters should have asked themselves more often "What Would Jesus Do?"

Why 2 stars?:
This book should have remained lost and not rediscovered by its "updater". The plot is dull, characters uninteresting and they reflect ideals that are not as Christian as they touting themselves to be. The only reason I gave it 2 is they did at least pray and ask for guidance from the LORD. My suggestion however, leave this one on the shelves!

A beautifully written book set in the early 1900's around the mining business. It tells the story of a young man deciding on the priorities of his life. It shows all of us the true meaning of life. It's based on fact about the mining strike of that time and is a must for historical buffs!

I wonder if people know that this book is the long-lost manuscript written by the author of In His Steps, which is the best-selling modern-day religious book that began the whole "What Would Jesus Do" movement.

I have owned a number of study bibles in the past (Dakes, Nelson, Thompson, etc.). I have not been completely satisfied with any of them. In my search, I have determined the following criteria, which have to be balanced in selection of a bible. Of course, your needs may vary.The Ryrie Study Bible meets most of my needs. However, there are way too many notes that are unnecessary and only serve to add bulk. It appears that Dr. Ryrie had a goal to increase the number of notes from his previous version.

The construction is average. The leather quality is typical of the leather found on most bibles, and the same can be said of the paper quality. The binding is also typical. You can find Cambridge's bibles that offer overall superior construction with impressive leathers and paper. Cambridge's best personal bible retails for [$] that uses goatskin leather and leather lining. Holman's top of the line KJV reference bible ([$]) also has similar quality as compared to the Cambridge.

Primarily a KJV reader, self-pronouncing text and a dictionary are features that are very beneficial to me. Ryrie does not provide these features.

On the positive side, this bible has easy-to-read text, excellent subtitles, exceptional cross-references, a very useful topical section, functional concordance, great diagrams, and informative book introductions.

This is an excellent Bible. It has a plethora of great study helps, layouts, and maps. If you need a quality Bible that will last through some extensive studying and still come out in good shape, this is it. I would recommend a version without the index tabs. They tend to get in the way when you want to quickly flip to a book you are familiar with. Plus the pages crease and fold a little around the tabs as time goes by. Another small disappointment is that there is no index for all of the charts and commentaries scattered throughout the Bible. I have made my own and attached it into the back. Be careful of some of Ryrie's comments also, they tend to be from a theological perspective and not always from the anointing. I call this library piece my 'mac daddy'.

Ryerie has put together an awesome Study Bible. It has maps in the text that show where in the world the events are happening. Verse notws that clear up trouble pasages. In the back, you have your own little handbook of theology. This is a must for everyone.

Time's Arrow Time's Cycle written by Stephtn Jay Gould is a book that takes human thought to a new level in comprehending geology's vastness of history... the discovery of deep time. Gould works this book's major theme in the role of metaphor in the formulation and testing of scientific theories as the directionality (narrative history) of time's arrow or the immanence of time's cycle (immanent laws).

This book is both an account of geology's greatest discovery and philosophical commentary on the nature of scientific thought. As this thought takes us from thought of time in thousand of years to billions of years, inspired by empirical observation of rocks in the field.

Gould follows a single thread through three documents that mark the transition in our thinking: Thomas Burnet's four-volume "Sacred Theory of the Earth" (1680-1690), James Hutton's "Theory of the Earth (1795), and Charle Lyell's three-volume "Principle of Geology (1830-1833). Gould shifts through these writings giving the reader a history and background needed for a progressive march to the truth of the geological history through an enlightened observation.

Reading this book will captivate the curious reader and helps the human mind understand the vastness of time and the struggle to understand it.

The title of the review is an homage to Gould's oft mentioned love of baseball. This book is a cogent explanation of how European scientists (natural philosophers) recounciled the narrative tradition of history inherited from the Judeo-Christian template with the eternal return perspective of the Classical civilizations. Both view points-as-metaphors shed light on interpretation of the geological record. There are both serial and cyclic elements in the history of the earth, so the scientific community found truth in spite of the fact that individual scientists tended to emphasize one perspective over the other.

Gould exposes the 'cardboard cut-out' Whig version of history that most working scientists have received uncritically as hurried historical preambles to their study of geology per se. James Hutton, for example, is held up as a paragon of the field geologist who supposedly preceded his assertion of the existence of 'deep time' with countless hours in the field. Not so, says Gould. In fact, Hutton did his field work after he conceived the idea of a lengthy earth history and merely used his field observations to bolster his claim. Thomas Burnet, author of the much made-fun-of Sacred Theory of the Earth, is revealed to have been a champion of uniformitarianism before Hutton even conceived of it. Burnet refused to advance causes for events described in the Bible that could not be explained by the laws of physics as advanced by Isaac Newton. Finally, Charles Lyell is exposed as a master of rhetoric who conflated methodological and substantive aspects of uniformitarianism in order to sway his audience. No member of the scientific community contemporary to Lyell clung to the Mosaic timescale. He merely used it as a strawman. It was Lyell who managed to mate the narrative and eternal return perspectives into a coherent view of Earth history. First he did so by insisting the apparent progress observed in the fossil record was caused by the immense scale of the cycles of Earth history. Eventually he conceded the reality of evolution and allowed for the existence of an arrow of time whose path did not curve.

Gould's book is modified from a series of lectures, which is probably why there is so much uncharacteristic repetition of themes and ideas in this book. It was the only aspect of this book that I found irritating. Gould is also candid about his pride at uncovering various inaccuracies in the received wisdom and unearthing original themes to explain patterns in the history of geology. I have heard other people complain about this personality trait. I have no problem with it and believe that his satisfaction with his own cleverness is quite justifiable.

Stephen Jay Gould's love of science history really shows through in this work, which focuses on changing ideas about time and geology. It's well-researched and makes some very intriguing points about science in general, but if you have no patience for geology you probably won't get that far - it's nowhere near as accessible as his essay collections, but that's only to be expected. Every science major should read this book, and so should anyone who likes to think of themselves as well-informed about history and science.

This book is not like an ordinary medical textbook. It is more like an intermediate type between a medical text and a medical periodical. It gives considerable space to progresses of many medical-scientific research and the names of their authors. While on the other hand, it provides extremely concise outlines of etiology-manifestation-diagnosis-treatment for many common diseases, sometimes even skip certain important topics. As far as I am aware of , the following common topics are not or barely mentioned by this book: physiological changes of pregnant women; rubella infection during pregnancy; breast feeding of mothers with mastitis; the route and rate of mother-child transmission of HIV; the differential diagnosis of ruptured ectopic pregnancy; contraindications of the use of IUD; forceps use in labor; APGAR; There are also quite a few mistakes in the rear index.

Very good O&G text. This updated edition is well done