War and Peace in the Global Village is a meditation on accelerating innovations leading to identity loss and war.

In The Global Village, McLuhan and co-author Bruce R. Powers propose a detailed conceptual framework in terms of which the technological advances of the past two decades may be understood. At the heart of their theory is the argument that today's users of technology are caught between two very different ways of perceiving the world. On the one hand there is what they refer to as Visual Space--the linear, quantitative mode of perception that is characteristic of the Western world; on the other hand there is Acoustic Space--the holistic, qualitative reasoning of the East. The medium of print, the authors argue, fosters and preserves the perception of Visual Space; but, like television, the technologies of the data base, the communications satellite, and the global media network are pushing their users towards the more dynamic, "many-centered" orientation of Acoustic Space.

The authors warn, however, that this movement towards Acoustic Space may not go smoothly. Indeed, McLuhan and Powers argue that with the advent of the global village--the result of worldwide communications--these two worldviews "are slamming into each other at the speed of light," asserting that "the key to peace is to understand both these systems simultaneously."

Employing McLuhan's concept of the Tetrad--a device for predicting the changes wrought by new technologies--the authors analyze this collision of viewpoints. Taking no sides, they seek to do today what McLuhan did so successfully twenty-five years ago--to look around the corner of the coming world, and to help us all be prepared for what we will find there.

The main weaknesses of this volume are that it does not include excerpts from the hyper-kinetic and image-packed "The Medium is the Massage" -- his main contribution to pop culture of the late '60s -- and that the sources of each passage are noted only in an appendix. It would have been nice if sources were noted at the beginning or end of each linear text, and I hope this is addressed in future editions. Other than these minor editorial quibbles, this book is highly recommended.

Some of these articles were written before the subsequent book was envisioned: they are preliminary forays into new territory. Some were written after the book and encapsulate major themes; some set out additional discoveries or matters left out of the book; some present material discovered as a result of writing the book. The McLuhan Unbound offprints series is not the last word in presenting McLuhan's ideas and discoveries, but the first.

The collection is so fresh that most probes will be new to even the most avid readers of McLuhan, and opens a new portal to McLuhan's mind, one that promises to change the ways in which we recognize and interpret McLuhan in the future. Readers will marvel at how the consistency, the clarity of concept, and the abundant wealth of observations, some made twenty or thirty years apart, dovetail to form a whole.

Art Director and Designer David Carson presents McLuhan's images with new insight, and has built a work of art that is reminiscent of those lasting works permanently commissioned and interpreted by new generations.

Including essays by Anglophone, Francophone, and First Nations writers, the Reader is divided into three parts, the first of which features essays by scholars who helped set the agenda for cultural and social analysis in Canada and remain important to contemporary intellectual formations: Harold Innis, Marshall McLuhan, and Tony Wilden in communications theory; Northrop Frye in literary studies; George Grant and Harold Innis in a left-nationalist tradition of critical political economy; Fernand Dumont and Paul Émile Borduas in Québécois national and political culture; and Harold Cardinal in native studies.

The volume’s second section showcases work in which contemporary authors address Canada’s problematic and incomplete nationalism; race, difference, and multiculturalism; and modernity and contemporary culture. The final section includes excerpts from federal policy documents especially important to how Canadians conceive of their social, political, and cultural circumstances. The Reader opens with a foreword by Fredric Jameson and concludes with an afterword in which the Québécois scholar Yves Laberge explores the differences between English-Canadian cultural studies and the prevailing forms of cultural analysis in Francophone Canada.

Contributors. Ian Angus, Himani Bannerji, Jody Berland, Paul-Émile Borduas, Harold Cardinal, Maurice Charland, Stephen Crocker, Ioan Davies, Fernand Dumont, Kristina Fagan, Gail Faurschou, Len Findlay, Northrop Frye, George Grant, Rick Gruneau, Harold Innis, Fredric Jameson, Yves Laberge, Jocelyn Létourneau, Eva Mackey, Lee Maracle, Marshall McLuhan, Katharyne Mitchell, Sourayan Mookerjea, Kevin Pask, Rob Shields, Will Straw, Imre Szeman, Serra Tinic, David Whitson, Tony Wilden