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6 questions to Babi Bueno from Anama
With the S/T full-length from 2018 Anama from Brazil had its first release on the market and at the beginning of 2021, a brand new EP called Tales of Doubt and Death was unleashed with five songs that show that the band expanded its musical capabilities and explored further in the progressive side of Symphonic Metal. Anama is fronted by Babi Bueno (real name Barbara) who gives the band its identity with her classical style of singing and she handles the keyboards also.
6 questions to… is a series of questions to artists about themselves, answers can be short or long and each artist gets the same questions
When did you start with singing and why did you want to sing?
I started to sing when I was 17, but I've never thought that I could be a singer! In the beginning, I used to play guitar, but one day, when I was playing and singing, a friend told me: "Hey! you are a good singer! Why don't you try to sing in a band?" Well, in the same year, I did an audition for a power metal band and I passed… and I fell in love with it!
Who influenced you the most at the beginning of your career and who are your current favorites?
I always loved the job of Tarja Turunen, so I have been studying classical singing since I've started to sing. However, I love the voice of Freddie Mercury, Ian Gillan, Dio, and Andre Matos. They are very important for me, as a singer. Currently, I've been listening to Delain, Powerwolf, and Unleash the Archers (oh how I love these voices!).
What other types of music would you like to sing?
Classical Songs and Broadway Songs!
What is the highlight of your career?
"Once I had a Dream"… As Nightwish said… For many years I dreamt to sing in a musical theater. My life has turned different ways and it was not possible (yet), but I taught for a musical theater class. At the end of the year, the final presentation was beautiful! They grew up and sang… I can't explain…
What was the funniest moment in your career?
Oh, it was at a concert! I was headbanging, with all my hair and…I got stuck on the tuning pegs of the electric guitar! During the solo, A-L-L my hair has tangled with the headstock! How could I sing like that? So, in a PANIC moment, I decided to pull my hair out! Hahaha Oh, that day was terrible! Now, of course, I laugh, but it was insane!
Tips for people who want to start singing as you do?
Take care of your voice, of your body! Take care of yourself! Our voice is the only instrument part of our body! Sometimes, we think that a good singer is the one who sings high notes. However, there are two things much better: Your feeling while you're singing, and the control of your breathing.
Find more Anama here:
Instagram | Facebook | Bandcamp
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Uncategorised Archives - Page 29 of 29 - Los Angeles based photo studio, The Pod Photography, specializing in maternity, newborn, baby, first birthday cake smash and family pictures.
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The challenge to objectivity in casual and academic discourse is quite common by Christians and non-Christians. This invitation is a hermeneutical device to correct fanciful, or even robust, disagreements. But, the philosopher Thomas Nagel, calls this directive "a view from nowhere." That is, it is a viewpoint that is not only impossible to achieve, but one that cannot fulfill its intended purpose. Michael Polanyi has soundly demonstrated that modern science is not objective and that the claim of objectivity is destructive to the pursuit of science, as well as social and academic freedom. Instead, the pursuit of knowledge and truth is centered in the person and his or her calling. This paper, then, is a beginning view at what apologetics and theology might achieve from such "personal knowledge" that is Biblically grounded. Jesus statement, "I am the way, the truth, and the life," is one text among others that indicates this direction. A few theologians who have moved in this direction will be explored, along with other suggestions for future study. The accusation of subjectivity is avoided by the objective nature of biblical inerrancy, sound theology, and principles of reason.


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We're interested in Ekiti governorship election -- U.S. *Envoy visits Fayose again
Posted by News Express | 18 May 2018 | 1,383 times
•Governor Ayodele Fayose
The American Government has again said it expects nothing less than credible and fair exercise in the July 14 governorship poll in Ekiti State, saying it will closely monitor events, before, during and after the poll.
This was stated in Ado-Ekiti by the Political/Economic Chief, United States Consulate, Lagos, Mr Osman Tat, during a courtesy visit to the State Governor, Chief Ayodele Fayose on Wednesday in Ado Ekiti. In a statement by the Chief Press Secretary to the Governor, Mr Idowu Adelusi, on Thursday, the envoy was quoted as saying that the conduct of the poll should set a higher standard in the organisation of elections in the country.
"We are here for the monitoring of events leading to the conduct of the governorship election in the state. We are here to see the governor, to assess the situation of things and to dialogue with him on preparations for the election.
America is interested in the election. " We are to monitor purposely to ensure free, fair, transparent election. We are to ensure that there is no violence or intimidation of voters during the election. To ensure that the election is credible.
Ekiti is controlled by the opposition party and that is why the US is interested in the election," Tat said.
In his remarks, Fayose thanked the American Government for taking interest in the Ekiti election. He told the envoy of plans by the All Progressives Congress-led Federal Government to use federal might to rig the election. "They are planning to do this because they know that in a transparent and credible election, the APC cannot win in Ekiti State.
We are popular and our party, the Peoples Democratic Party, is popular because of our performance in government and my brand of politics. " In 2014, I defeated Dr Kayode Fayemi, even as he was the sitting governor then. The United States applauded the 2014 election and even recommended it as a benchmark for the 2015 general elections because it was transparent and devoid of violence and intimidation of voters.
The letter written by the American Government on the election is still here for the records. "Ekiti people will resist rigging. They will resist the Federal Government or the Independent National Electoral Commission rubbishing their votes.
The people's might is greater and potent more than the federal might," he said. Tat, who was accompanied by some American Embassy officials, made the visit as a follow up to an earlier one led by the American Ambassador to Nigeria, Mr Williams Stuart Symington, some months ago. (Vanguard)
Source: News Express
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What do we know, and how we react?
Developed countries all around the world started the so called "War" against the use, trade and making of drugs. We are able to find different examples and approaches for every country.
But that does not necessarily mean a good thing. The different ideas from every country does not only show how opinions differ everywhere and how difficult it is to coordinate for countries in order to stop this "threat", but as well how extremely hard it is to actually agree in which of these substances are an actual problem. Although the number of drug related deaths from some of the most powerful drugs is lower compared to others like alcohol, they seem to attract the attention of the media and, therefore, cause a greater sensation on society.
For that reason, various questions appear. First of all, if any of the drug policies are right. We find the theorists debating on the best approach to treat with drug use, from Legalization to Prohibition. As well, the idea of having the news suffering a case of biased information, directly leading to making society misunderstand what drugs cause on people.
In the United Kingdom, we find an actual assessment over the issue of drug misuse and dealing that, compared to different European countries, seems to be more focused on treating drugs as a criminal matter than anything else. That does not mean, of course, that the English system won't give any rehabilitation, but externally, their focus seems completely different.
In the last years, the United Kingdom has had an estimated inversion of various billion pounds in order to continue war on drugs, although those quantities are, on some part, a result of drug-related criminality.
Drug policies aim to reduce the consumption or either reduce the criminal rates of drug users. Research shows how poor the strategies and investment on those are not a significant key of change. Instead, for the United Kingdom, it seems that the situation has been worsening from the end of the XXth century, being on top of the ladder in use and dependence in Europe.
Since the rates of use seem to be unaffected by those policies, what about the criminality?
During the last years, it's been obvious how some changes shown up. From September, 2011 to October, 2015, the rates of drug-related crime in the UK have reduced an average of 3000 cases per month (UKCrimeStats, 2015), making as well a reduction on the costs of imprisonment as well.
What could, then, have been the trigger for this reduction? Evidence shows that the best tool is the use of treatment and restorative justice approaches. The existence of Risk and Needs programs with high responsivity towards criminals makes, as well, a good tool to fight these numbers.
An example would be the Offender Assessment System, whose main objective of this system is to manage the offenders' needs during their sentences and target specific points in order to avoid or reduce reconviction. For that, it was a basic point to identify the risk factors and the needs of every offender undergoing the program as well as to know the risk of harm and recidivism with the idea of desistance from crime in mind.
But what happens to the general drug policy then? Does it show itself useless? Researches and comparative on Europe and America show how drug policies oriented on users show no sign of decreasing crime rates.
Not only that, but the debate on Legalization and Prohibition finds itself in a problem when European data on drug use is compared. As an example, Spain and the United Kingdom are two of the countries with most drug users but showing completely different policies. The Spanish Penal Code considers no higher than 5-6 year sentences for delinquency directly related to drugs (use and dealing). Although having the possibility of showing aggravating factors, the sentences are limited to 20 years per person. As well, there is a more liberal practice allowing even the farming of some drugs such as marihuana, with controlled amounts. On the other side, the English approach shows more punitive, with even life sentences depending on the type of crime and drug involved.
What does the theory say about this?
In the last point it's been stated and clarified that drug use is not only a difficult topic to treat with in general policies, but also that the debate on legalization and prohibition seems to be stuck in a mere sociological context without a big repercussion on how the result would affect the users.
Even so, researchers find out that the best way to stop users is actually treatment, therefore the first reaction towards this statement is to think that rehabilitation and treatment are the keys to stop drug use and, therefore, dealing. After all, a good answer to drug dealing offenses is to end their market.
If we can consider that as a valid statement, we'd look into theoretical research to know what to do and how, to stop the root of this type of crime, instead of just starting a "War" on it.
Drug users have a reason to start consuming these substances, and it might be caused by availability and accessibility to drugs, social pressure, anomie and more. Even advertising becomes a risk factor when it shows stimuli and attractive emotions related to the use of drugs in social situations.
The first possibility I'd like to explore is Control. Gottfredson and Hirschi's theories on control and self-control, based on the availability of crime and the predisposition to commit crimes, as also the concept of opportunity (Grasmick, H., et. al., 1993). The concept of drug use does not usually sound attractive for people, but there are some background motivational risk factors, being social or personal, that can lead to the start of substance abuse.
After considering variables and factors from other theories, it's easy to find the conclusion that the interaction between those opportunities and the use of drugs is not made just of two variables, and the explanation of crime needs the interaction of different variables in every circumstance, therefore it's impossible to talk and discuss drug abuse with only this basic idea in mind.
For that reason, we find another theory that seems to have a better explanation on drug use, which is Anomy, in which the person commences crime because of being unable to achieve the social standards that has been pre-stablished. If we consider anomy as the main motivation of why people start using drugs, social support could be the first step to avoid this kind of delinquency.
Cullen defines social support as "the perceived or actual, instrumental and/or expressive provisions supplied by the community, social networks and confiding partners", and mentions the possibility of social support as a protective factor against crime. He uses as an example the American society, which has higher rates of serious crimes than any other industrialized nations because of its less supportive society, explaining how social support has an effect on the ecology of crime, acting against it. The variable of social support as a protective factor is really strong in criminological texts, that argument in favor of measures that increase the presence of social support on delinquents and risk groups. From an ecological approach, economical aid, educational help, giving resources... are factors that help to decrease and even minimize risks. (Cullen F., 1994). This statement is as well presenting the idea that a supportive policy has a better effect on the ecology of crime in order to prevent it than the punitive policies.
What happens, then, with those actions not categorized as crimes, but that involve drug use? Alcohol and its consumption is part of the drug problem and it has a lesser representation on the media than other drug incidents.
Campaigns against drugs try to create a sensation of fear in society in order to stop their use. It is not only the idea to avoid drug consumption, but as well to use extreme visual signs to produce fear on people. Overreaction from the media is one of the examples on how drugs appear represented in society.
During certain times, a new trend appears and dominates the media and public opinion, based on stereotypes and aided by the media on great extent. It wouldn't be odd to consider media and social networks as the triggers of these mass panic attacks. Cohen (1972, quoted by Garland, 2008) defined this as moral panics. Those were recognizable for the disproportion, alarm and exaggeration out of all proportion when reacting to a person, group, or series of events, giving an over-dramatic feeling of fear. These panics, as well, can be a sudden high response for a short time, though they can as well develop into long-lasting reactions with even repercussions on legal and social policies, and even on the moral and the way society. Moral panics have the ability to find points in common with wide anxieties of the society in order to spread better and have more repercussions.
The original definition of Cohen includes as well a "Folk devil", a person or group onto which the situation, context or condition projects their anxieties and, therefore, are the original triggers of these overreactions. Even so, Sean P. Hier (2008) considers that even if moral panics have a particular folk devil, the source of the general fear is found elsewhere, since those are just a symbol of what happens when the morals are threatened, subsequently presenting the problematic nature of activities as facts by the media.
Garland presents some of the moral panics that went through the US media and their reactions. From 2007, a sole incident about a teenager dying as a victim of gun crime became the obvious main reason why some of the British adolescents are close to asocial and antisocial behavior more than on different countries. With this example, Garland gives us as well a brief explanation of how Moral Panics have repercussions on policies, placing the answers from the government to that topic.
Are there, moral panics in drug-related issues? We can find some evidence.
First of all we find normalization. Alcohol has been found as one of the most harmful drugs in general, with delinquency and incidents that greatly surpass others such as cocaine, methamphetamines and heroin. Even so, issues with alcohol seem to have been normalized in society and it's odd to find sensationalist articles talking about the effects of alcohol as a potent and dangerous drug. On the other side, we have heroin, which is even used as a health remedy and sold in pharmacies when prescribed, but any incident on it becomes a greater fuss with enormous repercussions compared to alcohol.
Drugs have never stopped being a problem which concerned population and policies reacted how it was necessary.
There are different debates opened about topics such as they are Legalization and Prohibition, how to stop drug misuse and more.
Research about investment on drug policies has shown how drug users seem to be unaffected by the modifications. From a country working on Decriminalization such as Spain, the rates of drug abuse are between the top ones in Europe, where we can find as well the United Kingdom, where Prohibition works. Therefore my opinion on this issue has been to consider using policies focused on social practice and to find a different approach. After all, those drug users who are treated already in prison have contributed to the crime rates, and the objective is to reduce those.
Social policies can be focused on ideas from theories such as Anomy and Control in order to understand better the root of drug use. Those theories are just a hypothetical approach and they need an empirical research in depth. Even so, we must consider that drug misuse is a complex problem with, probably, dozens and even hundreds of variables playing their part. For that reason we cannot just give a simple answer which will solve every single one of these problems, but imagine the better approach in order to reduce the risks.
But again, social policies have a problem founded with the apparition of Moral Panics. In the actual society, the amount of information received might be too much and cause those anxieties. Sources are not always reliable and sensationalism gets always its way to the scene, giving people concerns on policies and social issues.
After talking about those mass panic attacks that can even influence how a government acts and works, it's easy to see how they have an important repercussion on drug policies. Moral panics are now used by the media, politicians, commercial promoters and journalists.
For that reason I'd consider that the sensationalist attacks that the media can offer to serious topics, creating misunderstandings and the general feeling of fear, is part of the issue that the United Kingdom's government (and any other government) has to deal with when taking decisions on drug-related policies.
There is not only now the problem itself of drug abuse, but if we try to treat it as the social issue it's become, the answer relies on moral and how well people react to changes in legislation. Avoiding the massive waves of fear caused by media and misinformation flooding by the social networks is a big problem to deal with, maybe at the same level than drug dealing is, since both would become pillars of the same crime and its continuation.
If drug users cannot be helped by the prison and its system, it should be already time for the society itself to lend a hand to those who are asking for help.
Cullen F (1994). Social support as an organizing concept for criminology: Presidential address to the academy of criminal justice sciences. Justice Quarterly 11 (4), 527-559.
EPIDEMIOLOGÍA, D. C. D. A. Y. (2003). Adolescencia: consumo de alcohol y otras drogas. Papeles del psicólogo, 23(84), 9-17.
Garland, D. (2008). On the concept of moral panic. Crime, Media, Culture, 4(1), 9-30.
Gobierno de España (2015). Código Penal y legislación complementaria.
Grasmick, H.; Tittle, C.; Bursik, R y Arneklev, B. (1993). Testing the core empirical implications of Gottfredson and Hirschy's general theory of crime. Journal of research in crime and delinquency, 30/1: 5-29.
Hier, S. P. (2008). Thinking beyond moral panic Risk, responsibility, and the politics of moralization. Theoretical Criminology, 12(2), 173-190.
Kothari, G., Marsden, J., & Strang, J. (2002). Opportunities and obstacles for effective treatment of drug misusers in the criminal justice system in England and Wales. British Journal of Criminology, 42(2), 412-432.
Moliné, J. C., & Pijoan, E. L. (2001). Teorías criminológicas: explicación y prevención de la delincuencia. Editorial Bosch.
Reuter, P., & Stevens, A. (2008). Assessing UK drug policy from a crime control perspective. Criminology and Criminal Justice, 8(4), 461-482.


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Quick Answer: How Long Does A Car Last In Canada?
Is it a good time to buy a car in Canada?
Are cars cheaper in Quebec?
What happens if you get caught sleeping in your car?
Can you sleep at rest stops in Canada?
What is the average life expectancy of a car?
Will car prices drop in 2020 in Canada?
Can a car last 20 years?
Can cars last 300 000 miles?
Is living in your car legal in Canada?
What mileage do cars start having problems?
Are you allowed to sleep in your car at Walmart?
The best time to buy a car in Canada is generally at the end.
The end of the year, the end of the quarter, or the end of the month.
Dealerships are looking to offload cars at the end of those periods to hit sales quotas.
They're also looking to sell-off cars at the end of a life cycle to make room for the newer models..
Ontario/Quebec cars are cheaper for a variety of reasons but I think especially when dealing with newer cars its basically due to the size of the market. They have way more people there, which means they have alot more cars then we do….. hence lower prices…
The fine for sleeping in your car in an off-limits zone starts at $25 for first-time offenders. That increases to $50 the second time, and $75 after that.
Rest stops are located along major highways. … It is strictly prohibited to spend the night at a rest stop. The maximum stay permitted is four hours. You may decide to risk it, but there is a good chance that you will be woken in the middle of the night and asked to leave the premises.
A typical passenger car should last 200,000 miles or more, says Rich White, executive director of the nonprofit Car Care Council (which offers a free car care guide). Another way of looking at it: "The average lifespan [of a car] is now almost 12 years," says Eric Lyman, chief analyst at TrueCar.
Canadians bought 1.914 million new vehicles in 2019, a 2.6-per-cent decrease from 2018. In its best-case forecast for 2020, which it says is "most likely," CBB said a double-digit jump in unemployment, along with a large drop in consumer confidence, will result in a 25-per-cent fall to 1.436 million new vehicles.
Some cars need it every 3000 miles, some can go longer. It depends on the vehicle and type of oil used. … They are known for reliable, long lasting vehicles. I don't think my car would of last 20 years if it was a crappy automaker.
Ah, the feel of the open road. A person could drive 30,000 miles a year (the average is 15,000) and rack up miles pretty quickly, but someone who drives very little will still see their car age when the interior fades and rubber parts begin to dry. …
In general, there are no laws prohibiting you from sleeping in your car. But you need to follow parking signs at rest areas, parking lots and on main streets to determine whether extended parking is allowed. … That means you could get a DUI even if you're only sleeping in your car and don't intend to drive it.
Typically, putting 12,000 to 15,000 miles on your car per year is viewed as "average." A car that is driven more than that is considered high-mileage. With proper maintenance, cars can have a life expectancy of about 200,000 miles.
Times have been tough for millions of Americans since the coronavirus pandemic shut down much of the economy, but for those with the financial wherewithal, it's a smart time to buy a new car. … Low-interest and zero-percent financing deals are still plentiful, along with cash-back offers and attractive lease terms.
Walmart. You may have already heard that it is completely legal to park and sleep overnight in your vehicle at all Walmart parking lots. This has been true in all of our experiences. In fact, we have seen RV's and campervans that are set up permanently at some Walmart locations.
Question: Can A Landlord Enter Your Backyard Without Permission In California?
Where do I file a complaint against my landlord in
Quick Answer: What Is The Verb For Weight?
What is verb form of weight? weighted; weighting;
What Is The Benefit Of Gate Score?
Is Gate tougher than Jee? In comparative terms, it
Question: What Is Tenants In Common In Real Estate?
Is Probate needed for tenants in common? There is no
Question: Is China Expensive For Tourists?
How much does a meal cost in China? Lunch/Dinner/Supper


Will this harm my pets if I use it in the house?
Advance Carpenter Ant Bait is generally used outdoors. It can be used indoors in attics, wall voids, electrical switches, storage closets, etc. Sprinkling it indoors along baseboards where pets can get to it is not recommended. The active ingredient is basically a soil fungus called Abamectin. It can make animals sick if they consume enough of it. The trick is to apply it where the ants can find it. This is generally outdoors around the foundation, under shrubs, etc. It has to be reapplied every 3-4 days to keep it fresh and until the ants quit feeding on it and die. 1 application usually is not enough. A typical application would be 1/2 cup around a complete perimeter of the house. It doesn't take much. A little goes a long way.


You perch beneath the branches' veil!
Where are you, in the branches' veil?
Starts a song, my nightingale!
He hops amid the branches' veil!
The herald of joy, O nightingale!
What you see in branches' veil!
The heart skips for nightingale!
Sings away in the shady veil!
He watches us, the nightingale!
Whistles for it amid branches' veil!
He has settled, O nightingale!
In the secret shade of leaf-veils!
Together in the leafy veil!
—I wonder if premonitions come true or not.
—Well, there are certain premonitions . . .
—It's not important. If they come true, you'll know . . .
Even if he's in branches' veil!
Even if he gets lost in fog!
Even if he's lifted by crowds!
Even if he just wants to sleep!
Even if he wears a coat!
Even if he's just an old coot!
Even if he arrives alone!
If he's needed by anyone!
If he's not an idiot!
Even if he just can't get it!
If he's really not a real man.
Saying no to exchanging blows!
—Exactly the same as you.
—But I don't understand . . .
—No, I don't . . .
—Well, if you don't understand, forget it.
—You forget it . . .
He finds some peace and quiet!
He finds that he must be!
They're waiting hard for him to come!
They do not wait for him at all!
You can never leave again!
He'll be at home forever more!
A man will go in search of there!
—But I heard "gulf." That's even better.
—Perhaps it's better, but I said "gulp."
—I already understood what you said, but "gulf" is still better.
—Yes . . . levels of communication . . .
—This is what I think: there is probably a way of attaining these levels of communication, which are unattainable by any other means . . .
—Well, probably . . .
—Here you go. Then what are you arguing about?
If his heart demands it!
That's how he cleanses himself!
—Even amid noise, you should find rhythm and order.
—Yes. You just have to listen closely.
—Then that really isn't noise . . .
—Then that really isn't noise.
—Then, of course . . .
Without a way to sing!
Without a way to love!
Without a way to suffer!
Without a way to die!
—I don't get it . . .
—What do you mean by "anything"?
—Just that. I just don't get it. End of story.
Do not read this poem.
The writings of contemporary Russian poet Lev Rubinstein, one of the founders of Moscow conceptualism, are what he terms "poetic texts"; they invite us to stage, perform, or remake them. They are scripts, tatters of speech, the ruins of discourses, set into conversation with other ruins.
Rubinstein, a former librarian at the Lenin Library in Moscow, began composing these poetic series on library index cards in the 1970s, influenced by avant-garde traditions, Zen, and postmodernism. What I love about his version of conceptualism is that his poems can be read either as a parody of discourses or as the renovation of the fragments of truth they attempt to illuminate; in other words, I find the poems to touch on utter banalities which nonetheless contain elements of truth, even as they expose official truths as banal. He's a lot of fun, dancing between "high" and "low," but in the way that Frost believed poetry should "play for mortal stakes."
Recent debates about conceptualism in the American poetry scene are polarized between partisans and naysayers who promote the idea that there is a fundamental antagonism between concept and drama, language and lyric, intelligence and affect. The work of Lev Rubinstein (and, arguably, the whole corpus of Russian conceptualism) offers a third way. Rubinstein's work is a dirty conceptualism, redolent of lyric affect. It's a little difficult not to be moved by his poems, even as we see their relentless quasi-quotationality. Every gesture of his work oscillates between the dramatic pulsing of feeling and the constructedness and kitsch of feeling; in this way, perhaps, Lev Rubinstein's poems are a bit like Guided by Voices songs—each an entire history of pop music, drunk to the dregs, shattered, melted down, recycled, and reborn as another bottle.
Lev Rubinstein is among Russia's most well-known contemporary writers and one of the founders of Moscow Conceptualism. He has been called a "Postmodern Chekhov." His work is conceived as series of index cards, a poetic medium which he was inspired to create through his work as a librarian at the Lenin Library. His work circulated through samizdat and underground readings in the "unofficial" art scene and found wide publication in the late 1980s. Rubinstein lives in Moscow and writes cultural criticism for independent media. The Compleat Catalogue of Comedic Novelties is forthcoming from Ugly Duckling Presse in 2014. He is active in the pro-democracy movement in Russia.
Tatiana Tulchinsky has translated many works of fiction, poetry, drama, and non-fiction, among them Leo Tolstoy's Plays in three volumes, Anna Politkovskaya's A Small Corner of Hell, an Anthology of Russian Verse, and the Selected Works of Venedict Erofeev. She received a Best Translation of the Year Award from the American Association of Slavists, a Witter-Bynner Foundation for Poetry Grant, and a Creative Writing Translation Fellowship from the National Endowment for the Arts. Currently, she's working on a project translating and promoting English-language drama for the Russian theater stage.


[240 U.S. 90, 91] Assistant Attorney General Thompson for appellant.
[240 U.S. 90, 92] Messrs. George A. King, William B. King, and William E. Harvey for appellee.
'His leave without pay from August 1, 1907, to October 31, 1907, was not requested by the claimant, but he did not file a protest against such action nor relinquish his leave and return to duty.
It is apparent from the authorities cited in the per curiam opinion of the court below (Glavey v. United States, 182 U.S. 595 , 45 L. ed. 1247, 21 Sup. Ct. Rep. 891; Whiting v. United States, 35 Ct. Cl. 291, 301; Dyer v. United States, 20 Ct. Cl. 166) that the allowed recovery was based upon the conclusion that the half pay during the leave of absence was expressly sanctioned by law (Rev. Stat. 1265), and hence any condition conflicting with such statutory right was void, and that the officer being entitled to rely upon the statute, no estoppel against him could be implied because of his having acted upon the leave, albeit it contained a condition in conflict with the rights conferred by the statute. To test the merits of these conclusions will dispose of the entire case, since all the contentions of the government are embraced in three propositions: 1, the asserted existence of authority to grant the leave, conditioned on its being without pay, notwithstanding the statute; 2, even if such power did not exist, the binding effect of the condition upon the officer who accepted the leave which was subject to it; and 3, in any event, the impossibility of separating the grant of leave from the condition upon which the leave was based, thus, under the hypothesis of illegality, rendering the grant void, and causing the absence [240 U.S. 90, 94] from duty which was enjoyed under the apparent sanction of the grant to be an absence without leave, for which, under the statute, no right to pay existed. It is manifest that these contentions assume, as did the conclusions of the court below, that the telegram stated in the findings operated to grant a new leave for the three months therein specified, subject to the condition that it should be without pay, and in separately testing the propositions we shall treat the telegraphic order as having that significance.
1. As in view of the plain text of Revised Statutes, 1265, there is no room for disputing that the right to half pay during the period of the leave in question was conferred by the statute, there is and can be no dispute that, tested by the statute alone, the court below did not err in allowing the claim for such half pay. But the contention is that error was committed because the conferring of the right to pay by the statute was not exclusive, and therefore did not deprive of the authority as an incident to the power to grant the leave to affix the condition that the leave should be without pay notwithstanding the statute. It is unnecessary, however, to stop to point out the unsoundness of this proposition, since the error upon which it rests is authoritatively demonstrated by previous decisions which substantially leave the proposition not open for discussion. United States v. Williamson, 23 Wall. 411, 416, 23 L. ed. 89, 90; United States v. Wilson, 144 U.S. 24 , 36 L. ed. 332, 12 Sup. Ct. Rep. 539; United States v. Shields, 153 U.S. 88, 91 , 38 S. L. ed. 645, 646, 14 Sup. Ct. Rep. 735; Glavey v. United States, 182 U.S. 595 , 45 L. ed. 1247, 21 Sup. Ct. Rep. 891. Nor, in contemplation of the cases which we have just cited, and additionally, in view of the provision of Revised Statutes , 1229, Comp. Stat. 1913, 2001, that 'no officer in the military or naval service shall in time of peace be dismissed from service except upon and in pursuance of the sentence of a court-martial to that effect, or in commutation thereof,' is there any necessity to point out the want of application of the authorities dealing with the power to dismiss civil [240 U.S. 90, 95] officers which are cited as a basis for the proposition that a like power applies to Army officers, and therefore, as there was authority to dismiss, the lesser right of granting the leave without pay necessarily obtained. So, also, it is unnecessary to enter into any detailed analysis of the decision in Hartigan v. United States, 196 U.S. 169 , 49 L. ed. 434, 25 Sup. Ct. Rep. 204, since that case concerned the power to remove a cadet at the Military Academy, and the recognition of the right to exercise that authority was in express terms based upon the view that although in a sense a part of the Army, cadets at the Military Academy were not officers within the intendment of Revised Statutes, 1229, and indeed the opinion in the Hartigan Case in substance refutes the extreme contention as to power which is now sought to be sustained.
2. The contention as to the estoppel resulting from the failure to protest against the condition affixed to the leave, and the binding force of such condition, even if illegal, resulting from an acceptance of the leave containing it, is by necessary implication foreclosed by all the cases previously cited, and in fact was in express terms considered and held to be without merit in Glavey v. United States, 182 U.S. 595 , 45 L. ed. 1247, 21 Sup. Ct. Rep. 891. Because that case concerned an illegal condition attached to the performance of the duties of an office, and this involves an illegal condition attached to a grant of leave, affords no ground for distinction between that case and this. The basis of the ruling in the Glavey Case was the right of the official to rely upon the provisions of the statute, and the resulting want of power to apply a principle of estoppel. And as here there was express statutory authority for the half pay during the leave, the reason in the Glavey Case is controlling, and the distinction relied upon involves no difference justifying taking this case out of the principle settled in the Glavey case. As the statute conferred the right to the half pay during the leave, it necessarily follows that the exclusion of executive authority over that subject which resulted extended to [240 U.S. 90, 96] and was coterminous with the power which the statute exerted.
3. The contention that even if the condition which was attached to the leave be treated as illegal, and the acceptance of the leave containing it be decided not to have operated an estoppel, nevertheless, under such circumstances, the leave must be treated as void, and the absence based on it be held to have been one without leave, for which no pay could be allowed under the statute, is self-contradictory, and besides, in its essence, must rest upon the assumption that there was power to affix the condition, the terms of the statute to the contrary notwithstanding. The contention, therefore, is in substance foreclosed by Glavey v. United States, supra, and the decided cases to which we have previously referred. How completely this is the case will be demonstrated by observing that the decision in the Glavey Case was expressly based on the ground that public policy forbade giving any effect whatever to an attempt to deprive by unauthorized agreement made with an official, express or implied, under the guise of a condition or otherwise, of the right to the pay given by the statute. And, of course, the contention now made that the absence with leave, which carried pay under the statute, was converted into an absence without leave, carrying no pay, in consequence of an unauthorized attempt to subject the granted leave to an illegal provision that it should be without pay, is absolutely in conflict with the previous cases and the rule of public policy upon which they were based. In fact, the contention but in a changed form asserts the application of estoppel, which, as we have seen, was expressly adversely disposed of in the previous cases.


0%96°76°Night - Partly cloudy. Winds from NW to N. The overnight low will be 79 °F (26.1 °C).Mostly sunny with a high of 90 °F (32.2 °C). Winds variable at 2 to 8 mph (3.2 to 12.9 kph).
50%93°77°Scattered thunderstorms today with a high of 93 °F (33.9 °C) and a low of 77 °F (25.0 °C). There is a 50% chance of precipitation.
45%88°77°Scattered thunderstorms today with a high of 88 °F (31.1 °C) and a low of 77 °F (25.0 °C). There is a 45% chance of precipitation.
Tonight - Partly cloudy. Winds from NW to N. The overnight low will be 79 °F (26.1 °C).
Today - Mostly sunny with a high of 90 °F (32.2 °C). Winds variable at 2 to 8 mph (3.2 to 12.9 kph).


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Arizona uses a mad 4th-quarter comeback to escape the Oregon State upset bid
By K Doss Updated Jan 6, 2023, 8:39pm PST
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It wasn't easy. At times, it looked like it might be hopeless. As long as there's time on the clock, nothing is hopeless, though. Arizona proved that by coming back from a 12-point deficit twice to defeat Oregon State 72-69.
"It was all part of the plan," Arizona head coach Adia Barnes joked. "Play 34 minutes awful, then wait until the last 3:24 to play defense and actually play."
The Wildcats relied on an unlikely hero. Lauren Fields, who was 0-4 heading into the final quarter went off for eight points in 40 seconds with two 3-pointers and a fast break layup to tie things at 65. A 3-pointer by Helena Pueyo 19 seconds later put Arizona ahead for the first time since 5:05 in the first quarter.
"You can't make a shot if you don't shoot it," Fields said. "So, that's what I was telling myself. Keep shooting, one would eventually fall. And that's what happened."
Arizona did not relinquish the lead.
The Wildcats were led by Cate Reese with 16 points, two rebounds, and three steals. Close behind were Arizona's primary point guards, Pueyo and Shaina Pellington. The pair had almost identical stat lines with 12 points, four rebounds, six assists, three steals, and one turnover. The few differences were Pellington had two fouls and a slightly higher +/- while Pueyo played four more minutes.
"So, Shaina, 4 for 6 from the field with a tremendous amount of congestion inside," Barnes said. "One for one from the 3. Three for four [from the line] and six assists, one turnover. That's really good for the primary ball handler for 30 minutes."
Barnes also had a great deal of praise for Pueyo, who has started scoring more lately including driving to the basket and drawing more fouls. It was her second straight game scoring in double figures and her third this season.
"Helena has been phenomenal," Barnes said. "Her off the bench gives us a punch, brings energy. She's just like a starter but I think she likes coming off the bench. I think she's good at watching versus starting for her. I think she'll do whatever the team needs, but it gives us a different look. Sometimes with Shaina, sometimes it's in place of Shaina, so they're different."
Esmery Martinez led the Wildcats on the boards, collecting eight rebounds to go with her nine points.
The first half was disjointed for Arizona. With a slower frontcourt on the opposing side, Reese and Martinez would appear to have an advantage putting the ball on the court and driving. Instead, both chose to shoot from outside. The pair went 1-4 from the 3-point line in the first half with Martinez having the only successful shot.
Arizona finally started hitting some shots towards the end of the second quarter. Pueyo and Madi Conner started forcing the issue, driving to the basket. It stopped the bleeding, but it was still mostly one-on-one basketball and Arizona still wasn't getting a lot of stops. The Wildcats went into the locker room down by eight.
Barnes shook things up by starting the second half with Kailyn Gilbert, Pellington, Pueyo, Martinez, and Reese on the floor. Some freshman mistakes by Gilbert put an end to that after a few possessions.
With Pellington, Pueyo, Fields, Conner, and Reese on the floor, Arizona finally started to play real team basketball. Guarding tough. Sharing the ball. Reese started using her speed to get by the Beavers' slower frontcourt players instead of putting up 3-pointers.
After falling behind by 12 in the third quarter, things clicked. The Wildcats went on an 8-0 run to close out the third and tie it at 49 heading into the final 10 minutes of the game.
The Beavers punched back. The two teams traded baskets to start the fourth, OSU fed talented freshman forward Raegan Beers. The visitors went on a 10-0 run to take the double-digit lead again. They eventually pushed the lead back to 12 points on a Bendu Yeaney jumper.
Then, came the final fierce comeback, which relied heavily on defense.
Martinez made two free throws with 3:24 to go in the game to cut the OSU lead to single digits. Pueyo got one of her three steals on the ensuing Beavers possession. She was off to the races to get the fast break layup.
Then, it was time for Fields. Former Wildcat Yeaney missed a 3-pointer on the other end. Reese rebounded the ball, then sent it to Pellington, who hit Fields for an open 3 in the corner.
The next play was similar. This time it was Talia von Oelhoffen missing the 3-pointer for the Beavers. Martinez got the rebound, sent it to Pueyo, who hit Fields for a second straight 3-point shot.
A third straight OSU possession turned into no points when Pellington stole the ball from Yeaney. This time, she got it to Fields for the layup on the fast break. Tied ballgame.
A fourth defensive stop, again on a Pellington steal, turned into a Pellington-to-Pueyo pass and a Pueyo 3-pointer to take the lead for good.
"The defensive lineup was the one that really kept the comeback later," Barnes said. "So, I think sometimes just sitting, processing, watching doesn't hurt. The way they did our press down the stretch with the traps and the pressure, that's how we need to start games because it was the starting group that came back in and did it. So, we have to be able to do that consistently and not wait...but the thing is we could have laid down and died. We could have said, 'Oh, we're done,'...I mean they controlled the game for 34 minutes. They were leading. Every time we had come back, they'd hit the big 3."
Keeping confidence, knowing they could do it, made the difference.
"We didn't have control of the game for most of it," Pellington said. "So just staying engaged. But when you have players that are able to do what Lauren did towards the end, it really helps you feel the fire and it gives you energy. So, I just like to try and stay ready so I don't have to get ready. Once she started hitting those shots it was like it kind of added fuel to the fire for us. So, I think just staying engaged was key to coming back down the stretch."
Arizona was without freshman forward Maya Nnaji who was in concussion protocol. It left the team with just two healthy posts, both of whom are only 6-foot-2. Barnes hopes to have Nnaji back when the Wildcats face Oregon on Sunday, Jan. 8.


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Sustainability is important to consumers
Luna Bell
In addition, news about the acquisition of Sitecore, news about the close collaboration
Consider, for example, events. As and when personal opportunities arise, opportunity marketers will have access to a variety of virtual event tools that have improved over the past year.
Personal or virtual will be a new choice that planners and participants will have based on their specific needs and goals. There will be a mix. Here's what we got from Kim Davis of Denzil Rankine, founder, and CEO of AMR International and co-author of Reinventing Live, a new book by Anthem Press.
Next, take a look at an adtech player, AcuityAds, which offers advertisers a new set of contextual information tools through a partnership with GumGum. In this case, it's another kind of challenge, namely the exclusion of third-party cookies, which causes marketers to expand their directory.
I wonder how many other important solutions in the industry are the result of a pivot.
Less personal opportunities, more hybrid options
Reinventing Live, the new book by Denzil Rankine and Marco Giberti of Anthem Press, is a comprehensive analysis of the past, present, and future of events. But that's what future marketers are looking for now, both as event planners and as participants. Most marketers expect exciting opportunities in the coming year. But does that mean we have to say goodbye to virtual environments that have been accelerated until 2020 and that brands are willing to pay the cost of participating in live events, including the carbon footprint of business travel?
We discussed these issues in a conversation with one of the book's authors, Denzil Rankine, founder and CEO of AMR International, a strategic consulting firm for events. "We have a mix," he said. 'We will see that some versions of online events work very well; influence business, make money, and so on. And some models, like individual meetings, work that way. Some personal opportunities will certainly return, but they will be smaller and the frequency is likely to decrease.
Hybrid events can mean anything, from a global live broadcast of a personal event to a personal event using certain digital assets or linked applications. How does Rankine view the hybrid? "I think we'm just saying it's more of a digital expansion," he said.
A full live stream of a personal event seems discouraging and also organizes two events at the same time. "I think this is the future." It's time to think about old school events, he said. "Wake up one day, get out on the other side of the bed, take a blank piece of paper and say, 'How are we going to do it differently?' '
Consumers have high expectations for sustainability
In celebration of this year's Earth Day, we launched a study showing that brands are missing out on the opportunity not to pass on their environmental initiatives to customers. The issue is reinforced by new research by the digital and creative agency Compose [d] and by the producer and producer of sustainable products MaCher.
Based on a survey of 1,000 U.S. consumers in all age groups for adults, an impressive 94% say a more sustainable lifestyle is desirable. A clear majority (more than 60%) are looking for products with a low environmental impact and/or products made with recycled materials.
The actual impact of these opinions on purchasing decisions is more limited than you would expect, but for the simple reason, that one in three consumers finds it difficult to find sustainable products in different varieties.
Yes, we care about the environment, but we also care that some brands do not realize that (1) environmental responsibility is the right thing to do, and (2) it is for everyone to benefit from the help of their customers to have. . let me know who you are, I mean. Addiction.
AcuityAds provides contextual targeting for advertisers with a GumGum partnership
Adtech's multichannel platform AcuityAds announces a new partnership with GumGum, a specialist in contextual intelligence. The agreement provides contextual information for the lighting product AcuityAds.
AcuityAds uses automation techniques to provide real-time planning, acquisition, and intelligence in omnichannel campaigns. GumGum's Verity solution adds contextual intelligence to AcuityAds DSP, as well as sentiment analysis and brand security features.
Contextual information has received more attention lately as marketers try to secure their digital campaigns in the future by removing the third-party cookie.
According to Ken Weiner, GumGum's chief technology officer, early test results suggest that the GumGum solution can also identify 'safe' inventory ad placements that are typically marked as 'unsafe' and blocked.
Primary data is valuable, but it doesn't tell the whole story, so advertisers and their adtech solutions are driven to search for other sources of intelligence. In this way, they can discover opportunities to be more relevant to consumers and increase ROI. The buyer's feeling is mainly about context. Where are they and what do they do when they are close to shopping centers?
Sitecore acquires MA and the campaign platform
CX Sitecore Management Platform has announced that it has acquired the UK's Moosend Automation and Campaign Management platform. Among the bubbling, patrons are Domino's Pizza and Sephora.
It follows the acquisition of CDP Boxever and the B2B e-commerce platform Four51 and represents an additional investment of more than $ 1.2 billion raised during a financing round in January.
What used to be the e-commerce and CMS space is now the customer experience and the digital experience as leading providers such as Sitecore are rapidly expanding their offerings through strategic acquisitions. As B2B brands will use the first digital market in almost all vertical brands and also B2C brands, these providers see and sell great opportunities.
Marketers aren't breaking the third-party cookie habit
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Preview — The No World Concerto by A.G. Porta
The No World Concerto
A.G. Porta,
Darren Koolman (Goodreads Author) (Translator)
Rhett McNeil (Translator)
3.81 · Rating details · 84 ratings · 15 reviews
Hailed by Spain's Revista Quimera as one of the top ten Spanish-language novels of the decade, alongside Bolaño's 2666, Vila-Matas's Bartleby & Co., and Marías's Your Face Tomorrow, The No World Concerto is a many-layered puzzle concerning an old screenwriter who has holed up in a shabby hotel in a never-named but familiar city in order to write a script about his Hailed by Spain's Revista Quimera as one of the top ten Spanish-language novels of the decade, alongside Bolaño's 2666, Vila-Matas's Bartleby & Co., and Marías's Your Face Tomorrow, The No World Concerto is a many-layered puzzle concerning an old screenwriter who has holed up in a shabby hotel in a never-named but familiar city in order to write a script about his lover - a young piano prodigy who wants in turn to give up music and become a novelist, and who believes she may be in contact with creatures from another world. Ambition, lust, hate, and the need to create all combine to make up a potent depiction of youth - and age - lost in a labyrinth of their own making.
Sinister and erotic, shifting restlessly between realities, and populated by conspirators both real and imagined, The No World Concerto is an investigation of the limits of language, storytelling, and the known world, set against a backdrop of empty concert halls and hazy foosball bars. It is the first of A. G. Porta's books to appear in English, finally joining those of his early writing partner and devotee Roberto Bolaño. ...more
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Published April 2nd 2013 by Dalkey Archive Press (first published November 2005)
Concierto del No Mundo
156478861X (ISBN13: 9781564788610)
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Jul 27, 2013 s.penkevich rated it really liked it
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Shelves: innovative, metafiction, musically-marvelous, too_cool_for_school, dalkey
1. The No World is all that is the case.
Composer and expressionist artist Arnold Schoenberg revolutionized 20th-century music through his development of the twelve-tone technique, or dodecaphony, which gives equal treatment to each note in the chromatic scale as the music sways through a series of repeated motifs without allowing any of them to dominate the composition. The No World Concerto is a staggering accomplishment for author A.G. Porta, applying Schoenberg's music theories to literature 1. The No World is all that is the case.
Composer and expressionist artist Arnold Schoenberg revolutionized 20th-century music through his development of the twelve-tone technique, or dodecaphony, which gives equal treatment to each note in the chromatic scale as the music sways through a series of repeated motifs without allowing any of them to dominate the composition. The No World Concerto is a staggering accomplishment for author A.G. Porta, applying Schoenberg's music theories to literature as he orchestrates a multi-facet plot rotating through many layers of reality. Following the stories of two unnamed characters, a screenwriter and his lover, a young piano prodigy who abandons her successful career to pursue writing, Porta masterfully composes the effect of 'two mirrors reflecting each other' as both characters are creating works based on the lives and interactions of one another. This interaction only furthers the wonderful juxtaposition of the two, one old and one young, yet both grappling with demons of originality and self-expression in a suffocating reality of their own making. Dense with intense philosophic, musical, literary and cinematic explorations and allusions, yet never flagging in the irresistibility of his metafictionally interwoven storylines, Porta achieves his goal of a dodecaphonic novel that both pays tribute to the great, original minds of the past, while simultaneously asserting his own creative genius.
[T]he screenwriter starts thinking he should imagine his script not as a series of concentric layers like an onion, but of a series of parallel planes, each successive one subsumed in the next…Should he exist in the same world in wich she moves, or should he exist in the world she imagines?
A.G. Porta arrived onto the literary scene in 1984 with the novel Consejos de un discípulo de Morrison a un fanático de Joyce seguido de Diario de bar, co-written with a young Roberto Bolaño. After a fifteen-year period of literary silence during which he, according to Bolaño, read and reread James Joyce (who features heavily in No World, such as the nod to him with a character named Cousin Dedalus), Porta released a flurry of five novels in ten years. The No World Concerto is his first to be translated into English, and hopefully the first of many.
Porta reveals himself as a master of style, impressively holding the reins on his many layers of reality as he transitions equally between each. The reader is kept unaware if they ever achieve sure footing in reality or another reflection of reality found within the two works. Is it the reality of the screenwriter, the reality of the girl, or an interpretation written by one or the other.
The story is his own invention, but he knows he borrows heavily from the girl, from the stories she tells him, from the extracts of her novel she reads to him or that get delivered to his hotel, with commentaries scribbled in the margins, which he incorporates into his own narrative.
Much of what either character writes comes from something they've observed or heard from the other, or they attribute to their characters the ideas burdening their own thoughts. This repetition of ideas, revolving through perspectives, further simulates the twelve-tone theory, and each layer of reality, each theme and motif, is given equal expression. The effect is marvelous and disorienting, yet not to the point of distraction, and it is awe-inspiring how Porta's delivery manages to be concise, accessible and seemingly effortless.
The repetition of themes, 'a world of pure contrast between dissonance and harmony, in which pleasure is derived merely by finding different ways of resolving the conflict,' offers an interesting, phenomenological approach to each idea. As much of what the reader learns about the girl is found through the script being written by the screenwriter—similarly, the major insights into the screenwriters present condition are revealed through the girls fictional character's backstory—the reader develops an understanding with her nature that may not take any basis in her reality, yet it is all the reader has to build on. Each subsequent action of hers cannot be viewed without carrying with it the previously constructed notions of her, and this uncertainty casts an alluring enigmatic shroud around the character of the girl. There is, in fact, the girl herself, in pure form, which we can never meet since we can only know her as our own unique perspective of her, and the screenwriters perspective on her. Furthermore, it could be argued that she can only know her own perspective on herself, carrying with it her own preconceived notions and sensitivity towards certain aspects as well as blinders towards others. As with each idea or expression or thematic motif that is viewed repeatedly but applied differently, Porta probes the thing-in-itself with each attempt opening a different, subjective reality of impressions about the idea.
What really matters is not the object in itself, whether it exists objectively, so to speak, but the fact we can perceive it at all, and perception, being subjective, is as multifarious as the number of people that comprise the human race.
The juxtaposition between the screenwriter and girl is further intensified as each is primarily displayed as an expression of the other. 'Youth is that condition of being without a past; old age, of being without a future.'The screenwriter is caught in a maze of perceived failures, feeling his life is brimming with mediocrity in a profession long past it's golden age. This mourning for a golden age causes him to often reflect on Marcel Proust (in his script, Proust is the girl's fathers favorite author), and opens an interesting observation into the nature of solipsism, a theme that permeates the novel.
his yearning, is symptomatic of a man who'd have mourned the loss of any age, any time, because the only thing that truly vanishes is the self located there, located then, so the narrator interprets the end of his age as the end of the self, and the end of the self as end of world entire.
When we find ourselves disconnected from the present, we often feel it has less value since it has less value to us. The screenwriter fears being forgotten, being an unvisited grave in the cemetery full of innovators, and his choice of a star on the rise as his protagonist speaks volumes of his desire to be relevant. The girl, on the other hand, rejects her fame and only wishes 'to be authentic, to be true to herself.' She rejects her school band, of which she is the star, when she fears they are selling-out, playing a game that leads to fame but not to be true to the music they play, to be another brand name (exemplified in her wardrobe consisting of only white clothing that has had the tags removed). Porta exploits the rebellious teen cliché well, and the girl is the embodiment of the quest for the thing-in-itself while rejecting any imitations. Unlike the screenwriter who studies the great minds of literature to be overwhelmed by their greatness, she views them as a mark to match with her own greatness, such as her interpretation of Schoenberg's Five Pieces for Piano . She abandons piano to write, to create her own worlds in which she can explore her inner theories that nothing exists, or at least not beyond her own mind.
For the girl, or at least from what may only be the screenwriters perspective of the girl, everything is a game. This statement becomes a mantra for her and her fellow band members, the young conductor and brilliant composer¹. The group frequents bars with foosball tables, and since soccer (it seemed unnecessary that fútbol was translated as 'soccer') is the favorite sport of the girl—having a controversial soccer star as her favorite player being a further expression of her inner nature—, it is only fitting she would enjoy a task that makes a further game out of the sport and put each player under her command. Life is a game where they control their pieces to achieve what they want, and literature becomes an outlet that satisfies the desire for creativity and control. The screenwriter fears he only creates 'to live the lives of his characters, being that only exist in his dreams, people he'd like to be.' On the other hand, the girl creates to assert control over the ideas in her head, her notion of the No World, 'a name for an all-encompassing thought, the thought of which all things ultimately consist,' which she tries to piece together a logical depiction of through the style of Ludwig Wittgenstein's Tractatus Logico-Philosophicus. '5.6 The limits of language mean the limits of the no world.' Her No World is the metafictional novel found in the novel, and one that best examines the Porta's own mechanics (it should be mentioned again that her works may only be a product of the screenwriter's imagination, or is the screenwriter's works only a product of her story, ad infinitum).
[I]n the explosion, thoughts began expanding outward, creating a universe that exists only within its own solitude, although it appears so real that it eventually created beings who were convinced it was real, that they were real, and so convinced were they, it was inconceivable to even admit to the possibility that all they saw around them, all they knew and loved and hated, was only a product of thought. These beings eventually thought other universes into existence…always refusing to admit to the possibility that the constantly expanding universe they lived in was just a mind that thought them into existence.
There is examination of extreme solipsism, and the idea that ones creations can further create their own realities, all of which pulls the reader deeper down the rabbit hole of the multi-layered realities of the two characters continuously creating one another.
In a work about originality and the genius of former figures in the arts, it is understandable that the reader would look to the book at hand to uphold the same level of creative genius. The ideas found within The No World Concerto aren't particularly new, many of which are the solipsistic quandaries turning over in the minds of college students as they sit motionless, staring into what seems like a void in their smoky dorm room, yet it is the strikingly refreshing style that threads each idea together that more than makes up for it. When discussing the great authors, such as Joyce and Proust— there are very few proper nouns in the book and these two are only referred to as 'he writer who revolutionized twentieth-century literature', and the latter as 'the novelist and cartographer of memory—the father tells the girl that they are remembered because they took what had come before them and completely revolutionized it. There are ideas in their works that have been seen before, but not executed with the all-encompassing brilliance as in their works. The screenwriter and the girl are both plagued that their ideas are not original, and that it is near impossible to come up with a completely original idea unattached from comparison with another already-done, and already-done-well idea (the girls first description of her No World with people being unaware they are aliens reminds her cousin of Leon Kowalski of Blade Runner ), yet they reassure themselves that if they handle their collection of less-than-original-ideas flawlessly, then the totality of the work will shine forth as a work of brilliance. Porta may be asserting his own self-assurances here, yet he undoubtedly has earned the right.
Spiraling and metafictionally marvelous, Porta's The No World Concerto was some of the most fun I've had reading a book in years. The book is not without it's faults, particularly that Porta often gives a heavy-handed explanation of his philosophical issues and mechanics (however, the idea that it is the opposite character trying to verbalize the others ideas so they can in turn understand them is warranted justification) and that the shocking plot twists near the end seem to be unnecessarily sensational (yet, if the book is really a screenplay, then Hollywood plot twists to spice things up are another possible justification), yet No World's brilliance hides the flaws in it's shimmering glare. The parallel planes of plot are exceptionally engaging and the reader is more than happy to drown beneath their churning back and forth, each one receiving equal validity in the novel's reality. Porta is a maestro, conducting his many threads together to form a fantastic literary expression of the twelve-tone theory, and keeping the reader eagerly turning pages without feeling overwhelmed by the wonderful immensity of what they hold in their hands.
'Would a mind that creates itself and everything else still have need of success and recognition? It would requite a superhuman effort at self-deception.'
Dec 08, 2018 Vit Babenco rated it it was amazing
The No World Concerto is a very solipsistic novel… At times it echoes Project for a Revolution in New York by Alain Robbe-Grillet and sometimes Mulligan Stew by Gilbert Sorrentino…
Then the girl – she's probably tired by now, at the point of sleep, but still burning with ambition all the same, still determined to be a writer who'll accomplish great things. He wonders about the voices in her head, always calling out to her, never silent, and about her persecution complex – like her ambition – ever
Then the girl – she's probably tired by now, at the point of sleep, but still burning with ambition all the same, still determined to be a writer who'll accomplish great things. He wonders about the voices in her head, always calling out to her, never silent, and about her persecution complex – like her ambition – ever restless. A thing of little consequence to others, perhaps, but for the screenwriter, at least, it's a beginning.
Voices in the head… They always tell great stories… They manipulate those who hear them…
He writes a screenplay about the girl and the girl writes a novel about him… And in this The No World Concerto somewhat resembles At Swim-Two-Birds by Flann O'Brien. They are like two mirrors reflecting each other… They are like M. C. Escher's lithograph of two hands that are in the process of drawing one another.
Listening to her, the screenwriter starts thinking he should imagine his script not as a series of concentric layers like an onion, but of a series of parallel planes, each successive one subsumed in the next. So where should he situate the girl's watcher in the shadows? Should he exist in the same world in which she moves, or should he exist in the world she imagines? The plane she calls real, or the one she's created? He parodies an old controversy, but instead of mathematics, he asks himself whether it was the No World that was discovered or invented. Perhaps he should avoid philosophical polemics and stick to thinking about the story's subplots and themes, something better suited to a man of his trade. Nothing exists outside our minds – there is only intellectual curiosity, delusion, love.
The novel is a tale of a split personality, a story of a ruined identity… They think about William Shakespeare, Marcel Proust, James Joyce, Ludwig Wittgenstein and highly intellectual stuff but they write in the bad taste, filling their pages with poor pop culture clichés: aliens, pornographic erotica, crimes, mysterious private eyes, fraud luxury and images of cheap popularity.
The No World is just another way of trying to replace the external world with a replica, but it's a replica that acts like a photographic negative with an image on it, but which disappears entirely once it's developed.
Are we real or are we just reflections in the universal mind? "Maybe we're only information in a microchip, or in a machine that can recreate the past and fabricate the future." Are we some algorithmic residue in some alien cosmic computer? ...more
Apr 07, 2013 jeremy rated it it was amazing
Shelves: fiction, translation
antoni garcía porta is a spanish novelist with some half dozen novels to his name. the no world concerto (concierto del no mundo) is the first of his works to be translated into english (and hopefully not the last). he is best known to english-speaking readers (if, in fact, he is known to them at all) as roberto bolaño's early writing partner and long-time friend. in 1984, they published an as-yet untranslated short novel they coauthored together, consejos de un discípulo de morrison a un antoni garcía porta is a spanish novelist with some half dozen novels to his name. the no world concerto (concierto del no mundo) is the first of his works to be translated into english (and hopefully not the last). he is best known to english-speaking readers (if, in fact, he is known to them at all) as roberto bolaño's early writing partner and long-time friend. in 1984, they published an as-yet untranslated short novel they coauthored together, consejos de un discípulo de morrison a un fanático de joyce (advice from a morrison disciple to a joyce fanatic). despite winning a literary award for their work, porta did not publish another book for well over a decade following, while bolaño set about writing in earnest. bolaño claimed that porta spent these intervening years reading and rereading james joyce: "he'd read everything by joyce and in fact his subsequent long silence is in some way a product of his reading. i remember that for many years he wrote or collected random sentences from ulysses with which he assembled poems that he called readymades, à la duchamp. some were very good."
the no world concerto, like many of its unnamed (never named) characters, is an enigmatic, chimerical work of fiction. portentous, suspicious, obsessive, prurient, and paranoid, porta's story is undoubtedly a singular effort. set in modern-day paris (but referred to only ever as "the neighboring country's capital"), the no world concerto follows the fates of an aging screenwriter as, with savings dwindling and deadlines looming, he feverishly strives to compose a script. the subject of his screenplay is also his young, precocious, and talented lover - a gifted pianist who'd rather spend her time aspiring to novel-writing than practicing or performing concerts. estranged from his wife (or worse), the screenwriter's efforts become ever more frenzied and desperate as the object of his amorosity finds herself entangled in something she strives to understand as best she's able.
imbued with veiled philosophical, musical, and literary references, porta's novel has a rhythmic, almost undulating quality to it - filled as it is with recurring imagery and repetitive phrasings. also infused with a joycean nod, the no world concerto even features a character named dedalus. within the novel, consistent with porta's decision to forgo names almost entirely, joyce is referred to, often, as "the writer who revolutionized twentieth-century literature," proust as "a novelist and cartographer of memory who turned jealousy into an aesthetic of stolen time," cervantes as "a novelist who lacked the use of one arm," shakespeare as "the dramtist who set the literary standard for everyone," and wittgenstein simply as "w." even secondary characters and settings get similar treatment: "the brilliant composer," "the young conductor," "the hotel with the english name," etc. never do these literary choices, however, come across as banal or affected; instead they seem a way for porta to enhance the shroud-like quality, mystery, and ambiguity of his narration.
leitmotifs abound throughout the no world concerto, be they phrasings, themes, or imagery. secondary or ancillary characters and ideas enrich the tale greatly, and any reader is likely to be as intrigued by the notion of aliens, extraterrestrial communication, the "no world," an awol soccer star, a captured terrorist, dodecaphony (and schoenberg), and hypnotism, as they are by the main plot involving the screenwriter and the girl. a sensual, sinister quality pervades so much of the text, that it makes for both a constant foreboding and a charged sexuality that combine for a most erotic effect.
what is perhaps most alluring about the no world concerto (and there is much to be seduced by) is the seemingly effortless ways in which porta is able to maneuver between realities. the reader is never quite certain whether what he or she is reading is part of the story itself, an authorial aside, a portion of the screenwriter's script, or an excerpt from the girl's novel-in-progress. characters transcend each of these worlds, almost as if they are living within parallel universes that may or may not correspond to the "real" one. free from pretension, the no world concerto is almost anti-metafiction, so easily does porta offer his nuanced tale. with direct, often staccato prose, porta's novel is never arduous or even all that heady. its challenge (if it even has one) lies in confronting a work of such originality and creativity. interpersonal games, relationships, age, success, stories, sex, and even violence are all considered within. a.g. porta's the no world concerto may well be unlike any other contemporary novel, but the reticence to offer that pronouncement is solely on account of how fluently porta convinces us of his tale - and, by extension, the prodigiousness of his literary gifts.
sometimes he asks himself if he isn't writing screenplays to live his life through his characters. the mind is filled with strange things, he reflects, content with this ambiguous response. but if this truly was his reason for writing, it would mean he's wasted his life. there are so many people who dedicate their efforts to doing something useful, he thinks, like making cars, refrigerators, knives, bread... while others are working in the dream industry. they don't make anything that's real; all they do is provide opportunities for people to dream their lives away by living in fictional realities that are depicted onscreen or in a book. it's no different than providing drugs, narcotics, to both divert and stupefy the public at the same time. in turn, he thinks, these creators of dreams, whether through screenplays or novels, are dreaming themselves in the act of writing, so it seems the lie goes full circle.
*translated from the spanish by rhett mcneil (lobo antunes, tavares) and darren koolman (poet & translator). interestingly, the no world concerto was originally slated for a late 2011 release, but was never published. it appears as though mcneil began rendering duties, but, for whatever reason, was unable to finish them, hence darren koolman's involvement in concluding the translation. koolman offers a brief preface about porta and the no world concerto. ...more
May 14, 2013 Samantha rated it really liked it · review of another edition
Shelves: read-in-2013, books-about-books
I found this to be a fascinating, highly literary, and ultimately disturbing book. It's advisable to suspend most normal sensibilities when reading this, i.e. toward the old screenwriter's exploitative passion for "the girl," a very young and unnamed piano prodigy. But that's not too hard to do since it's never easy to tell what is supposed to be real. He writes about her in an unnamed city, her unsavory relationships with her fellow musicians, her desire to give up music and become a writer. I found this to be a fascinating, highly literary, and ultimately disturbing book. It's advisable to suspend most normal sensibilities when reading this, i.e. toward the old screenwriter's exploitative passion for "the girl," a very young and unnamed piano prodigy. But that's not too hard to do since it's never easy to tell what is supposed to be real. He writes about her in an unnamed city, her unsavory relationships with her fellow musicians, her desire to give up music and become a writer. She, in turn, writes about her alternate "No World," where the screenwriter is represented as an old professor who hunts aliens. Some of the elements that are most clearly part of the fiction-within-a-fiction are some of the most enjoyable, such as the college-age prostitute, patronized by the girl's father, who collects the first lines of famous books. At yet another level of fictional construction are the continual (and elliptical) references to Joyce and Wittgenstein, among others. This shifting surrealism isn't off-putting, but I nonetheless finished the book feeling queasy. The world of The No World Concerto is often a cruel and anomic one. ...more
Nov 15, 2019 Forrest rated it liked it
Not nearly as clever or insightful as I would have hoped. The hype is lost on me.
Mar 22, 2016 Marc Nash rated it it was ok
Interesting premise, two people in a relationship, both are writers penning stories involving the other, so that at any moment the narrative may be reflected in any one of several prisms, the reality of their relationship, his narrative about her, her narrative of him, them coming together to discuss each's narrative, or criticise the other's etc. The book reminded me of Robbe-Grillet's novels, in how they structure and mark the passage of time which almost becomes the highest value of the Interesting premise, two people in a relationship, both are writers penning stories involving the other, so that at any moment the narrative may be reflected in any one of several prisms, the reality of their relationship, his narrative about her, her narrative of him, them coming together to discuss each's narrative, or criticise the other's etc. The book reminded me of Robbe-Grillet's novels, in how they structure and mark the passage of time which almost becomes the highest value of the narrative, as a lot of what the characters do is occupy themselves, or fill time (not writing, ie procrastinating). But this does make for a dull read. There is little narrative drive or energy until towards the end when there is a surprising reveal about the male character, but then the denouement is one I spotted would be coming a long time before it did and when the reader is ahead of the writer the book is in trouble. So for all its premise, ultimately rather a tedious slog I'm afraid. ...more
Jun 26, 2016 Peter Aronson rated it it was ok
At first this book drew me in. Then it became something of a slog. Then it became a seriously slow slog through the unconvincing and uninteresting life of its characters. Then the book turned kind of disturbing, and finally there was a fairly neat ending. But by the time that ending came I had slogged through so much uninteresting stuff that it failed to redeem the book. The prose was OK, but not (in English) anything special, the characters mere caricatures, and the techniques (like never At first this book drew me in. Then it became something of a slog. Then it became a seriously slow slog through the unconvincing and uninteresting life of its characters. Then the book turned kind of disturbing, and finally there was a fairly neat ending. But by the time that ending came I had slogged through so much uninteresting stuff that it failed to redeem the book. The prose was OK, but not (in English) anything special, the characters mere caricatures, and the techniques (like never naming anything but rather describing it) pretentious, and after a while, annoying. Overall, meh. ...more
Aug 14, 2014 Wally rated it it was amazing
Shelves: adult, doorway-language, postmodern, experimental-fiction
An aging professor leaves his post in disgrace, and takes up his former career as a screenwriter. Once he settles in and begins work on a new screenplay, he meets the girl who was at the center of his affair. She is a talented concert pianist, playing the experimental work of a brilliant composer, but she chafes at the demands of the composer, the young conductor, and her own business-minded mother. One night, she, the composer, the conductor, and the screenwriter visit a hypnotist who convinces An aging professor leaves his post in disgrace, and takes up his former career as a screenwriter. Once he settles in and begins work on a new screenplay, he meets the girl who was at the center of his affair. She is a talented concert pianist, playing the experimental work of a brilliant composer, but she chafes at the demands of the composer, the young conductor, and her own business-minded mother. One night, she, the composer, the conductor, and the screenwriter visit a hypnotist who convinces her she is a great writer herself, and so she begins her own work, but she must face her fears of being followed, her father's remoteness though they live in the same hotel room, her on-again, off-again visits to the screenwriter, the composer, and the conductor, and her belief that there are no coincidences, that life is a game.
I really liked this strange work - no one is named throughout, and the repetition of phrases, images, and even scenes has an accumulative affect that somehow manages to push the story along. The author is a friend of Roberto Bolano, so the challenge is there. ...more
Apr 01, 2013 Jane rated it it was amazing
Shelves: spain, favorites
I spent over a year reading you, dear book. I savored and savored.
This is good writing. This is twisted plot. This is sometimes more philosophy than plot. <3
Dec 27, 2015 Arlo rated it it was ok
Not overwritten, but definitely "over thought." The idea is ambitious, but I don't think he pulled it off- structurally. Porta tries to draw parallels between writing and music composition. 12 tones etc.
Another book I wish I would of quit half way through but soldiered on to the end.
Apr 01, 2013 Dc rated it liked it · review of another edition
This book is intricate and masterful. It starts quietly and ends with a bit of a thud, though. It really got started for me around page 200, and, from there, held me captivated until the end. I have a feeling some of it was, as they say, lost in translation.
Sep 21, 2013 Dennis rated it really liked it
Shelves: fiction
"Hailed as one of the top 10 Spanish-language book of the decade."
In the modernist spirit of James Joyce. A story within a story within itself. Absorbing.
Kept Attention: 5
Must Read: 5
Accessible: 3
Important: 5 (as literature)
Well-written: 5
Nov 30, 2015 Tyler rated it it was amazing
This book is crazy good. It slumps and sags a bit in the middle--and really demands a lot from the reader--but the ending and overall concept makes for a very rewarding read. Highly recommended if you enjoy Bolaño, Sebald, Ben Lerner's stuff, et al. Metafiction for the win.
Sep 12, 2013 Scott Morrison rated it really liked it
Definitely well written, not sure I entirely understood it...
Nov 02, 2013 Hez rated it liked it
Form: Interesting
Content: Boring, cliche, sexist.
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European Literature > Spanish Literature
About A.G. Porta
A.G. Porta
Antoni García Porta (Barcelona, 1954) obtuvo el premio Ámbito Literario de Narrativa 1984 con el libro Consejos de un discípulo de Morrison a un fanático de Joyce, escrito en colaboración con Roberto Bolaño y publicado por Acantilado en 2006. Esta misma editorial ha publicado sus novelas Braudel por Braudel (1999), El peso del aire (2001), Singapur (2003), Concierto del No Mundo (2006), que ganó Antoni García Porta (Barcelona, 1954) obtuvo el premio Ámbito Literario de Narrativa 1984 con el libro Consejos de un discípulo de Morrison a un fanático de Joyce, escrito en colaboración con Roberto Bolaño y publicado por Acantilado en 2006. Esta misma editorial ha publicado sus novelas Braudel por Braudel (1999), El peso del aire (2001), Singapur (2003), Concierto del No Mundo (2006), que ganó el premio de novela Café Gijón 2005, y Geografía del tiempo (2008).
Ha sido traducido a diversas lenguas. En 2012, Acantilado publicó Otra vida en la maleta, escrita con Gregorio Casamayor. A finales de 2015 vio la luz Las dimensiones finitas, que da continuidad a su particular universo narrativo. ...more
Books by A.G. Porta
Trivia About The No World Conc...


Discover the delights and distinctive tastes of Scandinavian cuisine in this beautiful book, with more than 150 recipes from Sweden, Norway and Denmark, shown with 800 inspiring photographs.
Anna Mosesson was brought up partly in Sweden, and runs restaurants in Suffolk and London. Anna has made television and radio appearances, and written for magazines. Janet Laurence has an extensive knowledge of Scandinavian cuisine. She has run cooking courses for adults and children, and has written several cookbooks. Judith H. Dern lived in Finland for a year and travelled extensively in Scandinavia. She has contributed to various US magazines and written many cookbooks.
Mosesson, Anna; Laurence, Janet; Dern, Judith H.


2950 9th Street is a $60,000 home on a 1.00 acre lot located in Vero Beach, FL.
FEATURES: - Prime Oslo Road & 27th Ave. - Excellent Site for retail location. - Great location for fast food, bank, family dining. - High growth commercial area. - Next to the new Dunkin Donuts! Lease price $60,000 annually.
I am interested in 2950 9th Street, Vero Beach, FL 32968.


Castril is an enchanting mountain village with a beautiful river running around it. A scenic boardwalk, La Pasarela, makes it possible to follow the river´s course through a narrow gorge formed by massive slabs of limestone. Cross the river on a swing bridge and enter a cave where a lovely waterfall awaits you. Stop for beer and tapas at a restored mill before winding your way back up to town through the olive groves.
Duration: The walk itself takes around an hour.
There is a lovely low-level hike to the source of the river Castril inside the natural park. There is a visitor centre just outside Castril dedicated to the natural park. Opening hours are updated regularly at El Geco Verde.
Duration/cost: If you´d like an English speaking guide the cost is €30 for the four-hour round trip.
Learn the secrets of organic cheese and bread making with Castril´s ecological farm pioneer Jose Maria. Prepare the cheese and the dough, then bake your bread in a traditional Andalucian wood burning oven. Why not take a tour of the farm while the dough is rising? This activity is by prior arrangement only.
Duration: Workshops take place in several sessions with a longer break for lunch. Fresh bread, cheese, honey, figs, delicious!
Tip: We try to put families together for this activity so the farmer has a mimimum income of €100 for the day.
Pitch in and help guide and gastonomic expert Jose Maria as he cooks a traditional menu, whereupon lunch is served!
Jose only has a few words of English but he´s a natural communicator! A translator can be provided at extra cost.
Duration: Cookery workshop of 90 mins, then lunch. By prior arrangement only.
Tip: If you are on a tight schedule this workshop can be combined with the farm visit.
This full day trip from El Geco Verde takes in the amazing Bronze Age village of Castellon Alton (background picture of this page) two gorgeous cave towns and some really mind-bending scenery.
Ask Ilaria or Des for written information and round trip directions.
NB: Castellon Alto is closed Mondays and Tuesdays.
Duration: Full day. Allow for a one hour car journey each way through stunning scenery. Aim to arrive at Castellon Alto by 11am. Orce´s Prehistory Museum is open 5pm to 9pm (summer) or 4pm to 6pm (winter) and is closed Mondays, except bank holidays.
Cost; Entrance fees to sites and museums are around €3pp. The natural pool (Fuencaliente de Orce) is free.
Top tip; Go on a Saturday if you want to see inside Orce´s Moorish castle (it´s only open to the public on Saturdays).
Guided tour An English speaking tour guide combines a tour of Castellon Alto in English with an arrow head making workshop (or similar activity). Great for budding archaeologists. Ask Ilaria or Des for more details.
Granada is internationally famous for La Alhambra, the incredible Moorish fortress which dominates the old quarter of the city.
Marvel at how the intricate craftmanship of the palaces has defied the ages and enjoy the harmonious interplay of plants, geometry and water which makes the garden so iconic. Try to spare a little time for wandering the cobbled backstreets of the ancient Albayzin district or enjoying tapas in the city´s bars.
At only 90 minutes from El Geco Verde, a visit to Granada and a tour of La Alhambra makes for an unforgettable day trip but it is important to book well in advance.
Top tip; The interior patio of the Hotel America (inside La Alhambra) is a lovely cool place to stop and take tea on a hot day.