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The long-awaited guide to writing long-form nonfiction by the legendary author and teacher Draft No. 4 is a master class on the writer’s craft. In a series of playful, expertly wrought essays, John McPhee shares insights he has gathered over his career and has refined while teaching at Princeton University, where he has nurtured some of the most esteemed writers of recent decades. McPhee offers definitive guidance in the decisions regarding arrangement, diction, and tone that shape nonfiction pieces, and he presents extracts from his work, subjecting them to wry scrutiny. In one essay, he considers the delicate art of getting sources to tell you what they might not otherwise reveal. In another, he discusses how to use flashback to place a bear encounter in a travel narrative while observing that “readers are not supposed to notice the structure. It is meant to be about as visible as someone’s bones.” The result is a vivid depiction of the writing process, from reporting to drafting to revising—and revising, and revising. Draft No. 4 is enriched by multiple diagrams and by personal anecdotes and charming reflections on the life of a writer. McPhee describes his enduring relationships with The New Yorker and Farrar, Straus and Giroux, and recalls his early years at Time magazine. Throughout, Draft No. 4 is enlivened by his keen sense of writing as a way of being in the world.
In his first book, Listening Subjects, David Schwarz succeeded in fusing post-Lacanian psychoanalytic, musical-theoretical, and musical-historical perspectives. In Listening Awry, he expands his project to “tell a story of historical modernism writ large”—how German music spanning two centuries refracts changes in society and culture, as well as the impacts of concepts introduced by psychoanalysis. Schwarz shows how post-Lacanian psychoanalysis can be applied to ideological interpellation that connects psychoanalysis to culture and how music theory can ground these considerations in precise details of musical textuality. He “listens awry” in several ways: by understanding musical meaning in both objective and socially structured ways, by embracing historical and also aesthetic approaches, by addressing high art as well as popular music, and by listening “around” conventional forms of musical meaning to reach toward that which evades signification. Structured around four themes—trauma, the other/Other, the look/gaze binary, and Judaism—Listening Awry explores five key moments in post-Enlightenment music: the rise of the singular orchestral conductor and the emergence of a new form of alterity, the Art Song and “the sublime of the delicate” (a correlate of the Kantian mathematical and dynamical sublime), the birth of psychoanalysis and the twentieth-century turn toward atonality, German war songs and the subversion of German music by the Nazis, and two different versions of Wagner’s Parsifal that were performed one hundred years apart and in radically different contexts. This highly original work, filled with imaginative readings and disquieting observations, links trauma with the culture and history of modernity and German music, deftly tying the experience of the body to the sounds it hears: how it reaches us slowly, penetrates the skin, and resonates. David Schwarz is assistant professor of music at the University of North Texas. He is the author of Listening Subjects: Music, Psychoanalysis, Culture.
The capacity of wireless data communications is lagging behind demands due to unsatisfactory performance of the existing wireless networks, such as low data rates, low spectral efficiency and low quality of service. Space-time coding is an effective transmit diversity technique to combat fading in wireless communications. Space-time codes are a highly bandwidth-efficient approach to signalling within wireless communication that takes advantage of the spatial dimension by transmitting a number of data streams using multiple co-located antennas. There are various approaches to the coding structures, including space-time trellis coded modulation, space-time turbo codes and also layered architectures. The central issue in all these various coding structures is the exploitation of multipath effects in order to achieve very high spectral efficiencies. The spectral efficiencies of traditional wireless systems range between 1-5bps/sec/Hz but by using space-time techniques spectral efficiencies of 20-40bps/sec/Hz have been possible. Hence, space-time coding enables an increase in capacity by an order of magnitude. This is the main reason why space-time codes have been included in the standards for the third generation wireless communication systems and ultimately why Space-time Coding will be in great demand by individuals within industry and academia. The comprehensive understanding of space-time coding is essential in the implementation of 3G, and as the only title currently available, Space-Time Coding will be the standard text for Researchers, telecommunication engineers and network planners, academics and undergraduate/postgraduate students, telecommunications managers and consultants.