Agricultural extension has entered a period of renewal in the past decade after being overshadowed by agricultural research involving a great deal of experimentation. Throughout this experimentation, the central issue has been about the relationship of the public sector with its clientele and the private sector. This volume is about recent evolution of public sector agricultural extension, seen from various perpsectives and with different concerns in mind. The book begins with providing examples of different responses by the public sector towards pressures to re-structure financing and privatize. Following are discussions on how to make extension more effective and efficient through public-private cooperation. Focus is also placed on a number of concepts and strategies influencing the current development of extension. The final section gathers a number of contrasting perspectives regarding the development of extensions systems and the roles and responsibilities for public sector agricultural extension in the future.

Agricultural Extension: Worldwide Institutional Evolution and Forces for Change

Engineering & Transportation

Rivera, William McLeod

Engineering

Elsevier Science Ltd.

“Truth, a dominatrix/asserting love is all...” W.M. Rivera writes in “Prelude,” one of the opening poems in the book you are holding. Truth can be pleasurable, and painful all at the same time, like love and sex. This exploration of truth and love as double edged sword runs through Cafe Select. Rivera’s poems are lusty gems, there’s a fighting spirit, and a wise one at work in these poems, sometimes wrestling with itself, other times wrestling with the great spiritual chink in our armor, other people and their influence upon us. Rivera kinks it up in Cafe , and I’m not just talking about sado-masochistic sex, or a lusty young couple in heat, the lines of these poems screw into each other creating a dense tough lyricism that is coupled with gritty reality: these ‘sperm on the wing.’ Most won’t make it. Some end up in luxuriating in Rimbaud’s bathtub boat on a pond in Tuileries Gardens. Some labor growing pains on death-row’s dry concrete. In suburbia most land on fertile ground. Even the run-amucks multiply in manicured cracks. Rivera’s describing dandelions seeding into air in “Manicured Cracks,” how most won’t make it, that the seeds of the weed, the most iconic of spring youth images, faces a fate like all of us. They might live on to flower again, or they won’t. As human counterparts, many of us will die along the way, and often the worst of us, the weeds, thrive. What I like is the music in Rivera’s poems. The alliterative urge, the hard consonant sounds, very much like later Seamus Heaney, acting like sharp edges to confine and crib the lines and feet. Poetry and art are created by privilege, and these poems are unabashed at their modernist raiment made possible by a privileged life. Paris is both the geographical and figurative heart of the book. Paris, the literal city, and Paris the epitome of cul- ture. Rivera is at home on both fronts, and relies on music to drive his poetry for- ward; the imagery, well that’s extra sauce for the pudding, and whether he’s referring to the city of lights, to art in a gallery, or to ancient Occidental poem, it doesn’t matter. For Rivera their origins are the same. The urge to create, to be re- born.

Café Select

Literature & Fiction

Poetry

Poets Choice Publishing

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Books by Rivera, William McLeod