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Because of its enormous population, rapid economic growth, and heavy reliance on coal, China passed the United States as the world's largest source of CO2 emissions in 2006. China is also becoming a major factor in the global oil market. This article analyzes China's energy production and consumption, with a focus on the energy and CO2 emissions per capita and per unit of gross domestic product (GDP) and the mix of energy sources and end uses. Energy flow diagrams for 1987 and 2007 make it possible to visualize the allocation of energy from sources through energy transformation to final uses in units of metric tons of coal equivalent. Declining coal use by residences, agriculture, and transportation has been more than offset by a massive increase in electricity and industry usage. The article places these changes in political-economic context and helps illustrate and explain the difficulties China faces in trying to reduce its absolute CO2 emissions and why it instead proposes to reduce its CO2 per unit of GDP. [PUBLICATION ABSTRACT]

Because of its enormous population, rapid economic growth, and heavy reliance on coal, China passed the United States as the world's largest source of CO 2 emissions in 2006. China is also becoming a major factor in the global oil market. This article analyzes China's energy production and consumption, with a focus on the energy and CO 2 emissions per capita and per unit of gross domestic product (GDP) and the mix of energy sources and end uses. Energy flow diagrams for 1987 and 2007 make it possible to visualize the allocation of energy from sources through energy transformation to final uses in units of metric tons of coal equivalent. Declining coal use by residences, agriculture, and transportation has been more than offset by a massive increase in electricity and industry usage. The article places these changes in political-economic context and helps illustrate and explain the difficulties China faces in trying to reduce its absolute CO 2 emissions and why it instead proposes to reduce its CO 2 per unit of GDP.

Because of its enormous population, rapid economic growth, and heavy reliance on coal, China passed the United States as the world's largest source of CO 2 emissions in 2006. China is also becoming a major factor in the global oil market. This article analyzes China's energy production and consumption, with a focus on the energy and CO 2 emissions per capita and per unit of gross domestic product (GDP) and the mix of energy sources and end uses. Energy flow diagrams for 1987 and 2007 make it possible to visualize the allocation of energy from sources through energy transformation to final uses in units of metric tons of coal equivalent. Declining coal use by residences, agriculture, and transportation has been more than offset by a massive increase in electricity and industry usage. The article places these changes in political—economic context and helps illustrate and explain the difficulties China faces in trying to reduce its absolute CO 2 emissions and why it instead proposes to reduce its CO 2 per unit of GDP. 由于其人口众多，快速的经济增长，和对煤炭的严重依赖，中国在2006年超过美国成为世界上最大的二氧化碳排放源。中国也正成为一个全球石油市场的主要因素。本文分析了中国的能源生产和消费，着重于人均和单位国内生产总值（GDP）的能源和二氧化碳排放量，以及能源的来源和最终用途的混合。1987和2007年的能流图使通过能最转换到最终用途的，以吨标煤为单位的能源配置可视化成为可能。住宅，农业，和运输煤炭下降的使用己被在电力和工业界巨型的增量使用过度抵消了。文章把这些变化放置于政治和经济的背景，并有助于说明和解释中国在试图减少其绝对二氧化碳排放量面临的困难，和为什么它建议减少其单位GDP的，而不是绝对的二氧化碳排放量。 Debido a su enorme población, rápido crecimiento económico y alta dependencia en carbón mineral, China sobrepasó a Estados Unidos en 2006 como la fuente más grande de emisiones de CO 2 . China también se está convirtiendo en un factor mayor del mercado global del petróleo. Este artículo analiza la producción y consumo de energía en China, enfocando el tema de la energía y las emisiones de CO 2 per cápita y por unidad del producto nacional bruto (PNB) y la mezcla de fuentes de energía y usos finales. Los diagramas de flujos de energía para 1987 y 2007 hacen posible visualizar la asignación de energía desde las fuentes, a la transformación de la energía, hasta los usos finales en unidades equivalentes a toneladas métricas de carbón. La disminución del uso de carbón en residencias, agricultura y transporte ha sido poco menos que opacado por un incremento masivo en su uso para electricidad e industria. El artículo coloca estos cambios en contexto político—económico y ayuda a ilustrar y explicar las dificultades que enfrenta China al tratar de reducir sus emisiones de CO 2 en términos absolutos y por qué en su defecto propone reducir su CO 2 por unidad de PNB.

Inhabitants of Phoenix tend to think small but live big. They feel connected to individual neighborhoods and communities but drive farther to get to work, feel the effects of the regional heat island, and depend in part for their water on snow packs in Wyoming. InMetropolitan Phoenix, Patricia Gober explores the efforts to build a sustainable desert city in the face of environmental uncertainty, rapid growth, and increasing social diversity. Metropolitan Phoenixchronicles the burgeoning of this desert community, including the audacious decisions that created a metropolis of 3.6 million people in a harsh and demanding physical setting. From the prehistoric Hohokam, who constructed a thousand miles of irrigation canals, to the Euro-American farmers, who converted the dryland river valley into an agricultural paradise at the end of the nineteenth century, Gober stresses the sense of beginning again and building anew that has been deeply embedded in wave after wave of human migration to the region. In the early twentieth century, the so-called health seekers-asthmatics, arthritis and tuberculosis sufferers-arrived with the hope of leading more vigorous lives in the warm desert climate, while the postwar period drew veterans and their families to the region to work in emerging electronics and defense industries. Most recently, a new generation of elderly, seeking \"active retirement,\" has settled into planned retirement communities on the perimeter of the city. Metropolitan Phoenixalso tackles the future of the city. The passage of a recent transportation initiative, efforts to create a biotechnology incubator, and growing publicity about water shortages and school funding have placed Phoenix at a crossroads, forcing its citizens to grapple with the issues of social equity, environmental quality, and economic security. Gober argues that given Phoenix's dramatic population growth and enormous capacity for change, it can become a prototype for twenty-first-century urbanization, reconnecting with its desert setting and building a multifaceted sense of identity that encompasses the entire metropolitan community.

[...]when he exchanges his country life for the confinement of an invalid's overstuffed London bedroom, he is dizzy with the cloying \"general stew\" of \"eau de cologne and coal dust,\" tapestry and plush, his imprisonment punctuated by chafing walks on a chain as Miss Barrett is wheeled out in a bath chair. In the 1880s, its penniless young author becomes a transport rider, leading loaded ox-drawn wagons through trackless bushveld and over perilous mountain ranges to the early gold-rush towns of the Transvaal.

\"Come in. Come in,\" she said at once. \"I've such a good book I'd like to share with you.\" So I followed her into the hall. This was well before Kim and Aggie had made us familiar with the nation's major filth packets, so I knew nothing of festering lavatory bowls and of larders knee-deep in rat droppings. Alan Bennett had not yet gone public on his front-garden squatter. So I walked into an interior that I'd had no idea existed. [Veronica]'s walls were black. Black cobwebs hung like ropes from the ceiling. Open doors gave on to two ground-floor living rooms, each crammed with damp cardboard boxes and postwar babies' prams piled high with scraps of ancient carpet underfelt and equally ancient newsprint. The smell of the place was retch-inducing; dog, mould, cigarettes, vomit, urine, animal innards; a medley of rotting matter. We went upstairs to the first-floor front bedroom where she spent the entirety of her day. Its three sash windows had holes in the glass. Radio 4 was blasting out, distorting at maximum volume from a rickety bedside table. \"I'll never go into a home,\" she said. \"It's nothing but Knees Up Mother Brown until they carry you out in a box. Paper shrouds for paupers,\" she said. \"No thank you.\" Veronica's tobacco-brown dentures were leering at me from a glass beer tankard beside the radio. She promptly put them into her mouth and pitched the tooth water out of one of the holes in the window panes, on to the roof of the bay; her system for slopping-out. \"You can't take that!\" Veronica said. \"It's our best travelling pram. And that's our pram for dogs in splints!\" Veronica hadn't been out with dogs for something like five years.

In \"Writers' rooms\" (December 29), the artist I referred to as...

There are nail marks in the wall because I've replaced the pictures of colonial buffalo hunts and Moravian mission churches with my friend Kassandra Pardee's \"quinces\", and her drawing of her yoga \"warrior position\" on the book stand is intended to urge me upwards and onwards.

Some years after coming to London, I discovered myself playing hooky from my thesis on the poetry of Dante Gabriel Rossetti, because the voices of my wholly imagined Goldman family kept talking inside my head and I couldn't stop myself from listening. I practised this rudimentary fictional indulgence, all alone in the middle of the night, as a guilty but compelling musical experience. I tapped out the rhythms of Goldman-speak, talking out sequences into the mirror, and began to balance these with the slower rhythms of narrative interludes. I \"wrote\" what became my first novel as a predominantly internal audio-experience over the next decade, all through my teaching phase and on into my early childraising years, while dawdling, trance-like, at toddler's pace, to the corner shop and back. By 1980 I knew its 225 pages by heart. For the second book, after consistently falling asleep over kiddies' bedtime readings of The Hobbit , I changed my habits and retired before 10, to rise at 4am. This impinged on the texture of the work, because falling out of bed in a half-dream state causes an intriguing, unconscious patterning in a novel; reviews have often referred to my \"intricate plots\". But I don't plot these plots. I make a secret theatre in which inanimate creatures get up and dance for me in the dark. It's the best fun, and best torment I know.