

In a locked Honolulu office building, three men are found dead with no sign of struggle except for the ultrafine, razor-sharp cuts covering their bodies. The only clue left behind is a tiny bladed robot, nearly invisible to the human eye.
In the lush forests of Oahu, groundbreaking technology has ushered in a revolutionary era of biological prospecting. Trillions of microorganisms, tens of thousands of bacteria species, are being discovered; they are feeding a search for priceless drugs and applications on a scale beyond anything previously imagined.
In Cambridge, Massachusetts, seven graduate students at the forefront of their fields are recruited by a pioneering microbiology start-up. Nanigen MicroTechnologies dispatches the group to a mysterious lab in Hawaii, where they are promised access to tools that will open a whole new scientific frontier.
But once in the Oahu rain forest, the scientists are thrust into a hostile wilderness that reveals profound and surprising dangers at every turn. Armed only with their knowledge of the natural world, they find themselves prey to a technology of radical and unbridled power. To survive, they must harness the inherent forces of nature itself.










People are different—from other animals and, perhaps more interestingly, from one another. One important way we differ from one another is in how we respond to stress. Why is it that when faced with the same challenges, some of us crumble, some of us survive, and some of us even thrive? How we react to stress matters; it is intimately tied not just to our vulnerability to disease states and pathologies but to our general health and well-being.~ "Nurture, Nature, and the Stress That Is Life"
Why do house sellers, professional golfers, experienced investors, and the rest of us succumb to strategies that make us systematically go wrong? ~ "To Err Is Primate"
After that, a strange relationship becomes established between the bibliomaniac and his (or her) thousands of books. The same relation as between a gardener and an invasive climbing plant : the plant grows all by itself, in a manner invisible to the naked eye, but at a rate of progress that is measurable after a few weeks. The gardener, unless he is willing to chop it down, can only indicate the direction he wants it to take. In just the same way, prolific libraries take on an independent existence, and become living things. ("To build up a library is to create a life. Is is never merely a random collection of books" - The Paper House.) We may have chosen its themes, and the general pathways along which it will develop, but we can only stand and watch as it invades all the walls of the room, climbs to the ceiling, annexes the other rooms one by one, expelling anything that gets in the way. It eliminates pictures hanging on the walls, or ornaments that obstruct its afvance; it moves on with its necessary but cumbersome acolytes - stools and ladders - and forces its owner into constant reorganization, since its progress is not linear and calls for ever new kinds of division. At the same time, it is undeniably the reflection, the twin image of its master. To anyone with the insight to decode it, the fundamental character of the librarian will emerge as one's eye travels along the bookshelves. Indeed no library of any size is like another, none has the same personality.
The paper, mostly square, cut accurately, of the right size and flexibility, is suited to my purpose. When I look at the paper on my table, it is blank. Every fold reduces the area of the paper, but it acquires more layers. When a student comes to my room, we first fold without talking. Every fold releases more emotion and pressure, until the student is able to relax. Then we start to talk and expose more layers of feeling. In the process of the folding, the paper changes shape. Every time, it appears to be something else, such as a kite or a rabbit ... but it is not. Eventually it will become exactly what we want it to become. When a student folds they release their emotions; their eyes seem to suggest what they are going through. I then raise other points, which enable the student to slowly turn anger and confusion to options and possibilities, from which they can grow.
The paper is used as an important surface for learning. In the process of folding, we discover different angles and polygons. Take a student who has trouble coping with traditional classroom teaching: they can explore geometry in the paper they are folding, learning to calculate angles and identify polygons. This knowledge can later re-emerge in the student's regular geometry class, strengthening their confidence, self-image and ability to learn.




'There is a butler here ?'
'Oh yeah. We're talking about this kind of money.'

Six months after losing his wife and two young sons, Vermont professor David Zimmer spends his waking hours mired in a blur of alcoholic grief and self-pity. One night, he stumbles upon a clip from a lost film by silent comedian Hector Mann. His interest is piqued, and he soon finds himself embarking on a journey around the world to research a book on this mysterious figure who vanished from sight in 1929. When the book is published the following year, a letter turns up in Zimmer's mailbox, bearing a return address from a small town in New Mexico, inviting him to meet Hector, Zimmer hesitates, until one night a strange woman appears on his doorstep and makes the decision for him, changing his life forever.
Auster paints such a vivid picture of the silent-era movie star and his life that it makes you wonder if this is fiction at all. It simply very believable. A check on the Internet confirmed my curious. No. He didn't exist. Instead, Duke Special, a songwriter and performer based in Belfast, had released an album, The Silent World of Hector Mann (same title as David Zimmer's book), featuring 12 songs inspired by this fictional character.











