But tell me T-Dogg what did you learn about Noetic Sciences?
http://www.amazon.com/Lawrence-Aaronsohn-Aaron-Arab-Israeli-Conflict/dp/0143113828/ref=sr_1_1?ie=UTF8&s=books&qid=1257894130&sr=1-1
Lawrence and Aaronsohn: T. E. Lawrence, Aaron Aaronsohn, and the Seeds of the Arab-Israeli Conflict
From The New Yorker
Florence chronicles the birth of the modern Middle East by narrating the intersecting lives of two remarkable men.
The portrait of T. E. Lawrence?a deeply British romantic who, despite his talent as a tactician, was unable to deliver on his promises to the Arab fighters he had led during the First World War?is persuasive if not particularly original.
Florence is clearly much more taken with the less celebrated Aaron Aaronsohn, a brilliant agronomist instrumental to the survival of early Zionist settlements in Palestine.
He became a spy for the British, at great risk to himself and his family. (His sister was tortured by Turkish officers who suspected her, correctly, of assisting in the espionage.)
Florence skillfully blends geopolitical history and cloak-and-dagger tales but, regrettably, includes no detailed portrait of any Arab figure; the Arabs serve, instead, to inspire or frustrate the designs of others, whether British, Jewish, or Turkish.
From Publishers Weekly
In this dual biography of two key figures in Middle Eastern history, Florence (Blood Libel) grounds the clash of Arab and Jewish nationalisms in the Ottoman Empire's collapse during WWI. T.E. Lawrence (of Arabia) was a flamboyant British officer and romantic partisan of a mythologized Arab people, who cobbled together an anti-Turkish revolt out of fractious Bedouin clans.
Aaron Aaronsohn, a Palestinian Jew and an agronomist who pioneered the Zionist effort to make the desert bloom, organized a spy ring to feed intelligence on Ottoman defenses in Palestine to the British.
There's suspense and pathos in Florence's saga of the war-torn Middle East?Aaronsohn's sister, also a spy, was tortured by the Turks and committed suicide?along with eye-glazing diplomatic wrangling as Aaronsohn and Lawrence try to influence British policy toward conquered Ottoman lands.
Florence's portraits of his protagonists color his account of the competing political claims. His depiction of Aaronsohn makes Zionism the more authentic nation-building project, deeply rooted in the careful stewardship of a soil watered with Zionist blood, while Arab nationalism comes off as largely a shallow, alien conceit imported by an eccentric Englishman to Bedouin more interested in booty than independence.
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Boo shame. 
:-] 
