This volume contains the proceedings of a conference held at the National Institutes of Health in Bethesda on March 21-23. 1988. jointly sponsored by the International Council for Control of Iodine Deficiency Disorders (ICCIDD) and the Fogarty International Center of the National Institutes of Health. Several themes converged to make this meeting timely. The first is an increasing awareness of iodine deficiency disorders as a world-wide problem of public health and a preventable cause of mental deficiency. and as a subject of scientific effort. Increased interest in these problems owes a great deal to accessibility to remote and under developed areas of the world where iodine deficiency persists. As with any subject. greater scrutiny yields unexpected complexity and interest. It is true that provision of iodine. typically as iodized salt, is the necessary and sufficient preventative for iodine deficiency disorders. without including endemic cretinism. This provision is a governmental, economic and social problem. Apart from this, however, the scientific and medical problem of iodine deficiency and its effect on brain development and function is one of great interest and importance for developmental neurology and psychology. Even though the specific preventative agent is known, we do not totally understand the neurobiological questions raised."

Witness the unforgiving journey for safety and security in the next chapter of The Plague series as brothers Matthew and Jason, along with their returning companions, battle the undead and face unspeakable horrors while dealing with the unstable members of the surviving human population. Faith becomes questioned, relationships become strained, and trust becomes weakened. Just as they begin to find a shelter, a place where they can build a safe life around, a new evil begins to emerge that will threaten to take everything that they love away from them.

Who says it is impossible to study music and literature at the same time? Why can't a theorist apply techniques from one discipline to the other and expect consistent results? Is there something inherently difficult about studying art that makes these kinds of explorations a fool's errand? In the end, who gets to say if art, especially Impressionism, has defined meaning or debatable conclusions? This work establishes a degree of precedence for further study of the similarities between Modernist artists across media boundaries. By looking at the work of Duke Ellington and Ernest Hemingway we see how revolutionary and popular artists in their respective Modernist eras draw upon similar techniques in their compositional styles. Uniting these two artists under the banner of Impressionism requires a methodology excitedly interested in delving into the mire of emotional response. Passionate feelings about hermeneutics and interpretation should be embraced as opposed to shunned. In this, we see exactly how wrestling with these preconceived tendencies can illuminate hidden structures at play in how we look at the world.