THE MINIMUM YOU NEED TO KNOW ABOUT SERVICE ORIENTED ARCHITECTURE

Name: THE MINIMUM YOU NEED TO KNOW ABOUT SERVICE ORIENTED ARCHITECTURE
Author: Roland Hughes
ISBN: 978-0-9770866-6-5

by Roland Hughes ‧ RELEASE DATE: N/A

A solid primer despite its opening rant.

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A detailed how-to on lower-cost computer-system organization.

Hughes is a specialist in the Virtual Memory System computer platform, a big-budget server system used by corporations, and here he demonstrates how to lower the cost of service-oriented architecture (SOA) by creating it in-house. SOA is structured so that companies purchase the basic platform and buy additional accoutrements, called services, during the life cycle of the computer system. In the first five chapters, Hughes passionately argues that this a la carte model, though practical, has been used to the advantage of major computer companies like IBM, which make dollars hand over fist on unwitting businesses. According to his history, modern-day computer-system providers haven't had such a market advantage since the '70s, the last time SOA was in fashion. The author recommends the first, largely non-technical chapters be read by business management, but his overzealous soapbox speech isn't likely to convert people not already in agreement, especially considering that they may have made these so-called unwise investment decisions themselves. Meanwhile, SOA implementers probably don't care about the bigger picture or, if they do, are not in the position to make management decisions within their company. The first five chapters could have easily been edited down to a precise introduction. Nonetheless, the book is meant for programmers–those actually setting up the business SOA–and the meat of the book is C++ programming language code. Thankfully, Hughes includes a CD with all pertinent code and extensive instructions. With The Minimum You Need to Know, Hughes is attempting two books: One, a scathing indictment of big SOA providers, and another, a precise overview of do-it-yourself SOA. Only one is really effective.

A solid primer despite its opening rant.

Pub Date: N/A

ISBN: 978-0-9770866-6-5

Page Count: -

Publisher: N/A

Review Posted Online: May 23, 2010

Review Program: Kirkus Indie

Categories:

GENERAL NONFICTION

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NUTCRACKER

by E.T.A. Hoffmann ‧ RELEASE DATE: Oct. 28, 1996

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This is not the Nutcracker sweet, as passed on by Tchaikovsky and Marius Petipa. No, this is the original Hoffmann tale of 1816, in which the froth of Christmas revelry occasionally parts to let the dark underside of childhood fantasies and fears peek through. The boundaries between dream and reality fade, just as Godfather Drosselmeier, the Nutcracker's creator, is seen as alternately sinister and jolly. And Italian artist Roberto Innocenti gives an errily realistic air to Marie's dreams, in richly detailed illustrations touched by a mysterious light. A beautiful version of this classic tale, which will captivate adults and children alike. (Nutcracker; $35.00; Oct. 28, 1996; 136 pp.; 0-15-100227-4)

Pub Date: Oct. 28, 1996

ISBN: 0-15-100227-4

Page Count: 136

Publisher: Harcourt

Review Posted Online: May 19, 2010

Kirkus Reviews Issue: Aug. 15, 1996

Categories:

GENERAL NONFICTION

- BOOK REVIEW
THE NUTCRACKER AND THE MOUSE KING
by E.T.A. Hoffmann ; adapted by Natalie Andrewson ; illustrated by Natalie Andrewson

- BOOK REVIEW
THE NUTCRACKER
by E.T.A. Hoffmann & illustrated by Julie Paschkis

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TO THE ONE I LOVE THE BEST

EPISODES FROM THE LIFE OF LADY MENDL (ELSIE DE WOLFE)

by Ludwig Bemelmans ‧ RELEASE DATE: Feb. 23, 1955

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An extravaganza in Bemelmans' inimitable vein, but written almost dead pan, with sly, amusing, sometimes biting undertones, breaking through. For Bemelmans was "the man who came to cocktails". And his hostess was Lady Mendl (Elsie de Wolfe), arbiter of American decorating taste over a generation. Lady Mendl was an incredible person,- self-made in proper American tradition on the one hand, for she had been haunted by the poverty of her childhood, and the years of struggle up from its ugliness,- until she became synonymous with the exotic, exquisite, worshipper at beauty's whrine. Bemelmans draws a portrait in extremes, through apt descriptions, through hilarious anecdote, through surprisingly sympathetic and understanding bits of appreciation. The scene shifts from Hollywood to the home she loved the best in Versailles. One meets in passing a vast roster of famous figures of the international and artistic set. And always one feels Bemelmans, slightly offstage, observing, recording, commenting, illustrated.