Curtailing military spending, soldiers dying in futile wars, exclusive rights of publication, cohesion among union members, and mass transit solutions to traffic problems will always be essential in negotiations. Triton Among Minnows is four short stories about individuals that are pieces of music intended for vocal expression, illustrated by beautiful and at times outstanding photographs. Four self-appointed doers of justice, conciliatory and propriety people gifts to the world, deep in faith, caretakers who couldnat bear to live out their lives on a farm somewhere in the Midwest while inadequacy and apathy run amuck. Thus they become evil, to combat evil. aFor those who can not receive human help, wait on the Holy One, for the vision is yet for an appointed time; but at the end it will speak, and it will not lie. Though it tarries, wait for it; because it will surely come, it will not tarry.a HABAKKUK2: 3

In Greek mythology, Triton wass he merman son of Poseidon and Amphrite who lived in a golden palace on the bottom of the ocean. A demi-god of the seas, he was represented as a human to his waist but with the tail of a fish. Armed with a trident, he used a large twisted seashell to calm or raise the waves. The minnows, defined as undersized fish often devoured as bait, are the Pacific Islands constantly threatened by external forces.

The First Folio of 1623 was prepared for print by two members of Shakespeare's acting troupe -- John Hemings and Henry Condell -- which included comic actor Will Kemp and the great tragedian Richard Burbage. In a fascinating and detailed introduction, Freeman points out that because Shakespeare and his colleagues wrote from a rhetorical tradition -- a society where the emphasis was on the spoken word -- he wrote with an eye to how he wanted his plays performed, giving as much direction as possible to his actors. Freeman looks at what is known of the printing of that First Folio and analyzes the variations between the First Folio, later Folios, Quarto editions (where available) and modern editions of the plays. He examines the "corrections" made by editors over the centuries that have shaped the way we perceive Shakespeare today -- from the regularization of verse, to the changes from prose to verse (and vice versa) and the standardization of character prefixes.

Joseph Conrad's short novel The Shadow-Line: A Confession (1917) is one of the key works of early twentieth-century fiction. This edition, established through modern textual scholarship, and published as part of the Cambridge Edition of the Works of Joseph Conrad, presents Conrad's only major work written during the First World War and its 1920 preface in forms more authoritative than any so far printed. Correspondence reveals that the part- and chapter-divisions present in the historical editions lack authorial sanction, and this edition of The Shadow-Line offers a continuous text for the first time, restoring to the narrative a fluency and dramatic intensity not hitherto found in any printing. An Introduction and Explanatory Notes, as well as maps and illustrations, enrich this volume. The Appendices publish materials relevant to Conrad's maritime career and to the publishing of the American serial, and the Apparatus allows the reader to follow the creative process.