Economic damage by whitefly and Tomato Yellow Leaf Curl Virus (TYLCV) on tomato from Dominican Republic reach more than 90% in loss of yield for 1992 year. In Dominican Republic did import all material prime for factoring sauce durin 1992-94 years. But the implemetation of an Integrate Pest Management Program, began in 1993, was possible to control to Bemisia spp and the virus, decreasing the damages to less than 10%. Now is not needy to import tomato sauce.

Economic damage by whitefly on tomato from Dominican Republic reach more of 90% in loss of yield for 1992 year. In Dominican Republic did import all material prime for factoring sauce

This book is 1,263 pages, in a hardcover book. The size of the book, is 7 1/2 x 9 1/2 inches & is 2 3/4 inches thick.The Table of Contents, Introduction, and Title page make up 14 pages in english, while the remaining 1,247 pages are in Latin, Greek, & Hebrew.There is a lot of information on scribes in the middle ages & facts on manusripts tat you would rearly find any where else. All located in those 14 pages of English.There is no manuscripts or drawings in this book at all.

Eve LaSalle Caram's voice is very strong; with the first line, you're swept to another place and time. I love this novel.

Adroitly edited by Texas historian Bruce S. Cheeseman, Maria Von Blucher's Corpus Christi: Letters From The South Texas Frontier, 1849-1879 presents the correspondence by a young German-American pioneer who made a new life in Texas with her husband. Here portrayed are first person accounts of weathering Indian raids, droughts, the American Civil War, and the development of a town that her descendants would help evolve into a great city. A touching, personal narrative that takes the reader deep into the joys, frustrations, tribulations, and triumphs of pioneer life, Maria von Blucher's Corpus Christi is a superbly presented and highly recommended contribution to Pioneer Studies and Texas History supplemental reading lists and reference collections.

An interesting critique of modern ethics, it takes most aspects of morality and kicks them in the teeth, as it were.

A young and not yet polished style that bears great potential. I look forward to more boks by the author.

The "confession" of the accused unfolds within the pages of Corpus Christi, but by the end will you wish him damned or forgiven? Corpus Christi is a captivating story of love and beauty that will swallow your senses and keep you reading.

Also recommend:
The Sorrows of Young Werther by Goethe
Ape and Essence by Aldous Huxley
Fracture by Copernicus Again

With none of the dignity and grace of BLESSED IS THE FRUIT (his second novel and one worthy of five stars), Antoni's long-awaited third book comes as a bit of a surprise and a disappointment. There is a certain escapism factor in MY GRANDMOTHER'S EROTIC FOLKTALES that doesn't so much offer readers an escape as it does illustrate the great need Antoni seems to have for one. It is easy to imagine the author closing himself into his writing room and writing away manically, blending his memories of West Indian life with a bizarre seasoning of childish and somewhat silly tales of sex. There is nothing erotic about MY GRANDMOTHER'S EROTIC FOLKTALES. They are more humorous than sensual, more burlesque than art, and more farcical than real. But then, that is often the case with folktales. The misleading part in Antoni's book is the word EROTIC.

As usual, Antoni's strength is dialect - perfectly rendered. One can imagine the 96-year-old woman telling her ribald tales. We can hear her accent and her laughter. We can see the grin on her old, wrinkled face. There is certainly an element of reality in this book and the tales play out on the page the way they might on a stage. Indeed, it is easy to imagine a musical adaptation of Antoni's latest work.

There is some interesting and shrewd political commentary going on under the surface of these tales as well and that - along with Antoni's style - save the book. The question is: will Antoni fans forgive him for having fun or will they be insulted at this indulgence of his while yearning for another masterpiece like BLESSED IS THE FRUIT?

Don't be fooled by the title. It's not raunchy. It's sensual. Two different things. This is a brilliant mix of storytelling, colors, smells, palm trees and imagination! The grandmother narrator...she's just wild! I loved her character. She wasn't some little polite old lady. She's loud, in your face, very sexually in tuned, funny, honest (sometimes), and witty. This is a really cool book and I'm glad I had the privilege to read this wonderful book.

As a resident of Corpus, I thought this book would be great to have on hand for out-of-town visitors. However, after just a brief run-through, I noticed several things were out of date. This book was published this year, but lists some places (restaurants, movie theaters, and stores) that have been closed for a year or more. I know they had access to accurate and up-to-date information because they also list new places that have opened in the past year, long after some of the other places they listed closed. What happened?

I'll be visiting Corpus Christi for the first time in May, and if I like it, will be moving there within the next couple of years. I've never wanted to move cross-country on a whim before, but the way this book describes the Coastal Bend area, it makes me want to! It provides information that you wouldn't normally find in a travel guide, everyday info that the normal tourist wouldn't care about (lists of radio stations, television channels, describes the library systems, newspapers, weekly & monthly magazines, etc.), though someone who is relocating would. It would appear, to my un-schooled eye, to be about as complete as it could get.

This is one of the most blasphemous pieces of [work] on the market. I heard about this play, and decided that I'd read the reviews to see what all the fuss was about. Now I know. This is totally sick, and SHAME ON THE PEOPLE INVOLVED. Terrance McNalley has brought NOTHING worthwhile to the literary world. You know, if you want to attack someone's Lord and Savior, why oh WHY does it always have to be Jesus? There are many others out there to choose from. Pick on one of them. Blaspheme on one of them. Please. Its ridiculous.

First thing, Jesus was not a sinner like all of us, thus he was not a homosexual. He was certainly a bastard, fatherless most his life, and "the government was on his shoulders". Anyone could rewrite the story of the messiah without making him a homosexual, there are plenty of things you could jump on to make him hated by society. You say he preaches a message of love and tolerance, I would disagree that Jesus taught such a message. Love certainly, but tolerance, I disagree. 'Anyone who causes another to sin is the least in the kingdom of heaven.' Would a tolerant man yell "You brood of vipers!" at the most respected citizens of the time? Tolerance is failure to put your own friendship on the line to prevent someone else from harm, and homosexuality is sin, and sin kills, plain and simple truth. Love and hate aren't opposites, the word used in the Bible for "love" is agape, which is selfless, sacrificial love. Failure to sacrifice your relationships with people to attempt to prevent them from sinning is complete selfishness, and thus the opposite of love. To say Jesus preached a message of Love and Tolerance is just like saying he preaches a message of selflessness and selfishness, which is hipocrsy, the exact thing you are are trying to fight! Don't get me wrong, we should all love one another regardless, but we don't need to tolerate other's sin.

Sorry felt obligated to correct the error! ...

Terrence McNally is an extremely gifted writer. I have seen two of his shows on Broadway this year. He has the ability to see past the minor issues of daily life and to examine the big picture of human existence.

In Corpus Christi he re-writes the passion of Christ from his own perspective. This perspective is that of a gay man growing up in 1950's Texas. There has been much controversy surrounding this play and the Manhattan Theatre Club's production of it. McNally has been vilified by much of the Christian right and many have even gone so far as to ban the production.

On its face however the story basically tracts and updates the biblical version of the Passion. The message of the play is that all men must love one another and we must continue to struggle to make the world a better place no matter what one's individual beliefs happen to be.

If one takes the time to step away from the controversy and to actually read the words what unfolds is a very moving and deeply Christian worldview. If we don't look closely at past events and hide our heads in the sand concerning the problems of society we have a tendency to repeat the mistakes of the past. This is perhaps the greatest sin.

Rubin consolidates an encyclopedic knowledge of the Eucharist and the rites of the feast of Corpus Christi into a balmy narrative, in this book, now in its sixth printing. The book, undoubtedly a standard in medieval and renaissance history and religion courses, can be viewed more as a textbook on the subject than an engaging read. In constructing her history, and it is extraordinarily intricate, fraught with untimely deaths, expulsions, and papal bulls never circulated, she draws from archival, apocryphal, and secondary sourse material. Considering the task she faced, she succeeds admirably. The reader wanting more will then face the task of combing through her extensive bibliograhy and copious footnotes.

Dean's book examines the ambiguity of symbols inherent in the colonial experience. I often wondered-as with most historical reconstructions of "culture" and interpretations of practices long lost from memory-if there was enough "evidence" to make the claims she makes about the representation of sub-alterity. On the one hand, the Indian appears to constructing a colonial self through his/her dress, decoration, mannerisms, artistic expressive forms (such as dance or architecture), etc. But on the other hand, s/he is engaged in the hegemonic forces of "being Indian" within the dominant colonialist ideology. The question is, to what extent did the Indian have the freedom to make choices about dress, dance, decoration, etc. and to what extent was the image of the Indian under the control and creation of the colonialist/church?

I think the pressing need for an academic to take a "politically correct" stance in this day and age must sadly override the ability to present the honest truth in the case of colonial subjectivity. Allowing the indigenous people to speak for themselves is questionable in the case of iconic representation. For instance, where are the depictions of the Indians who carried the massive saints--where are these dark bodies in the paintings Dean examines. And if they are missing, why doesn't the author seem troubled by this?

Read the book and decide for yourself.