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carl67lp writes "With all the hype surrounding Dan Brown's The DaVinci Code, I decided to travel to the bookstore to purchase the novel. However, while looking at the "New in Paperback" section, I happened across Brown's Digital Fortress and read the back cover quickly. It was exactly what I was looking for: a thriller with science (mathematics and cryptography), technology (a 3-million processor supercomputer), and intrigue. I devoured the nearly-400-page book in less than two days. But I left feeling a bit disappointed when looking back on the overall picture." Read on for Anderson's reasoning. Digital Fortress: A Thriller author Dan Brown pages 384 publisher Griffin Trade Paperback rating 7 out of 10 reviewer Carl Anderson ISBN 0312263120 summary An excellent, if slightly flawed, exploration into the world of government cryptography and those who try to defeat it

The premise

The first page ("Prologue") is enough to draw you right in. A Japanese man in Seville, Spain, is dying, and in his last act he attempts to communicate with fellow tourists. We immediately wonder, What is he trying to say? How does this relate to the premise of the book?

Flipping the page literally flips across the Atlantic Ocean, to the National Security Agency (NSA) and to beautiful, intelligent Susan Fletcher, head cryptographer at the NSA. She is involved with a university language professor named David Becker--a man who will figure deeply into the story.

A mysterious phone call sends David to Spain and a phone call from Susan's boss, Commander Strathmore, brings her to NSA headquarters. It's there that she learns of a potentially fatal threat to the NSA's codebreaking supercomputer, TRANSLTR--an unbreakable encryption. Strathmore briefs her that a disgruntled former employee, Ensei Tankado, has threatened to release this encryption scheme to the highest bidder. If Tankado does so, the NSA will be crippled--a fact proven by the revelation that TRANSLTR normally spends minutes decoding a message, but has spent more than half a day trying to break Tankado's algorithm.

Tankado isn't stupid--Strathmore says he has an accomplice who will release the code in the event that something happens to Tankado. Unfortunately, Tankado is the Japanese man who has died in Seville...and thus the NSA is running out of time to locate Tankado's pass key to break the encryption before his accomplice can release it to the world.

Meanwhile, Becker is still in Spain, under orders--from Strathmore, it turns out--to do just that. He realizes that Tankado's ring is the "key" to the mystery, and thus he begins a frantic search that leads him from a French-Canadian writer in the clinic, to a fat German tourist and his red-haired "escort," to a punk rock bar on the outskirts of town. Did I mention he's being followed by a deaf assassin the whole time?

What I liked

As I mentioned, Digital Fortress has all the elements that I was looking for. It had just the right amount of main characters, and everyone had a proper place in the book and in the story. I'm appreciative of the tidbits of technical information here and there--mentions of PGP, NSA history, and other such morsels were well placed.

There was also a smattering of sexual energy (although no real "sex scenes") and humor here and there. Who said computer geeks can't have a good time?!

I'm also a fan of subplots in books, that magically mesh together near the climax. Dan Brown deserves praise in this regard: minor characters who initially make you question their presence are brought nicely into the fold and given purpose.

In any book like this, little puzzles and questions come up as a matter of course. The reader is challenged to solve them just as the characters are. In this book, there are many such puzzles: What does the inscription on the ring mean? Who is Tankado working with, and how? What is the pass-code for the encryption scheme? Why is David Becker being hunted down? I delighted in trying to come up with answers to these questions as I read the book, and was pleasantly surprised to see I was wrong in many respects.

What I didn't like

In any mystery or thriller, the idea is to keep the reader guessing as long as possible, through plot twists, diverging plot lines that reconnect later, and the like. Brown does a fairly good job here, but this is where the book has its weakest points. For example, it is revealed early on that Tankado and the dead Japanese man in Spain are the same person. While this is perhaps unavoidable to push the plot along, I found it strange to have this happen so quickly. Later in the book, the author flips back and forth between who could be Tankado's accomplice, and who has committed a murder in Crypto. This flip-flopping is done poorly and leaves the reader thinking, "I already have my mind made up and you're not doing very well dangling red herrings." I had the bad guy pegged a couple of chapters before it was revealed, although I will admit that I was surprised at a particular turn of events afterwards.

Although this book was published in the late '90s, the technology aspects are still relevant--but this book gets some technical facts incorrect, or at least a bit off. However, they're fairly minor and don't detract from the book too much.

Some plot points are just too far fetched to be believable. For example, Susan's fiance, David Becker, tries to outrun a taxi--driven by the deaf assassin--while on a motorbike. The professional assassin fires several shots at Becker and misses every time, even though the bike is significantly slower than the taxi and the shots hit the bike body itself on several occasions.

Finally, some of the people in the NSA seem too stupid to be working there. In an effort to not give away spoilers, I can't be too much more specific than that, but suffice it to say that the "solution" is something that a high school science student wouldn't have much trouble figuring out.

Final thoughts

I tore into this book with high expectations. I finished the book with mixed feelings. As I look back on it, I can't help but feel that there was a lot of untapped potential and some glaring mistakes that could have been avoided. But I'm also pleased to have read what I consider a fairly good book, one that has served to heighten my interest in the genre, and made me even more ready to read The DaVinci Code.

Of course, it wouldn't be fair to compare this book to any of Dan Brown's later works. An author matures as he or she writes more books, and thus I'm certain that many of my quibbles would have been ironed out in future books. I'll have to find that out when I read DaVinci.

While it might seem that I had more bad to say about the book than good, I'd say that the reverse is actually true--the "good" goes all through the book, but there isn't really a way to quantify it.

I'd wholeheartedly recommend this novel to anyone who has an interest in technological thrillers, spy novels, or thrillers in general. It's a very accessible and enjoyable read, and I'm glad I bought it.

You can purchase Digital Fortress from bn.com. Slashdot welcomes readers' book reviews -- to see your own review here, read the book review guidelines, then visit the submission page.

carl67lp (Carl Anderson) writes "I was recently charged with redesigning my University division's Web site. I hadn't designed a Web site in quite some time, and I wanted to ensure that I did so with everything being 'proper'--the nature of our projects require as large an audience as possible. When I saw Designing With Web Standards available on O'Reilly's Safari bookshelf, I knew I had to snag it. And now, after finishing the book (the first IT book I've ever read beginning to end!), I'm here to preach the book's virtues as the author preaches those of Web standards." Read on for Anderson's review of the book. Designing With Web Standards author Jeffrey Zeldman pages 456 publisher New Riders rating 9/10 reviewer Carl Anderson ISBN 0735712018 summary An excellent guide on designing a Web site with the latest Web standards

Jeffrey Zeldman is one of the best technical writers whose work I've had the pleasure of reading. He is obviously well-educated with regard to the subject, and his passion for the work really shows through. Still, he never comes across as a zealot -- his style is even-handed, thoughtful, and easy to comprehend.

The first part of the book ("Houston, We Have a Problem") is the reason I give a rating of "9" rather than "10." Zeldman spends a perfect length of time on background and history of Web standards (why they're here, and what designers did before they emerged). However, this section seems to suffer from what many technical books suffer from: a case of "We'll see this soon"-itis. While this is perhaps unavoidable in such a treatise, it is nonetheless apparent. Still, it's only marginally distracting.

The meat of the book comes with "Designing and Building." Zeldman first talks about modern markup, then explains the variations on XHTML (i.e. Strict, Transitional, Frameset) and how each ought apply to your design. Here we see more theory than practice, though, but this is welcome -- it lays the foundation for a more cerebral look at distinguishing markup from design. Once Zeldman explains the nuances of that topic, we moveon to the redesign of a Web page constructed with a hybrid table/CSS design complete with all the excellent effects we hope to see in modern pages.

After working through this redesign, Zeldman talks in more detail about the CSS box model (and the browsers that break it), typography, and some of the quirks that Web designers must deal with. Next he touches a bit on Web accessibility--a must-read for everyone, whether you think so or not.

While Zeldman isn't incredibly thorough here, he doesn't need to be--it's a book on Web standards, after all, and this chapter serves to show how accessibility can still be achieved within those standards. He also suggests a couple of other books for more information.

Finally, Zeldman walks the reader through a redesign of zeldman.com, basically as a hands-on summary of the book, and as a guide for future projects. Also included is a "Back End" (i.e., appendix) showing some excellent information about each major browser.

Too often, a book or Web site on XHTML/CSS will dwell only on the "how"--this book shows the "how" and still explains the "why": Here's how you set up an id'ed element; here's why we do that, rather than using a class. It's already opened my eyes to many things I thought I had a handle on, but now realize that I only knew in a cursory fashion.

So, ask yourself: Do you want to design a Web site that will work for everyone, regardless of their platform? Do you want to make sure your Web site is future-proof? If so, you need this book.

You can purchase Designing With Web Standards from bn.com. Slashdot welcomes readers' book reviews -- to see your own review here, read the book review guidelines, then visit the submission page.

snogwozzle writes: "The US Copyright Office's congressionally-mandated advisory report on the effect of the DMCA is in, and at first glance it doesn't look too good. They're against undoing the definition of temporary RAM buffer copies as possibly infringing (which Jessica Litman in Digital Copyright pegged as perhaps the central dirty trick in the DMCA as it opens the door to technical access control by publishers) is turned down, so is a first sale doctrine for digitally distributed works, and the DMCA's effect on fair use is called out of scope for the report. On the other hand, they think everyone should have a backup right for media bought in digital form, like we have for software." Keep in mind that this is only looking at the DMCA's effect on the "first sale doctrine" (once a work is sold to you, the copyright holder can't stop you from re-selling it) and on the legal right to make backup copies of a computer program.

People who love sausage and respect the law should never watch either one being made. Law professor and copyright expert Jessica Litman takes a hard look at the process which makes copyright law, and most readers will likely finish her new book, Digital Copyright, with their respect for the law substantially lessened. This is the book for everyone who has ever gotten fed up with IANAL posts and wanted answers that were a bit more informed, everyone who's gotten tired of soundbite analysis of Napster and overheated mailing list discussions. If you're looking for one book to help you understand the Digital Millennium Copyright Act and the past and future of copyright law, this is it.

Digital Copyright author Jessica Litman pages 208 publisher Prometheus Books rating 10/10 reviewer Michael Sims ISBN 1-57392-889-5 summary how copyright law is like sausage-making

For a free introduction to Professor Litman's work, you may want to see her webpage, taking special note of the various articles and papers linked at the bottom. Several of her previous articles have been revised into chapters of Digital Copyright, so if you don't find them interesting, the book isn't likely to interest you (though the book is written for a slightly more general audience than the papers).

Almost every discussion of copyright on the web degenerates into name-calling between a faction that insists "copyright is property - you're STEALING!" and a faction that insists "copyright is a bargain between the public and producers, it exists solely to promote the progress of science and the arts, and the producers are trying to gouge the public within an inch of its life". Litman's book will show you the roots of those two viewpoints, the heavy propaganda effort by the copyright industry that has made that shift in law from the second to the first and is trying to make that shift in public perception, and you'll be one up on the average copyright debater.

She goes into excruciating, fascinating, absorbing detail about the process that produced current copyright law and is highly likely to produce future copyright law - the bribes to Congress, the back-room deals, the slimy public relations tactics, the elected officials who don't want to spend the time to learn about a tangential, unimportant issue like copyright. The history of copyright law shows that this is not a new issue - these same battles have been fought over each new medium of storing or transmitting information, and Litman mentions, at least briefly, each of those battles. With each new medium came an expansion of copyright law to cover that medium and a narrowing of the rights of readers/viewers/listeners, until we've reached the Digital Millennium Copyright Act, which arguably allows publishers cradle to grave control of every copyrighted work they produce.

One of the major themes expressed in the book is the disconnect between how the average layman supposes that copyright law is and how it actually works. In general, people who haven't read copyright law have many misunderstandings about it, and often refuse to accept the real law when it is presented, because it doesn't make a lot of sense and they have a fundamental belief that law should make sense. Indeed, the odds are (at least in my experience) that any individual random person asserting facts about copyright law is dead wrong.

When you have laws that have been written and revised for one hundred years with no significant input from the public, only people who want to maximize their profits from the resulting law, there's going to be a disconnect.

And that's the "sausage" aspect of this book. Most people respect the law, even copyright law, even if they don't understand it (they obey what they think the law is, or what they think it should be). But after reading this book, I think most people won't respect copyright law any more - they'll realize that copyright law is just a method for a very few companies and industries to maximize their profits at the public's expense, and they'll simply cease to respect it. I'm not at all certain this is a bad thing. A little less respect for authority would probably do American society some good. But be aware of the consequences: if you want your daughter to grow up thinking that making an MP3 from a CD you own is theft, don't use this book for bedtime reading. It will warp impressionable minds.

Chapter 1, Copyright Basics, is just as you'd expect: an overview of copyright law. It's not deep, but the rest of the book does not require in-depth knowledge of copyright law. It's a book written for a popular audience, with enough footnoted references that scholars won't be disppointed or short-changed.

Chapter 2 is available online (so is the introduction). Litman maps out where she intends to go in chapter 2, so it's really the best sales pitch for the book: read it, and you'll either be hooked or not.

Chapter 3 covers compromise - the compromise between copyright interests that creates modern copyright law. When you realize that Congress literally and explicitly (and apparently, shamelessly) rubber-stamps the law written from start to finish by corporate copyright interests, you may feel the bile rise in your throat.

Chapter 4 is a short thought experiment: if you were a lawyer representing the public, and the "bargain" of the 1976 copyright statute was presented to you, would you accept it?

Chapter 5 is an important chapter for advocacy efforts. It covers metaphors, and the important role they play in debate. We've seen this play out in recent news as perjorative terms like "pirate" are applied to organizations like 2600, which, after all, is not even accused of copying a single thing unlawfully, while the New York Times and other large publishers, which freely admit that they copied tens of thousands of articles which they had no rights to in order to sell them for a profit, are called pirates by no one (one newspaper article, in the Christian Science Monitor, mentioned that the individual writers describe this as "cyber-piracy" - that's the closest I got to an adverse characterization of the publishers' position). This "piracy gap" illustrates perfectly Litman's point - controlling the metaphor for any given debate or conflict is of utmost importance.

Chapter 6 covers the collision between copyright lawyers and computers/the internet. Imagine: a world where every single use of any piece of information involved making a copy, if only in a computer's RAM. Suddenly, the right to "make copies", which once covered only the initial production of copyrighted materials, is invoked with every single usage of a material. And instead of revising the law to have roughly the same effect as it used to, copyright interests seized on revising the law in favor of its letter, not its spirit. (Though Litman doesn't mention Lessig here, she's making exactly the same argument that Lessig is in his book Code and Other Laws of Cyberspace , and I wish it was expanded just a bit.) The chapter generally covers the efforts in the early 1990's that will lead up to the Digital Millennium Copyright Act.

Chapter 7, Creation and Incentives, examines what sort of incentives are actually needed to get people to create copyrighted works. In the face of all evidence, the copyright industry argues that massive incentives are needed. There's a great hypothetical, which I won't ruin for you here, that looks at the copyright incentives needed in two major industries today.

Chapter 8 is titled "Just Say Yes to Licensing!". I don't think I really need to discuss the subject matter here, do I? She points out that the paper which led to the DMCA recommends massive citizen re-education programs - since the law didn't fit with public perceptions, clearly the public's perceptions were at fault, not the law.

Chapter 9 covers the DMCA's passage - each little bargain hammered out by one copyright interest or another, all at the public's expense.

Chapters 10 and 11 cover Napster, DeCSS, and similar areas that regular slashdot readers will be familiar with.

The final two chapters examine the requirements for a digital copyright law that will comport with the expectations of Americans - whose expectations include items like being able to read a work they've published on a device of their own choosing without violating copyright law - and yet still provide an incentive to authors. Although there is nothing wrong with the solution Litman proposes, one gets the impression that it is a sort of pro forma exercise, that she knows there is no realistic hope of her solution being implemented.

Overall, the work is both a strong piece of scholarship (Litman has been studying this for years, and it shows in every footnote) and solid read. Readers on a budget can get the flavor and most of the arguments by reading her papers online, but the work as a coherent whole is solid addition to the library of anyone who cares about copyright issues. Highly recommended.

I'd like to also mention another book about the DMCA, one that I'm not going to do a full review on. Marcia Wilbur has a self-published book titled DMCA, which can be located through various booksellers. I received a copy from the author, and it is about as different from Digital Copyright as night is from day. DMCA draws very strongly from online debates -- it's fast-paced, rushed, very much a persuasive work rather than an informative, scholarly one, and could use some serious copy-editing. Nevertheless, it's an interesting read, and the only paper work I've seen to date that accurately captures the flavor of online discussions about the DMCA.

You can purchase Digital Copyright at Fatbrain.