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This 'eleven-point framework is both a strength and a weakness. While it enables some useful points of comparision between different national forces, it forces the individual country studies into a rigid structure where areas of difference are underplayed and too much attention is afforded to issues that may not be important to individual countries.
Overall, the book succeeds in showing that armed forces are indeed changing into organisations quite different from their cold war predecessors. But many broader (and more important) issues are not addressed: is this trend a good or bad thing? Are forces changing too slowly or too quickly? How should military forces train their leaders to handle these changes? And most important, what impact does this have on the capacities of countries to defend their national interests? While 'The Postmodern Military' usefully sets out the foundations for this important debate, it does not attempt to provide any of the answers to these critical broader questions.
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It breaks down the activities into different acts, and it uses approaches that will appeal to different learning styles. There are a number of useful activities, worksheets, and practices quizzes that will get you up and rolling. When a new teacher is stuck, this is one of the books that I loan them.
For the experienced teacher, or someone who considers themself well-versed in Shakespeare, this book is a little elementary. It functions great in support, but lacks a little all on its own. I do however find it useful in conjunction with books like Shakespeare Set Free.
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Anyway, after I worked there for a while Bob laid me off. I wasn't at work that day, so he had to do it over the phone. The thing was, I knew it was coming, so I wasn't surprised or hurt at all, but Bob---he was almost crying. He'd been doing this all day, and it was ripping him up, and you could just tell that he was really hurting him, and he didn't want to do that to anybody. But since he had to, he was trying to do it as nicely as possible, because it was a small company, and I'm guessing he would chat with everybody on the elevator, not just me.
Anyway, I figured that Bob cared so much about having to lay me off, that he must be a deeply spiritual person or something. I mean, I've been fired, layed off, broken up with, excommunicated, even restraining ordered and nobody's ever been that nice about it. Or that hurt. So I figured he must believe in God. Then I saw this book and figured that it might be one of his relatives and might help me get a window into Bob's soul, so I ordered it.
That was before I noticed that this guy spells his name Eagan, not Egan, like Bob. They're probably not related. The book's fine, though.
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The second section covers the works of the three writers. While there is certainly a wealth of sources that give critical insights into Beat writing, this section brings them together into an often detailed, more often general study of Beat themes, styles, and voices. The Ginsberg section is particularly detailed in its analysis of Ginsberg's long lines and mysticism. Though Kerouac and Burroughs receive their share of treatment, the Burroughs section lacks the further illumination provided by Burroughs over the last twenty years of his life. And the Kerouac section hits only the high points, simply because it would be too difficult to cover every aspect of this prolific writer's work in a mere 70 pages.
This book is a solid overview of the core Beats and their seminal works. Its age shows at times, but it's worth a read as a well-written and well-thought treatment of Beat literature.