DOCSLIB.ORG

University of California Santa Cruz Archiving Disaster

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
University of California Santa Cruz Archiving Disaster UNIVERSITY OF CALIFORNIA SANTA CRUZ ARCHIVING DISASTER: A COMPARATIVE STUDY OF SEPTEMBER 11, 2001 AND HURRICANE KATRINA A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in POLITICS with emphasis in FEMINIST STUDIES and LATIN AMERICAN AND LATINO STUDIES by Courtney J. Rivard March 2012 The Dissertation of Courtney J. Rivard is approved: _______________________________ Professor Kent Eaton, Co- Chair _______________________________ Professor Rosa-Linda Fregoso, Co-Chair _______________________________ Professor Angela Davis _______________________________ Professor Ronnie Lipschutz _____________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Courtney J. Rivard 2012 Table of Contents Table of Illustrations ..................................................................................................... v Abstract ......................................................................................................................... vi Dedication ................................................................................................................. viii Acknowledgments ....................................................................................................... ix Introduction: Preserving the Present for the Past ...................................................... 1 Ethnography of the Archives..................................................................................... 8 Theories of Memory ................................................................................................ 12 Comparing Disaster ................................................................................................. 16 September 11, 2001: Interpreting Shock ................................................................. 19 September 11 th Disaster Collections ....................................................................... 27 Hurricane Katrina: Racialized Frames and Scenarios ............................................. 30 Hurricane Katrina Disaster Collecting .................................................................... 37 Conclusion ............................................................................................................... 39 Chapter Outline ....................................................................................................... 40 Chapter Two: Archival Power and the Nation-State ................................................ 48 Introduction: ............................................................................................................ 48 The Origins of Archives and Museums................................................................... 49 Civilizing Subjects through National Memories ..................................................... 54 Archival Construction and the Power to “Impose the Law” ................................... 63 The Power of Archival Procedures ......................................................................... 71 Digitizing Archives ................................................................................................. 78 Conclusion ............................................................................................................... 82 Chapter Three: Collecting Disaster: The National Museum of American History and September 11, 2001 ............................................................................................. 84 Introduction ............................................................................................................. 84 Origins of the Smithsonian ...................................................................................... 86 Acquisition Files: Access and Organization .......................................................... 91 Collecting “History-in-the-Making” ....................................................................... 97 Focusing on Loss, Destruction, and Heroism ....................................................... 109 iii Conclusion ............................................................................................................. 128 Chapter Four: A Second Disaster Collection - Hurricane Katrina ....................... 130 Introduction: .......................................................................................................... 130 Access and Organization ....................................................................................... 131 The Hurricane Katrina Collection’s ‘Ethnic Scope’ ............................................. 133 Photography: “Capturing” Disaster Context ......................................................... 136 Objects of Disaster ................................................................................................ 140 The Power to Collect ............................................................................................. 156 Conclusion ............................................................................................................. 158 Chapter Five: Archive of the Future: The September 11 Digital Archive ............ 162 Introduction ........................................................................................................... 162 Origins of the Digital Archives ............................................................................. 163 Collection Efforts and Institutional Directions ..................................................... 172 The September 11 Digital Archive’s Virtual Organization .................................. 178 National Belonging and Individual Submissions .................................................. 188 Conclusion ............................................................................................................. 199 Chapter Six: Collecting Instant History: The Hurricane Digital Memory Bank . 201 Introduction ........................................................................................................... 201 Constructing a “Memory Bank” ............................................................................ 203 Continuing Digital Disaster Collection Methods .................................................. 207 The Hurricane Digital Memory Bank’s Structure: Innovations and Limitations.. 212 Framing Different Outcomes ................................................................................ 218 Conclusion ............................................................................................................. 231 Conclusion: ‘Recognizing’ the Power of Archives ................................................. 233 Introduction ........................................................................................................... 233 Proving Existence: The Pointe-au-Chien’s and BCCM’s Case for Federal Recognition ........................................................................................................... 239 Bibliography ............................................................................................................. 254 iv Table of Illustrations Image 1: Window Washer Squeegee Handle……………………………………….111 Image 2: Wallet Recovered from World Trade Center……………………………..121 Image 3: Firefighter’s Pry Bar……………………………………………………...125 Image 4: Banner from Overland Park, Kansas……………………………………..127 Image 5: Calculator recovered from the debris of the World Trade Center………..137 Image 6: This mailbox was all that remained of a home in New Orleans’s Lower Ninth Ward………………………………………………………………………….139 Image 7: Mr. Francisco Zuñiga wearing his back brace……………………………143 Image 8: Vietnamese immigrant shrimper Sang Nguyen and his shrimp boat Miss Brittany……………………………………………………………………………..146 Image 9: The Sign on Rouen Street, with LeBeouf Family………………………...150 Image 10: Mert In NY2……………………………………………………………..168 Image11: NEWYORK MIN-3……………………………………………………...168 Image 12: September 11 Digital Archive Homepage………………………………179 Image 13: September 11 Digital Archive Browse Page……………………………180 Image 14: September 11 Digital Archive Research Page…………………………..181 Image 15: Hurricane Digital Memory Bank Homepage……………………………213 Image 16: Hurricane Digital Memory Bank Browse Page…………………………214 Image 17: Hurricane Digital Memory Bank Browse Images Page…………………215 v Abstract Courtney J. Rivard Archiving Disaster: A Comparative Study of September 11, 2001 and Hurricane Katrina The first decade of the 21 st Century in the United States witnessed two major events that have come to be understood as national disasters: September 11, 2001 and Hurricane Katrina. Numerous historical institutions quickly mobilized to collect material relating to the two events, prompting the creation of what is now referred to as “disaster archives.” Such “disaster archives” turn a number of key tenets in the archival field on their head as they (1) immediately collect material instead of allowing substantial time to pass, (2) collect material that is in a destroyed state rather than in pristine condition, and (3) digitally collect thousands of anonymous online public responses to the two events instead of relying on experts and/or legitimate and verifiable sources. These new collection methods reveal the mechanisms of power involved in the construction of notions of race, sexuality, class, and national belonging through archival production. This dissertation analyzes the birth and implementation of these new disaster archives by tracking the development of the first two instances of disaster archiving
Load more

Recommended publications
  • PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 and 1991 Bradley C. Klypchak a Dissertation Submitted to the Graduate
    PERFORMED IDENTITIES: HEAVY METAL MUSICIANS BETWEEN 1984 AND 1991 Bradley C. Klypchak A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2007 Committee: Dr. Jeffrey A. Brown, Advisor Dr. John Makay Graduate Faculty Representative Dr. Ron E. Shields Dr. Don McQuarie © 2007 Bradley C. Klypchak All Rights Reserved iii ABSTRACT Dr. Jeffrey A. Brown, Advisor Between 1984 and 1991, heavy metal became one of the most publicly popular and commercially successful rock music subgenres. The focus of this dissertation is to explore the following research questions: How did the subculture of heavy metal music between 1984 and 1991 evolve and what meanings can be derived from this ongoing process? How did the contextual circumstances surrounding heavy metal music during this period impact the performative choices exhibited by artists, and from a position of retrospection, what lasting significance does this particular era of heavy metal merit today? A textual analysis of metal- related materials fostered the development of themes relating to the selective choices made and performances enacted by metal artists. These themes were then considered in terms of gender, sexuality, race, and age constructions as well as the ongoing negotiations of the metal artist within multiple performative realms. Occurring at the juncture of art and commerce, heavy metal music is a purposeful construction. Metal musicians made performative choices for serving particular aims, be it fame, wealth, or art. These same individuals worked within a greater system of influence. Metal bands were the contracted employees of record labels whose own corporate aims needed to be recognized.
    [Show full text]
  • Razorcake Issue #09
    PO Box 42129, Los Angeles, CA 90042 www.razorcake.com #9 know I’m supposed to be jaded. I’ve been hanging around girl found out that the show we’d booked in her town was in a punk rock for so long. I’ve seen so many shows. I’ve bar and she and her friends couldn’t get in, she set up a IIwatched so many bands and fads and zines and people second, all-ages show for us in her town. In fact, everywhere come and go. I’m now at that point in my life where a lot of I went, people were taking matters into their own hands. They kids at all-ages shows really are half my age. By all rights, were setting up independent bookstores and info shops and art it’s time for me to start acting like a grumpy old man, declare galleries and zine libraries and makeshift venues. Every town punk rock dead, and start whining about how bands today are I went to inspired me a little more. just second-rate knock-offs of the bands that I grew up loving. hen, I thought about all these books about punk rock Hell, I should be writing stories about “back in the day” for that have been coming out lately, and about all the jaded Spin by now. But, somehow, the requisite feelings of being TTold guys talking about how things were more vital back jaded are eluding me. In fact, I’m downright optimistic. in the day. But I remember a lot of those days and that “How can this be?” you ask.
    [Show full text]
  • Point. Click. Eat. Dineinonline.Com
    Point. Click. Eat. dineinonline.com 1 Questions & Answers What is Dine-In? What about drinks? We are a service that allows you to get food deliv- We offer a large variety of sodas in cans or 6-packs. ered from Michiana’s best restaurants! Place your We also offer lemonade, iced tea and bottled water. order with our service and we will make arrange- See back cover for a full drink menu. ments for the restaurant to prepare it and for a driver to deliver it! What hours are you open? How do I order? LUNCH Look through the menus in this book, then call us at (574) 675-9999. A friendly order taker will answer MONDAY - FRIDAY 10:00AM - 2:00PM the phone and guide you through the ordering pro- DINNER cess. Alternatively, visit our website to place your order online: www.dineinonline.com MONDAY - THURSDAY 4:00PM - 10:00PM FRIDAY 4:00PM - 10:30PM How much does it cost? SATURDAY 3:00PM - 10:30PM The restaurants ask that you order a minimum of SUNDAY 3:00PM - 9:00PM $10 worth of food. Restaurant food prices are the same as they would be if you picked up the order What restaurants are available? yourself*. We add a minimal delivery fee, which covers your entire order, no matter how big or Aladdin’s Eatery ..................................................................4 small. Menus and prices are subject to change at Barnaby’s Pizza .................................................................61 any time. To view the most up-to-date menus, visit Beef ‘O’ Brady’s ................................................................14 our website. Between
    [Show full text]
  • Edmonds Restaurant Requiring Proof of Vaccination
    www.edmondsbeacon.com INSIDE: Goodwill staying… 4 Canoes depart Edmonds … 8 Edmonds BeaconYOUR HOMETOWN NEWSPAPER 728 3rd St., Ste. D Mukilteo, WA 98275 Volume XXXVI Number 36 August 5, 2021 HB 1310: Edmonds Only when restaurant necessary requiring New law sets guidelines for when police can use proof of physical force BY NATALIE KAHN vaccination BEACON REPORTER Other local businesses n July 25, Edmonds police O officers rushed to a 911 call masking up again, too about a man kicking a home’s BY BRIAN SOERGEL front door. Soon after, an officer [email protected] spied a man walking on a nearby street who matched dispatch’s ith the delta variant numbers description. The officer trailed him W increasing in Snohomish County, in his squad car. many businesses have returned to mask The suspect suddenly took off, mandates inside their stores. and the officer watched as he ran That includes Maize & Barley on Main away. Police did not locate the Street, which has taken the mandate a step man. further. That same day, a dozen police “As parents of a 10-year-old and a mem- reform bills Washington state leg- ber of the greater Seattle beer community, islators passed this spring became in solidarity with our neighbors and indus- law. try in an effort to curb the spike of rising According to Sgt. Josh McClure, cases associated with the delta variant, we Edmonds’ acting assistant chief are as of today saying you will need to of police, the officer chose not to wear a mask to enter, and if you’d like to command the man to stop be- dine inside you will need to show proof of cause of one of those laws: House vaccination,” read a post off its Facebook Bill 1310, which concerns “permis- page.
    [Show full text]
  • Tethered a COMPANION BOOK for the Tethered Album
    Tethered A COMPANION BOOK for the Tethered Album Letters to You From Jesus To Give You HOPE and INSTRUCTION as given to Clare And Ezekiel Du Bois as well as Carol Jennings Edited and Compiled by Carol Jennings Cover Illustration courtesy of: Ain Vares, The Parable of the Ten Virgins www.ainvaresart.com Copyright © 2016 Clare And Ezekiel Du Bois Published by Heartdwellers.org All Rights Reserved. 2 NOTICE: You are encouraged to distribute copies of this document through any means, electronic or in printed form. You may post this material, in whole or in part, on your website or anywhere else. But we do request that you include this notice so others may know they can copy and distribute as well. This book is available as a free ebook at the website: http://www.HeartDwellers.org Other Still Small Voice venues are: Still Small Voice Youtube channel: https://www.youtube.com/user/claredubois/featured Still Small Voice Facebook: Heartdwellers Blog: https://heartdwellingwithjesus.wordpress.com/ Blog: www.stillsmallvoicetriage.org 3 Foreword…………………………………………..………………………………………..………….pg 6 What Just Happened?............................................................................................................................pg 8 What Jesus wants you to know from Him………………………………………………………....pg 10 Some questions you might have……………………………………………………….....................pg 11 *The question is burning in your mind, ‘But why?’…………………....pg 11 *What do I need to do now? …………………………………………...pg 11 *You ask of Me (Jesus) – ‘What now?’ ………………………….….....pg
    [Show full text]
  • WHAT ABOUT ME” Seeking to Understand a Child’S View of Violence in the Family
    Alison Cunningham, M.A.(Crim.) Director of Research & Planning Linda Baker, Ph.D. C.Psych Executive Director © 2004 Centre for Children & Families in the Justice System London Family Court Clinic Inc. 200 - 254 Pall Mall St. LONDON ON N6A 5P6 CANADA www.lfcc.on.ca [email protected] Copies of this document can be downloaded at www.lfcc.on.ca/what_about_me.html or ordered for the cost of printing and postage. See our web site for ordering information. This study was funded by the National Crime Prevention Strategy of the Ministry of Public Safety and Emergency Preparedness, Ottawa. The opinions expressed here are those of the authors and do not necessarily reflect the views of the National Crime Prevention Strategy or the Government of Canada. We dedicate this work to the children and young people who shared their stories and whose words and drawings help adults to understand Me when the violence was happening Me when the violence had stopped T A B L E O F C O N T E N T S Dedication ................................................................... i Table of Contents ............................................................ iii Acknowledgments .......................................................... vii Definitions ................................................................. 6 Nominal Definition Operational Definition Which “Parent” was Violent? According to Whom? When was the Violence? Why is Operationalization Important? Descriptive Studies Correlational Studies Binary Classification The Problem(s) of Binary Classification
    [Show full text]
  • The Clash and Mass Media Messages from the Only Band That Matters
    THE CLASH AND MASS MEDIA MESSAGES FROM THE ONLY BAND THAT MATTERS Sean Xavier Ahern A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS August 2012 Committee: Jeremy Wallach, Advisor Kristen Rudisill © 2012 Sean Xavier Ahern All Rights Reserved iii ABSTRACT Jeremy Wallach, Advisor This thesis analyzes the music of the British punk rock band The Clash through the use of media imagery in popular music in an effort to inform listeners of contemporary news items. I propose to look at the punk rock band The Clash not solely as a first wave English punk rock band but rather as a “news-giving” group as presented during their interview on the Tom Snyder show in 1981. I argue that the band’s use of communication metaphors and imagery in their songs and album art helped to communicate with their audience in a way that their contemporaries were unable to. Broken down into four chapters, I look at each of the major releases by the band in chronological order as they progressed from a London punk band to a globally known popular rock act. Viewing The Clash as a “news giving” punk rock band that inundated their lyrics, music videos and live performances with communication images, The Clash used their position as a popular act to inform their audience, asking them to question their surroundings and “know your rights.” iv For Pat and Zach Ahern Go Easy, Step Lightly, Stay Free. v ACKNOWLEDGMENTS This thesis would not have been possible without the help of many, many people.
    [Show full text]
  • America's Hardcore.Indd 278-279 5/20/10 9:28:57 PM Our First Show at an Amherst Youth Center
    our first show at an Amherst youth center. Scott Helland’s brother Eric’s band Mace played; they became The Outpatients. Our first Boston show was with DYS, The Mighty COs and The AMERICA’S HARDCORE FU’s. It was very intense for us. We were so intimidated. Future generations will fuck up again THE OUTPATIENTS got started in 1982 by Deep Wound bassist Scott Helland At least we can try and change the one we’re in and his older brother Eric “Vis” Helland, guitarist/vocalist of Mace — a 1980-82 — Deep Wound, “Deep Wound” Metal group that played like Motörhead but dug Black Flag (a rare blend back then). The Outpatients opened for bands like EAST COAST Black Flag, Hüsker Dü and SSD. Flipside called ’em “one of the most brutalizing live bands In 1980, over-with small cities and run-down mill towns across the Northeast from the period.” 1983’s gnarly Basement Tape teemed with bored kids with nothing to do. Punk of any kind earned a cultural demo included credits that read: “Play loud in death sentence in the land of stiff upper-lipped Yanks. That cultural isolation math class.” became the impetus for a few notable local Hardcore scenes. CANCEROUS GROWTH started in 1982 in drummer Charlie Infection’s Burlington, WESTERN MASSACHUSETTS MA bedroom, and quickly spread across New had an active early-80s scene of England. They played on a few comps then 100 or so inspired kids. Western made 1985’s Late For The Grave LP in late 1984 Mass bands — Deep Wound, at Boston’s Radiobeat Studios (with producer The Outpatients, Pajama Slave Steve Barry).
    [Show full text]
  • THE GARY MOORE DISCOGRAPHY (The GM Bible)
    THE GARY MOORE DISCOGRAPHY (The GM Bible) THE COMPLETE RECORDING SESSIONS 1969 - 1994 Compiled by DDGMS 1995 1 IDEX ABOUT GARY MOORE’s CAREER Page 4 ABOUT THE BOOK Page 8 THE GARY MOORE BAND INDEX Page 10 GARY MOORE IN THE CHARTS Page 20 THE COMPLETE RECORDING SESSIONS - THE BEGINNING Page 23 1969 Page 27 1970 Page 29 1971 Page 33 1973 Page 35 1974 Page 37 1975 Page 41 1976 Page 43 1977 Page 45 1978 Page 49 1979 Page 60 1980 Page 70 1981 Page 74 1982 Page 79 1983 Page 85 1984 Page 97 1985 Page 107 1986 Page 118 1987 Page 125 1988 Page 138 1989 Page 141 1990 Page 152 1991 Page 168 1992 Page 172 1993 Page 182 1994 Page 185 1995 Page 189 THE RECORDS Page 192 1969 Page 193 1970 Page 194 1971 Page 196 1973 Page 197 1974 Page 198 1975 Page 199 1976 Page 200 1977 Page 201 1978 Page 202 1979 Page 205 1980 Page 209 1981 Page 211 1982 Page 214 1983 Page 216 1984 Page 221 1985 Page 226 2 1986 Page 231 1987 Page 234 1988 Page 242 1989 Page 245 1990 Page 250 1991 Page 257 1992 Page 261 1993 Page 272 1994 Page 278 1995 Page 284 INDEX OF SONGS Page 287 INDEX OF TOUR DATES Page 336 INDEX OF MUSICIANS Page 357 INDEX TO DISCOGRAPHY – Record “types” in alfabethically order Page 370 3 ABOUT GARY MOORE’s CAREER Full name: Robert William Gary Moore. Born: April 4, 1952 in Belfast, Northern Ireland and sadly died Feb.
    [Show full text]
  • L I T I T Z R E C O R D E X P R E S S Neighbor Gets Nasty About Parking
    ___________________________________________________________ THURSDAY, August 30, 2001 L ititz Record Express Publication 125TH YEAR 30 Pages - No. 19 LITITZ, PENNSYLVANIA Two sections 30 Cents IN BRIEF Antique Show Neighbor gets The Fall Antique Show and Sale, sponsored by the Lititz Springs Park, will be held on Saturday, Sept. 1 from 9 a.m.-4 nasty about p.m. at the park, rain or shine. INSIDE parking plans □ Special Deadlines STEPHEN SEEBEB_________ the Tuesday night meeting, dis­ Record Express Staff tress quickly degenerated into pro­ Labor Day fanity and defiance. Due to the Labor Day Holi­ LITITZ — Borough Council Ongoing difficulties surrounding day, special deadlines for edit­ President Dennis Stuckey expected the old church property at Broad orial copy and advertising will to hear concerns from West and Orange streets became a bit change as follows: Orange Street residents facing the awkward when at least one resi­ Retail and classified display prospect of losing up to three on­ dent displayed his disenchantment ads and all editorial copy for street parking spaces. But the con­ with the proceedings by interrupt­ the Sept. 6 issue of the Lititz cern quickly turned from parking ing Council, heckling the motion Record Express must be in the on Orange Street to keeping order on the table, blurting out an ob­ office by 5 p.m. on Friday, Aug. in Council Chambers. scenity and eventually walking out 31. Classified reader ads will be As frustration mounted during of the room in a huff. accepted until Tuesday, Sept. 4 “It’s been moved and second­ at noon. ed to advertise an ordinance The offices of the Lititz Re­ change removing three parking cord Express will be closed on spaces on the south side of Photo courtesy of the Kissinger family Monday, Sept.
    [Show full text]
  • Atom and His Package Possibly the Smallest Band on the List, Atom & His
    Atom and His Package Possibly the smallest band on the list, Atom & his Package consists of Adam Goren (Atom) and his package (a Yamaha music sequencer) make funny punk songs utilising many of of the package's hundreds of instruments about the metric system, the lead singer of Judas Priest and what Jewish people do on Christmas. Now moved on to other projects, Atom will remain the person who told the world Anarchy Means That I Litter, The Palestinians Are Not the Same Thing as the Rebel Alliance Jackass, and If You Own The Washington Redskins, You're a ****. Ghost Mice With only two members in this folk/punk band their voices and their music can be heard along with such pride. This band is one of the greatest to come out of the scene because of their abrasive acoustic style. The band consists of a male guitarist (I don't know his name) and Hannah who plays the violin. They are successful and very well should be because it's hard to 99 when you have such little to work with. This band is off Plan It X records and they put on a fantastic show. Not only is the band one of the leaders of the new genre called folk/punk but I'm sure there is going to be very big things to come from them and it will always be from the heart. Defiance, Ohio Defiance, Ohio are perhaps one of the most compassionate and energetic leaders of the "folk/punk" movement. Their clever lyrics accompanied by fast, melodic, acoustic guitars make them very enjoyable to listen to.
    [Show full text]
  • Lemmy Kilmister Was Born in Stoke-On-Trent
    Lemmy Kilmister was born in Stoke-on-Trent. Having been a member of the Rocking Vicars, Opal Butterflies and Hawkwind, Lemmy formed his own band, Motörhead. The band recently celebrated their twenty-fifth anniversary in the business. Lemmy currently lives in Los Angeles, just a short walk away from the Rainbow, the oldest rock ’n’ roll bar in Hollywood. Since 1987, Janiss Garza has been writing about very loud rock and alternative music. From 1989 to1996 she was senior editor at RIP, at the time the World’s premier hard music magazine. She has also written for Los Angeles Times, Entertainment Weekly, and New York Times, Los Angeles. ‘From heaving burning caravans into lakes at 1970s Finnish festivals to passing out in Stafford after three consecutive blowjobs, the Motörhead man proves a mean raconteur as he gabbles through his addled heavy metal career résumé’ Guardian ‘As a rock autobiography, White Line Fever is a keeper’ Big Issue ‘White Line Fever really is the ultimate rock & roll autobiography . Turn it up to 11 and read on!’ Skin Deep Magazine First published in Great Britain by Simon & Schuster UK Ltd, 2002 This edition first published by Pocket, 2003 An imprint of Simon & Schuster UK Ltd A Viacom Company Copyright © Ian Kilmister and Janiss Garza, 2002 This book is copyright under the Berne Convention. No reproduction without permission. All rights reserved. The right of Ian Kilmister to be identified as author of this work has been asserted in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act, 1988. Simon & Schuster UK Ltd Africa House 64-78 Kingsway London WC2B 6AH www.simonsays.co.uk Simon & Schuster Australia Sydney A CIP catalogue record for this book is available from British Library Paperback ISBN 0-671-03331-X eBook ISBN 978-1-47111-271-3 Typeset by M Rules Printed and bound in Great Britain by Cox & W yman Ltd, Reading, Berks PICTURE CREDITS The publishers have used their best endeavours to contact all copyright holders.
    [Show full text]