A thoughtful challenge to the tidal status quo.

THE DEEP PULL

A MAJOR ADVANCE IN THE SCIENCE OF TIDES

Chemical engineer and debut author Hayduk offers new theories on the workings of tides in this work.

The difference in height between high and low tide is generally larger near the poles than at the equator, but this rule isn’t always true. The ever-curious Hayduk looked into the reason for this inconsistency, but he felt that the current scientific model for tides couldn’t satisfactorily explain it. Therefore, he set out to do his own research, and this work contains his findings regarding the functions of tides, some of which challenge current scientific theories. At the heart of tidal theory is the force of gravity, and the author recounts his attempts to understand the effects of lunisolar gravitational forces on Earth—that is, the “pull” of the sun and the moon—by analyzing tidal patterns and anomalies from the Cape of Good Hope to the Bay of Fundy. “Sometimes, nature leaves a sufficient number of clues as to how it gets things done,” Hayduk writes in his introduction. “This makes it possible for us to rediscover one of its mysterious devices and methods—if we search for it.” He comes to the conclusion that extensive, deep sections of the ocean are “continually subjected to the lunisolar gravitational forces,” which explains numerous effects. Hayduk’s prose, interspersed with numerous diagrams and charts, is technical, but not so opaque that interested amateurs can’t follow his arguments: “The strength of the gravitational force on the lunar belt is more than double that of the solar belt; that is to say, the moon is more effective in moving ocean water faster or farther than the sun is.” Many readers will learn a lot more than they currently know about tidal science. That said, the validity of some of Hayduk’s theories (regarding, for example, the idea that the moon’s and sun’s gravity affect wind, which he notes is “Nowhere…in the literature”) will need to be scrutinized further by other members of the scientific community. However, anyone who’s intrigued by the complex, swirling machinations of water and air will enjoy how he relates his ideas.

A thoughtful challenge to the tidal status quo.

Pub Date: July 3, 2018

ISBN: 978-1-5255-1870-6

Page Count: 252

Publisher: FriesenPress

Review Posted Online: Nov. 22, 2018

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Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis...

THE ELEMENTS OF STYLE

50TH ANNIVERSARY EDITION

Privately published by Strunk of Cornell in 1918 and revised by his student E. B. White in 1959, that "little book" is back again with more White updatings.

Stricter than, say, Bergen Evans or W3 ("disinterested" means impartial — period), Strunk is in the last analysis (whoops — "A bankrupt expression") a unique guide (which means "without like or equal").

Pub Date: May 15, 1972

ISBN: 0205632645

Page Count: 105

Publisher: Macmillan

Review Posted Online: Oct. 28, 2011

Kirkus Reviews Issue: May 1, 1972

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DEAR MR. HENSHAW

Possibly inspired by the letters Cleary has received as a children's author, this begins with second-grader Leigh Botts' misspelled fan letter to Mr. Henshaw, whose fictitious book itself derives from the old take-off title Forty Ways W. Amuse a Dog. Soon Leigh is in sixth grade and bombarding his still-favorite author with a list of questions to be answered and returned by "next Friday," the day his author report is due. Leigh is disgruntled when Mr. Henshaw's answer comes late, and accompanied by a set of questions for Leigh to answer. He threatens not to, but as "Mom keeps nagging me about your dumb old questions" he finally gets the job done—and through his answers Mr. Henshaw and readers learn that Leigh considers himself "the mediumest boy in school," that his parents have split up, and that he dreams of his truck-driver dad driving him to school "hauling a forty-foot reefer, which would make his outfit add up to eighteen wheels altogether. . . . I guess I wouldn't seem so medium then." Soon Mr. Henshaw recommends keeping a diary (at least partly to get Leigh off his own back) and so the real letters to Mr. Henshaw taper off, with "pretend," unmailed letters (the diary) taking over. . . until Leigh can write "I don't have to pretend to write to Mr. Henshaw anymore. I have learned to say what I think on a piece of paper." Meanwhile Mr. Henshaw offers writing tips, and Leigh, struggling with a story for a school contest, concludes "I think you're right. Maybe I am not ready to write a story." Instead he writes a "true story" about a truck haul with his father in Leigh's real past, and this wins praise from "a real live author" Leigh meets through the school program. Mr. Henshaw has also advised that "a character in a story should solve a problem or change in some way," a standard juvenile-fiction dictum which Cleary herself applies modestly by having Leigh solve his disappearing lunch problem with a burglar-alarmed lunch box—and, more seriously, come to recognize and accept that his father can't be counted on. All of this, in Leigh's simple words, is capably and unobtrusively structured as well as valid and realistic. From the writing tips to the divorced-kid blues, however, it tends to substitute prevailing wisdom for the little jolts of recognition that made the Ramona books so rewarding.

Pub Date: Aug. 22, 1983

ISBN: 143511096X

Page Count: 133

Publisher: Morrow/HarperCollins

Review Posted Online: Oct. 16, 2011

Kirkus Reviews Issue: Aug. 1, 1983

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