Create a new Italian classic with pasta your way, handcrafted from our Italian kitchen! Choose a sauce and add an optional topping of your choice!
Choose from freshly prepared marinara, homemade alfredo, five cheese marinara or NEW! Angry Alfredo – our homemade alfredo with a spicy kick. Served warm with 4 breadsticks.
Choose from: calamari, stuffed mushrooms (with clams), fried mozzarella, lasagna fritta or toasted beef and pork ravioli. Stuffed mushrooms prepared with clams.
Our famous house salad, choice of homemade soup and warm garlic breadsticks. Unlimited does not apply to ToGo orders. Dine in only.
White and red beans, ground beef, tomatoes and pasta in a savory broth.
This satisfying soup is made in our kitchens everyday with roasted chicken, traditional Italian potato dumplings, onion, celery, carrots and spinach. It isn't as rich as a chowder, but it's also not a true broth. Instead, our chefs mix both chicken broth and half and half for a light, yet creamy base. Add lots of vegetables, chicken and gnocchi, and the Olive Garden's Chicken and Gnocchi Soup is sure to become one of your favorites.
Few soups and stews have more recipe variations than minestrone, but the Olive Garden has the beloved Italian staple made fresh each day in our kitchens. Hearty vegetables like spinach, zucchini, carrots and celery simmer with northern beans and shell pasta in a light tomato broth. This guilt-free vegan classic pairs wonderfully with our famous house salad and garlic breadsticks.
An Olive Garden Favorite. Available Freshly-Baked or Bake-At-Home.
Choose SOUP or SALAD and a delicious entree to create your own Lunch Duo.
Grilled chicken breast topped with fresh tomatoes, mozzarella,basil pesto and a lemon garlic sauce. Served with parmesan crusted zucchini.
Coho filet grilled to perfection and topped with garlic herb butter. Served with parmesan garlic broccoli.
Filet grilled to perfection, topped with a lemon garlic butter sauce, sun-dried tomatoes and capers. Served with parmesan-crusted zucchini.
Filled with a blend of indulgent Italian cheeses, topped with your choice of homemade marinara or meat sauce and melted mozzarella. Our meat sauce is made with pan-seared beef and Italian sausage.
Three OG classics all on one plate! Chicken Parmigiana, Lasagna Classico and our signature Fettuccine Alfredo – all with homemade sauces made fresh every morning. Our meat sauce is made with pan-seared beef and Italian sausage.
Prepared fresh daily with layers of pasta, parmesan, mozzarella, pecorino romano and our homemade meat sauce. Our meat sauce is made with pan-seared beef and Italian sausage.
Filled with portobello mushrooms, topped with a creamy smoked cheese and sun-dried tomato sauce. The light body and mild flavor of the Beringer Founders Estate Pinot Noir complements the richness of the smoked cheese and sun-dried tomato sauce.
Three OG classics all on one plate! Chicken Parmigiana, Lasagna Classico** and our signature Fettuccine Alfredo – all with homemade sauces made fresh every morning. Our meat sauce is made with pan-seared beef and Italian sausage.
Grilled steak medallions over fettuccine alfredo tossed with gorgonzola cheese and fresh spinach. Finished with a balsamic drizzle and sun-dried tomatoes. Steak prepared medium unless otherwise requested.
Tender slices of slow-braised beef, portobello mushrooms and asiago-filled tortelloni tossed in basil-marsala sauce. The fruit-forward notes of the Columbia Crest Grand Estates Cabernet strike a delicate balance with the richness of the beef and cheeses.
he classic Italian dessert. A layer of creamy custard set atop espresso-soaked ladyfingers.
Pick your favorite pasta with tomato sauce! Add protein for an additional charge. Includes choice of drink and side for children under 12.
Pick your favorite pasta with meat sauce! Add protein for an additional charge. Includes choice of drink and side for children under 12.
Pick your favorite pasta with alfredo sauce! Add protein for an additional charge. Includes choice of drink and side for children under 12.
Pick your favorite pasta with five cheese marinara! Add protein for an additional charge. Includes choice of drink and side for children under 12.
Italian cheese-filled ravioli with tomato sauce. Includes choice of drink and side for children under 12.
Enjoy a kid's cheese or pepperoni pizza with homemade marinara sauce and mozzarella cheese. Includes choice of drink and side for children under 12.
Lightly breaded chicken tenders served with spaghetti and tomato sauce. Includes choice of drink and side for children under 12.
Pasta shells in a creamy cheese sauce. Includes choice of drink and side for children under 12.
Refreshing V8 V-Fusion, 100% juice strawberry-banana smoothie.
Refreshing V8 V-Fusion, 100% juice peach-mango smoothie.
Kids Piccoli Dolci "little dessert treats," layered with cake, mousse, pastry creams and berries.
Sweetened and blended with milk. Choose vanilla, caramel or traditional.
hilled espresso blended with ice cream. Choose vanilla, caramel or traditional.
Coffee with caramel, hazelnut and almond syrups, topped with whipped cream.
Sparkling water with a light berry flavor, summer berries and fresh mint.
A refreshing mix of lemonade, sparkling water, strawberries and passion fruit.
A delicious mix of refreshing kiwi-melon, lemonade and sparkling water.


text:
Program Sections
Concept and Goals
Festival story
Impressum | KineNova 2020
KINENOVA INTERNATIONAL COMPETITION PROGRAM
KineNova 2020 – "Прво филм.", will act as the hub for new film makers from around the world. The region and the world can enjoy in rich film program from October 1, until October 31 in a different format this year, only on TV 24. Our partner, Kinoteka, will have few screenings of three films that are part of this year's program.
KINENOVA 2020 AWARDS
The International Film Festival KineNova Skopje has been organized to showcase the work of film makers from around the world who are just beginning their film careers. Its aim is to discover new directors and screenwriters from the world of cinema and give clear support and encouragement to them, but it is also a space where they will represent and promote their work. We especially encourage those who through new innovative approach to the topics can offer a new more human vision of the world in which we live.
The authors of the selected films for the official program will be invited to be part of the festival so that they may present the ideas behind their work and the reasons for making it. Thus the festival and the city of Skopje will be the space where new filmmakers will meet and the place that will help them further their careers. In addition to the main program of the festival, there will be many other programs and activities that will enrich the festival and enable film makers to enhance their knowledge of cinematography and experience by participating in panel discussions, debates, and masterclass workshops.
Main Program
Macedonian shorts
INTERNATIONAL COMPETITION, which will regularly feature films from all over the world from among a director's first and second feature films. The idea would be to promote new filmmakers who are making a debut or are only just starting their careers. This program's goal is to identify and promote anonymous filmmakers' fresh film stories, giving them a chance at the beginning of their film-making careers.
This year as well, we've put an effort into the main program and chose exciting films that are targeting topics with a wide range – from the last soup of Che Guevara, up there high on the Andes, before he is executed, to the light at the end of the tunnel of one sympathetic Kazakh girl, who finally discovers her femininity.
During the fifth, jubilee edition of the festival, it is always so that the strong national cinematographies of Poland and Spain are included with three films. From the renowned film school in Lodz, two powerful films are coming, that will not leave you indifferent with their explosiveness, and the only documentary in the main selection, will move us with the flamenco, at the same time taking us back into the dark, dictatorship times of the Old Continent, under the direction of gen. Franko.
The colors of the contemporary Balkan cinematography will be celebrated by the unusual Croatian film, that is on the verge of being a documentary, tackling a topic for the eternal getting back home. And the powerful Greek cinematography this time we are seeing it in a "normal" light, with very sympathetic drama which offers few surprises.
Short films (Official Selection), designed for the most innovative professional or student films from all over the globe.
This program has been initiated in order to give chance to the Macedonian perspective film authors to present their short films and also to encourage them with an award. The Jury for the Short film Program will also give award for the program Macedonian shorts:
These regulations govern the submission of all films for the Main Program (Official Selection): It must be the director's first or second feature film The lapse between the film's premiere and the beginning of the festival must not exceed 24 months.
These regulations govern the submission of all films for the Short films Program (Official Selection): The film's duration must not exceed 30 minutes.The lapse between the film's premiere and the beginning of the festival must not exceed 24 months.No TV or web broadcasting of the film is permitted until the end of the festival.
These regulations govern the submission of all films for the Short films Program (Official Selection):The film's duration must not exceed 30 minutes The lapse between the film's premiere and the beginning of the festival must not exceed 24 months No TV or web broadcasting of the film is permitted until the end of the festival
Volounteer submissions
Repbulic of Macedonia
contact@kinenova.com info@kinenova.com
Nebojsha Jovanovik
jovanoviknebojsa@yahoo.com

redpajama_set_name: RedPajamaCommonCrawl


Michael Paschalis, Stelios Panayotakis (ed.), The Construction of the Real and the Ideal in the Ancient Novel. Ancient narrative supplementum, 17. Groningen: Barkhuis Publishing; Groningen University Library, 2013. Pp. xvi, 312. ISBN 9789491431258. €80.00.
This book is a collection of essays based on papers delivered at the annual Rethymnon (Crete) International Conference on the Ancient Novel (RICAN) in May 2009. Each year, the conference is organized around a theme (in the past, e.g. "Space in the Ancient Novel," and this year, "Slaves and Masters in the Ancient Novel"), such that the essays in each volume interconnect suggestively, but do not necessarily offer a comprehensive view of the subject. This is an impressive volume, full of interesting essays that stretch and help define these amorphous concepts of "real" and "ideal."
In fact, the book is about much more than the "real" and "ideal," and might have been more aptly entitled something like "The Construction and Deconstruction of the Real, the Unreal, the Illusionistic and the Ideal," given that a majority of the authors are more interested in the tensions and ambiguities in conceptions of the real and the unreal than in the ideal. The actual title conjures up: (1) the familiar characterization of the Roman novels as "realistic" in Auerbach's or perhaps Bakhtin's terms: freedmen in Petronius uniquely speak a Latin indicative of their low birth; Apuleius' world is populated by robbers, farmers and old crones rather than epic heroes, and (2) the characterization of at least some of the Greek novels as "ideal" because of their impossibly beautiful and chaste protagonists. Such distinctions have long been seen as problematic, and this volume should help us move beyond them. An introduction delineating the common use of the terms and integrating the volume's collective redefinitions would have been useful; as it is, the Introduction by Gareth Schmeling (ix-xvi, available in the link to Google Books) is mainly a summary of each individual essay (along with a complaint that a reviewer of a different volume had objected to such an introduction). Abstracts also appear at the end of the volume, which makes such an introduction a little superfluous, though this is apparently the series norm. Since conferences ideally advance our understanding of these themes, this seems like a missed opportunity.
Several of the essays explicitly address and problematize the question of definitions. Ewen Bowie gives us a standard formula, associating "ideal" with praiseworthy actions and "real" with what might be expected in ordinary everyday life (179), though he goes on to explore Longus' extensive use of literary texts at several removes from reality to present a self-consciously fictional "reality." Michael Paschalis begins his essay on Chariton with a quotation from Tim Whitmarsh advocating a nuancing of the concept of the ideal novel, since the plot of its earliest exemplar is set in motion by the central male character kicking his pregnant wife in the stomach (161). Robert Carver interestingly asserts that for a Platonist (like Apuleius) the "ideal" IS the "real" (243), while Margaret Doody dismisses the division of the ancient novels into "comic" and "ideal" as "a red herring and a stale one at that" (106).
I will focus on a few, with apologies to the other worthy essays in the volume. The book begins strikingly with an essay by Daniel Selden ("The Political Economy of Romance in Late Period Egypt") full of Egyptian, Aramaic and other languages unfamiliar to most Classicists, as well as maps and diagrams (a format familiar in other recent Selden essays) which have the effect of emphasizing the reality of lands traditionally romanticized or exoticized in the Greek and Roman novel. Among other texts, Selden introduces us to the Bentresh Stele from the late 4th century BCE. The entire scenario is too involved to reproduce here, but Selden sets out the complex and changing political situation in the Leventine-Mediterranean world, showing the ways the Egyptian romance simultaneously puts Egypt at the center by setting the tale in a more glorious period and demonstrating the efficacy of its god, Khons, but also sets Egypt at the margins geographically. The fantasy marriage-alliance between an Egyptian king and a beautiful princess from (Iranian?) Bakhtan seems symbolic of broad connectivity in the Mediterranean, but nostalgically evokes a different set of political alliances and power-structures while subconsciously including anxiety over the land's contemporary marginalization. It is remarkable that romance should be the medium for such cultural negotiation. As in his other current work, Selden insists on re-orienting our vision of the states that coexisted with Greece and Rome, a provocation to broaden the field and to learn other languages.
In her essay on "Landscapes and Portraits," Froma Zeitlin outdoes herself in unfolding the convoluted complexities of the relationship between art and nature (see above), and incidentally supplies us with an extensive recent bibliography on ekphrasis. Somewhat like Selden, she reminds us that there exist real paintings like those described in the romances, and, looking at Pompeian paintings of Perseus and Andromeda, she notes that Andromeda is persistently white, despite being, like Charikleia, Ethiopian. Zeitlin wonders whether this problem of Andromeda's whiteness might have inspired the puzzle that is Heliodorus' plot. This is a useful addition to the emphasis in Heliodorus scholarship on maternal impression.The essay also explores the paradoxes of paternity when a work of art and a mother's perception are the real parents of the child. There is much more in this essay for those who, like Zeitlin, get a "frisson" from contemplating the unsettling continuities between art and life.
Whitmarsh's essay on gendered aesthetics, bringing Dionysius of Halicarnassus' theories on mimesis into play, is an important contribution to the interpretation of gender in the Greek novel. While some critics have pointed to the novel's objectification of the female through the process of the male gaze dismembering her body, Whitmarsh notes that "the eroticized aestheticized woman is also the blazon of the genre" (276). Dionysius describes mimesis as something both phallic and receptive; the "written" women, then, also embody the creative power of the genre, and reproductive fertility is the best metaphor for creativity (282). "Women are at once alienated from the text, fixed at the other end of the narrative telescope, and figuratively constitutive of it" (278). Whitmarsh's introduction of the power of aesthetics as reproduction is a useful tertium quid since the gender dynamics of the ancient novel are a persistent puzzle because of the contradiction between the clearly androcentric point of view and the obvious power of the female.
I also recommend the essays by Dowden and Montiglio (whose central points are given above), both written in a clear, lively manner, pulling much more out of the topics of brigands and self-control than one might expect. Dowden enjoys contemplating the "roistering" of young men and informs us of an ancient board game called "latrones;" Montiglio makes us think harder about the Odyssey as a model for romance, as well as about the novel's non- philosophical ethos in regard to emotion.
I was struck by specific points in a number of contributions. Margaret Doody's essay on comedy in Heliodorus discusses both humor and the genre of comedy. Some of her examples of humor did not strike me as funny; for example, Doody notes that we don't understand the opening scene of carnage and "the joke is on us" (107). Not funny for me. Convincing, however, is her detailed analysis of Knemon as a generic comic character: e.g. he associates with flute girls, craves a narrative filled with spectacle, and deceives Thermouthis via gastric complaints. We must also applaud her continued fierce championing of the genre of the novel; while "swallowing and digesting" New Comedy, the Novel challenges Tragedy which is always present via allusion and quotation. The Novel provides a true moral and social anagnorisis, not merely a familial reunion, but a discovery and understanding of the Self (124-25).
In his essay, "Landscape and Reality in Apuleius," Jason König shows how the slipperiness of mortal understanding of reality is mirrored in the descriptions of landscape, both because such descriptions are so often highly rhetorical and because landscape can impinge physically on the body in ways which produce suffering and hinder clear perception. The most striking section of this essay is his discussion of the wooden mountain of Book 10 which is swallowed up by the earth after a performance of the Judgment of Paris. "Here the text says goodbye to theatricality, and indeed to theatrical landscapes, sweeping them into oblivion" (236). Landscape is a "stage-set" of the sublunary world of illusion and the way is cleared for new images in the world of Isis. As he himself says, this is one of those simple but obvious points not previously noted.
It was heartwarming to see Robert Carver return to the defense of Fotis first presented at the Dartmouth novel conference in 1989. Here, arguing that Fotis is not the kind of anti-type to Isis that Palaestra would have been, Carver sees potential in her as a sacerdos of love or mediator between mortal and divine. Lucius, however, "proves intractable" (262) and does not wed his (sham?) spirituality with Platonic mysteries as Plutarch recommends in DIO. For Carver, Fotis is "one of the noisy silences of Book 11" (271) whose absence may indicate an insufficiency of photismos in Lucius' conversion. Carver is surely right that Fotis has been much maligned and that she is an instrument of Lucius' enlightenment. Where I would part from him is in the use of Plutarch's philosophical take on Isis to interpret what is (to me) a different kind of spiritual conversion in Apuleius (as I argue elsewhere).
Finally, and randomly, I found very useful, as a teacher of Classical Mythology, Letoublon's pronouncements on the use of myth in Achilles Tatius: "the myths do not explain anything, but instead pose questions. . . . Myths are crucial for the search for meaning, they do not necessarily spell out that meaning" (138)—though she also shows that some myths can be paradigms.
This is a rich volume on a complex theme which should enhance the general appreciation of the ancient novel as anything but "penny-dreadful" and also offers broader contributions to thinking about the concepts of the ideal, the real, and illusion.


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Humans have long been fascinated with the power of the rocket.
to their successor, the British Congreve rockets.
with the support of their governments, began developing modern rockets.
such as a satellite launches, trips to the moon and sending humans to space stations.
private industry fueling innovative approaches to rocketry.
Royal Horse Artillery armed with Congreve rockets.
1815 during the retreat from Quatre Bras as follows.
The order to fire is given, port fire replied.
a second or two, and then darts forth, straight up the.
the head of the rocket bursts.
none of which ever follow the course of the first.
Most of them on arriving about the middle of the ascent, took a vertical direction.
me in more danger than all the fire of the enemy throughout the day, unquote.
used by British ships to pound Fort McHenry in the War of 1812.
words in his poem that later became the Star Spangled Banner.
from pursuing their flights of fancy.
that humans could build a rocket that could carry people to the moon.
that rockets could be used to send payloads to the moon.
ended the piece by stating they regretted the earlier error.
was instrumental in the development of today's rockets.
his role in the assassination of Emperor Alexander II of Russia.
when revolution ended the rule of the Romanov Dynasty.
>> Assassins would relentlessly stalk the court of Imperial Russia.
can kill a reformer as easily as he can kill a cruel oppressor.
was previewing its own grim finish.
around a dying czar in his bedroom, nine of them would be assassinated too.
Konstantin Tsiolkovsky wrote extensively about the concept of jet propulsion.
Exploration of the World's Space with Reaction Machines.
the velocity of exhaust gases and the rocket's final speed.
This is considered one of the foundations of the science of astronomics.
plans for a space flight.
rockets the thrust necessary for overcoming the Earth's gravitational pull.
inventor who launched history's first liquid-fueled rocket in 1926.
progressively developing increasingly sophisticated devices.
travel to distant objects in the solar system.
he went ahead designing, inventing, and testing.
His first proving grounds were on his Aunt Effie's farm in Auburn, Massachusetts.
he moved to New Mexico with his wife Esther, who was also his camera woman.
launched the world's first liquid propellant rocket in 1926.
everything from multi-stage rockets to fuel pumps and clustered engines.
an altitude of 2000 feet.
This was the year in which the three Apollo astronauts were born.
Goddard had a vision of the age of space.
But the world was too slow to make it happen before his death.
Thank you, Robert Goddard for your inventiveness and perseverance.
and became fascinated with the idea of space travel.
was roundly rejected by his academic committee.
However, he persisted and eventually launched his first rocket in 1931.
increase the speed of the last stage of the rocket.
if the big one is jettisoned the small one is ignited then their speeds are added.
This has been a cornerstone of rocketry ever since.
with whom he developed a lifelong relationship.
rocketry during approximately the same period and reached similar conclusions.
of the work of the others.
So for this reason, all share the title of the Father of Rocketry.
V2 rockets represent significant technological advances in rocketry.
an average altitude of 3,500 feet, and average speed of 350 miles per hour.
The V1s used a pulse engine, powered by 150 gallons of gasoline.
doodlebugs by the Londoners who were the primary target of the V1s.
which provided information about the landing sites of the bombs.
>> Powered by an august pulse jet engine, producing just 740 pounds of thrust.
at about 400 miles an hour at an altitude of up to 4,000 feet.
After trials at Peenemünde on the Baltic, the V1 was released for service in 1943.
powered by the same fuels used by the ME 163.
London what was to last until the 5th of September.
could hit city sized targets 190 miles away from the launch site.
It took only 30 seconds for the V2s to go from launch to the speed of sound.
In fact, they flew five times the speed of sound.
Its engine was 17 times more powerful than any engine developed up to that time.
important to the development of the rockets used to launch humans into space.
a relatively functional guidance system, and a radio transmission system.
Wernher von Braun was instrumental in the development of the V2 rocket.
the port cities of Western Europe after D-Day.
center at Peenemünde, a base on an island in the Baltic Sea.
to travel faster than the speed of sound.
When it was unleashed on London, it gave no warning of its approach.
You heard the explosion before you heard the sound of the missile.
a scientist whose passion about space exploration was exploited by the Nazis.
Years later, Von Braun would work for NASA on the Apollo missions.
But now, his focus was on London.
The German project had its share of successes and failures.
had names such as Washington DC, Philadelphia, and New York.
Those were the ultimate targets.
from across the English Channel to across the Atlantic.
of these weapons of terror.
more than ten thousand were fired at the Allies.
they had little military impact on the course of the war.
For the Nazi's, it was too little, too late.
>> Wernher von Braun is considered a giant in the world of human space flight.
was captured by the Americans in May of 1945.
as he was sent to America to work on ballistic missiles.
to return to his first love, trying to launch humans into space.
developed the legendary Saturn Rockets that launched humans to the moon.
to cancel the Apollo program, thereby discontinuing flights to the moon.
the guided missile division of the Army's rocket center at Redstone Arsenal.
He was also overall director of the development of the original V-2 rocket.
needed for survival are much like those of present high altitude flying.
Take the present day pressurized flying suit, for example.
is a forerunner of the suits we will wear when we make our trip to the moon.
here are a few examples of the results that's being conducted at this time.
where the air pressure can be dropped suddenly.
blood would be the same without the protection of the suit.
see that the body still reacts violently to a sudden decrease in pressure.
of a rocket sled that reaches the speed of over 632 miles per hour.
quickly the thermostat's body becomes 35 times heavier than normal.
forces than crew members of a rocket ship will undergo on a take-off.
become routine to train the crews on the ground without risking lives or equipment.
This is done with a device called a flight simulator.
Here the crews experience all the sensations of an extended flight.
The crews of future rocket ships will train much the same way.
train the celestial navigators for our coming space flights.
Now here's a model, my design for a four stage orbital rocket ship.
weight of the rocket is mainly determined by the 11 tons weight of this top section.
needed to produce enough power to equalize the gravitational pull of the Earth.
Notice the wings, small rocket motor, and landing gears.
This is the section that must ultimately return the men to the Earth safely.
we need these three additional rocket powered sections.
the location of the fuel and the motors of each section.
its 29 motors will lift the entire weight of the ship vertically off the ground.
The second stage has eight motors and carries 155 tons of fuel.
It will be dropped when it's speed has reached 14,300 miles per hour.
The next is our third stage, with only one rocket motor and 13 tons of fuel.
just before the return flight.
to the atmosphere so it can glide back to the base.
believe a practical passenger rocket could be built and tested within ten years.
following a step by step research and development program.
>> Sergei Korolev is widely regarded as the founder of the Soviet Space Program.
the Jet Propulsion Research Institute in Moscow developing liquid fuel rockets.
and remained a prisoner until 1944.
which in various forms has served as the Russian human launch vehicle ever since.
including the launch of the first human in space, Yuri Gagarin.
This is an account of the Russian space achievement.
earlier in Kaluga, a small town near Moscow.
conducted primary search on space flight mechanics.
In 1903, he theorized that a liquid fuel rocket could carry man into space.
become the Bible of Russia's aeronautics.
The review is nothing more than a subject for science fiction films.
Russia did not even have a liquid propellant rocket motor.
The first two were built in 1930.
One by Valentin Glushko, at the Gaso Dynamics Laboratory in Leningrad.
his team at The Aircraft Engine Construction Institute in Moscow.
In 1931, Sergei Korolev an energetic 24 year old engineer joined Sanders team.
A large cellar in a Moscow apartment house was to become a new laboratory.
After death in 1933, Korolev succeeded.
He supervised the construction of Russia's first liquid fuel rocket, the GIRD09.
thickened gasoline, it reached an altitude of 120 feet.
New models were immediately produced.
a passionate advocate of rocketry, wanted a unified rocket center.
development institute with Korolev as a department head.
Ironically, it was the German V2 Rocket strikes of London that saved Korolev.
demonstrated to the world the potential of the missile as a weapon.
[SOUND] Stalin realized he needed to intensify his rocket program.
the Russians started searching for Germany's missile secrets.
An overture to the fierce competition that would escalate for the next 40 years.
experts surrendered to the US troops.
arm in a car accident before surrendering to the US 7th army in Bavaria.
released Korolev had a much more difficult task.
the Soviet occupations zone were thoroughly destroyed.
a dozen missiles from parts discovered at the Northhouse missile plant.
The V2s were shipped home in a sealed train.
armament, viewed rocketry as a cornerstone of the Soviet military might.
appointed him director of the newly formed Liquid Fuel Rocket Center.
testing the captured V2 and replicating it.
a test range was hastily constructed in Copastinya on the southern border.
tents became home for the staff.
Railway carriages housed the labs and ground control facilities.
The test to form Braun's V2s began there in 1947.
Within a year a replica was created.
in October 1948 and flew 180 miles.
Von Braun's scientists attached to the US Army, had similar objectives.
Korlioff's ambition was to capture and win.
13 R1 launchers were made [INAUDIBLE].
capable of delivering nuclear warheads up to 750 miles.
[NOISE] Apart from their [INAUDIBLE] missiles became research tools.
[NOISE] Americans began biological research for space flight.
miles into the upper atmosphere.
blood pressure were monitored during the 20 minute flights.
fell to an altitude of four miles, then parachuted down.
of the modern rocket was rapid in historical terms.
the massive Saturn 5 rockets to propel astronauts to the moon.
Titans of science and engineering.


text:
ACCEPTED

#### According to
Index Fungorum

#### Published in
Trans. Mycol. Soc. Japan 26(3): 277 (1985)

#### Original name
Laboulbenia trochantericola K. Sugiy. & T. Majewski

### Remarks
null

redpajama_set_name: RedPajamaGithub


text:
André Michel, né le  à Paris et mort dans la même ville le , est un peintre, graveur, auteur et illustrateur français. Ancien élève de l'École des Beaux-Arts de Paris dans l'atelier d'Émile Renard, il est sociétaire du Salon d'automne de 1941 à 1950. Sa carrière repose sur des expositions individuelles et collectives et un important réseau de collectionneurs privés. Plusieurs de ses œuvres ont été acquises par la ville de Paris ou l'État.

Biographie
André Agricol Michel est le fils d'Eugène Michel, employé de commerce et de Marie Cottard, employée du téléphone. Il est scolarisé à l'école publique Arago où il obtient le brevet simple. Il entre ensuite à l'École des Beaux-Arts de Paris dans l'atelier d'Émile Renard. Élève brillant, il bénéficie d'un sursis d'incorporation pour terminer ses études. Il effectue le service militaire de 1920 à 1922, rejoint la réserve d'active. Il est plusieurs fois réformé temporaire puis définitif, en 1930 et 1939, en raison d'un mauvais état de santé persistant.
André Michel épouse la peintre et illustratrice Raymonde Ducas en 1926. Le couple séjourne dans plusieurs communes de la Seine-et-Oise avant de se fixer dans un atelier-résidence de Montparnasse, au 40, rue Boissonade. À partir de 1935, ils alternent des séjours à Paris et dans leur maison de campagne près de Boissy-le-Sec.

Carrière artistique
André Michel présente des œuvres au Salon d'automne de 1935 à 1950 - il en devient sociétaire en 1941 -, et au Salon des Tuileries en 1938. Des galeries l'accueillent pour des expositions individuelles ou collectives. Une fidélité s'installe avec la galerie André Maurice. Il entre dans les collections publiques en 1937 et bénéficie d'une importante clientèle de collectionneurs privés. Les Michel vivent de leur art, traversent les vicissitudes du marché au gré des crises économiques et politiques, de la guerre.

Toujours en quête d'harmonie et de simplification, André Michel n'enfourche aucun courant particulier. Il les observe. Il oscille entre la peinture, le dessin, l'illustration et même l'écriture. Il se rapproche de l'Opéra de Paris, dessine les étoiles, Serge Lifar et ses chorégraphies. Le Cercle Carpeaux soutient l'exposition, « La danse », de 1951. La presse commente : « C'est incontestablement un homme de goût et l'un des meilleurs analystes du foyer de l'Opéra actuel. » Il illustre le livre de Léandre Vaillat, La Danse à l'Opéra de Paris. Une nouvelle exposition consacrée à la danse a lieu en 1954 à la galerie André Maurice.

André Michel signe une synthèse originale des enseignements d'Émile Renard, Bonnard, Denis, Derain, Matisse, Carpeaux, Bourdelle, Maillol… Il accompagne d'un signe ses compagnons de route, Utrillo, Berjole, Lorjou, Jordan, Herscher ou Bezombes. C'est au groupe « Vie et couleur, cinq peintres » de la galerie Durand-Ruel (René Cottet, Robert Francolin, Henri Lanos, Pierre Le Mare, Maurice Mourlot) qu'il concède une marque d'appartenance dans les années 1960. Sa dernière exposition avec le groupe se tient en 1967. Il meurt brutalement en , suivi par son épouse quatre mois plus tard.

Homonymies
La redécouverte du fonds d'atelier d'André Michel et Raymonde Ducas et l'étude qui en a découlé, permettent désormais de les resituer dans le contexte de leur époque et de les prémunir d'homonymies réelles ou imaginaires. André Agricol Michel (1900-1972) ne doit pas être confondu avec André Michel, né en 1945, peintre « ethnographe des Amérindiens » travaillant au Canada, André Michel, peintre de la première École de Paris signant A. Michel ; André Michel (1853-1925), historien de l'art, membre de l'Institut , Andrée Michel peintre de paysages parisiens  et André Antoine Michel (dit, Trajan Saint Inès), né en 1902, dont l'œuvre est essentiellement littéraire. Raymonde Ducas ne doit pas être confondue avec Andrée Michel, peintre de paysages parisiens. Le Fonds Michel-Ducas est détenu par des propriétaires privés qui œuvrent au respect des droits des artistes.

Expositions

 1930 : exposition collective, galerie du Bon Marché.
 1935 : Salon d'automne : Nu, peinture ; Portrait, peinture.
 1936 : Salon d'automne : Nu, peinture.
 1937 : Salon d'automne : Femme lisant, peinture.
 1937 : Prix des Vikings à la galerie de Paris : deuxième place.
 1938 : Salon de la Société Nationale des Beaux-Arts : Nu couché, peinture.
 1938 : Salon des Tuileries, salle 29 avec Pierre Berjole (par affinité).
 1938 : Salon d'automne : Jeune femme causant, peinture.
 1941 : Salon d'automne (Sociétaire) : Personnages, peinture ; Personnage en noir, peinture ; Personnage en jaune, peinture ; Paysage, peinture.
 1942 : Salon d'automne (Sociétaire) : Personnages, peinture.
 1942 : exposition individuelle à la galerie Notre-Dame-des-Champs, 27 peintures et 5 dessins.
 1943 : Salon d'automne (Sociétaire) : Nature morte, peinture ; Fleurs, peinture ; Personnage, peinture.
 1944 : Salon d'automne (Sociétaire) : Gravures pour le « Centaure » de Maurice Guérin ; Peinture ((support non mentionné).
 1945 : Salon d'automne (Sociétaire) : Nature morte, peinture ; Personnage, peinture ; Illustrations pour les « Élégies » de Chénier, Pointes sèches.
 1945 : exposition collective à la galerie de Berri, « une sélection de petits tableaux » : Aujame, Beauchant, Bombois, Bonnard, Pierre Bordeaux, Borès, Boudin, Brayer, Cattiaux, Céria, Charchoune, Corneau, R. Dufy, Durey, Jean Eve, G. Ferrandier, Gauguin, Goerg, Ino, Lafon, Léger, Lhote, Luce, Marquet, Marzeille, Metzinger, R. Michau, Mouillot, André Michel, Picasso, Pissarro, Rouault, Schuffenecker, Signac, Sisley, A. Stevens, Terechkovitch, Utrillo, Valtat, Vuillard, Van Hasselt.
 1946 : Salon d'automne (Sociétaire) : Femme en rouge, peinture ; Femme dormant (support non mentionné).
 1946 : prix Bernheim-Jeune.
 1947 : Salon d'automne (Sociétaire) : Personnages, peinture ; Fleurs, peinture ; Pointes sèches pour « Le Banquet d'Amour » de Platon, Gravures.
 1948 : Salon d'automne (Sociétaire) : Personnages (support non mentionné).
 1948 : exposition individuelle à la galerie Michalon, Paris.
 1950 : Salon d'automne (Sociétaire) : Danseuses, peinture.
 1951 : exposition individuelle, la Danse, galerie André Maurice, du  eu , sous le patronage du Cercle Carpeaux.
 1952 : exposition individuelle à la galerie André Maurice, Paris.
 1954 : exposition individuelle, La Danse à l'Opéra, Scènes et personnages de ballets, galerie André Maurice, 140, boulevard Haussmann, Paris, 14 peintures et 16 dessins.
 1954 : exposition individuelle à la galerie André Maurice, Marseille.
 1960 : exposition individuelle à Nantes, organisée par la galerie Romanet, Paris.
 1963,1965, 1967 : exposition collective, groupe « Vie et couleur, cinq peintres », galerie Durand-Ruel, Paris.
 1978 : Exposition individuelle, Rétrospective, galerie Barbizon, Paris.

Collections publiques

 1937 : achat par l'État : Paysage, huile sur toile, .
 1941 : achat de l'État, Nature morte, huile sur toile, 46,5 X 38,5 cm.
 1947 : achat par l'État : Portrait de femme, titre attribué La Liseuse, huile sur toile, 65 x 54 cm.
 1948 : achat de l'État : La Seine au pont de la Jatte, huile sur toile, 61 x 50 cm.
 1949 : entrée en collection au musée du Domaine départemental de Sceaux des achats de la Ville de Paris : Les Remparts et l'Église de Dourdan, fusain sur papier avec support carton, 48,7 x 37,5 cm ; Le Château du Guichet, Crayon et fusain sur papier bis avec support carton, 40 x 43,8 cm ; La Tour de Montlhéry, estampe, pointe sèche et eau-forte sur vélin, cuvette 20 x 27,5 cm.
 1949 : entrée en collection BNF département des estampes : Danseurs prêts à entrer en scène, lithographie couleur, 1949 ; Avant le lever du rideau : Lac des cygnes, lithographie couleur.
 1950 : entrée en collection BNF département des estampes : Valse des compagnes d'Aurore, lithographie couleur, 1950 ; Scène de « Divertissement », lithographie couleur, 1950.
 1951 : Achat de l'État, Scène de ballet, huile sur bois, 46 x 27 cm, CNAP
 1951 : entrée en collection BNF département des estampes, André Michel, Atelier de Maurice Utrillo, estampe, eau-forte, n°10/40 ; paysage avec un arbre (descriptif), pointe sèche ; femme au bouquet (descriptif), eau forte ; trois femmes nues (descriptif), pointe sèche ; femme se coiffant (descriptif), pointe sèche.
 1952 : entrée en collection au Musée Domaine de Sceaux des achats de la ville de Paris : Église de Chatenay, Fusain sur papier, 36 x 50 cm ; Église de Linas et tour de Montlhéry, fusain sur papier beige, 38,2 x 37,5 cm.
 1955 : achat par l'État Paysage de l'Île-de-France, huile sur toile, 38 x 61 cm.
 1957 : achat par l'État, Les Toits de Paris, huile sur toile, 61 x 50 cm.
 1957 : attribution par la Ville de Paris au musée du Domaine départemental de Sceaux, Utrillo dans son atelier au Vésinet, estampe, Eau forte sur vélin filigrané BFK de Rives, cuvette 19,8 x 27,8 cm, avec marges 32,8 x 50 cm, n°21/40.
 1958 : achat de l'État, Le Port de Ciboure, 60 x 73 cm.
 1958 : achat de l'État, Paris vu de Meudon, huile sur toile, .

Littérature de jeunesse
 Le Bâton de coudrier, texte et illustrations, éditions de l'Amitié G-T Rageot, Paris, 1945.
 Le Pin bossu, texte et illustrations, éditions et Publications françaises, Paris (sans date).
 Herbedouce, illustrations Raymonde DUCAS, éditions de l'Amitié, GT Rageot, Paris, 1947.

Illustrations
 Jules Laforgue, Moralités légendaires, illustrations André Michel, éditions Littéraires de France, Paris, 1945.
 Maurice de Guérin, Le Centaure, suivi de La Bacchante, préface d'Edmond Pilon, Pointes sèches d'André Michel, éditions littéraires de France, Paris, 1945.
 André Chénier, Idylles et élégies, illustrations André Michel (pointes sèches), éditions de la Cité, Paris, 1945.
 Marc Elder, Le Peuple de la mer, illustrations André Michel, 32 dessins in-texte, 16 lithographies hors texte (atelier Mourlot frères), éditions Nationales, Paris, 1946, (réédition du prix Goncourt 1903).
 Platon, Le Banquet d'Amour, traduction Mario Meunier, illustrations André Michel, éditions Bernard Varin-Bernier, collection Les Trésors de l'Esprit, Paris, 1947.
 Pierre Louÿs, Les Chansons de Bilitis, illustrations André Michel, éditions LHS, Paris, 1947.
 Germaine Guillemot-Magitot, Petit chanteur, grand musicien, J. Haydn, illustrations André Michel, éditions de l'Amitié G-T Rageot, Paris, 1947.
 Prosper Mérimée, Colomba, eaux fortes couleur d'André Michel, éditions Rombaldi, Paris, 1949.
 Jacques Cazotte, Le Diable amoureux, illustrations André Michel, éditions Athéna, Paris, 1950.
 Léandre Vaillat, La Danse à l'Opéra de Paris, dessins d'André Michel, Maquette de décors et de costumes par Alexandre Benois, Charles Blanc, Yves Bonnat, Bouchène, Cassandre, Dignimont, Alice Halicka, Roger Wild, éditions Amiot-Dumont, Paris, 1951.
 Jacques Duret, Fanfan la Tulipe, illustrations André Michel, éditions BIAS Paris, 1953.
 Germaine Guillemot-Magitot, Joseph HAYDN, illustrations André Michel, éditions de l'Amitié-GT-Rageot, Paris, 1955.
 Contes et légendes de France, illustrations André Michel, éditions Fernand Nathan, Paris, 1956.
 Andersen, Contes d'Andersen, illustrations André Michel, éditions BIAS, Paris, 1957.
 Yette Jeandet, La Cité sous le lac, aquarelles d'André Michel, éditions BIAS, Paris, 1957.
 Germaine Guillemot-Magitot, Berlioz, illustrations André Michel, éditions de l'Amitié-GT-Rageot, Paris, 1958.
 Germaine Guillemot-Magitot, Beethoven, illustrations André Michel, éditions de l'Amitié-GT-Rageot, Paris, 1960.
 Germaine Guillemot-Magitot, Chopin, illustrations André Michel, éditions de l'Amitié-GT-Rageot, Paris, 1962.
 La Fontaine, Fables choisies, illustrations André Michel, éditions BIAS, Paris, 1962.

Notes et références

Liens externes

 André Michel sur le site des Archives nationales
 André Michel sur le site des Archives de Paris
 Base Arcade

Peintre français du XXe siècle
Graveur français du XXe siècle
Illustrateur français du XXe siècle
Naissance en octobre 1900
Naissance dans le 12e arrondissement de Paris
Décès en mars 1972
Décès dans le 13e arrondissement de Paris
Décès à 71 ans

redpajama_set_name: RedPajamaWikipedia


text:
« I Met God — God Without Religion, Scripture, or Faith: Supernatural Law
J.D. Salinger: The Catcher in the Sky »
I Met God — God Without Religion, Scripture, or Faith: Heaven
Go to book's beginning.
Read the previous chapter Supernatural Law
I Met God — God Without Religion, Scripture, or Faith
A Book by J. Neil Schulman
Chapter 13: Heaven
BRAD LINAWEAVER: Neil, given your experiences, and how you've used them to help produce this current work, in terms of novel writing and script writing, why do you think there are almost no stories, at least none that I can find, where a character goes to Hell and can just come back the way characters seem to go to Heaven and don't stay there?
J. NEIL SCHULMAN: Well, of course, there's one classic version of it, and that's Orpheus in the Underworld, which has been made into various operas. That's where I first encountered it. I suppose Inferno — both Dante's version and then the later re-doing of it by Larry Niven and Jerry Pournelle — is precisely that of a human being who gets to go to Hell and then come back, maybe not necessarily to Earth, but in the case of Dante you manage to get out and go to Heaven.
But in terms of modern stories, I guess the only one I can really think of here is Richard Matheson's What Dreams May Come, where the hero follows his wife from Heaven into Hell to rescue her, which again is an Orpheus story. But in terms of why it's not done, I don't know.
BRAD LINAWEAVER: Well the Persephone story and in the case of Dante's Inferno you're kind of getting a tour of Hell, there are the exceptions admittedly. But it seems like there are a lot of stories about people going to Heaven and they don't stay, which confuses me because if I ever got to Heaven I would not want to leave. And then you have lots of stories, horror stories especially, nobody gets to leave Hell.
I guess the idea is, if you get to leave Heaven, why would you ever choose to? I guess, maybe, you don't get to leave Hell because it's a punishment, like you don't get to leave prison. But why would anybody choose ever to consciously and deliberately leave Heaven?
J. NEIL SCHULMAN: Well, only when the writer writes Heaven in such a way that it's not worth staying. Which means essentially that what we are doing is we're encountering stories in which Heaven is a device written by a writer who doesn't believe in it.
BRAD LINAWEAVER: That's the thing about your novel. You're very pro-Heaven, and you very much have the idea that Heaven is a place that you want to stay, and yet the title of your novel is Escape from Heaven because of the plot situation that you've got, and the ultimate fate of Earth with the political campaign between Jesus and Lucifer.
But it's interesting that people who might pick up your book, or see the movie that will eventually be made of Escape from Heaven, could expect this more typical modern idea that when you get to Heaven you can't wait to leave it. I guess it's dull or something. That is the opposite, actually, of what you've written, despite the fact that your work is entitled Escape from Heaven.
J. NEIL SCHULMAN: Well, that's because my fundamental premise about Heaven is different.
Heaven is supposed to be "perfect."
Well, if Heaven is "perfect," we know that perfection means that there is no moving forward. I mean, once you are perfect, why do anything except basically sit around and sip tea? You know, there's nothing to do. You don't have to do anything. All your needs are fulfilled. You don't have any wants. There's no excitement. And it does come across as dull.
In the same way that when we have the concept of God being "perfect" it makes Him static as well, why should God take any action whatsoever? Why should He create? Why should He do anything, if everything is perfect?
Perfection is death. Perfection is an ending. Perfection is saying you're done.
BRAD LINAWEAVER: But your Heaven is not perfect.
J. NEIL SCHULMAN: Right! "My" Heaven is not perfect. My Heaven? My portrayal of Heaven, my map of Heaven.
BRAD LINAWEAVER: You know what I mean.
J. NEIL SCHULMAN: Yes. The Heaven in which I am mapping is not mapped to be perfect. The God who I am saying that I have been in communication with is alive, and dynamic, and makes choices, and, therefore, there's a before and after, better or worse. But there is none of this static idea of perfection. Everything is still alive. Everything is still in play — and I play it that way.
Now. It's interesting that my view is actually scripturally correct, because not only does the Old Testament show us God changing His mind and "repenting the evil that He thought to do unto His people" — as it says in Exodus — but also, in the last book of the Bible — The Revelation of Saint John the Divine — we are told that there is a war in Heaven, and Heaven is destroyed, and a new Heaven is created afterwards.
People don't remember that there is a re-creation of Heaven, very much the same way as the restoration of Eden is supposed to be the re-creation of Heaven. There is a fall of Heaven itself, and then a re-creation of Heaven itself, or a new Heaven, a new and better, improved Heaven.
Well, that's what I portray in my novel.
We have a war in Heaven, which goes back to the dream I had, in which Heaven falls under attack and, in essence, is devastated in this war.
Well, a Heaven which is devastated is not a nice place anymore. It's not Heaven in the way that we think of Heaven.
BRAD LINAWEAVER: It's not "Heavenly?"
J. NEIL SCHULMAN: It's not "Heavenly," right. But again, this is playing with words.
If Heaven is a real place, then it is a place that can suffer the same destruction as other real places, such as New York City, being hit on 9/11 and having the Twin Towers disappear.
So when Duj goes there — and he has to escape from it because it's a war zone — then that accounts for both the experience that I had in my dream in which I had to escape from Heaven which had fallen under attack, and then, in the novel, Duj has to escape from Heaven because it's fallen under attack.
But the title is also a more general metaphor than that, because — in essence — aren't so many of us in effect escaping from Heaven?
If, in fact, we don't like the meal that is set before us — and we reject it — if we don't like the idea that Earth is not perfect but it is perfecting — it is designed to be a tool to perfect us, an environment in which we play a game to get experience points — to use an old gamer's metaphor — and what happens afterward is a goal we don't want, we don't like God's plan — how many different ways do we escape from Heaven everyday?
If God says that it takes sperm and ova to have babies — and sperm come from a penis and eggs come from an ovary — and the two of them getting together is what sex is — and yet somebody chooses two women or two men, well, that's an escape from Heaven.
Not that I'm condemning it as evil or anything like that. I'm simply saying it's not part of the plan because you don't get babies from it.
BRAD LINAWEAVER: Unless you go to the lab or something like that, which is another escape form Heaven.
J. NEIL SCHULMAN: Well, we could argue whether it's a diversion or part of the learning process, whether it's Science Lab or not.
Remember, I do believe that we are intended to become gods under God. That is part of the cosmology, and part of the eschatology, that I'm portraying in Escape from Heaven. That, in fact, the whole point of this exercise, both for angels and humans, is that we are going on paths to make us into gods who are capable of having these enormous powers, and using them, and living forever. With all the challenges of that, the challenge of living forever, you have to be the sort of person who can survive living forever without going crazy, in the same way that God had to figure out a way not to go crazy, not to be bored, not to accept perfection as an end.
BRAD LINAWEAVER: Right.
J. NEIL SCHULMAN: So, in essence, it's also an escape from perfection, and that's where the story begins.
That's when things become interesting. And if you believe that we live forever, it basically means that we go through perfection, as a verb, but not end up in it as a noun.
BRAD LINAWEAVER: In other words, "Escape from Heaven" can also mean "escape from the idea of perfection," because that is static?
J. NEIL SCHULMAN: Yes.
BRAD LINAWEAVER: Now, my last question in this sequence, and this is a psychological question, not scriptural, not based on any of the world's holy texts.
Neil Schulman, before, during, and after these experiences – psychologically — never seemed to accept the idea of Hell. Give me psychological or philosophical reasons but not scriptural reasons — why do you think there is no Hell?
J. NEIL SCHULMAN: Wow. Well, for one thing, I guess I'm optimistic enough to think that God, sooner or later, will get through to us. I don't believe in a punitive or penal philosophy to begin with. I don't think that God goes out of His way to administer punishment. I think that, sometimes, He steps out of the way and lets us suffer the consequences of our own actions, and that is in fact punishment. But there is no necessity for creating the prison called Hell, to condemn prisoners forever, to accomplish that because what, in fact would be the point?
Let's look at it in terms of capital punishment here on Earth. Capital punishment is a contradiction in terms, because if you are killed the punishment is over. In fact, you have destroyed the punishment by ending the person who is capable of regret or perceiving it. Once you have eliminated that which is capable of perceiving punishment, you have eliminated punishment.
So, in the same sense, that it is only something which is able to reform the criminal or, in this particular context, the sinner, would there be any meaning to the concept.
Now if you want to argue that Hell is a reform school, a penitentiary — with "penitent" being the root word — that you reach the point where you are penitent for what you have done and attempt to make reparations — if you want to argue that is what Hell is then, okay, I don't have a problem with Hell. I think the Roman Catholics would call that Purgatory though.
BRAD LINAWEAVER: Yes, I like what you're saying. It's like when we talk about libertarian as capital "L" or little "l" or the State as capital "S" or little "s". What you're saying is small "h" hell, you can see that, but capital "H" Hell, you don't see why that would be necessary, and what purpose it would serve for God. Is that right?
J. NEIL SCHULMAN: That is correct. In other words, the idea of eternal punishment — I have said this before — seems to me to be such a dumb idea that only someone who lives a short human lifespan could have such contempt for the idea of eternity as to think of eternal punishment.
BRAD LINAWEAVER: That sets up my final question for I Met God by J. Neil Schulman. Here is my final and obvious question: do you think, expect, or hope that you will meet God again in this lifetime or do you think the next time you meet God will be after this lifetime?
J. NEIL SCHULMAN: You're asking me about my hope and my expectation.
Well, of course my hope is to meet God anytime I can, and if I can do it while I'm still alive, great. And if I have to wait until after I'm in the next life, great.
I still feel I have work to do here and so, if I were to die soon, I would die regretfully because there are still things I need to do. I have a daughter who I want to see to adulthood. I have a mother who I'm still taking care of. I have works which I still want to write and — very frankly and very selfishly — I want to be here to see Escape from Heaven produced as a movie and done right. That's something I want to hang around to do.
Also, when I die, I want to die thin. That's just a very vain thing and, dumb as it is, I'd like to get myself back into shape before I go. Leave a beautiful corpse, as they say, for the short amount of time before it turns back into dust.
But, I'm not ready to go, but if I do go, then I know that where I go next is going to be exciting, and I'm confident that God's going to be there and it'll be a return home.
I've already been shown my home on the other side. So I know that it's going to be someplace that'll be very much like a kid being offered dessert and then turning away from it. You know, "You don't want dessert?" "No, I don't want dessert! I want to stay here!" That kind of thing.
So, again, I may not have my phobia about death anymore, but I'm not ready to embrace it yet.
BRAD LINAWEAVER: Thanks, Neil.
J. NEIL SCHULMAN: Thank you, Brad.
I Met God — God Without Religion, Scripture, or Faith is
Copyright © 2010 The J. Neil Schulman Living Trust. All rights reserved.
My comic thriller Lady Magdalene's — a movie I wrote, produced, directed, and acted in it — is now available for sale or rental on Amazon.com Video On Demand. If you like the way I think, I think you'll like this movie. Check it out!
This entry was posted on January 30, 2010 at 2:01 am, and is filed under I Met God -- God Without Religion, Scripture, or Faith. Follow any responses to this post through RSS 2.0. You can leave a response or trackback from your own site.
#1 written by Stoett
Death is something that I can't face yet. Like you, I have lots of things to do here on Earth. (I hope God hears me.) But then, when it will come, I'm also excited to know that He is just right there waiting to hug me tightly and give me peace in His loving embrace.


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