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Almost all of the symbols in this book are drawn from published Gardnerian material that has been widely available for decades. So, all in all, there is very little Welsh material here, old or new. You'll want to pass on this one as the claims do not match the material.
Gloria Wilson
Offeriades Dynion Mwyn tradition
New York
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Written in 1884 by George F. Williams the book is a fictionalised narrative account of the American Civil War. Williams was both a soldier and a war correspondent during the years of civil conflict between North and South and thus writes with the duel perspective of a fighting veteran and a newspaper reporter. In his preface to the book Williams suggests that the "faithful picture" he is presenting is done so "under the guise of fiction". Therefore it is important for the reader to remember that this is not a factual account but rather is a record which has undergone an "author's license".
The book is the narrative of Frank Wilmot described as " a stripling of twenty, fair complexioned, quite tall for his years, and the possessing of a tolerable share of good humor". Following Wilmot through both minor skirmishes and major battles such as Gettysburg and the Wilderness the accounts of combat are particularly powerful. Similarly the aftermath of battle is described in a manner which is honest and believable - "Horror stricken and heart sick, I gazed over the field along the line which we had held, seeing bodies in every direction and in every possible attitude. Here one poor fellow had crawled to the foot of a tree, and died as he sat. His fez was still on his head, the gibbering skull beneath it seeming to laugh at me, as the jaws had relaxed and fallen apart".
There is a great deal of dialogue within Bullet and Shell and I feel that this is perhaps one of it's faults. Written 116 years ago the dialogue will of course be dated, and that's how it reads but the interactions also rely somewhat on clichés. If you read novels regarding the Civil War you will eventually come across the Northern Irish Private or more often the Irish Sergeant. Bullet and Shell has one in the shape of Dennis Malone who is full of "begorras" and "to be shures". Often then for me, the nature of the dialogue took away from the intensity of the events. Furthermore, at times I was reminded of a bad performance of Hamlet I saw as a child at school. The dialogue was all there but the actors were not sure what to do with their bodies and thus with arms hanging limply at their sides there was no animation other than the words.
In his excellent synopsis of the Civil War -'America Goes to War' - Bruce Catton notes that "the 1860's cannot be judged by the standards of the more sophisticated and intricate twentieth century". Here he is talking about the nature of warfare and of soldiering in general. However, the same principle can be applied to the reading of novels regarding the war. Bullet and Shell was written in the 1880's and as such perhaps conveys the norms of American fiction of that period. These are no better than those used today but simply different and the experience of reading Bullet and Shell perhaps both highlighted and reflected these differences.
I'm glad I read Bullet and Shell and I would encourage others to read it. Not because I think it's the most enjoyable piece of Civil War fiction I've come across but due to the fact that it's written by someone who experienced the war first hand and thus has much of value to say to us.
Be aware that this is a work of fiction based on true events and true people - including U.S. Grant, Generals Meade, Warren, Kilpatrick, Sedgwick, Custer and others. Williams apparently did not wish to go to a strictly autobiographical account as was the custom in those days. Here he skillfully chose two young protagonists - Frank, based on himself, (as was Osborn, the war correspondent) and Tom, a Virginian, who while pre-war friends argued over secession and slave rights - and then when war broke out found themselves on opposite sides.
The carnage of battle is vividly described here - at Seven Days, Chancelorsville, Gettysburg and the Wilderness, as well as the final drama of Appomattox. Here Frank describes as close friends are killed nearby, the tedium of camp life,foraging for food in a destitute country, the adventures of scouts behind enemy lines, and the true events of the war as they built to a climax.
In one dramatic scene "Frank" (Williams) temporarily captures his former friend Tom at Gettysburg, then let him go - their friendship apparently still intact.
He also describes the characteristics of the Generals to a tee - Warren, nervous and irritable; Grant - "steady calm and confident" and Meade, "courtly".
Again, this is fiction based on fact, whereas it is presented as being strictly factual. This being the only reason why I did not give it 5 stars as it is indeed a classic work of the War Between The States.
And yes, the wonderful illustrations of Edwin Forbs are a plus!
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The authors do not assume that the reader is knowledgeable about relational databases in general, SQL, or the related topics. For example, the chapter on SQL on MySQL does not just describe the subset of SQL-92 that MySQL supports, but rather it contains a tutorial on the SQL for the commands that MySQL supports. Chapter seven on Database Design contains a tutorial on taking a database to third normal form complete with Entity-Relationship diagrams, unique identifiers and relationships. In part four, the PHP chapter contains a mini-tutorial on PHP and a complete PHP application. While the level of thoroughness is nice in the sense that you do not have to refer to other volumes to comprehend the subject, it makes for some very intense reading because of the size of the book versus the topics covered.
Overall, I like the book as a general tool, however there are certain omissions, for example: there is no reference phpMyAdmin or WinMySQLadmin. These tools are very easy to use and helpful in working with MySQL. In addition, the topic of creating InnoDB or BDB tables for transaction support is not addressed. The explanation of granting privileges in MySQL was a little confusing. Some supporting illustrations or diagrams would be well received there. The book is fairly successful in covering its broad topic domain. In conjunction with the MySQL manual, the book should meet most of my needs, but if I were a full time database administrator, I would probably want a dedicated reference book.
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Equally reasonable is the idea that Custer would then have been tapped to run for President in 1880. The main thrust of "Custer's Luck" is therefore going to be what happens to the destiny of America with Custer in the White House. If you have a reasonable grasp of American history--and there is no reason to be reading these types of books if you do not--then half the fun is recognizing where and when the authors are lifting ideas and events. This goes from such relatively minor things as the court-martial of a black West Point cadet to Custer insisting the U.S. cannot afford to be Isolationist, the political philosophy that was the flaw in American diplomacy throughout the 20th century. Ultimately, "Custer's Luck" wants to have the United States try to begin that century the way it ended it, as the preeminent military and political power on the planet. Consequently, Custer fast-forwards the nation in terms of developing a strong navy, building the Panama Canal, provoking a war with Spain over Cuba, and even supporting women's suffrage.
The main sub-plot of the novel focuses on Red Elk, a young Sioux Warrior who vows over the dead body of his pregnant wife that he will kill "Long Hair." Red Elk is a fictional character, originally created in Skimin's "The River and the Horsemen: A Novel of the Little Big Horn." Given that previous novel along with the fact Moody is the editor of "The Journal of the Little Bighorn Associates," it is not surprising that several of those who died with Custer--his brothers Tom and Boston, Myles Keogh, Mark Kellogg and William Cooke--are prominent throughout the novel. Even Frederick Benteen, never a Custer supporter, becomes a Congressman bent on derailing his former commander's ambitions. There are also some soap opera elements; at one point Custer even ends up in the arms of Lillie Langtry. But even before we get to Skimin's final postscript comment "Any comparison to Camelot is in the mind of the reader," it is clear that John F. Kennedy is the major model for the Custer Administration and its theme of "The New American Empire." After all, Custer puts brother Tom in a Cabinet post while his brother Boston is elected a Congressman, Libbie wants to fix up the White House and Custer has the government supporting the fine arts.
I am perfectly willing to grant that many of the things Custer does in this novel could have been done at that time. I will even agree that a national hero such as Custer would have been after winning the Battle of the Little Bighorn could be swept to the Presidency (although Custer's narrow victory in the election does not ring true to me, even if the man was a Democrat). What I find hard to believe is that a President Custer would have been so visionary. When he works out diplomatic solutions to get both Geronimo and Sitting Bull back to their reservations, it is clear that Skimin and Moody are offering us a different Custer than the egotistical daredevil of history's current judgment. Then again, this only underscores that the character is ultimately only a device that allows the authors to shape their alternative America, so there is a logic to their alterations. However, the ending of "Custer's Luck" conveniently frees Skimin from having to finish what he has started. The significant changes that should be at the heart of this alternative history are therefore secondary to the parade of historical figures Custer and his cohorts encounter in the novel. To say the least, I find this to be an unsatisfactory way of concluding this story, essentially negating much of the momentum Skimin and Moody had in creating their alternate America.
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The play has the first of Shakespeare's many brave, resourceful and cross-dressing heroines, Julia.
Shakespeare always used his fools and clowns well to make serious statements about life and love, and to expose the folly of the nobles. Two Gentlemen of Verona has two very fine comic scenes featuring Launce. In one, he lists the qualities of a milk maid he has fallen in love with and helps us to see that love is blind and relative. In another, he describes the difficulties he has delivering a pet dog to Silvia on his master, Proteus', behalf in a way that will keep you merry on many a cold winter's evening.
The story also has one of the fastest plot resolutions you will ever find in a play. Blink, and the play is over. This nifty sleight of hand is Shakespeare's way of showing that when you get noble emotions and character flowing together, things go smoothly and naturally.
The overall theme of the play develops around the relative conflicts that lust, love, friendship, and forgiveness can create and overcome. Proteus is a man who seems literally crazed by his attraction to Silvia so that he loses all of his finer qualities. Yet even he can be redeemed, after almost doing a most foul act. The play is very optimistic in that way.
I particularly enjoy the plot device of having Proteus and Julia (pretending to be a page) playing in the roles of false suitors for others to serve their own interests. Fans of Othello will enjoy these foreshadowings of Iago.
The words themselves can be a bit bare at times, requiring good direction and acting to bring out the full conflict and story. For that reason, I strongly urge you to see the play performed first. If that is not possible, do listen to an audio recording as you read along. That will help round out the full atmosphere that Shakespeare was developing here.
After you finish Two Gentlemen of Verona, think about where you would honor friendship above love, where equal to love, and where below love. Is friendship less important than love? Or is friendship merely less intense? Can you experience both with the same person?
Enjoy close ties of mutual commitment . . . with all those you feel close to!
It would make a lot more sense if the authors skipped a lot of the details of where Accounting Information Systems fit in our social experience and get down to dealing with the dirty details of how someone would go about writing a system of their own.
Then they could spend a chapter on how to go about the testing of the system and how and why to do a complete re-write of this masterpiece.