Senin, 26 November 2012

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Inside Al Qaeda : Global Network of Terror, by Rohan Gunaratna

Inside Al Qaeda: Global Network of Terror by Rohan Gunaratna. Berkley Pub. Group,2003

  • Sales Rank: #1989445 in Books
  • Published on: 2003-06-03
  • Format: Bargain Price
  • Number of items: 1
  • Binding: Paperback
  • 416 pages

Most helpful customer reviews

38 of 44 people found the following review helpful.
Failure to document a controversial claim...
By Kay Kelly
This book appears to be a good reference source. I don't have the expertise to judge its accuracy, but I'm willing to assume the author knows his field.
There are problems. Foremost among them is Gunaratna's charge that Osama bin Laden acquiesced in the killing of his mentor, Sheikh Azzam, in 1989. This claim is worded more boldly on the cover flap: "[Gunaratna reveals] how bin Laden had his mentor and Al Qaeda founder, 'Azzam,' assassinated in order to take over the organization and how other Al Qaeda officers who stood in his way were murdered."
Gunaratna may "reveal" this to readers who haven't heard the rumors, but he doesn't prove it. He simply asserts that there was a falling out between Azzam on one side, and bin Laden and Egyptian members of their group on the other, because Azzam opposed using terror tactics. He claims the Egyptians assassinated Azzam after having "won over Osama to their cause"--that he "sanctioned, if not condoned" the killing. A sample of Gunaratna's biased writing: "All this is of a piece with Osama's exceedingly duplicitous nature."
How's this for evidence of involvement? "[Bin Laden's] cunning was...demonstrated by the fact that he left Pakistan for Saudi Arabia in the year that Azzam died. It has been impossible to pin down when exactly he left, and no sources on this have been forthcoming, but one should not in the least be surprised if it transpires he was not in Pakistan when Azzam was murdered, furnishing himself with a sound alibi and allowing him to distance himself from the act as much as possible."
The only source Gunaratna cites in support of his claims is a statement made by a prisoner a decade later: that bin Laden ordered the assassination because he believed Azzam was aiding the CIA. That's a completely different motive from the one he alleges.
What about those other murders of people who stood in bin Laden's way? More may be described in the book, but this is the only one I've found: "Mustafa Shalabi, who was close to Azzam, was killed on March 1, 1991. Although there is no evidence that Osama ordered his death, it is clear that Shalabi was not with the Egyptians who backed Osama."
No evidence. Gunaratna admits it.
Here's another blurb from the cover flap: "[Gunaratna reveals] how the arrest of Zacarias Moussaoui forced Al Qaeda to move forward on the September 11 attacks." This implies that the date was moved up, as others have speculated; but again, there's no hard evidence. All Gunaratna shows is that the hijackers' financial activity picked up in the week after Moussaoui's arrest. That could well have been the case, in a late August time frame, if the attacks were planned all along for about September 11.
There are other problems. Gunaratna states in one chapter that some of the world's intelligence agencies aren't convinced al-Qaida #3 man Muhammad Atef is dead. It may be excusable that in another chapter, he says without qualification that Atef was killed last November. What's not excusable is that he also says Abu Hafs was killed in January. Muhammad Atef and Abu Hafs are or were the same man! [A later note, 8/29/02: A recent news account made clear that a second man, Mafouz Walid, used the same nom de guerre, but was usually differentiated from Atef by calling him "Abu Hafs the Mauritanian." Walid was supposedly killed in January, but it's now claimed he's still alive. Could this name-confusion have influenced the suspicions that Atef is alive?]
Something else: Gunaratna tells us Sudan's President al-Bashir once offered to extradite bin Laden to the U.S. The wording implies this happened in 2001--when bin Laden was nowhere near Sudan. Gunaratna can't mean 2001; he says the U.S. President was Bill Clinton. But the passage is hopelessly unclear.
The book's most interesting claim is that the 9/11 plot was meant to include strikes on the British Houses of Parliament, the Indian Parliament, and a target in Australia. This is based on statements made by a single prisoner, which may or may not be proven true as more facts come to light. Less startling, but new to me: Gunaratna says the men wounded in the capture of Abu Zubaydah included "1 Pakistani and 3 American officers." If he has more details, I wish he'd shared them.
Despite my quibbles, I give the book four stars for its information on names, dates, and terrorist activities in obscure parts of the world.

28 of 38 people found the following review helpful.
The DEFINITIVE BOOK proven more correct every single day
By Joel L. Gandelman
This is THE definitive book so far on Al Qadea for several reasons. One of the biggest is that since it came out in 2002 (it is now in paperback too) it has proven more correct every single day. If you've heard some of this information before or read some of it before it's mainly because this is the book that clearly has been the authorative source for many of journalists (I was a journalist and know how that works!)who do not attribute their on-the-air brilliance to the fact that they read this book. It's all HERE. And more and more of this book is proving to be correct every single day.
The latest sign of author Rohan Gunaratna's solid scholarship, analysis and nuts-and-bolts-inside-info in Inside Al Qaeda has been displayed on the front page of the Los Angeles Times which ran a story about how the terrorist organization is undergoing a "major shift" in strategy -- mutating into more of a decentralized network, relying on an array of regional and local allies to launch more frequent attacks on targets. If you read the book before, you KNEW that this network was in place -- and that this development was coming.
Guanaratna painstakingly lays out the huge worldwide network of terrorist groups that are directly or indirectly allied with Al Qaeda. He breaks it down into regions and countries. In fact, this book is a virtual directory: see an event in the newspapers, then look it up in this book and you have all the background to sound like an on the air expert (but you won't get paid big bucks).
No, it does not read like a novel. But this superb book is highly readable -- reading like a straightfoward newsmagazine report. There is not a word of filler or ideological rhetoric in it -- the author only lays out....facts. When he states that there is no evidence of a solid connection between Iraq and 911 he has 100 percent credibility due to what has come before. He's NOT proclaming it due to any political agenda.
The book details it all: the bloody and highly political rise of Osama Bin Laden, Bin Laden's motives and goals (basically achieve a political goal by garnering a high victim body count, and whether that includes civilians, women, children or Muslims is absolutely irrelevant); the skyrocketing rise of militant Islam; how slights from fellow Muslim national leaders created and radicalized the Al Qaeda into a terrorism Frankenstein; an account of 911 from an operational standpoint; predictions on what is likely to come; and the highly detailed profiles of various cells.
To those who are not sympathetic to Bin Laden or Al Qaeda's political goals (in other words, those who do feel upset if they see innocents intentionally murdered to make a political statement)this book is depressing, as it documents Al Qaeda's highly fluid and adaptable "multidimensional" nature -- which you now see in newscycles each day. Nor will it vanish soon. Writes Gunaratna: "Al Qaeda's leadership, membership and supporters firmly believe that everything happens according to God's will."

18 of 20 people found the following review helpful.
A Disappointing But Exhaustive Study of al-Qaeda
By Amazon Customer
It is shocking when a major university press publishes a book as sloppily edited as this one. In addition to the factual errors other reviewers have noted, there are numerous typos and sentence fragments. The notes at the back are also very inconsistent in their level of citation. All of this is particularly unfortunate, since the author clearly has amassed a great wealth of detail on al-Qaeda's worldwide operations, including much "new" evidence hitherto unpublished in English. But given the carelessness of so much of the editing, how can we be sure the author's information is accurate and trustworthy?
I did think this book had two virtues. The country-by-country survey of al-Qaeda operations gave a very thorough and complex picture of the ways in which al-Qaeda infiltrates and liaises with local groups and causes, while retaining its global ideology and focus. And the reporting is happily free of the America-centric emphasis of so much recent work on al-Qaeda. Although sympathetic to the American position, the author lets al-Qaeda 'speak for itself' and stresses the danger it poses in many countries, not just the United States.
Frankly, I would not allow such a shoddily edited book (obviously hastily rushed to press to capitalize on the current crisis) to be published under my name, particularly when I clearly had such a detailed command of a subject, as this author seems to.

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Minggu, 11 November 2012

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Technology Licensing and Development Agreements, by Cynthia Cannady

Technology Licensing and Development Agreements is an indispensable guide for lawyers, businesspersons, technology managers, scientists, engineers and policy makers.

The product is a comprehensive practical guide to technology related contracts, addressing intellectual property strategy, material terms and conditions, negotiation preparation and contract drafting, technology contracts with universities and national labs, antitrust issues, valuation, and ethics. The author discusses technology contracts in the context of intellectual property strategy, and provides a framework for selecting and adjusting IP strategies. Chapters on material terms define, analyze, and discuss best practices, and offer sample clauses for more than 40 material terms. Additional chapters address special contexts for technology agreements, including antitrust and university contracts. The book includes specific chapters devoted to IP valuation, with clear explanations of methodology, and ethics in technology contracting, providing practical examples and a checklist.

The current 2015 Edition is available as a softbound product and include four appendices containing more than 20 helpful form contracts and templates.

Features

•   Includes chapters on antitrust and standards licensing and on agreements with universities and national laboratories
•   Addresses ethics in technology contracts and includes an ethics checklist for practitioners
•   Step-by-step guide to negotiating and drafting technology contracts
•   Provides a term-by-term analysis of material terms in licensing and development agreements, with definitions, best practices, and sample clauses
•   Offers a framework that identifies 15 IP strategies and shows how technology licensing and development agreements relate to each of them with specific examples of each strategy

  • Sales Rank: #2009149 in Books
  • Published on: 2015-05-14
  • Binding: Paperback
  • 956 pages

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How to Write About Contemporary Art, by Gilda Williams

An essential handbook for students and professionals on writing eloquently, accurately, and originally about contemporary art

How to Write About Contemporary Art is the definitive guide to writing engagingly about the art of our time. Invaluable for students, arts professionals and other aspiring writers, the book first navigates readers through the key elements of style and content, from the aims and structure of a piece to its tone and language. Brimming with practical tips that range across the complete spectrum of art-writing, the second part of the book is organized around its specific forms, including academic essays; press releases and news articles; texts for auction and exhibition catalogues, gallery guides and wall labels; op-ed journalism and exhibition reviews; and writing for websites and blogs.

In counseling the reader against common pitfalls―such as jargon and poor structure―Gilda Williams points instead to the power of close looking and research, showing how to deploy language effectively; how to develop new ideas; and how to construct compelling texts. More than 30 illustrations throughout support closely analysed case studies of the best writing, in Source Texts by 64 authors, including Claire Bishop, Thomas Crow, T.J. Demos, Okwui Enwezor, Dave Hickey, John Kelsey, Chris Kraus, Rosalind Krauss, Stuart Morgan, Hito Steyerl, and Adam Szymczyk.

Supplemented by a general bibliography, advice on the use and misuse of grammar, and tips on how to construct your own contemporary art library, How to Write About Contemporary Art is the essential handbook for all those interested in communicating about the art of today. 34 illustrations and 64 Source Texts

  • Sales Rank: #39208 in Books
  • Published on: 2014-10-14
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.30" h x .70" w x 5.70" l, .22 pounds
  • Binding: Paperback
  • 264 pages

Review
“With How To Write About Contemporary Art Gilda Williams has created an illuminating, engaging and urgent guide to contemporary art-writing. While this is clearly essential reading for arts students and those at the start of a career in arts writing or criticism , it is equally invaluable for anyone involved in the art world that needs to transmit information and ideas in written form about contemporary art. So that’s basically all of us.” (Hans Ulrich Obrist, co-Director, Serpentine Gallery)

“Finally. A book that teaches you how to write and think clearly about art. I can imagine this book inspiriting future generations to write legibly and intelligently art criticism, a field that's become too hermetic and convoluted for its own good. Revolutionary, radical and long overdue. Bravo!” (Kenneth Goldsmith, poet and founder, UbuWeb)

“A rare guide to writing practice that's also a wonderfully engaging read in itself, Gilda Williams's How to Write about Contemporary Art interweaves plainspoken advice on the practical nuts-and-bolts of art criticism with trenchant observations about the conditions of the profession, all delivered in the voice of a savvy, generous friend. With a long track record as both a writer for and editor at leading journals and publishing houses, Williams knows the field from both sides this valuable book engages not only the hows but, crucially, also the whys of art writing.” (Jeff Kastner, Editor, Cabinet magazine)

“Bless you, Gilda Williams, for reminding us that fear is the root of bad writing, and for showing us how to take courage. Art writing can be deep, accurate, surprising, and even beautiful―and with any luck, How to Write about Contemporary Art will spark a renascence of the deep, accurate, surprising, beautiful art writing we so badly need.” (Barry Schwabsky, art critic, The Nation)

“Artforum correspondent Williams applies lessons in graceful prose to the field of art writing… [She] excels when looking at excerpts from accomplished critics, including Rosalind Krauss and Walter Benjamin, and when giving nuts-and-bolts advice for crafting specific genres of art-world documents (catalogue essays, short news articles, academic essays, and the like) [This] how-to provides enough art-specific insights to cut through the garble so common in the field.” (Publishers Weekly)

“In outlining exactly how an auction catalogue differs from a museum’s wall label and a magazine review, down to the vocabulary and tone each should accommodate, Williams gives insight to the inner workings of very different industries: academia, auction houses and mainstream and professional press. Her systematic analysis of the current state of art writing is a first [and her] methodology is flawless.” (frieze)

“Fantastic... a straight-forward must-read for every writer, reader, artist and designer. Williams holds your hand, explaining why you need to do it, what you need to do, and how to do it.” (FullScream.com)

“Thrillingly clear ... a beautifully formed guide to writing [...] should be required reading across every creative discipline. Essential!” (Dressingtheair.com)

“A thoroughly sensible and accessible guide to writing that could almost be applied to any subject.” (artbookreview.com)

“Artforum correspondent Williams applies lessons in graceful prose to the field of art writing...[She] excels when looking at excerpts from accomplished critics, including Rosalind Krauss and Walter Benjamin, and when giving nuts-and-bolts advice for crafting specific genres of art-world documents (catalogue essays, short news articles, academic essays, and the like) [This] how-to provides enough art-specific insights to cut through the garble so common in the field.” (Publishers Weekly)

“Illuminates contemporary art writing, providing insights into what we write about when we write about art....[Williams] reenvisions what it means to be a professional art writer and outlines the methods, ethics and even the financing that could see the role of the writer codified and professionalized in a new and important way in the art world of tomorrow.” (Burnaway)

“Admirably practical and instructive. . . . Accessible, well-organized, and example-rich, How to Write About Contemporary Art provides a welcome refresher course for writers who might not have known they need one. . . . Williams clearly loves the craft of criticism. Rather than rag on examples of unfortunate critical prose, she smartly confines her excerpted examples to writing she admires, even adores. Like good art, the book, however basic, inspires you to want to write your own criticism.” (Hyperallergic)

About the Author
Gilda Williams is a London correspondent for Artforum and lecturer at Goldsmiths College and Sotheby’s Institute of Art, London. From 1994 to 2005 she was Editor and then Commissioning Editor at Phaidon Press. She is a former managing editor at Flash Art International and her writing has appeared in Tate Etc., Parkett, Art Monthly, Art in America and Time Out. Williams is author of The Gothic (2007) and has contributed to catalogues for exhibitions at the Whitechapel Art Gallery, London, the 48th Venice Biennale, and the Stedelijk Van Abbemuseum, Rotterdam, among others.

Most helpful customer reviews

11 of 11 people found the following review helpful.
Highly Recommended for Learning How to Write About Art
By S. Canzoneri
I bought this book at a shop in London last summer. Her writing is clear and very helpful, with a pleasant, encouraging voice. Recently another artist and I were slogging through the tedious process of writing statements to go with our submission packets responding to a call for proposals of solo exhibits. We both found this book a great help, as we drafted statements and critiqued one another's writing.

I've become an artist after pursuing other careers that required particular writing styles and language. Though I've been told I'm a good writer all my life, learning to master the kind of writing expected in the arts has been a challenge. This book is one of the best sources I've found for people like me, and my copy of the book is already well thumbed through.

I recommend paying more and getting the book in hard copy, rather than a Kindle edition. It's the kind of book you want to have in your hand, able to flip through pages, marking passages with Post It notes and bookmarks, as you write. The book itself is very well designed, printed on great paper, and just plain feels good in your hand. You won't get the aesthetic experience in a Kindle edition, and you won't be able to use it as effectively as a reference book. I say this as someone who does not have a knee-jerk negative reaction to e books; I use them a lot. But this is a book to have in hard copy.

6 of 8 people found the following review helpful.
Nothing could be simpler
By Lisa, Manila.
Succinct and sly, this how-to book is great training camp for all writers (and readers) of contemporary art lit, whether criticism or catalogue. Brilliantly organized too.

0 of 0 people found the following review helpful.
Could also be called "understanding art"
By A. James
A joy to read; insightful, educational, entertaining!

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Sabtu, 10 November 2012

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The Best of J. Vernon McGee, by J. Vernon McGee

NOW A TREAURY OF WISDOM AND WIT BY AMERICA'S BELOVED RADIO PREACHER/THE BEST OF J. VERNON MCGEE IS A COLLECTION OF EIGHTEEN OF DR. MCGEE'S FINEST MESSAGES, GLEANED FROM SOME FORTY YEARS OF RADIO BROADCASTING ON OVER SIX HUNDRED STATIONS AROUND THE WORLD. NEW LISTENERS AND LONG-TIME FANS OF DR. MCGEE'S MINISTRY WILL APPREICATE HIS FAMILIAR, ANECDOTAL STYLE AS HE WRITE ABOUT THE LOVELINESS OF CHRIST, THE NATURE OF TRUE WORSHIP, THE POWER OF THE HOLY SPRIT, THE SIGNS OF CHRIST'S SECOND COMING, THE SIGNIFICANCE OF THE INCARNATION, THE COMPREHENSIVENESS OF GRACE, THE WORK OF CHRIST AS OUR GREAT HIGH PRIEST/READERS WILL FIND ESPECIALLY MOVING DR. MCGEE'S SERMON ON THE DEATH OF HIS FIRST-BORN CHILD. THIS RICH FEAST OF BIBLE-CENTERED MESSAGES WILL PROVIDE INSIGHTS FOR REFLECTION, FOOD FOR THE SOUL, AND THE CHALLENGE TO BE ENGAGED IN SERVICE TO GOD

  • Sales Rank: #518426 in Books
  • Brand: Brand: Thomas Nelson Inc
  • Published on: 1988-10
  • Original language: English
  • Number of items: 1
  • Binding: Hardcover
  • 239 pages
Features
  • Used Book in Good Condition

Most helpful customer reviews

0 of 0 people found the following review helpful.
Thankful and satisfied.
By James Hulse
So much good in this heart-to-heart writing; Dr. J. Vernon McGee was one man of God that reached past walls and bars of the Oklahoma DOC and touched my son deeply. I am thankful for Bible truths presented in matter-of-fact manner fashion. Thank you Lord and thank you for your servants on this earth.

1 of 1 people found the following review helpful.
Excellent book
By SS
This is one book in a series of books that J. Vernon McGee has written. Excellent. They are easy to read and understand his books.

1 of 1 people found the following review helpful.
GREAT BOOK
By Jane B. Hines
I LOVED READING THIS BOOK. I'VE LISTENED TO J. VERNON MCGEE FOR YEARS. HE TELLS IT LIKE IT IS.....AND THAT IS AS IN THE BIBLE.

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Minggu, 04 November 2012

[W212.Ebook] Free Ebook Stand Up, Speak Out: Workbook (Treatments That Work), by Anne Marie Albano, Patricia Marten DiBartolo

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Stand Up, Speak Out: Workbook (Treatments That Work), by Anne Marie Albano, Patricia Marten DiBartolo



Stand Up, Speak Out: Workbook (Treatments That Work), by Anne Marie Albano, Patricia Marten DiBartolo

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Stand Up, Speak Out: Workbook (Treatments That Work), by Anne Marie Albano, Patricia Marten DiBartolo

The Stand Up, Speak Out Workbook is for adolescents ages 13 - 18 who are participating in the group treatment outlined in the corresponding Therapist Guide, Cognitive-Behavioral Therapy for Social Phobia in Adolescents. The program is designed to help teens with excessive shyness or social anxiety learn how to cope in social situations. This workbook is designed to augment the treatment and contains educational information, worksheets, tips for problem solving, and at-home exercises. Age-appropriate and engaging, this workbook is easy-to-read and includes space for keeping session notes, as well as forms for tracking progress.

  • Sales Rank: #4182683 in Books
  • Published on: 2007-04-19
  • Original language: English
  • Number of items: 1
  • Dimensions: 8.40" h x 1.10" w x 11.00" l,
  • Binding: Paperback
  • 64 pages

About the Author
Anne Marie Albano, Division of Child and Adolescent Psychiatry, Columbia University. Patricia Marten DiBartolo, Associate Professor of Psychology, Smith College.

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Sabtu, 03 November 2012

[X418.Ebook] Download Fire & Ice, by Catherine Hart

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Fire & Ice, by Catherine Hart

Sailing from England to her family estate in Savannah, Kathleen Haley meets the dashing and domineering Captain Reed Taylor, whose actions during a rampaging storm at sea determine her fate. Original."

  • Sales Rank: #348363 in Books
  • Brand: Leisure Books (Mm)
  • Published on: 1997-09
  • Original language: English
  • Number of items: 1
  • Dimensions: 7.00" h x 4.50" w x 1.25" l,
  • Binding: Mass Market Paperback
  • 480 pages
Features
  • Great product!

Most helpful customer reviews

0 of 0 people found the following review helpful.
Entertains Book
By Callie
I ordered this book thinking it seemed familar . I thought it was because of two books written be another author. I recived this and its sequel . I had read it Kat and Reed had a rough start but things ended wel, for them. I did not reread the book again but skimmed it. I did like it

6 of 7 people found the following review helpful.
Silly, predictable, and VERY Non-PC but...
By Tanya
This rating is mostly a "memory" rating... in reality it was probably a low four. Oh, the memories this book brings back. I recently found this book again as an adult after searching for years for it. My girl-friend stole it from her mother in the 8th grade and we passed it around so much amongst our little group that it was tattered, torn and literally in peices. I admit I was the one who our freshman year finally got it thrown out when my mother tired of the stench radiating from my bedroom decided to "clean it" and it became a victim of her frenzy (and much explaining on our parts of why we had the dang thing in the first place I might add). After much research and a hunch I finally found the name of the author (Fire and Ice is quite a common name for a romance I found) and was able to pick it up at the local used book store. Ahh memories it brought back. Skip to reading it as an adult, as obviously it was well loved as a teen...

A literary master piece it is not but it is an enjoyable read if you can put up with a hero who is really quite full of himself and his lady who needs to step up and knock his stupid self into next week at times(I am not a violent person, in fact in my daily life I am very mellow and forgiving of most people but I had moments where I really just wanted to ring his neck... and hers). It has a fast paced plot and the story line is good, you feel for them even if you want to scream at them to wake up, get over it and get on with life and love... then again if they started to do this when I first felt the urge the book would have ended at chapter one. hahaha!! All in all it is a fun book.

I HIGHLY do NOT recomend the second book though. The author had a good thing going and you leaving this book feeling good about the characters and their future. I came away from the second book depressed and sad, it took me a long time to get over that it kind of ruined the memory of this book for me.

0 of 0 people found the following review helpful.
Politically incorrect for my taste!
By A Customer
Sensuality at its best!!! This was my first Catherine Hart novel but it may be my last. Reed, in spite of the reckless flaunting of his ex-flame and insane jealously, was a reckless yet confident, even though sometimes overbearing man of strength and love. Kat was sometimes foolish but quite whimsom and comical in her quest to ruin him financially. My fault with the book however was the way the issue of slavery was handled. I felt the author created the characters, in my opinion, politically incorrect in their thirst to see blood shed and a beating of a male slave for attempting to escape to freedom. Kat felt no remorse or shame in watching such a spectacle and felt no guilt or shame of the constitution of slavery. Reed was the typical slave owner/master, breeding slave babies for sale by mating Black males and females as you would a stallion with a mare. Reed delivered the punishment of 40 lashes by the whip to the slave with 'running fever' because he was considered to be an expert with the whip. I wonder how did he become an expert? Was it by chance of constantly practicing such skill on slaves for any reason?

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