'The Art of UNIX Programming' poses the belief that understanding the unwritten UNIX engineering tradition and mastering its design patterns will help programmers of all stripes to become better programmers. This book attempts to capture the engineering wisdom and design philosophy of the UNIX, Linux, and Open Source software development community as it has evolved over the past three decades, and as it is applied today by the most experienced programmers. Eric Raymond offers the next generation of 'hackers' the unique opportunity to learn the connection between UNIX philosophy and practice through careful case studies of the very best UNIX/Linux programs. In addition, commentary is provided by Brian Kernighan, UNIX pioneer and best-selling author - Doug McIlroy, the inventor of the UNIX pipg - David Korn, the inventor of the korn shell - Jim Gettys and Keith Packard, inventors of X windows - Henry Spencer, an original UNIX hacker - and Ken Arnold, an original BSD developer and JINI creator - Mike Lesk, author of the legendary uucp, lex, and tbl programs - and Sturat Feldman, author of UNIX's famous make utility. The book is divided into 4 parts. Part I explores the philosophy behind the development of UNIX. Part II explores design principles and patterns that are at the core of the UNIX tradition. Part III covers the rich UNIX tradition of reuse and the amazing variety of programming tools available to the UNIX developer. Part IV explores the UNIX open standards process, and the advantage in portability that UNIX enjoys.

Autobiography of the guitarist, songwriter, singer, and founding member of the Rolling Stones, Keith Richards. With the Rolling Stones, Keith Richards lived the original rock and roll life. He tells his story of life in the crossfire hurricane; his listening obsessively to Chuck Berry and Muddy Waters records, learning guitar and forming a band with Mick Jagger and Brian Jones, the Rolling Stones' first fame and the notorious drug busts that led to his enduring image as outlaw folk hero, creating immortal riffs like the ones in "Jumping Jack Flash" and "Honky Tonk Women." He discusses falling in love with Anita Pallenberg and the death of Brian Jones, his tax exile in France, wildfire tours of the U.S., isolation and addiction, as well as falling in lovewith Patti Hansen, and his bitter estrangement from Jagger and subsequent reconciliation. He talks about his marriage, family, solo albums and Xpensive Winos; the road that goes on forever.

Although it has actually been around since the early days of filmmaking, science fiction cinema is a contemporary and futuristic genre. It deals with events that usually take place at a far-off time and often faroff place; thus it appeals to the human desire to understand and perhaps predict the future. It also helps to explain science and technology and where they could be leading us. Science fiction cinema tackles prickly problems, often in a context that make them more real than reality— problems such as environmental degradation; overpopulation and pressure on space and goods; friction between the sexes, races, and nations; and the coming and substantially greater difficulties in dealing with rogue computers, robots, clones, and possibly even aliens (if we can believe what we see in the movies). Although science fiction cinema is often termed escapism, it is also an attempt to come to terms with a rapidly changing world. Consider the words of the great science fiction author Arthur C. Clarke: “We all want to escape occasionally. But science fiction is often very far from escapism, in fact you might say that science fiction is escape into reality. . . . It’s a fiction which does concern itself with real issues: the origin of man; our future. In fact I can’t think of any form of literature which is more concerned with real issues, reality.” This Historical Dictionary of Science Fiction Cinema is an excellent guide to the field. The chronology illustrates how long the movies have been around and charts some of the major advances—and films—over the years. The introduction then provides an overview, reminding us that science fiction cinema is hardly monolithic; rather, it consists of different genres, produced in an increasing range of countries, and using varying techniques. The bulk of the information, as usual, appears in the dictionary, with entries on directors, actors, and films. Other entries deal with topics such as monsters, alien invasions, utopia, and dystopia, as well as production sites (half a dozen countries), technical aspects, and new technologies (computer-generated imagery). The bibliography provides resources for further information. It was written by M. Keith Booker, who is the James E. and Ellen Wadley Roper Professor of English at the University of Arkansas. He is also the director of the university’s Program in Comparative Literature and Cultural Studies. Therefore, Dr. Booker does not simply deal with science fiction in the abstract; he shows how films and their writers, directors, actors, and genres fit into a historical context and relate to us in the present. He has also written dozens of books on literature and popular culture—more broadly and more specifically, half a dozen books on science fiction, with two recent publications dealing with science fiction cinema: Alternative Americas: Science Fiction Film and American Culture and The Science Fiction Handbook. This volume, therefore, presents a wealth of experience and knowledge for a variety of audiences.

This book grew out of a conference organized by the German Historical Institute (GHI) on May 23-5, 1996, iii Berlin. For three days, thirty-five scholars from n\ne countries became acht-und-sechziger (sixty-eighters), not on the streets and barricades but in lively debate over the events and significance of the momentous year 1968. This book consists of revised versions of many of the original papers as well as entirely new essays that complement our overall theme. I thank all of the authors and also those who participated in the conference but whose work could not be included here. I am grateful to Carl-Ludwig Holtfrerich (Free University Berlin), Luisa Passerini (European University Institute, Florence), Keith A. Reader (University of Newcastle), and Dieter Rucht (Wissenschaftszentrum Berlin) for chairing the various sessions and for guiding us through spirited discussions. In Berlin, the Wissenschaftszentrum afforded a comfortable setting for three days of intensive debate. I thank Friedheim Neidhardt, the center'sdirector, and his dedicated staff - Birgit Hahn, Britta Heinrich, Ilse Kischlat, Dietmar Kremser, and Burckhard Wiebe - for hosting the conference and helping with its organization. Dieter Senoner of the mayor's office kindly welcomed us to Berlin at a reception at the Rotes Rathaus. Anneke de Rudder, who took us on a "1968 Walking Tour" through the German capital, gave us the opportunity to visit the key sites of that historic year.At the GHI, I thank Barbel Bernhardt, Christa Brown, Dieter Schneider, and Barbel Thomas - all of whom were involved in the organization before, during, and after the conference. Pamela Abraham tracked down the copyrights for the illustrations and assisted in assembling the manuscript. Daniel S. Mattern, the series editor at the Institute, deserves a special note of appreciation for guiding us through the difficult process of publishing this collection and for preparing a readable, clear, and concise manuscript. Frank Smith, the executive editor for social sciences at Cambridge University Press, took great interest in this project from the begin-IX X Preface ning and helped bring about its final shape. Further, I thank the two anonymous readers for their very useful critical evaluations of the manuscript. Finally, I thank my two coeditors. Carole Fink provided the original plan, which she presented to me at another GHI conference, in Berkeley, California, in May 1994. In subsequent discussions, we discovered that "1968" is a particularly well-suited topic for understanding the intellectual challenges that increasing global interdependence poses to historians of the twentieth century. We were later joined by Philipp Gassert, who worked with us to organize the conference and edit the book. I shall miss these last three and a half years of spirited collaboration among three very engaged historians. The topic of this book dovetails nicely with the efforts of the GHI in Washington to promote comparative research. In fact, most of the four to five international conferences the Institute rganizes annually are based on this perspective, comparing events, ideas, and structures in the United States and Europe. At times we have even taken a global perspective, with 1968: The World Traniformed being a case in point. In this age of globalization, historians should also become global players - at least mentally.