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Is Spider-Man Leaving The MCU Because Of Sony And Disney's Disagreement? Here's What We Know
By Angie Han 5 months
Just when you thought all the remaining Avengers were safe, a new threat has emerged.
Sony and Disney have been unable to reach new terms in their partnership over Spider-Man, and as a result, Deadline reports, Marvel Studios president Kevin Feige will no longer serve as producer on future films about the webslinger. Mashable has reached out to both studios for comment.
Does this mean Spider-Man is out of the Marvel Cinematic Universe?
Unclear. The report does not indicate that Spidey is out of the MCU, only that Feige will not be lead creative producer on the character's movies going forward. Theoretically, it's possible Sony and Disney could agree to keep making Spidey movies that are part of the MCU, just without Feige as a credited producer.
That said, Feige is the mastermind overseeing the entire MCU, and it seems unlikely he'd be willing to relinquish too much creative control over one of the franchise's most popular characters. He may insist that Spider-Man no longer be part of the MCU, or he may reposition the character's role in the series going forward (for example, by making him less central to the Avengers films.) So, TL;DR: Maybe, but not necessarily.
Does this mean Tom Holland is done playing Spidey?
Again, hard to say for sure right now with so much in flux — but at present, it seems as though the plan is for Holland to stay on as the character.
According to sources who spoke with Deadline, Sony currently has two more Spider-Man movies in the works with Holland as Peter Parker and Jon Watts (who helmed Homecoming and Far From Home) as director. Amy Pascal, who produced both of Holland's Spider-Man solo films, is also on board.
In other words, we could be looking at a situation in which Holland is still Peter Parker, but Holland's future Peter Parker movies are not considered canonical to the MCU.
What does this mean for Sony's other upcoming Spider-Man movies?
As far as we know, there is no reason to assume Sony's other upcoming Spider-Man and Spider-Man-related projects, like the sequels to Venom and Spider-Man: Into the Spider-Verse will be affected. Though Feige has had an unofficial hand in Sony's non-MCU Spider-Man movies, he isn't a creative lead.
What is this dispute over, anyway?
Money, of course. The short version: Disney wanted more favorable terms, and Sony liked the terms they already had, and the two sides have been unable to reach an agreement.
The longer version: Disney reportedly wanted to share a 50/50 partnership with Sony on Spider-Man movies going forward, and possibly other Spider-Man-related movies as well, like Venom. Sony rejected those terms, preferring to keep the current arrangement whereby Marvel receives around 5 percent of first-dollar gross.
The reason Disney needs to battle Sony over Spider-Man in the first place is because Sony has the rights to the character, going back to before the MCU was even a twinkle in Kevin Feige's eye. But in 2015, the two studios announced a deal to share the character, thus allowing Spider-Man to join the MCU in Captain America: Civil War and onward.
How is the internet taking this?
About as well as you'd expect, which is to say not well at all.
"Can't wait to see Spider-Man interact with the X-Men and F4 on screen"
Sony:pic.twitter.com/EyfJdooOoN
— Comic Book Talk (@ComicBooksTalk) August 20, 2019
the spider-man 3 curse is real i guess pic.twitter.com/aEK1yyZHsV
— isabella (@NAK1AS) August 20, 2019
WHO DID THIS?!?!?!#SpiderMan pic.twitter.com/IVA64UtvbE
— Jose Salvador (@JoseSalvadorIII) August 20, 2019
Although some people were excited in a good way. Hey, not everyone likes the MCU Spider-Man movies.
No more mcu Spider-Man the evil has been defeated
pic.twitter.com/4Fbs8qZz1z
— doom patrol propaganda (@batmurdocks) August 20, 2019
So exactly how much should I be freaking out right now?
Not at all — for now. As outlined above, it remains uncertain what exactly this means for Spidey's future films. Until the dust settles, we won't even know what there is to get upset about. (And if and when there is something to be upset about, we'll be right there screaming and weeping with the rest of you.)
Plus, things could still change. Sony and Disney are at a stalemate right now, but as Variety notes, a deal could still be worked out. If conversations pick back up again and the two are able to find a compromise, the partnership could continue uninterrupted for future films.
Indeed, it's not out of line to wonder if the Deadline story itself is a negotiating tactic on Disney's part to gain some leverage by prodding fans to pressure Sony into caving. It's not an unheard-of strategy for industry players — and if all the yelling on Twitter is any indication, it might even be a pretty effective one.
WATCH: Five Marvel movies to look forward to after 'Avengers: Endgame'
TOPICS: Entertainment, Spider Man, movies tv shows, Movies & TV shows, Disney, Marvel, Sony, Venom, Avengers Endgame, Genesis by Mashable India, Spider-man Far From Home, Robert Downey Jr, Marvel Cinematic Universe, Tom Holland, Jeremy Renner, comic-culture, Marvel Studios, Kevin-feige, Avengers: Infinity War, Captain America: Civil War, Jon-watts, Spider-man: Homecoming


AutoCAD Inventor :: Changing Dimension Text Size In IDW 2D Drawing? Feb 13, 2013. How do you change the dimension text size in an .idw 2D drawing?... 2/03/2017�� Are you trying to change the text size for new dimensions, or change existing dimension texts? If you are trying to change existing dimension texts then check to make sure that an 'override' has not been applied to the text size of the existing dimensions.
22/08/2007�� To change dimension text size go to your dimension style and check on the text tab what your text size is and change as required. let me know if you came wright!!! cheers how to become a chiropractor in nc 21/10/2014�� Previously i had done this, I opened the autocad template file into text stream and replaced the text which i want to change and saved it as a drawing. but it was not proper, because when i changed the text, size of the dimension lines are not change automatically. Dimension lines are appears over the text.
AutoCAD: Multi-line dimension text December 15, 2011 in AutoCAD , AutoCAD for Mac � 1 Comment It is really easy to add multiple text lines above or under your dimension line in AutoCAD. how to change my profile picture on facebook with ipad When you double click the dimension text, "text editor" and "edit text" windows will pop out. The problem is here, if you altered the text size in "Edit text" window, how to get the text size control back in dimension style windows?
When you double click the dimension text, "text editor" and "edit text" windows will pop out. The problem is here, if you altered the text size in "Edit text" window, how to get the text size control back in dimension style windows?


Want a big studio quality DCP at an indie friendly price and want it fast? You've come to the right place. SV2 DCP is by filmmakers, for filmmakers. Check out our pricing calculator, FAQ & credits from happy clients!
We've created hundreds of DCP's over the past 8 years that have played at Cannes, TIFF, Berlin, HotDocs, Fullframe and many more as well. Our DCP's have played perfect on the largest IMAX® screens and other premiere venues around the world. And we also provide quality, affordable for starving indie post-production services via SV2 Studios.
Visit our detailed Pricing Calculators for Features (over 45 minutes) and Shorts (under 45 minutes) for exact pricing.
SV2 DCP creates professional, major studio quality Digital Cinema Packages (DCP's) using a special in-house recipe designed to create the very best quality and fast turnaround – all at prices that indie filmmakers and producers can afford.
SV2 DCP is run by filmmaker Stephen van Vuuren of SV2 Studios. DCP's are created using the very best color, image and audio tools available in calibrated, tested controlled studio to ensure your film has never looked and sounded better.
SV2 DCP does not use off-the-shelf packages that often produce sub-par results – especially the lower priced packages. Nor does SV2 DCP rely on buggy, slow free tools.
SV2 DCP's process was developed for Stephen van Vuuren's own project – a giant screen film for IMAX theaters created at 6k resolution for screens 8 stories high. To avoid the 5 figure prices for high end DCP's that major post houses charge, he had to develop a low-cost process that matched them in quality.
Please read more about SV2 DCP's DCP process as well as helping you create your Digital Cinema Master (DCDM) and getting help with any other post production task including surround mixing, color correction or final mastering.
"Stephen at SV2 Studios did an absolutely amazing job on the Bad To The Jones DCP! The quality of the picture on the big screen exceeded my expectations beyond belief! Seriously, he's the best and I recommend him to any and everybody needing a high quality DCP. "


A special needs trust* (SNT) is a trust that is established to benefit a disabled person or a person who has special needs, while still allowing that person to qualify for and receive government health-care benefits.
Some government programs aimed at assisting the disabled, such as Medicaid and Supplemental Social Security Income (SSI), are needs-based. Meaning, if the disabled individual has access to more than a specified level of resources (generally $2,000), he or she will not be eligible to receive such benefits. In 1993, Congress officially approved the use of SNTs to maximize the use of all available resources, both private and governmental, to provide more fully for the needs of the disabled.
This is created for the sole benefit of a disabled person who is under age 65. The trust must be established by the disabled person's parent, grandparent, or guardian, or by the court. It cannot be created by the disabled person. However, the disabled person can fund the trust. For example, with money that has been inherited or received in settlement of a lawsuit, or as a result of a divorce.
As previously stated, in order to qualify for Medicaid and SSI, the person who is enrolling must have a limited amount of income and resources. Generally, Medicaid and SSI will look back 60 months to see if assets have been transferred to someone else in order to qualify for benefits, and if so, a penalty will be imposed. Transferring assets to an SNT, however, does not trigger these look-back provisions.
One benefit of a self-settled trust is that assets in the trust will not be countable as resources for eligibility purposes.
One disadvantage is that upon the disabled individual's death, any money or assets remaining in the trust must be used to reimburse the government for Medicaid benefits extended to the individual during his or her lifetime.
This is a trust managed by a nonprofit organization. Funds are pooled for investment purposes, but separate subaccounts are maintained for each disabled beneficiary. A pooled SNT works in the same way as a self-settled SNT. However, with a pooled SNT, the disabled individual can create the account for himself or herself.
Additionally, any funds remaining in the account upon the individual's death can be used to pay back Medicaid, or they can remain in the pooled SNT to help others in the pool, depending on state law.
This is a trust created by a disabled person's parent or other third party. This type of SNT has no payback requirement. The person establishing the trust must not have a duty to support the disabled child, so the child must be age 21 or older, depending on state law. There is no requirement that the disabled person be under the age of 65. In some states, transfers to a third-party SNT may trigger the Medicaid or SSI penalty period.
*There are fees associated with creating a trust.


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Complex 40Ar/39Ar age spectra from low metamorphic grade rocks: resolving the input of detrital and metamorphic components in a case study from the Delamerian Orogen
Anthony Reid1,2, Marnie Forster3, Wolfgang Preiss1,2, Alicia Caruso1, Stacey Curtis1,4, Tom Wise1, and Naina Goswami3 Anthony Reid et al. Anthony Reid1,2, Marnie Forster3, Wolfgang Preiss1,2, Alicia Caruso1, Stacey Curtis1,4, Tom Wise1, and Naina Goswami3
1Geological Survey of South Australia, Department of State Development, GPO Box 320, Adelaide, SA 5001, Australia
2Department of Earth Sciences, School of Physical Sciences, University of Adelaide, SA 5005, Australia
3Mineral Exploration Cooperative Research Centre, Research School of Earth Sciences, The Australian National University, Canberra, ACT 2601, Australia
4Mineral Exploration Cooperative Research Centre, STEM, University of South Australia, Mawson Lakes, Australia
Received: 01 Dec 2021 – Accepted for review: 13 Dec 2021 – Discussion started: 17 Dec 2021
Abstract. Low metamorphic grade rocks contain both detrital minerals and minerals newly grown or partly recrystallised during diagenesis and metamorphism. However, rocks such as these typically yield complex 40Ar/39Ar age spectra that can be difficult to interpret. In this study, we have analysed a suite of variably deformed rocks from a region of low metamorphic grade within the c. 514–490 Ma Delamerian Orogen, South Australia. The samples analysed range from siltstone and shale to phyllite and all contain either muscovite or phengite determined by hyperspectral mineralogical characterisation. Furnace step heating 40Ar/39Ar analysis produced complex apparent age spectra with multiple age components. Using the concept of asymptotes that define minimum and maximum ages for different components, we interpret the age spectra to preserve a range of detrital mineral ages, along with younger components related to either cooling or deformation- induced recrystallisation. Two samples contain Mesoproterozoic detrital age components, up to c. 1170 Ma, while the c. 515 Ma Heatherdale Shale which has both c. 566 Ma and c. 530 Ma detrital components. All samples contain younger lower (younger) asymptotes in the age spectra defined from multiple heating steps that range from c. 476 to c. 460 Ma. One interpretation of these younger ages is that they are caused by post-metamorphic cooling. However, the shape of the age spectra and the degree of deformation in the phyllites suggest the ages may record recrystallisation of detrital minerals and/or new mica growth during deformation. Potentially these c. 476 to c. 460 Ma ages suggest deformation in the upper portion of the orogen was facilitated by movement along regional faults and shear zones up to around 20 million years after the cessation of deformation in the high-metamorphic grade regions of the Delamerian Orogen.
How to cite. Reid, A., Forster, M., Preiss, W., Caruso, A., Curtis, S., Wise, T., and Goswami, N.: Complex 40Ar/39Ar age spectra from low metamorphic grade rocks: resolving the input of detrital and metamorphic components in a case study from the Delamerian Orogen, Geochronology Discuss. [preprint], https://doi.org/10.5194/gchron-2021-41, in review, 2021.
Preprint (PDF, 5650 KB)
Supplement (43 KB)
Preprint (5650 KB)
Anthony Reid et al.
Status: open (until 11 Feb 2022)
Complex 40Ar/39Ar age spectra from low metamorphic grade rocks, Delamerian Orogen, Reid et al, Anthony Reid, Marnie Forster https://doi.org/10.17632/g75hgmypbw.1
Age dating of rocks in mountain belts is often undertaken using minerals that grow at relatively high temperature and pressure deep within these belts. However, the upper, cooler parts of mountain belts also contain information on the process by which they formed. Using the radioactive decay of potassium to argon, we investigate the upper part of an ancient mountain belt and discuss how to interpret the complex age signals that can be obtained by this method.
Age dating of rocks in mountain belts is often undertaken using minerals that grow at relatively...

redpajama_set_name: RedPajamaCommonCrawl


Youth-onset type 2 diabetes is a growing clinical problem, spurred by America's epidemic of childhood obesity. Unfortunately, there are currently few good approaches for managing these patients. The first and largest randomized clinical trial addressing the issue was the Treatment Options for Type 2 Diabetes in Adolescents and Youth (TODAY) study, reported in The New England Journal of Medicine in April 2012. It found that almost half of participants in the study, all with type 2 diabetes, could not maintain adequate glycemic control while taking metformin alone.
TODAY study in November 2015, as principal investigator at UH Rainbow Babies & Children's Hospital.
Now, however, a new analysis of data from the TODAY study is pointing to a more effective predictor for managing these patients. Researchers writing recently in the journal Diabetes Care report that children and adolescents with type 2 diabetes can be divided into two groups, based on their HbA1c levels after a few months on metformin therapy. These levels, in turn, predict the likelihood of treatment success.
Paul McGuigan, RN, a certified diabetes educator and nurse coordinator for the TODAY study, both at UH Rainbow Babies & Children's Hospital and nationally, was a co-author of the Diabetes Care study.
For both McGuigan and Dr. Gubitosi-Klug, the new analysis reinforces the importance of early diagnosis of type 2 diabetes in children and teens – and early, aggressive treatment to get HbA1c levels down.
"We believe identifying these kids even earlier, treating them promptly and closely monitoring their A1c levels, may have long-lasting benefits on the progression to requiring additional therapies," Dr. Gubitosi-Klug says.
It also suggests that current HbA1c targets may be too high for this unique group of young patients.
Building on the TODAY study, Dr. Gubitosi-Klug, McGuigan and their colleagues at other children's hospitals have begun planning for another study aimed at identifying optimal treatment for children and teens with type 2 diabetes. They'll continue looking more closely at patients who respond well, while at the same time monitoring the impact of multiple oral medications on glycemic control.
For more information about UH Rainbow Babies & Children's Hospital's role in the ongoing TODAY study, contact Dr. Gubitosi-Klug or Paul McGuigan at Peds.Innovations@UHhospitals.org.
The research referenced in this article was funded by a grant from the National Institutes of Health to Case Western Reserve University School of Medicine.


Kids interested in marketing, media, and economics will love these consumer science projects! From testing commercial products against its competitors and homemade alternatives to studying how these consumer goods influence our society, Education.com has a project that will make your child stand out in her upcoming science fair!
How Effective Are Funny Advertisements?
The objective of this experiment is to evaluate whether funny advertisements are more or less effective than serious advertisements.
What is the best stain remover for clothes? In this fun and easy science fair project idea, students will identify the best method for laundry stain removal.
What Shampoos Do the Best Job of Keeping the colour in Dyed Hair?
The objective of this science fair project idea is to explore which brands of "anti-fade" shampoos work the best to keep hair colour looking fresh.
How do Different Kinds of Natural Hair Respond to Bleach?
In this science fair project, we will test how different kinds and shades of hair respond to bleach.
The goal of this science fair project is to demonstrate current methods of detecting counterfeit money, in particular counterfeit detection pens.
In this cool science experiment, test and compare the adhesive holding strength of homemade casein glue versus commercial glue.
In this cool psychology experiment, study how companies air commercials to strategically advertise to viewers who will buy their products.
Compare the whitening abilities of four different brands of whitening toothpaste to see which one whitens the fastest and which one whitens the most.
The Music Behind Business: Does Tempo Affect Customer behaviour?
This project explores whether the tempo of the background music we hear in a businesses is important to the environment and how customers move.


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PRIVATE TRANSFERS AND TOURS
Athens guide / By devgreatway
The Presidential Mansion Gardens occupy an area of about 25,000 square metres (just over 6 acres) and constitute a green haven in the centre of Athens. In the middle of the nineteenth century, this area, because of its especially fertile soil, was in fact the vegetable garden of the former Royal Palace (Crown Prince's Palace, now the Parliament building), designed by Ernst Ziller.
After the erection of the mansion in 1897 and the construction of Herodou Attikou Street, the area which surrounded the Crown Prince's Palace was fashioned into a large ornamental garden. The planning of this appears to have been assigned to Ziller's technical office. The selection of suitable plants, though, apparently was entrusted to a Greek specialist, since most of the trees are native to Greece.
From the very beginning, the garden was divided into two large sections because of the slope of the land. The building is situated in the upper section.
The design of the garden in front of the building was similar to that of other neo-classical structures of the period (the Academy, the University and the National Library). The gardens follow a relatively rigid geometric plan of the French type, with symmetrical beds of grass and seasonal flowering plants. The formalism of the composition approaching Herod Atticus Road is alleviated by the perennial plane trees, lindens, palms and cypress trees.
Admission at the Presidential Mansion Gardens is free, with the display of a police identity card or passport.
NATIONAL ART GALLERY & ALEXANDROS SOUTSOS MUSEUM
GOULANDRIS NATURAL HISTORY MUSEUM
BYZANTINE & CHRISTIAN MUSEUM
Villathetisathens@gmail.com
Chrisostomou Smirnis&Thetidos, NeosVoutzas, 19005, Attica Greece
Private transfers & tours
Greek National Tourism Organization License Number: 499641, 478246, 499925, 478337
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Discussing Action and Adventure Storytelling in Print, Film, Television, and Popular Culture
The COMMANDO Series
COMMANDO Guns and Gear
Killer Instincts
My Short Fiction
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Quick Review of The Hunger Games
So I saw the movie on Sunday. There was a scheduled showing every 10 minutes from 2:50 to 3:40 when I arrived, and everything was sold out by 3:00 except the 3:20, which was almost full by the time I sat down. I don't think in the last 10 years, I've gone to the movies on a Sunday afternoon and seen that place so completely mobbed. No wonder THG hit one of the highest weekend grosses of all time.
I've not read the books, but I wasn't the least bit confused by the background and plot of the film. If you've watched a number of other "Most Dangerous Game" styled movies, you can push the fiddly bits aside and watch teenagers hunt and kill each other for sport. About that - I didn't have any problem with what I saw, and I would have been willing to take a kid (if I had one) to see this movie if they were old enough to read and fully comprehend the book. I've seen people who claim they wouldn't even let 15-year olds see the movie. What reality are these parents living in? I've no idea. I was reading Vietnam memoirs in grade school, so maybe it's just me.
Overall, I thought this was a very solid film. I was certainly more emotionally invested in the story and the characters than I was watching John Carter. The issues that these sorts of "gladiatorial" movies bring up, such as The Running Man, Spartacus, Gladiator, Gamer, Death Race 2000 (and to a lesser extent the remake) and so forth are all relatively similar. The clincher is of course making the combatants teenagers, and also teenagers of a wildly varying age range. Pitting a 12 year old girl against an 18 year old boy is, by and large, going to be an unfair fight. I'm not going to post any spoilers here, but let's just say the fighting isn't always fair, and comments early on in the film about how the most dangerous opponent in the Games is the arena itself are certainly true.
Overall acting and screenplay I thought were solid. Child actors, especially those having to play very emotional roles, can be really good or incredibly awful. I definitely feel that the cast for this film was well-chosen, and although there were a few chuckle moments for me, that's mostly because I'm a bastard and often find myself laughing when others weep. So sue me.
I did say this would be a quick review, so I'll leave it at that. For a story that comes from a Young Adult novel, I think this was a very good movie and well worth the money I paid. I only wish I took the money I spent on John Carter and used it for this ticket instead. It's actually kind of sad that a story that's almost a hundred years old gets handled so poorly while a book that's only been out a couple of years does so well. I wouldn't want to see their fortunes reversed, but it is interesting to see the differences in how the two franchises have been handled.
Posted by Jack Badelaire at 10:25 AM 5 comments
Labels: action, books, movie reviews, movies, post-apocalyptic, science fiction
Book Review: The Gryphon of Tirshal by Henry Brown
I read this book immediately after I read Henry's first story in this series, The Bloodstained Defile. There, three warriors - the Black Lancer Sir Javo, the horse-archer Turgar, and the enormous Krag the Wrecker - formed an alliance of arms after, well, almost killing each other. In The Gryphon of Tirshal, the three agree to hunt down and kill the Gryphon of Tirshal, a powerful, near-mythical beast which once guarded the city of Tirshal from danger, but now seems to be stealing children and treasure from the city's homes.
TGoT is a pretty interesting story. Beyond the action and adventure, Henry delves into the world of politics and the warrior culture, something familiar to him as a former U.S. Army serviceman. The Gryphon was once a guardian of Tirshal, but now it appears to have turned against the city - or has it? The concept of who turns against who, the protector or the protected, is explored in some detail, but it doesn't mire the story in burdensome philosophical exploration. There's plenty of head-cleaving, limb-hewing action, and after this second story, I found myself really wanting more adventures featuring Javo, Turgar, and Krag.
So if you get a chance, read both The Bloodstained Defile and The Gryphon of Tirshal. Two quick, entertaining reads that fans of the Sword & Sorcery genre will really enjoy.
Posted by Jack Badelaire at 2:35 PM 1 comments
Labels: action, book review, books, eBooks, pulp
Some General Updates and Announcements
As of this week, I have tentative commitments from all the contributors I'll need for Hatchet Force Journal #2. I hope to e-mail all the contributors this weekend and get the ball rolling on submissions that I haven't already received.
My Twitter feed has gained a lot of steam this month, and I'm almost at 300 followers. If you've got a Twitter account, please feel free to add me (@jbadelaire). I don't automatically re-follow everyone who adds me, but if it's clear you're not a 'bot or just looking to generate a huge following for no clear purpose, I'll follow back.
I've been falling behind on my reviews, so I hope to put together a bunch and have them auto-post over the next couple of weeks. Lots of indie material as well as other titles.
Sales of NANOK and the Tower of Sorrows have been slow, but I've still been able to peddle a few copies beyond friends and family. If you enjoy some tongue-in-cheek, violent as hell Sword & Sorcery adventure, give it a try. Perfect for sitting out on your deck with a couple of beers one of these gorgeous spring days.
I'm going to go see The Hunger Games this Sunday. I've never read the books, but I will try to get a short review up here after the film. Stay tuned.
Labels: action, books, eBooks, hatchet force, movies, pulp
Book Review: Blood and Tacos #1
I'm actually having a hard time writing this review because I'm somewhat overwhelmed by the amount of awesome packed into this short compilation. The idea is simple; short stories written as excerpts from longer works of men's adventure fiction that never existed, but goddammit, should have been written.
A brief overview:
The Silencer Strikes: The Silencer is one bad mother-shut your mouth! A Vietnam vet who has a penchant for silenced weapons and a hatred for organized crime. Also likes banging his dead best friend's sister, natch.
Longhair Death Farm: One of the many adventures of the Albino Wino and his albino alleycat, Chalky. Take David Carradine in Kung Fu and replace him with a drunken, trouble-finding albino bum, and then throw in cannibalism, hippies, AK-47's, and oral sex. No, I'm not even joking.
Battleground U.S.S.A.: Texasgrad: The Ruskies have invaded, the Mexicans have become their patsies, and gosh darn it, but home-town beauty Sunny Summerfield has been taken captive by some nefarious Red! Time to deliver a little justice, Texas-style! Oh, and don't forget to sharpen your tomahawks, spirit-brothers!
Bonds of Blood: When Tiger Team Bravo takes on an assignment, they see it through to the end, no matter how many eighteen wheelers they have to board by jumping from a low-flying Cessna whilst in the middle of a highway tunnel. Okay, so there's only one, but still, there's also 'splosions. And gold bullets. And a guy named Colonel Professor.
Blood and Tacos: Introducing Chingon, the World's Deadliest Mexican. Just picture Danny Trejo wielding a bullwhip and some hand grenades and you won't be too far off the mark. I'd already seen Machete like, four times in the theater and I had to fire it up at home again after reading this story.
There's also three book reviews: one of a Penetrator novel, one of a series called Raker that I'd never heard of, and another about a terrorist killing man-machine called Ben Slayton, T-Man. All three are great reviews with lots of humorous insight into the world of post-modern pulp fiction, especially how these books were, all too often, incredibly racist, sexist, piles of trash that, let's face it, we devour like a fat man crashing a wedding banquet.
Men's Adventure fiction from the 60's through the 80's was already derivative, cheesy, often inappropriate fun. That a group of talented writers got together and produced something derivative, cheesy, and often inappropriate that's not only fun, but friggin' hilarious, is an achievement worthy of high praise. Each of the shorts in this compilation does yeoman's work of replicating the literary DNA of their respective Men's Adventure sub-genres, and I definitely want to see more from each of these respective "forgotten series".
So do yourself a favor and go buy Blood & Tacos #1 today. If you don't, Chingon is going to make you explode with a hand grenade. And the explosion will kill you.
Labels: action, book review, books, eBooks, pulp, the penetrator
John Carter Sucked, or Why Hollywood Thinks too Hard
Warning, there are some spoilers ahead. Of course, if you actually care about this, you probably want to know what they are, so you can avoid this film and watch it on Netflix a year from now.
I saw John Carter on Sunday. I had high-ish hopes. I knew the plot was changed from the original Princess of Mars, but I also have an understanding of the differences between print and film and why certain changes have to be made. Unfortunately, many changes were made for No Reason At All. And this is what annoys me, folks. Hollywood buys up these classic stories, stories that have stood the test of time for generations and spawn whole genres, and then Hollywood screws with them because they fear the original idea "won't test well" or some nonsense.
This is the same major issue I had with this summer's Conan the Barbarian remake/reboot/whatever. REH wrote plenty of great material on Conan, and you could have even adapted some Kull material, or a blend of material from some of his other stories. But no. Despite eighty years of success and generations of loyal fans, we throw any vestige of a Howardian story out the window in favor of something completely fabricated by a committee of people only vaguely aware of Howard's works. What you're left with is something that has little to do with Howard's Conan and more to do with, I dunno, a Hercules & Xena remake. This isn't to say Milius' Conan stuck any closer to a Howardian plot, but hey, how about that Orchestral score by Basil Poledouris? Badass.
While John Carter in theory keeps a little closer to ERB's original story, the changes that are made make it, if anything, even more frustrating to watch. Rather than just throw out the entire plot and come up with something completely different, the moviemakers decided to shuffle a deck of plot points and, seemingly at random, throw them out in favor of new or altered ideas. Here is where the spoilers come along, folks. You've been warned.
First, the need for a magical techno-amulet gizmo to send Carter to Mars was stupid. In the book, its a creepy cave, with a strange property that sends him to Mars. Why? Who knows? Who cares? That it is some sort of mystical place, shunned by the Indians, is good enough for me. But no, we have to create some kind of McGuffin in the form of this teleportation amulet, which becomes this laborious plot point throughout the movie. Who has it? How does it work? How do we get ahold of it again? Precious minutes wasted.
Which, if I can digress, is my major problem with all these changes. If you want to change something and have a good reason, fine. But to A) change something for no good reason and B) have the change take up precious minutes of film that could be filled with more awesomeness, I get angry. There are a lot of cool adventuresome moments in A Princess of Mars that could have been put in / left in the film, but aren't, and instead, we have long, boring explanations as to how the "telegraph machine" works, or the Thern's aeons-long plan / habit of destroying world after world. Long, boring explanations that just add needless plot hooks that need to get sealed up later on in the film, wasting even more precious time.
Guess what folks! There's only one plot hook you need. John Carter, Chivalrous Southern Gentleman and Celebrated Fighting Cavalry Officer, meets Beautiful, Defiant, Spirited, Intelligent Dejah Thoris and falls in love with her, and she reciprocates that love. Carter then battles anyone and anything that gets between him and Dejah because, you know, that whole LOVE thing. This is a formula that has worked time and time again in classic Hollywood films for generations, and yet, for some reason, we throw it out. The only thing that motivates Carter is a need to get back home, and his relationship with Dejah Thoris is, through 90% of the film, more one of annoyed quips and banter than actual fondness. Perhaps Hollywood didn't think the actors or the script could pull off a believable love story? Guess what - GET NEW TALENT. Superman fell in love with Lois Lane, right? Spider-man loves Mary Jane, so on and so forth.
Instead, we have to introduce, out of the blue, some plot element about Carter's long-dead wife and child, which prevents him from loving Dejah, or admitting he's got feelings for her. Instead he fights for her and with her in order to find out the secret of going back home, and yet, at the end of the film, he THROWS THAT AWAY because he decides Barsoom is home to him. This all cycles back around to the techno-widget at the beginning of the film which showed him the mechanism by which he traveled to Barsoom in the first place. If we had just left it as a mystical cave with strange powers, the plot would have been streamlined considerably.
Which brings me to my next major beef - the Therns. Yes, they exist in the second book, and yes, you could have had them as an element in the movie without ruining things. But instead of the leaders of a religion that hides the lie of Issus' godhood and the secret of the River Iss, they become a needlessly hyperbolic race of galactic dicks who travel through the cosmos screwing over one planet at a time, and GUESS WHAT? When they are done with Mars, EARTH IS NEXT! BUM BUM BUMMM!
Why? Why was this necessary? Why does John Carter have to get involved in all these complicated plots and sub plots and twists and turns? The original story has more than enough adventure and derring do and enough political sophistication between the Tharks and the Zodangans and the Heliumites. There doesn't need to be Yet Another Player In The Game to confuse the issue, but not only do we introduce one, we have to waste more Precious Screentime in long, drawn-out explanations of the Thern's master scheme.
Stupid, stupid, stupid.
A Princess of Mars has been around for almost a hundred years, and it's probably been in print every year since it was published, and probably will continue to be until the written word dies out. The John Carter stories inspired a whole subgenre of science fiction and fantasy, the "Sword & Planet" genre, and if they aren't he best example of that genre (which I think they are), they are pretty damn close, and certainly the most epic of the Sword and Planet stories. Like Howard's Conan, if such stories can remain popular and stand the test of time for generation after generation and spawn whole genres of fiction, why Hollywood needs to go in there and screw with things is beyond me. Yes, sometimes changes need to be made. Making the Green Men only a foot or two taller than Carter, rather than 12-15 feet tall, made sense for the purpose of making a film. Trimming down or finding another way to handle a lot of the explanation scenes that take place in the first third or so of A Princess of Mars was probably necessary, although you could debate the way they did it.
But there was nothing at all wrong with the basic plot of the novel, and not only was it changed for no good reason that I could see, the changes that were made not only made the story more complex and confusing, the changes wasted time because they needed to be explained. Without the amulet, there was no need for them to travel down the River Iss, there was no need to waste all that screentime with the magical map of the solar system, there was no need to involve the Therns, there was no need for the pretty stupid "bait" ending to the film. You probably could have harvested back a good 40+ minutes of the movie (oh, yes, the beginning of the film with the Cavalry and the Indians, also needlessly complicated), which could have been used to show more ass-kicking adventure. Instead, everything felt so rushed, so briefly touched upon, that even the more kick-ass moments were rushed past because there was another plot element we had to get through.
So at the end of the day, we're left with a movie that does a half-assed job of not really adapting one of the founding works of interplanetary adventure science fiction. The movie will fail at the box office, and no one will touch the idea again for who knows how long, since Disney will have taken such a stinking dump on the whole idea.
Way to go, Disney. Way to go.
Labels: John Carter, movie reviews, movies, pulp, science fiction
Promoting the Fight Card Series
If you look at this blog and you don't drop by BISH's BEAT now and then, you're a fool. And if you don't take advantage of this two-for-one deal, you're an even bigger fool. Like action? Like crime? Like guys kicking the crap out of each other? Then buy some Fight Card, for cryin' out loud!
Book Review: The Bloodstained Defile by Henry Brown
Although he's best known as the author of the pulpy action adventure novel Hell and Gone, Henry Brown has written some great short fiction, including several tales of Sword & Sorcery adventure. I recently bought and read several of these, and they are highly recommended.
The first of his "Tales of the Honor Triad" is The Bloodstained Defile. I'll save time by quoting from the story's Amazon page:
Sir Javo left his native Cemar to join the Order of the Black Lancers, and has built a reputation as a champion in single combat. But the general he rides for now has tasked him to serve as a diplomat as well, to negotiate with gigantic cutthroat barbarians known for their rapine and savagery.
Krag the Wrecker has been promised treasure, a horse, and a king's concubine if he and his score of fellow giants can delay the advancing legions of Dijol's invading army. It's a suicide mission, but not an unwelcome one for warriors who worship Death.
Turgar the Lightning-Thrower was once a troop chief in the nomadic armies of the great Chieftain Supreme, until betrayed by a warrior-brother and framed for a capital crime. With a price on his head in the expanding empire of Gabom, he has ventured afar, hiring out his bow to the highest bidder. Now beyond the fury of battle, his feline eyes perceive the telltale signs of sorcery in the making. And sorcery is the one force that can cause him to loose his arrows on those who are paying him.
The fighting is well done, the characters are interesting and believable, and the politics are handled with a deft touch. For fans of Sword & Sorcery fiction there's lots of adventure with a touch of evil magic, just the thing to add the thrill of a the mysterious without turning it into a fireball-throwing cheese-fest.
I have read and will review the next story in the series, The Gryphon of Tirshal, within the next couple of days. For now, if you have a hankering for some bloody good adventure fiction, this is a short story that'll fit the bill nicely.
Posted by Jack Badelaire at 9:00 AM 2 comments
Labels: action, book review, books, eBooks, mercenaries, pulp
On Sale Now: NANOK and the Tower of Sorrows
The short story is now Live and available for purchase or Kindle Lending Library borrowing.
I uploaded the story to Amazon's Kindle Direct Publishing site around 9:30 last night, and it went live sometime in the early hours of the morning; I received the e-mail notification from Amazon around 4 AM. When I logged in to confirm the book was "live" it appears some kind soul from the UK needed a bit of badass barbarian face-hacking adventure on their Monday morning commute. So, first sale goes to the UK, mere hours after the story went Live and before I even knew it was available. Let's hope this is a good omen!
Labels: action, books, eBooks, pulp
Coming Soon: NANOK and the Tower of Sorrows
Nanok, wandering swordsman of the Iron Wastes, makes a deal with the Wizard King Midar to steal the mighty Sunsword from the Tower of Sorrows, lair of the dreaded sorcerer, Draaa'kon the Bleak.
Pursued by Draaa'kon and his horde of cauldron-born mutant henchmen, Nanok discovers stealing the enchanted sword is just the beginning. Though victorious against Draaa'kon's bloodthirsty minions, Nanok is blasted senseless by sorcery and sent tumbling from a high ocean cliff.
Washed ashore in a distant cove, Nanok is aided by a mysterious wilderness warrior who has his own reasons for seeing Draaa'kon defeated. Swearing vengeance against his enemy, Nanok returns once more to the Tower of Sorrows, determined to lay waste to everyone and everything within.
Battling fearsome troll-kin, brutal guardsmen, and a monstrous horror conjured through the darkest of magics, Nanok must learn the powerful secret of the Sunsword if he is going to have any hope of emerging victorious from the Tower of Sorrows...
NANOK And the Tower of Sorrows is a pastiche fantasy adventure short story written as a humorous, light-hearted homage to many of the Sword & Sorcery creations from the 60's and 70's: The Kyrik and Kothar novels of Gardner F. Fox, the Thongor stories of Lin Carter, John Jake's Brak the Barbarian, Karl Edward Wagner's Kane adventures, and much more.
Blend in a healthy mix of cheesy barbarian movies from the 80's, Dungeons & Dragons-esque fantasy tropes, inspiration from heavy metal album covers, Frank Frazetta paintings, comic books, wargames, gratuitously violent adult cartoons, and a pigpile of other influences. What you get is a story that'll have you laughing out loud one minute and fist-pumping the air in victory the next.
NANOK should be available early next week on Amazon as a Kindle eBook. Stay tuned, and I'll post an announcement once the story is available for purchase.
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Home » All Networks » H-Egypt » Discussions
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Asli Bâli – From Revolution to Devolution? Dilemmas of Federalism & Decentralization in the Middle East
Discussion published by Jennifer Derr on Thursday, October 6, 2022
Your network editor has reposted this from H-Announce. The byline reflects the original authorship.
Arabic History / Studies, Area Studies, Middle East History / Studies, Law and Legal History, Political Science
Please join the Center for the Middle East and North Africa (CMENA) and the Legal Studies Program at UC Santa Cruz – over zoom – on Friday, October 14th, 12-1:30 pm PST to listen to and think with Professor Aslı Bâli of Yale Law School.
Click here to register: https://thi.ucsc.edu/event/asli-bali-from-revolution-to-devolution-dilemmas-of-federalism-and-decentralization-in-the-middle-east/
"From Revolution to Devolution? Dilemmas of Federalism and Decentralization in the Middle East"
This seminar engages in a qualitative comparison of four experiences with decentralization in the Middle East to explore the ways in which decentralized governance arrangements might address governance crises, identity-based conflict and self-determination demands in the Middle East. Bâli argues that the failure to engage with these and other experiences in the MENA region in the growing literature on decentralization in comparative politics and law produces gaps in both the institutional design strategies available in the prescriptions derived from the literature, and also in our accounts of the region that focus exclusively on the macro politics of authoritarianism without paying attention to experiments on the ground that have sought to formulate alternative governance strategies.
Kent Eaton of UCSC's Department of Politics will comment.
Aslı Bâli is Professor of Law at the Yale Law School. Previously, she was on the faculty at the UCLA School of Law where she was Faculty Director of the Promise Institute for Human Rights, a core faculty member of the Critical Race Studies Program and served as the Director of the UCLA Center for Near Eastern Studies. Bâli's research focuses on two broad areas: public international law—including human rights law and the law of the international security order—and comparative constitutional law, with a focus on the Middle East. Her scholarship has appeared in leading international and comparative law reviews and peer reviewed journals such as the American Journal of International Law, International Journal of Constitutional Law and Law & Social Inquiry; her edited volume Constitution Writing, Religion and Democracy was published by Cambridge University Press in 2017 and a second edited volume, Identity Conflict, Governance and Decentralization in the Middle East is forthcoming from Cambridge University Press in 2022. She received her J.D. from Yale, her M.Phil. from Cambridge University and her Ph.D in Politics from Princeton University.
Jennifer Derr is an Associate Professor of History and the Founding Director of the Center for the Middle East and North Africa at UC Santa Cruz.
jderr@ucsc.edu
https://thi.ucsc.edu/event/asli-bali-from-revolution-to-devolution-dilemmas-of-federalism-and-decentralization-in-the-mi…
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LECTURE> EBS Lecture Series, James C. Dobbins, "The Many Faces of D. T. Suzuki"
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The Development Application process can sometimes be confusing and overwhelming. That's why Dubbo Regional Council worked with the Department of Planning and Environment to develop "Your guide to the Development Application process - Small housing Development", so the pathway to building your home can be faster and easier.
The guide explains the development assessment and construction approved processes to assist mums and dads in preparing and lodging 'assessment ready' development applications (DAs), as well as explaining the next steps to get you building.


text:
Ludia syngena är en fjärilsart som beskrevs av Jordan 1922. Ludia syngena ingår i släktet Ludia och familjen påfågelsspinnare. Inga underarter finns listade i Catalogue of Life.

Källor

Påfågelsspinnare
syngena

redpajama_set_name: RedPajamaWikipedia


text:
Linda Rodriguez Writes
Chapters and Excerpts
Books of Interest by Writers of Color: An Interview With Poet John Olivares Espinoza
This interview of John Olivares Espinoza took place in 2009. It is being published here for the first time.
I first met John Olivares Espinoza at Macondo after already arranging to bring him to Kansas City for a reading with Francisco Aragón and Brenda Cárdenas. We had several long conversations then about the writing life and again when he visited Kansas City. John is a thoughtful, soft-spoken man, who reflects deeply on what it means to give your life to this undertaking of writing the best you possibly can. It was truly a pleasure to interview him.
John Olivares Espinoza is the author of The Date Fruit Elegies (2008), the inaugural collection in Bilingual Press/Revista Bilingüe's new poetry series, Canto Cosas. In 2009, The Date Fruit Elegies was a finalist for the Northern California Book Award in poetry. Espinoza was born and raised in Indio, California to Mexican parents. He holds degrees in creative writing from the University of California, Riverside (B.A.) and Arizona State University (M.F.A), where he spent time writing about his experience working as a gardener with his brothers and father in the nearby resorts. John and his wife live in San Jose, California, where he teaches at the National Hispanic University.
LR: Your first full-length poetry collection, The Date Fruit Elegies, was the first in the new Latino poetry series, Canto Cosas, from Bilingual Press/Revista Bilingue. How did that come about?
JOE: It was a mix of not giving up and friends not giving up on me. I had been submitting my first manuscript to contests for years before Bilingual Press picked it up. The manuscript placed as finalist or semi-finalist here and there, and after a while I even started sending out queries to presses I thought I might have a chance with, but they politely declined.
At some point during graduate school I met Francisco Aragón, a poet, and at that time he was starting up his small press, Momotombo. Early on he had supported my work and manuscript while I was still in graduate school, pointing me in the direction of contests of whose judges I might have a shot with. At the AWP writers' conference, he had even set up a private meeting with Sandy Taylor of Curbstone Press just before Sandy passed away. Curbstone took a pass on the manuscript. It was a blow to my faith in getting the book published. I was set with stashing the manuscript in my drawer and move on. Before long, Francisco was granted editorial oversight of poetry for Bilingual. This new series was to be called Canto Cosas. I guess Francisco thought highly enough my work that he took it into his own hands to expose it to a wide audience and make it the debut of the new Canto Cosas.
LR: You have a striking and unique cover for your book. Can you tell us the story behind it?
JOE: The cover art is from a loteria series by Gene Flores, and they are just a few of the dozens he has produced. The person who pointed me in the direction of Flores was Sergio Troncoso, who used Flores' artwork for the cover of The Last Tortilla and Other Stories. The story of how Gene Flores came to be my second choice is an odd one.
In April of 2007, Bilingual Press flew me in for a pair of readings in Tempe and unbeknownst to me, the trip was also to talk about a potential book cover. From what I had heard, it was rare for an author to have a say on the cover art. It's well known that Gary Keller, the publisher of Bilingual Press, has collected an extensive array of Chicano art for what I guess to be the Hispanic Research Center. Much of it has been collected in the beautiful two-volume set called Contemporary Chicana and Chicano Art. I worked with Linda St. John, an associate editor, in choosing the cover in her office. She had pre-selected several pieces for me from CCCA and there was one that floored me. It was a painting of a skeleton in mariachi get-up strumming a guitar by George Yepes entitled "La serenata." The truth was that the image itself had very little to do with the themes of my book, except for maybe the section of elegies, which does not wholly make the book. But it would have made for a striking cover, and one that my mom would have to set face down on her nightstand.
George Yepes is the unofficial artist for Latino Hollywood. One of my favorite filmmakers, Robert Rodriguez, collects his art. I was excited to find out that Rodriguez actually has a copy of "La serenata" hanging in his bedroom (which is kind of creepy). Perhaps with this Yepes connection Rodriguez would hire me as a studio poet. Bilingual then solicited Yepes's permission to use the artwork, but Yepes asked to read my poems first. Yepes responded by declining the rights citing that there's a possibility that Rodriguez might use the art in an album cover as he had with other Yepes pieces. But instead, Yepes suggested, that he create original art for my work. I was so excited. Unfortunately, Bilingual had a deadline to meet with the book, plus there were no funds to commission a cover. After another failed appeal to use "La serenta," we moved on with my suggestion to use Gene Flores. The designer made an extraordinary cover that I am happy with, as well as so many other people,
The Date Fruit Elegies (Bilingual Review Press)
LR: Many of the poems in The Date Fruit Elegies arose out of your father's work as a gardener and your own work with him when you were a child and adolescent. Reading the poems, it becomes clear that your relationship with your father in those years was complex but close. Was that difficult to write about?
JOE: At first it wasn't difficult at all. At that time I was writing those poems in an undergraduate workshop and later in early graduate writing workshops. Back then I had a limited perception about audience. I really didn't think that those poems would reach an audience outside of those 10, 15 people in the workshop. Now I have to second think how I represent members of my family in my poetry, as that is all an audience goes by. At a workshop in Macondo, Denise Chavez said about writing: "Do no harm." It's an adage I follow. Personally, I don't have a problem writing poetry charged with emotion, but I have to be considerate to others.
LR: What theme or organizing principle, if any, did you use in putting the book together?
JOE: The habits we have now are one we picked up as kids. Working landscape with my dad was about near-perfection. For example, when we planted flowers in the soil during the fall, I wanted to plant the flowers any which way. My dad would not have any of that. If he saw that our flowers were being planted in a crooked line, he'd have us dig them out and plant them correctly. Even though it was a dirty job, he approached his work with nice, neat, and clean in mind. Although it may not have appeared it to anyone else, the work my dad did was deliberate.
The first draft of my manuscript had no sections. I think I may have ordered them by favorites first. Remember I was young writer with much to learn about putting a manuscript together. As I got better read and consulted friends and teachers, I began to shape my book by my work's major themes. So the first section of the book is about growing up in California, the second are the elegies, the third are the prose poems, and lastly, a section about work. These were the themes that I wanted to represent in my first-book, which in turn represents me. With the habit I picked up as work as a kid, I wanted to achieve a "perfection" in the book, one that has every poem speak to the next and is deliberately placed. I had my flowers lined up, my weeds pulled out.
LR: In 2009, The Date Fruit Elegies was a finalist for the Northern California Book Award in poetry, a high achievement for a first book. What's next for you as a writer and teacher?
JOE: I'm chipping away at the poems, one by one. Sometimes they're good. Sometimes they're not. The poems still star family and early memories. I've also been sketching out a memoir on language.
As far as my teaching, I don't know. Right now there are a lot of hiring freezes, or where they're hiring, it's freezing. Hopefully something suitable will come up for me.
LR: What encouragement and advice do you have for students and emerging writers?
JOE: You have to be in this profession of writing for the long haul. I feel there's too much pressure for fame and veneration put on budding writers. I notice that's the kind of language coming out of Poets and Writers and especially blogs: "The Best Poets to Come Out of Preschool" or "The Ten Under Ten." There doesn't seem to be a sense that being a writer, a good one, takes a lifetime of craft. Surely some have talent right out of the gates, but I've seen mediocre poets mature into writing astonishing verse because of hard work. I wish we treated poetry more like martial arts. New writers should focus on the writing and less on publishing and winning contests.
Back to the usual format with next week's post in my series on writers of color. Tomorrow (if I can conquer the tech) I'll post my radio interview with Michael Medrano and David Campos on Pakatelas!
Posted by Linda Rodriguez at 10:05 AM No comments:
Labels: Cosas Cantos, Datefruit Elegies, Francisco Aragon, John Olivares Espinoza, writers of color
Books Status Report
This is a pseudo-post because I haven't time for a real one.
I am unexpectedly cutting the manuscript of Every Last Secret at my editor's request. I should have known I was getting off too easily with those small changes. The way the length is figured has thrown me for a loop, however. Characters with spaces. Of course, my word processing program will figure that for me, along with word count. I've done this so many times that I can cut pages or words to order and estimate how well I've done fairly accurately. Not so with characters.
I do most of my revising on hard copy and then enter it in the computer--at least in fiction. When I cut words that way, I have a good idea as I'm going along in the hard copy where I'm standing. With characters, I'm flying blind. I've gone through the entire manuscript, cutting wherever possible. Now, I'm entering the changes. But I'm not sure I'll have cut enough and won't know until I've finished the whole process and have characters calculated.
It's a new process to learn. I suppose, several books on, I'll come to the place where I can cut in the hard copy and know pretty well how many characters I've managed to reduce. And of course, I've always found that cutting improves pretty much everything.
It would help if the city hadn't torn up my whole street and wasn't constantly shutting off my water while they work on whatever they work on, so I have to leave my house to write at coffee shops and libraries--any place where I'll have access to water during the day. I know I shouldn't complain since a few of my neighbors can't get their cars anywhere near their houses. At least, I'm not there.
Wishing you all happy writing! I'm entering cuts in the computer so I can eventually get back to the first draft of the new book. Later this week--an interview with poet, John Olivares Espinoza.
Posted by Linda Rodriguez at 9:49 PM No comments:
Labels: Every Last Secret, John Olivares Espinoza, revision, writing
Books of Interest by Writers of Color—Allison Joseph, Levi Romero, Kim Shuck
Allison Joseph, My Father's Kites (Steel Toe Press) Joseph is probably the only African American woman in the United States to run an MFA program and edit a major literary magazine. This country tends not to give those literary positions of power to women of color, yet Joseph does both. She is a professor of creative writing at Southern Illinois University Carbondale, where she directs the MFA Program in Creative Writing and serves as editor-in-chief of Crab Orchard Review. She has received many major awards, most notably the Ruth Lilly Fellowship, the Associated Writing Programs Prize, and the Academy of American Poets Prize. Joseph was born in London to parents of Caribbean heritage and grew up in the Bronx. Much of her usually free-verse writing revolves around her family and the often confusing and difficult world of those New York City growing-up years. However, in My Father's Kites, her sixth book, she uses the restraints of the sonnet form to deal with the pain of the death and celebrate the idiosyncratic life of her difficult father from whom she had been estranged. As I have found so often among writers of color, Joseph works to open doors to other writers, as well. She founded and directs the Young Writers Workshop at SIUC, a four-day residential creative writing summer program for high school students, and she also serves as moderator of the Creative Writing Opportunities List, an extremely useful (but labor-intensive) online list-serve that distributes calls for submissions and literary contest information to other writers free of charge. Joseph is a major writer whose work is accessible and full of wit and insight. As usual, I'm giving the link to the small-press publisher's website. Please support small and university presses without whom we would see few writers of color published.
Levi Romero, A Poetry of Remembrance: New and Rejected Works (University of New Mexico Press) Romero's family has lived in northern New Mexico since the 1600s, and much of his writing is about preserving those familial and community memories. A veteran of the Española lowrider culture and a research professor in the University of New Mexico's School of Architecture, Romero combines the indigenous rural, lowcura, and academic strands of his life into a poetry of wry wit and celebration of the rich mix of cultures from which he comes. The centerpiece poem of A Poetry of Remembrance, which sold out within a month of publication, "Lowcura: An Introspective Virtual Cruise Through an American Subcultural Tradition," is a tour de force making fun of academic jargon and attitudes while it paints a loving portrait of not only the lowrider tradition that he loves but the whole mix of cultures of which northern New Mexico is made. Romero has for years reached out to the hidden community with workshops in detention centers, homeless shelters, nursing homes, and poor and working-class neighborhoods. His work is moving and hilarious and truly deserves the widest audience. Here is the link for A Poetry of Remembrance, his second book.
Kim Shuck, Smuggling Cherokee (Greenfield Review Press) A Cherokee/Sac & Fox poet, Shuck won the Native Writers of the Americas First Book Award for Smuggling Cherokee, as well as the Diane Decorah Award for Poetry. Shuck's eye for the perfect, telling detail of life to bring the reader into her world and to smack that reader in the face with a powerful insight. Yet her poetry is lightened by sardonic wit and true tenderness for the aching beauty of the world. Shuck is also a beading and fiber artist using traditional Indigenous techniques to create her dazzling work. She is deeply involved in community-building and teaching. Expect great things in the future from this multi-talented young writer. Here's the link for the book.
Next week, I'll cover more of these terrific writers.
Labels: Allison Joseph, Kim Shuck, Levi Romero, writers of color
Linda Rodriguez lindalynetterodriguez@gmail.com
Click here to read some of my poetry
To hear me read and discuss my poetry, click on one of these links.
Library of Congress Poet and the Poem
New Letter on the Air interview novels
Proyecto Latina interview
New Letters on the Air interview poetry
Linda Rodriguez
Dark Sister: Poems, published in early 2018, is my 10th book and Fishy Business: A Guppy Anthology is my 11th. Plotting the Character-Driven Novel, created from my popular writing class, and The World Is One Place: Native American Poets Visit the Middle East, co-edited with Diane Glancy, are my 8th and 9th published books. My third novel, Every Hidden Fear, was named a Best Book of 2014 by the National Latina Book Club. My second novel, Every Broken Trust, was a Las Comadres National Latino Book Club selection. My first novel, Every Last Secret, won the Malice Domestic Competition and was published by St. Martin's Press/Thomas Dunne Books. I've published two other books of poetry, Heart's Migration (2010 Thorpe Menn Award for Literary Excellence) and Skin Hunger, and also edited Woven Voices: 3 Puertorriquena Poets Look at Their American Lives,(International Latino Book Award). I received the Elvira Cordero Cisneros Award and the Midwest Voices and Visions Award. I am a long-time feminist, activist, and unashamed liberal and live with my husband and newly rescued cat, two spinning wheels, three small looms and a floor loom, too much fiber and yarn, and too many books.
My newest book, DARK SISTER: POEMS. Click on cover image to buy.
"I want to say so much about Rodriguez's poetic gifts. What talent! The most accomplished poet of our generation. A poetic voice for our time." -- Rudolfo Anaya
My new book, PLOTTING THE CHARACTER-DRIVEN NOVEL. Click on the cover image to buy.
"Your workshop was very inspirational and helpful. Now, if you could just show up at my house every morning and make me sit down to write, that would be great!" –Cheryl J.
My third Skeet Bannion mystery novel, EVERY HIDDEN FEAR. Click on its image to order.
"I love Skeet Bannion! The talented Linda Rodriguez's new cop in town is tough, smart and wonderfully vulnerable. This suspenseful and sensitive tale of small town secrets is captivating from page one. An absolute page-turner!" – Hank Phillippi Ryan, Agatha, Anthony and Mary Higgins Clark award winning author
My second Skeet Bannion mystery novel, Every Broken Trust (Minotaur Books)
"Satisfying… Credible characters enhance the absorbing plot."—Publishers Weekly
My first mystery novel, Every Last Secret: A Mystery, winner of the Malice Domestic Award
"Every Last Secret offers that rare and startling thing in the universe of thrillers: a truly fresh voice. "--Jacquelyn Mitchard, #1 national bestselling author
My book of poetry, winner of the 2010 Thorpe Menn Award for Literary Excellence
"Heart's Migration by Linda Rodriguez is a generous, gorgeous book of poetry. It's the kind of beautiful book that comes along every once in a long while, to keep the reader the perfect company. It's courageous, unflinching in its voice and tradition.,,, Rather quickly at the start of this book, you feel like you are invited in, taken into a landscape of vivid image and memorable detail, such is the vibrant tapestry of this book." -- Virgil Suarez
Books of Interest by Writers of Color: An Intervie...
Books of Interest by Writers of Color—Allison Jose...
Switching Books
The Garden Wars
Through two Inspiration Awards, ArtsKC Fund has supported my research and career development.
Other Writers and Literary Blogs & Websites
Allison Hedge Coke
Carolyn Haines
Deborah Miranda
Francisco Aragon
Jacquelyn Mitchard
Jungle Red Writers
Kathleen George
La Bloga
Latino Poetry Review
Latino Writers Collective
Letras Latinas
Lisa Alvarado
Nancy Pickard
Sally Berneathy
Sally Goldenbaum


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Headline Sports
Kecmanovic, Spears Highlight Springfield Lasers Roster
March 12, 2019 March 12, 2019 Jason Wert 188 Views springfield lasers, world teamtennis
The Springfield Lasers filled out their roster Tuesday during the World TeamTennis draft with two anchors of the championship winning team returning to Cooper Tennis Complex.
Miomir Kecmanovic and Abigail Spears will be returning to Springfield. Kecmanovic, currently ranked No. 130, is a franchise player for the team and thus will only be appearing in five matches for the Lasers, including four home matches on July 14, 16, 17, and 18.
"It's good to keep him in the league," Lasers Coach John-Laffnie de Jager said in a statement. "He's going to be top 100. He was a major player in helping us win. Hopefully next year he can play more matches."
Spears, who often has family in the standing cheering her on during home matches, was protected by the team in the draft. She is a doubles expert who made it to the Wimbledon semifinals last year. She is currently ranked No. 31 in doubles by the WTA.
The Lasers first round pick was 26-year-old Brit Joe Salisbury. Salisbury is ranked No. 21 in doubles following a title win at Dubai earlier this month.
After no second round pick, the Lasers made two picks in the third round: Enrique Lopez Perez and Anna Blinkova.
Perez, 27, is from Spain and is ranked No. 138 in doubles and No. 252 in singles by the ATP. General Manager Paul Nahon said in a statement Perez was selected because of the team's desire to have veteran with both singles and doubles experience.
Blinkova, 20, is currently No. 84 in doubles and No. 104 in singles. The Russian turned pro in 2015 and has three IFA and one WTA singles titles in her career.
Coach de Jager, entering his 13th season coaching the Lasers, said doubles are a key to winning in the WTT.
"I've been part of this league for 20 years, and over the years, the teams that win have had strong doubles." he said in a statement. "We picked up the top men's doubles player, and with Abi and Anna, we'll be very strong on the women's side. The women play a massive role in WTT, and we're very happy with the team we've selected."
The season opens on Sunday, July 14th at Cooper Tennis Complex when the Lasers face their opponent in last year's championship, the Philadelphia Freedoms.
← Springfield Little Theatre Goes Under the Sea with The Little Mermaid, Jr.
City Seeks Citizen Feedback on Galloway Village →
Springfield PD, Greene County Sheriff's Office Taking "Polar Plunge"
February 21, 2019 Jason Wert 0
Springfield Remanufacturing Corporation Reports Record 2018 Sales
Mail Carriers Hold Stamp Out Hunger Food Drive Saturday


in October, with a few weeks to spare.
> in October, with a few weeks to spare.
> > in October, with a few weeks to spare.
the only thing outstanding (and just one question at that).
>>> in October, with a few weeks to spare.
> only thing outstanding (and just one question at that).
>>>> in October, with a few weeks to spare.
complete as head more strongly towards this release.
still release before the summit.
> the only thing outstanding (and just one question at that).
> >>> in October, with a few weeks to spare.
criteria for "success" is undefined.
back. We have multiple tools -- we should at least have one in use.
> complete as head more strongly towards this release.
> still release before the summit.
> > the only thing outstanding (and just one question at that).
> > >>> in October, with a few weeks to spare.
> criteria for "success" is undefined.
> back. We have multiple tools -- we should at least have one in use.
regard to the issue tracker noise.
> > complete as head more strongly towards this release.
> > still release before the summit.
> > > the only thing outstanding (and just one question at that).
> > > >>> in October, with a few weeks to spare.
> > criteria for "success" is undefined.
> > back. We have multiple tools -- we should at least have one in use.
> regard to the issue tracker noise.
> > > complete as head more strongly towards this release.
> > > still release before the summit.
> > > > the only thing outstanding (and just one question at that).
> > > > >>> in October, with a few weeks to spare.
>> complete as head more strongly towards this release.
>> still release before the summit.
>> > the only thing outstanding (and just one question at that).
>> > >>> in October, with a few weeks to spare.
like to see in 2.0.0, I will I open issues for those in GH.
>> criteria for "success" is undefined.
>> back. We have multiple tools -- we should at least have one in use.
give a suggestion about how to move past that.
>>> criteria for "success" is undefined.
why I am in favor of the date.
>>> back. We have multiple tools -- we should at least have one in use.
>> regard to the issue tracker noise.
> suggestion about how to move past that.
This makes me very worried.
part of make a release candidate?
Should committers be filling these in as a part of accepting a PR?
> > > criteria for "success" is undefined.
> > > back. We have multiple tools -- we should at least have one in use.
> > regard to the issue tracker noise.
> > > > complete as head more strongly towards this release.
> > > > personally, my summer is going to be very busy regardless.
> > > > still release before the summit.
> > > > > the only thing outstanding (and just one question at that).
> > > > > >>> in October, with a few weeks to spare.
do. Therefore, this schedule works for me.


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Tag: film review
Frailty film review
Back in 2001, a friend and I made our way out to watch Frailty on the big screen. Immediately after viewing the film, Frailty has been one of my favorite films and one I recommend to anyone who has not seen it. The film is more of a psychological thriller rather than a true horror film, but aspects of the film are quite horrific. Frailty manages to add an extra layer into the psychological reasoning for committing these murders making it an unique and underrated film. Besides, films that make me think are always going to be my cup of tea over films that do not. After all, every now and then one's mind needs a good challenge.
Continue reading "Frailty film review" →
The Night of the Hunter film review
During my first screenwriting class we watched The Night of the Hunter (1955). Most films introduced to me in school is they are normally either a hit or miss. However, for the most part this particular professor always introduced films that I adored even if the rest of the class hated them. Then again this could be partly because I do hate many films. I believe at least one good thing lies within every film. Maybe this is a bit naive to admit, but I feel that's the truth. Continue reading "The Night of the Hunter film review" →
House on Haunted Hill film review
On Halloween in 1999, my father and I headed to our old Regal Cinemas that was transformed into a church. This was the first year of viewing a new horror film on Halloween every year. This was a couple of weeks after we viewed the remake of The Haunting (1963). Both films were good film choices, but ultimately House on Haunted Hill won for our Halloween viewing. This is not to say the remake of The Haunting is awful, but House on Haunted Hill has always been my favorite of the two films.
Continue reading "House on Haunted Hill film review" →
The Birds film review
During my Freshman year in high school, I viewed The Birds (1963) through my English/literature class. This was after reading various excerpts from Daphne du Maurier's novel of the same name. This was one of my favorite parts of the entire semester. Most people were more excited that semester by the Romeo and Juliet assignment which allowed to watch Baz Luhrmann's Romeo + Juliet. While I love Baz Luhrmann's work, I was more excited about The Birds.
Continue reading "The Birds film review" →
Invasion of the Body Snatchers film review
When one of my college professors told our class that we were going to be watching Invasion of the Body Snatchers (1956), I found my nose crinkling. Of course when I realized he planned on showing the 1956 version I was a happy camper. For some reason or another, I have never truly enjoyed the 1978 remake of the film. The only remake I have enjoyed of this film is 2007's The Invasion with Nicole Kidman and Daniel Craig.
Continue reading "Invasion of the Body Snatchers film review" →
Mean Girls film review
I must confess despite the fact Tina Fey penned the screenplay my desire to see the adaptation from book to the silver screen version in Mean Girls (2004) was minimal at best. Mean Girls was not even one of my rentals! My parents rented the film and while working on a project for school, I found myself distracted. Mean Girls was hilarious! Why did I ever doubt Miss Fey to begin with? If anyone could give us a great adaptation its her. Who knows why I did, but I can admit that this feature is one of my favorite high school related films. Mean Girls deserves a watch or five all the same.
Continue reading "Mean Girls film review" →
Scream film review
Scream (1996) was a token part of my teenage years. This might sound strange or even pathetic to some, but just like yesterday there is a memory of sitting in my room, glued to my small television set in awe of the opening sequence. Who could believe that Drew Barrymore was not going make it through in the entire film? The opening scene even ranked in Bravo's 100 Scariest Movie Moments at number 13. And despite the number of horror films I already viewed at my young age, I can still remember yelling at my television that Jason Voorhees was the killer in Friday the 13th along with Casey Becker. The correct answer of course is Mrs. Voorhees, which made me feel like a complete idiot. I got a horror trivia question wrong and played right into the killer's hands!
Continue reading "Scream film review" →
April Fool's Day film review
There were several times that I saw the cover for April Fool's Day (1986) when I started watching horror films and would admire the cover as I walked down the horror aisle of the video store. I would tell myself to rent the film. Continue reading "April Fool's Day film review" →
The Mountain Between Us film review
A while back I remember seeing a huge cardboard advertisement for The Mountain Between Us. I immediately thought of how much I loved both the actors within the film and told myself to see if there was a trailer already out when I arrived home that afternoon. The film appeared intriguing and I am happy with the pick I made early in October when I had a day off I normally do not. Continue reading "The Mountain Between Us film review" →
Saw film review
Back in 2004 there was a debate between my father and I as to what we should see as part of or Halloween horror movie tradition. The films choices were The Grudge or Saw. At the time one of my friends raved about both, but she said that Saw was one of the best horror films she had seen in a long time. Continue reading "Saw film review" →


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Home Nursing KNOWLEDGE ON INTERVENTION STRATEGY OF POSTPARTUM HEMORRHAGE AMONG NURSE IN MATERNITY UNIT
CHAPTER ONE/INTRODUCTION
The process of pregnancy and delivery is meant to be risk-free when it is well handled, but there are instances in which it poses significant health hazards, even to women who did not have any health issues prior to becoming pregnant. Issues directly related with pregnancy, childbirth, and its complications cause the deaths of thousands of women all over the world every single year (Maya, Buntugu, Lovelace, Emmanuel, & Srofenyoh, 2015). According to the World Health Organization (2012), sub-Saharan Africa is responsible for approximately sixty percent of all maternal deaths. The total lifetime risk of maternal death in sub-Saharan Africa is as high as one in thirty-nine pregnancies, whereas in Europe, that risk is one in two thousand and nine hundred. Even though it only occurs in around 4% of pregnancies (Combs, Murphy, & Laros, 1991), postpartum haemorrhage is the greatest cause of maternal mortality across the globe.
According to the most recent findings from the World Health Organization (2008), it is estimated that postpartum haemorrhage, regardless of its cause, is responsible for twenty-five percent of all maternal deaths worldwide. Nevertheless, figures from the same organisation showed that there was a variance in the recording of findings as record might go as high as 40% in some countries in Africa, Latin America, and South East Asia. Postpartum haemorrhage is the leading cause of death for mothers in Guatemala and Afghanistan, accounting for over 50% of all maternal deaths (Miller & Martin, 2008). There were a total of 529,000 women who passed away every year as a result of difficulties related to pregnancy and childbirth (Ojengbede, Morhason, Galadanti, Meyer, Nsima, & Gamin, 2010). In a similar vein, studies have showed that there are 358,000 female deaths that can be attributed to complications during pregnancy and childbirth (WHO,2010).
According to Adesokan (2010), postpartum haemorrhage (PPH) is defined as excessive bleeding from the genital tract after the birth of a baby that continues for up to six weeks and is greater than 500 millilitres or any amount that is sufficient enough to cause cardiovascular collapse and endanger the woman's life. PPH can occur at any time during the postpartum period. According to Reynders Sentennm, Tjalma, and Jacquemyn's (2006) research, the majority of these maternal deaths occur within the first four hours after the birth of the baby. The majority of pregnant women are at risk for postpartum haemorrhage, which can develop as a result of insufficient or improper care of stage three of labour by experienced midwives and birth attendants. Therefore, it is necessary for midwives to have the knowledge and skills necessary for managing the third stage of labour, as well as the ability to recognise abnormalities, treat excessive blood loss, and prevent postpartum haemorrhage.
Postpartum haemorrhage is a leading cause of maternal mortality, but it is also one of the obstetric problems that has a recognised and effective management. This intervention makes use of a low-tech device known as a non-pneumatic anti-shock garment, sometimes known as a life wrap. The Neoprene Articulated Suit Garment (NASG) is a device that takes the form of a lower bottom suit and is made out of articulated neoprene with Velcro parts. It provides lower body circumferential counter pressure that supplies blood to the vital organs of the body, thereby reversing hypovolemic shock and reducing postpartum haemorrhage. There is evidence to show that this potentially useful technology assists in preventing more damage and plays a function in sophisticated modern care units by stabilising women while they wait for decisive haemorrhage remedies such as blood transfusions and procedures.
The inability of the uterine muscle to effectively contract after delivery is known as uterine atony. This condition can be controlled with the use of appropriate uterotonic medicines like misoprostol (International Confederation of Midwives and International Federation of Gynecology and Obstetrics, 2007). Misoprostol is a prostaglandin-based medicine that has piqued the interest of important others as a potentially useful uterotonic treatment as a result of its convenience in terms of administration, safety profile, cost, and the simplicity with which it may be stored. Despite this, research on the effectiveness of misoprostol as an auterotonic drug in the treatment of postpartum haemorrhage has been carried out at a number of different centres (El-Refaey & Templeton, 2006).
In addition, the Nursing and Midwifery Council of Nigeria recently held workshops and training sessions on the use of NASG for midwives and nurses in Nigeria, both in clinical settings and academic institutions, with the goal of educating these individuals on the availability of the garment and the appropriate ways to use it in the prevention and treatment of PPH. However, there is a dearth of evidence on the subject of nurses' knowledge of intervention strategies for postpartum haemorrhage in general hospitals' maternity units. [Citation needed]
1.2 A Concise Description of the Issue
Postpartum haemorrhage, often known as PPH, is one of the five primary variables considered to be responsible for maternal mortality. It accounts for around 25 percent of all maternal fatalities globally. In impoverished nations, where there were 99% of these maternal deaths, there were an average of 290 deaths per 100,000 deliveries, but in developed countries, there were only 14 deaths per 100,000 live births. Uterine atony was responsible for 80-90% of haemorrhage (WHO, 2007).
The nation of Nigeria is the fourth largest country in the world and has the highest maternal mortality rate in the entire world (The World Bank & United Nations Population Division, 2014). According to the performance track for the Millennium Development Goals (MDGs) in Nigeria, 2015, the maternal mortality rate was 350 per 100,000 deliveries in 2013, which was still 40% lower than the projection of 250 maternal deaths per 100,000 deliveries for Nigeria in 2015. (Nigeria MDG 2013 Report, 2015)
Postpartum haemorrhage is one of the rare obstetric problems for which there are documented treatments that are proven to be successful in reducing the risk of death to the mother. It is necessary for the midwife to have knowledge of how to use misoprostol, which is an effective medication for managing postpartum haemorrhage, as well as skills in the use and application of non-pneumatic anti-shock garments. These garments are designed to reverse the hypovolemic shock that can occur during childbirth. Both India and Nigeria are rated third worldwide with former at 19% (56,000), and later at 14% (40,000), (United Nations, Population Fund, WHO, UNCF and World Bank 2012), with postpartum haemorrhage still being the leading cause of maternal mortality. Despite the introduction of this evidence-based and low-cost first aid device into Nigeria in 2008, there has not been a significant reduction in maternal morbidity and mortality. As a result, Nigeria is the country that has the highest maternal mortality ratios (MMR), with the official national statistic standing at 814 maternal deaths for every 100,000 live births (United Nations Population Division, 2014).
Evidence also suggests that non pneumatic anti shock garments and misoprostol are not been effectively utilised by midwives in the course of managing clients with postpartum haemorrhage in many health care center's as investigated by Onasoga, Awhanaa, &Amiegheme, (2012), as maternal mortality indices are still very poor. This was found by Onasoga, Awhanaa, &Amiegheme (2012). As a result, the purpose of this study is to evaluate the level of knowledge on postpartum haemorrhage intervention strategies held by nurses working in maternity units in general hospitals.
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