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Stacey, this is a beautiful sequence. It's very redolent of our dear city. And lovely Union Square. The market! Nice work. Best, John
Commented Sep 21, 2014 on Fall Haiku by Stacey Harwood at The Best American Poetry
Fall Haiku by Stacey Harwood
Saturday market In Union Square: Cantaloupes Alongside apples. Confused by weather The woman on the subway Wears socks and sandals. Turning a corner, Into Sixth Avenue wind, The man holds his hat. At Gonzo cafe On Thirteenth, outdoor tables Are empty by eight. Looking up, nothing. On the horizon...
The craziest sentence of all, by John Foy
I was in 10th grade when I read "A Refusal to Mourn," by Dylan Thomas. Perhaps like many boys my age, I was stymied by the opening sentence. It wasn't until years later that I came to understand. Earlier this year I had the opportunity to be a guest-blogger for Ideasmyth, a creative consultancy where Victoria Rowan presides as the fabulous Creatrix-in-Chief. It was in one of my entries for the Ideasmyth blog that I put down some preliminary thoughts on how this Dylan Thomas poem, and that sentence, worked. I then developed those ideas into a short paper I delivered earlier this month at the West Chester Poetry Conference, in a critical seminar on Dylan Thomas led by the excellent and estimable poet R. S. Gwynn, or Sam to those who know him (you can visit his Facebook page here). My blog entry for today includes a few excerpts from that paper. But please bear with me. I love grammar. "A Refusal to Mourn the Death, by Fire, of a Child in London" is Dylan Thomas's monument to an anonymous girl who perished in the firebombing of London during WWII. If you accept the poem's denotational gloss, Thomas says that he will never cry or pontificate over the death of this girl. Such is his "mighty vaunt," as Seamus Heaney called it, but as mighty as it may be, the music of the language is in counterpoint to the title and is clearly the orchestration of a monumental sadness. The sorrow is in the syntax. It is the tortured, hyper-dramatic utterance of a poet keening operatically. I'd like to look at how the orchestration works. The poem is divided into four six-line stanzas, each rhyming ABCABC. Working across these four stanzas are four grammatical sentences, the first of which may be the strangest, most tortured sentence in twentieth-century poetry: Never until the mankind making Bird beast and flower Fathering and all humbling darkness Tells with silence the last light breaking And the still hour Is come of the sea tumbling in harness And I must enter again the round Zion of the water bead And the synagogue of the ear of corn Shall I let pray the shadow of a sound Or sow my salt seed In the least valley of sackcloth to mourn The majesty and burning of the child's death. The round Zion of the water bead! (My friends and I in 10th grade went around repeating this phrase, for no other reason than its odd, emotional conviction.) In basic terms, the sentence says that he will never until the apocalyptic end of time mourn the girl's death. On the page, however, it's not that simple. The sentence is 83 words long and top-heavy with a massive adverbial clause (in the excerpt below, it is set off in brackets). The adverbial clause contains 52 words, including a 10-word adjectival modifier nested inside. The grammatical subject of the sentence, "I" occurs in line 10 (highlighted in yellow below),... Continue reading
Posted Jun 20, 2014 at The Best American Poetry
More words that marked me, by John Foy
Earlier this year I was put to thinking about lines of poetry that meant a lot to me. This began when the poet Gerry Cambridge, who edits a fine, international literary journal in Scotland called The Dark Horse, asked me and several other poets to write brief essays on particular lines that had shaped us. So I wrote a short piece, published now in the current issue of The Dark Horse, about this line from Thomas Wyatt: Sithens in a net I seek to hold the wind The line had an effect upon me during my adolescence when I was just starting to see how language could light you up and open the doors of the heart and mind. Of course, all poetry seeks to hold the wind, a thought that imparts beauty to this line. So I wrote my appreciation for The Dark Horse. But in doing so I realized it was impossible to zero in on just one line of poetry. I decided, therefore, to go back and select more lines from other poems that have, in one way or another, put me on the path. … Mark here below How tame these ashes are, how free from lust, That thou mayst fit thy self against thy fall. (George Herbert) So I would have had him leave, So I would have had her stand and grieve, So he would have left As the soul leaves the body torn and bruised, As the mind deserts the body it has used. I should find Some way incomparably light and deft, Some way we both should understand, Simple and faithless as a smile and shake of the hand. (T.S. Eliot) One luminary clock against the sky Proclaimed the time was neither wrong nor right. I have been one acquainted with the night. (Robert Frost) The years to come seemed waste of breath, A waste of breath the years behind In balance with this life, this death. (W. B. Yeats) Nights come bringing the snow, and the dead howl Under headlands in their windy dwelling Because the Adversary put too easy questions On lonely roads. (W.H. Auden) He runs, he runs to the south, finical, awkward, in a state of controlled panic, a student of Blake. (Elizabeth Bishop) It pleases me to stand in silence here. (Philip Larkin) Out there in Jutland In the old man-killing parishes I will feel lost, Unhappy and at home. (Seamus Heaney) There are more, but that's for another time. Best, John Continue reading
If we do meet again [by John Foy]
Well-constructed plain lines have always held a fascination for me. From George Herbert to Thomas Hardy and Robert Frost, it's always thrilling to see depth and beauty in what, on the surface, looks plain and simple, be it in a poem or in lines spoken in a play. To write lines like that requires care and attention to the smallest detail, so that every syllable, every letter, is functioning as part of the whole. Two lines that have always epitomized this for me come from Shakespeare's Julius Caesar. They occur in Act V, Scene I (lines 117-118). This is where Brutus, on the plains of Philippi, bids farewell to Cassius, his co-conspirator. They are both doomed: If we do meet again, why, we shall smile; If not, why then, this parting was well made. These two unadorned lines, in modulated iambic pentameter, contain 18 words, with 9 words in each line. Symmetry! All the words are one syllable, except for "again" and "parting." Each line is a grammatically complete sentence, each is cast as a conjecture, and each begins with the word "if." When we drill down further, it gets even more interesting. There is the middle rhyme – and this isn't even a poem! – of "again" with "then," which holds the lines together, reinforced by the sonic repetition of "why" in each line. Then there is a rich network of consonantal links, mainly "M"s and "W"s. There are three Ms and six Ws: If we do Meet again, why, we shall sMile; If not, why then, this parting was well Made. The understatement of these lines, as both men say goodbye, is profoundly moving. It suggests the noble equanimity of Brutus, even during this fateful moment as each Roman goes off to meet his death. It implies a balance and a stoical restraint, both linguistic and moral, that reflect Brutus's willingness to follow through on the logical extension of his ideas about life, honor and Rome. It's the dramatic context, of course, that gives greater power to the lines and creates the option for understatement, but I always marvel over how tightly these two lines are put together and how they work their magic with everyday material. I wanted to find a video clip of this particular scene on Youtube, so I turned to my friend, the poet David Yezzi, who is also a Shakespeare aficionado. (His longer poem based on Macbeth appears in his latest book, Birds of the Air.) We came up with two versions of the scene. Have a look at this segment from the 1950's film adaptation directed by David Bradley, with Brutus played by Bradley himself and Cassius played by Grosvenor Glenn. It's around the 2:56 mark in this clip. Apparently, none of the actors got paid for making this film, except for a young Charlton Heston, who played Mark Antony. Here's another version of the scene. The passage starts at 13:48 or so. I was looking for the version directed by Joseph... Continue reading
The value of things [by John Foy]
It cost 95 cents at the Gotham Book Mart in New York City in the summer of 1980. It was a second-hand copy of The Complete Poems of Hart Crane, edited by Waldo Frank and published by Doubleday Anchor Books in 1958. On the cover was a rough drawing of black suspension cables and one tower of the Brooklyn Bridge (in lurid magenta and black), with a flock of soot-black birds flying above the cables. On the right side was the dusty orange brick wall of a tenement. The cover art was by Antonio Frasconi, the typography by Edward Gorey. The book was already used when I put down my 95 cents. Now, so many years later, I see it on my bookshelf wedged between John Berryman and Robert Lowell, and it gives me peace of mind to know it's there, though I'm afraid to touch it for fear it might disintegrate in my hands. I keep it in honor of the effect it had on my life. Back then, when I was twenty, I did not realize that Hart Crane had in many ways failed as a poet. What I did know was that I had not read a passage as rhetorically dense and passionate as this since Donne or Shakespeare: Bequeath us to no earthly shore until Is answered in the vortex of our grave The seal's wide spindrift gaze toward paradise. (from Voyages, Part II) This didn't quite make sense to me, but the emotional power of the utterance was palpable, and I understood, perhaps without fully understanding, that this had something to do with a supra-human gaze toward the transcendent. I also sensed that this imperative was driven by a kind of ecstatic love. Sure, many of the poems in the book didn't make sense in a conventional way, but the integrity of the emotion came through clearly: Down Wall from girder into street noon leaks, A rip-tooth of the sky's acetylene; All afternoon the cloud-flown derricks turn … Thy cables breathe the North Atlantic still. (from Proem: To Brooklyn Bridge) The majesty of Crane's dynamic cityscape was indisputable. The "cloud-flown derricks" turning through the afternoon above a bustling city brought to mind Vergil's cranes over the dysfunctional Carthage, in the Aeneid. And then the epic line, "Thy cables breathe the North Atlantic still." I knew it took ambition to write a line like that. And it took vision. That was what I wanted, something big and pure. Striking, too, was the bitter simplicity—and prescience—of this line: The bottom of the sea is cruel. (from Voyages, Part I) These lines made me want to be a poet. I had to get to the source of those lines, the source of that power, and try to tap into it and draw up language like that from the chthonic depths or pull it down from the sky. This desire seemed to chart a course, clear if wholly impractical. The fact that someone out there (Hart Crane) had taken... Continue reading
The Ollave, by John Foy
Many thanks to David Lehman and Stacey Harwood for inviting me back as a guest-blogger this week. I recall reading somewhere – maybe someone can help me with this – that ancient druidic rites, or perhaps they were Welsh bardic initiation rituals, included the following. You had to lie in a trough of water on a cold night, wholly submerged and breathing only through a straw, and compose in your head a long poem in a complicated meter. The next morning, you had to emerge from the water and recite your poem. How many could graduate from that school? I earned my MFA in the early 1990s from a reputable institution. I am, therefore, a Master of Fine Arts. Anyone who has earned the degree should take careful note of this particular passage from The White Goddess, by Robert Graves. In my tattered edition, the passage appears on page 457: "Who can make any claim to be a chief poet and wear the embroidered mantle of office, which the ancients called the tugen? Who can even claim to be an ollave? The ollave in ancient Ireland had to be master of one hundred and fifty Oghams, or verbal ciphers, which allowed him to converse with his fellow-poets over the heads of the unlearned bystanders; to be able to repeat at a moment's notice any one of three hundred and fifty long traditional histories and romances, together with the incidental poems they contained, with appropriate harp accompaniment; to have memorized an immense number of other poems of different sorts; to be learned in philosophy; to be a doctor of civil law; to understand the history of modern, middle and ancient Irish with the derivations and changes of meaning of every word; to be skilled in music, augury, divination, medicine, mathematics, geography, universal history, astronomy, rhetoric and foreign languages; and to be able to extemporize poetry in fifty or more complicated meters. That anyone at all should have been able to qualify as an ollave is surprising…" Best of all is that "appropriate harp accompaniment"! He made no mention of poetry workshops or lying in troughs of water all night. Cheers, John Continue reading
Two Shout-Outs From This June's West Chester Poetry Conference: The Mezzo Cammin Women Poets Timeline Project and George Green's New Book, by John Foy
As some of you may already know, a massive project has been undertaken called The Mezzo Cammin Women Poets Timeline Project. The goal is to create, accretively over time, the largest database of women poets in the world. We know it took thousands of workers almost 200 years to build the cathedral of Notre Dame in Paris. The Mezzo Cammin timeline is the same idea. Think Sappho to Sapphire. It will be an intellectual edifice built by many hundreds of contributors. A panel was convened again at the West Chester Poetry Conference this June to discuss the progress of the Mezzo Cammin timeline. The project was launched in March 2010 by the poet Kim Bridgford, who is also a professor and director of the West Chester conference. Here's how it works. Each entry on the timeline includes a photo or drawing, a data sidebar and an essay written specifically for the project by accomplished women poets and scholars. Whenever available, poems or links to poems by the author are included. The timeline project was originally sponsored by Mezzo Cammin, the online journal of formalist poetry by women, also spearheaded by Kim Bridgford. Many essays have been generated for the timeline through seminars held from 2009 through 2013 at the West Chester conference. There are now 46 essays up on the site, with 26 more in the works. The database includes canonical poets such as Sylvia Plath but also lesser-known figures such as Enheduanna (arguably the first recorded poet in history) and Christine de Pizan. Many of the essays, especially those on non-English speaking poets of the past, require original research and translation. The importance of the Mezzo Cammin timeline was illustrated recently by a discussion on the poetry board Eratosphere, prompted by Wendy Sloan's essay on Gaspara Stampa. Women poets and scholars interested in writing an essay for the database should contact the essay coordinator, the poet Anna M. Evans (evnsanna@comcast.net), with credentials and a suggested poet. This is at the Washington launch of the Mezzo Cammin Women Poets Timeline Project in 2010. The second photo is of Marilyn Nelson and Sonia Sanchez participating in the women poets roll call. Then there's the poet George Green. At the West Chester Poetry Conference this June, George read from his new book, Lord Byron's Foot. His collection aptly won the 2012 New CriterionPoetry Prize. George blends technical skill with pop-culture literacy, the vinegar of satire, literary literacy, the chipotle sauce of unblinkered wit, and sphincter-loosening humor. The poet and regular BAPster David Yezzi posted an entry here in May suggesting that George Green had composed, perhaps, the funniest poem ever written, "Bangladesh." David's post was called "The Greening of Bohemia." I recommend it, and I agree with David to a point, but I would propose that "Bangladesh" is the second most comical poem ever written. The funniest poem ever written in the Age of Man is "Lord Byron's Foot." When George read this poem to a packed house at West Chester, I... Continue reading
Posted Jul 12, 2013 at The Best American Poetry
Dear David, Thanks for your message, and thanks for this wonderful opportunity to blog for Best American Poetry. I've had a blast this week, and I've been getting a lot of readers and a lot of good feedback. I love "the graves of academe"! If you liked my entry on Poets & Jobs, I'm very honored. It's a subject close to my heart, given that I've pursued poetry assiduously but worked most of my life outside the walls of the college world, while so many of my poet friends have worked inside. Sometimes, you start to develop a complex! So models like Stevens have always been very helpful to me, very reassuring. There are so many other poets with so-called "real jobs" I could have included. Maybe I need to expand this into a bigger essay. I understand why you cherish Creeley's inscription, "To David Lehman, who works for a living"! You've done so many things in your professional writing life, and succeeded in so many ways outside of academia, that I believe you must share my views on this. In my post today, about small animals mistakenly killed by power mowers (see Larkin and Wilbur), I wanted to include my own poem written specifically to address this macabre theme. It's called "Killing Things." But it's due to come out later this year in American Arts Quarterly, so I had to avoid "pre-publishing" it. Perhaps I can send you a copy! Here is a link to my website: www.johnffoy.net. With many thanks to you and Stacey, John 917-282-2862 johnffoy@aol.com
Commented Jul 11, 2013 on Poets and Jobs, by John Foy at The Best American Poetry
Poets and Jobs, by John Foy
All jobs seem real to the people who have them, but poets like to make distinctions. They refer typically to "real" jobs when talking about employment outside of academia (illogical though that may be). I'm a poet, and I've been told that I have a real job. I work as a senior financial editor at...
Mistakes, by John Foy
We all make mistakes. This can include killing baby rabbits. For those attuned to this sad sort of thing, there is a macabre sub-genre of contemporary poetry about mistakenly killing small creatures with power mowers. Philip Larkin famously killed a hedgehog while cutting the grass ("The Mower"), and Richard Wilbur clipped off the leg of an unlucky toad ("The Death of a Toad"). In Robert Frost's poem "The Exposed Nest," a father and daughter contemplate a cluster of baby birds who narrowly escaped—who knows how—the cutting blade of a mower that was pulled over their hidden nest in a field. In a less-well-known poem by James Wright called "Small Frogs Killed on the Highway," the speaker observes how speeding cars obliterate the frogs as they try to reach "the green stalk of the field / On the other side of the road." Some poems are variations on this theme. Richard Eberhardt, for instance, in "The Groundhog," considers the decaying body of a groundhog in a field. Granted he didn't kill it himself, but he ruminates existentially over the bloated corpse. Then we have William Stafford's anthology piece, "Travelling Through the Dark." A driver comes upon the body of a deer hit by a car. It's by the side of the road at a tricky turn above a canyon. The speaker of the poem stops his own car, gets out, and sees it was a pregnant doe. Realizing the danger to other drivers, he roles the warm, gravid body down a ravine into the river below. We mustn't forget "Snake," by D. H. Lawrence. The violence here is no accident, though the speaker in this case doesn't kill the snake. He hurls a log at it, sending it panic-stricken into its dark hole. To his credit, the speaker immediately regrets what he did and realizes that he missed his "chance with one of the lords of life." Why do we write these poems? It's a symptom, I think, of modernity and our guilt over pulling ever further away in our mechanized lives from the natural world. I'm riveted by these poems, particularly Larkin's and Wilbur's, because I had the misfortune in my early twenties of mistakenly going over a baby rabbit with a massive power mower in a horse pasture. I still think about it, and it fills me with dread. The worst thing was, when I found the rabbit, it wasn't dead yet. I've written a poem about this called "Killing Things." It's due to come out later this year in American Arts Quarterly, thanks to the poetry editor there, the sculptor and poet Meredith Bergmann. (To respect editorial policy, I won't include the poem here.) I'd like to end with a supposition. It seems clear to me that Larkin and Wilbur, with their power mowers, are reaching back to a very ancient image from the Latin poets: the wild flower at the edge of a meadow inadvertently "touched" by the plow. The image comes from Catullus XI (To Furius... Continue reading
Eros and the Muse, by John Foy
The shenanigans of Eros aren't unrelated to the comings and goings of the Muse. We know in a thousand different ways the upending power of desire, but the link between desire and inspiration is not always self-evident. The poet Robert Graves wrote a long treatise on the Muse, called The White Goddess. It's among the strangest books ever written. In one of his more straightforward passages, Graves writes that, "poetry is rooted in love, and love in desire, and desire in the hope of continued existence." This is a kind of poet-friendly, procreative Platonism. Graves equates poetry with our wish not to die, and in the middle of his equation are desire and love, but desire comes first. Plato would probably have agreed with Graves here. Physical beauty arouses our desire because of the excellence inherent in it. (Sexual orientation in this regard is irrelevant.) Our desire to get close to carnal excellence puts us on a path, so Plato's theory goes, toward higher forms of excellence—ethical, intellectual, spiritual. When confronted with uncommon beauty, a male asks, how good a man must I be to be worthy of this excellence? What must I do, how hard must I work, what must I believe in, how must I conduct my life? But it all begins in the beer hall of the physical. Plato, the philosopher, moves upward from Eros toward the sublime. Graves, the poet, lingers with Eros back on the footpaths of the earth, among the trees and birds. But Eros, in both cases, is the starting point. How do we talk about Eros? And how do we talk about the actions of the Muse? The words and phrases that describe the erotic happen to be the same that apply to poetic inspiration: pleasure, a deep satisfaction, mystery, unknowing, a chance encounter, the unpredictable, a letting go, a giving over, a giving into, a reception, a forgetting of the self, and the getting of a gift. The points of correspondence, I hope, are clear. When the Muse enters your room, you obey. You are filled with an uncanny sense of abundance. You give in and over, abandoning the internal regulators. If things go well, you're left with the feeling of having been touched inside and inevitably by… an angel or a succubus! For a poet, the result is the same. The problem, though, is that the Muse is transitory. Poets want her to stay, but she doesn't. It's in her nature to come and to go. When she comes, you are grateful, and you work as best you can to satisfy her. When she leaves, you try to call her back. You try through futile stratagems to persuade her to return. But gifts and pleadings mean nothing to the Muse. When she wants to come back, if she does, she will. It's the poet's task to be alert, trained, and ready. To talk about the Muse is to talk about where poems come from, and how. They come to us... Continue reading
No Job at All: Francis Thompson, Destitution, and the prose of Philip Larkin, by John Foy
Yesterday, I wrote about the question of poetry and employment. Today's posting is closely related. If you're a poet, what do you do with yourself? Consider poor Francis Thompson, an English poet from the late 1800s who was not wealthy but who nevertheless, to his own grave disadvantage, sought no means of work at all. Wikipedia refers to him charitably as an ascetic. The voice below is neither Thompson's, nor mine, but Philip Larkin's. The quoted text is from Larkin's essay on Thompson, called "Hounded" (from Required Writing, with a foreword by David Lehman!). Because my sense of humor is rather dark, these passages always have me doubled-over. Here's Larkin (the book he's referring to is J. C. Reid's Francis Thompson: Man and Poet, London: Routledge, 1959): "This book is fascinating because Thompson is fascinating, with all the fascination of character produced to excess. Born in Ashton-under-Lyne in 1859, the son of a Catholic-convert doctor, he had a happy childhood—indeed, too happy: after the nursery fantasies of dolls and his toy theatre, adult life was an anticlimax. An attempt to enter the priesthood was foiled by the percipient Fathers at St. Cuthbert's, Ushaw, and he was sent instead to study medicine at Owens College. Daily he went by train to Manchester, to please his father, but once there he spent his time wandering about, reading and sleeping in Manchester Public Library, and watching cricket, in this way pleasing, or at least not displeasing, himself. Every so often he failed an examination. Incredibly, he kept this up for six years, and would no doubt have been content to spend the rest of his life travelling backwards and forwards on this misunderstanding if his father had not lost patience, and demanded at last that his son go to work. It was too late. Thompson had already found the answer to growing up: laudanum. "Sooner than work, he quitted Ashton for London. Whether this sole decisive action of his life was simply an evasion, or whether it was in its pitiful, maimed way a gesture of independence, its consequences were terrible. Between 1885 and 1888 Thompson lived as miserably as any English poet before or after. Begging, selling papers or matches, running errands for a kind of bookmaker, spending what money he had on laudanum while he ate vegetable refuse in Covent Garden and slept on the Embankment, it is unbelievable that any many of sensibility could have voluntarily endured it—voluntarily, because his father sent him an allowance of seven shillings a week to a reading room in the Strand. But to collect it would have required conscious exercise of the will, a recognition of reality, a degree of self-discipline. Thompson preferred to starve. "[He] just wanted to escape crushing responsibilities like getting up in the morning. Though there had been some talk of a literary career at home, he wrote nothing—certainly no poetry—and it was not until a tentative and long-disregarded contribution to Merry England had aroused the curiosity and compassion of... Continue reading
Posted Jul 9, 2013 at The Best American Poetry
All jobs seem real to the people who have them, but poets like to make distinctions. They refer typically to "real" jobs when talking about employment outside of academia (illogical though that may be). I'm a poet, and I've been told that I have a real job. I work as a senior financial editor at a Brazilian investment bank. Despite an urge early on to enter the teaching profession, for which I had some talent, I went down another road. I had to support my family in Manhattan. By the year 2000, my black beret and cape were gone, but the calling was still with me, so there was nothing for it but to change my way of thinking about the literary life. Over the years, through friendships with many poets and writers, I'd come to see that the only thing that mattered in a so-called literary life was generating literature, and in this case, writing poems. No surprise, then, that I've been fiercely interested in major poets who lived "unliterary" lives. We all know the usual suspects. Wallace Stevens was trained as a lawyer and spent most of his working life as an executive for the Hartford Accident and Indemnity Company. The guy won a Pulitzer Prize in 1955, and he was offered a position at Harvard, but he turned it down. He chose to stay at his job. He liked being a vice president. He was often seen walking along the leafy suburban streets of Hartford in a suit, mumbling to himself. We know what he was doing. In 1917, when he was 29, T. S. Eliot signed on with Lloyd's Bank in London as a clerk in the Colonial and Foreign department. He would stay for eight years. The writer Lisa Levy, in her article called "A Peaceful, but Very Interesting Pursuit" (The Rumpus, January 31, 2012), notes that Eliot thought himself very fortunate to have found this job, and she quotes from a letter he wrote to his mother in 1917: "I am now earning £2 10s a week for sitting in an office from 9:15 to 5 with an hour for lunch, and tea served in the office… Perhaps it will surprise you to hear that I enjoy the work. It is not nearly so fatiguing as schoolteaching, and is more interesting. I have a desk and a filing cabinet in a small room with another man. The filing cabinet is my province, for it contains balance sheets of all the foreign banks with which Lloyd's does business. These balances I file and tabulate in such a way as to show the progress or decline of every bank from year to year." It's both riveting and appalling to hear Eliot speak with such affection about his filing cabinet. Yet in the midst of such a life he conceived The Waste Land, which was published in 1922. Eliot didn't leave the bank until 1925, when he went to join the publishing house Faber and Gwyer (later... Continue reading
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In this episode, we were able to chat with our friend Todd Nesloney (@techninjatodd). We wanted to check in with the Tech Ninja to see how his first year as a Principal went, as well as explore topics related to his recent blog post Head Held High.
Todd provides insight into the ups and downs of being a first year Principal. He is very honest in saying that there were as many ups as there were downs, and he learned a lot about leadership. Todd also talked with the PrincipalPLN crew about receiving news on the assessment scores, and how his school didn't make the accountability measures. He also talks extensively about the other indicators that his school did achieve, and how Social Media allowed him to tell the whole story. This is an episode you do not want to miss!
Check out #KidsDeserveIt and #PeriscopeOut on Twitter.
Our book, Breaking Out of Isolation: Becoming a Connected School Leader will be released on August 25, 2015. You can order it now on Amazon or from Corwin.
To continue on our theme of getting ready for the new school year, we are joined in this podcast by Sarah Johnson to give voice to the secondary level.
In this episode, Sarah talks about her goals for this school year, specifically the beginning of the year. We talked about cultural differences among New Jersey, Michigan and Wisconsin (We learned about Donkey Basketball). Sarah also discusses several technology initiatives such as one-to-one Chromebooks, BYOD, and online classes. At the end of the episode, we brought back the infamous Word Association game. Sarah did a great job of playing and represented Wisconsin!
EdChange - This is an excellent resource for schools looking to begin the conversation on Equity and Diversity.
Amy shared great ideas from her staff kick-off, like the unveiling of their theme and the teachers' first activity with iPads.
We announced winners of our book Breaking Out of Isolation (coming out in September) and also shared another contest opportunity to win our book: Tweet with the #principalpln hashtag a back to school tip or your back to school nightmare. We'll announce the lucky winner on our next podcast!


Help me, How to make it so it stop recording everytime you join a server?
You mean disable the auto recording and disable the thing entirely?
I found a way before you tell me that, maybe the way you told me is better, but thanks Tom.


The theme of honor among thieves—and its embedded suggestion that outlaw principles are a form of resistance in a fundamentally lopsided society—is fulfilled at epic length in Jia's new crime drama Ash Is Purest White, which is paradoxically closer to Xiao Wu than any other work in its director's filmography even as it contains far more explicit callbacks to the movies in between. At Cannes, critics made a (valid and valuable) game of toting up the self-citations on display in Jia's twelfth feature in 21 years, noting sequences, scenarios, and settings derived from Unknown Pleasures, Still Life (2006), and A Touch of Sin (2014), all woven together by the presence of the filmmaker's wife, Zhao Tao, cast axiomatically as the protagonist in a movie that uses two decades of personal cinematic history to trace the large-scale development of the world's most populous country. As such, there are as many ways into Ash Is Purest White as there are entry points to Jia's career, but Xiao Wu is the primal scene for both its sense of underworld propulsion and its thesis that the more things change, the more people stay the same; that survival is as much a matter of stubborness as of adaptability.
The opening scene of Ash Is Purest White was shot in 2001 as part of a different project, five years after Xiao Wu, and its ruddy digi-cam textures deliberately recall the older film—and with it the feeling of spontaneity and freedom inherent in its maker's off-the-grid beginnings. The key shot of this overture is of a baby on a bus, an image connoting origins, or perhaps a society in a new state of infancy after the transfer of Hong Kong's sovereignty a few short years earlier. In Xiao Wu, the reluctance of the main character (Hongwei Wang) to straighten up and fly right like his college pals could be read as wariness about China's transition or as an illustration of the contradictions of full autonomy; time and again, Xiao Wu makes his bed and lies in it, but even handcuffed and humiliated at the film's climax, he has his pride. At a glance, it might seem that his analogue in Ash Is Purest White is Bin Bin (Liao Fan), a low-level gangster who espouses a skin-of-his-teeth philosophy even as he lives large-ish in the dusty suburb of Datong. But it's his girlfriend Qiao, played by Zhao in what must be her greatest performance to date, who steadfastly embodies the idea of "honor among thieves" to the point of exaltation—and maybe to a fault.
It's this purity—of jianghu omerta and romantic devotion—that gets Qiao in trouble and gradually pushes her to the forefront of the action. Twenty years on from Xiao Wu's hardscrabble textures, Jia has become a master of many forms, from docu-fiction (24 City) to vérité (Useless) to Antonioni-esque social-architectural metaphor (The World), and he daringly styles the narrative pivot point of Ash Is Purest White as an action film, with Bin attacked in the street by a gang of younger, would-be usurpers and Qiao coming to his aid brandishing his discarded gun—a bit of locked-and-loaded Freudian symbolism that establishes her as the potent one in the relationship even as she fires harmlessly into the air. Not only does Qiao save Bin's life, she proves a true goodfella by wordlessly taking the rap in his place, leading to a prison sentence that sidelines her for five years. From there, the film adopts the form of a road movie, with Qiao trying to locate her disappeared lover in different parts of the country, driven by some combination of indignant anger, sentimental attachment, and belief in shared values.
With its simultaneously horizontal and vertical alignment—moving up and down the class strata even as it proceeds narratively in a long, straight line—the picaresque is an ideal mode for Jia, who's too intellectually restless a filmmaker to ever just do one thing. So while Ash Is Purest White is absolutely a study of Qiao's relentlessness as she digs deep into her bag of tricks to locate Bin Bin and to take advantage of people along the way (almost all predatory men who get what's coming to them), it also ties her trajectory to a more general sense of rootlessness and wandering in a society where opportunity always seems to be waiting just around the corner. Where the 2001 sequences use a pixelated aesthetic to describe a suburb where widespread poverty breeds criminal activity (some of it more harmful than the rest), the 2006 section adopts a more serene camera style to hint at a nationwide beautification initiative—its epicenter being the Three Gorges Dam project, with its implicit out-with-the-old, in-with-the-new mentality.
Still Life examined the social and psychological damage of having the past be washed away, but Qiao—who, in one moment, adopts the precise posture and bearing of Zhao's character in the earlier film—keeps paddling against the current of change. That's what her fixation on Bin Bin seems to represent, and the marvel of Ash Is Purest White is how it functions in that rhetorical register while retaining emotional involvement as a melodrama. If there's something a bit deterministic about Qiao's arc, which inevitably intersects with Bin Bin at various intervals before catching up to the present (which, of course, is shot in gleaming, unsettling high-definition), that's just Jia's temperament, which has always veered towards the fatalistic: Xiao Wu, his first truly liberated character, was also his last.
In Qiao, Jia and Zhao have created a heroine whose contradictions are as vexing and exciting as any in recent memory. By sidelining her own concerns to quest for Bin, she would seem to be a clinging vine, except that the strength and resolve it takes to follow this path evince a loyalty so powerful it becomes a form of fulfillment. Whether her faith lies in Bin's love or her own capacity to pursue it (or maybe the realization that the two are indivisible), she's a true believer, a status rendering even the film's most digressive interlude—an encounter with a UFO expert played by filmmaker Zhang Yibai—part of a larger thematic design. When Qiao seemingly observes an alien craft late in the film, it's a nod to a similarly neo-surrealist image of liftoff in Still Life, but I also thought of the UFO that hovers over the Coen brothers' noir homage The Man Who Wasn't There, a tantalizing visualization of an escape lying just out of reach for its existentially rooked protagonist; here, Bin Bin may be the UFO or else the thing that it would fly her safely away from if only she could climb inside. But she can't: while Jia's films countenance fantasy in fits and starts, he's a realist through and through.
At this point, it's almost unnecessary to say that Jia is—and will always remain—a superb formalist and magisterial storyteller, and that if you're on his wavelength, his movies are rewarding in an unwavering way. The semi-commercial breakthrough of A Touch of Sin came without sacrificing rigor or seriousness, and even the semi-derided Mountains May Depart—a movie kicked around by English-language critics who seized upon a self-reflexively funny line about Google Translate as evidence that a great artist had succumbed to the dictates of transnationalism instead of interrogating them from the inside-out—has more to recommend in it than the strongest work of many of his international peers.
Personally, I like Ash Is Purest White more than either of these other estimable "late" works, and not only because it so deliberately evokes aspects of Jia's early 21st-century ascent. It's more to do with the move from an ensemble approach—which flattens out and essentializes characters, rendering them components of a larger machine— to something so yoked to individual psychology. That's not to take away from the other major collaborators here, including cinematographer Eric Gautier (on loan from France) and Liao Fan, who makes Bin a suitably obscure object of desire. Still, the two-way relationship between Jia and Zhao is the main attraction; he gives her the role of a lifetime (in every sense of the word) while she brings specificity to what otherwise might just sit heavily on-screen as allegory. Onscreen, Ash Is Purest White is about what it takes to keep love from burning out—a process as inevitable as the turning of the earth—but its excellence, as well as its existence, is evidence of a genuinely incandescent artistic partnership.


I am a Spa Therapist at Spa 1877. I've always loved visiting other spas and trying new treatments. And in my journey to becoming a Spa Therapist I've worked in Skincare Clinics and Salons in and around Sheffield.
This would have to be de-stressing or relaxing massage and tension relief.
My favourite Elemis product is the Pro-Collagen Rose Cleansing Balm.
My favourite nail colours are Passion and Tiger Blossom.
And my favourite treatments to have myself are Deeper than Deep Hot Stone Massage and Indian Head Massage.


Only the daughter who wishes to be a write gets up on 5 AM to see the dolphin. Baby's eyes with expect are fascinating. I take photos for my baby, ignoring the dolphin. I only take photos of dolphin's tail. Babies are so charming for their true love to dolphin.


I didn't take so many photos in Berlin, I'm not so sure why because it was such a cool place and I am definitely returning sometime. I rather naively arrived with very little knowledge of the city's history, I vaguely knew that it used to be divided in two but I had no idea how recent that was or how brutal. The Berlin Wall is a must, the number one thing you should visit and I highly recommend the Wall Museum to help you fully appreciate its significance - no matter how much you *think* you know. We also took a trip to the Jewish Memorial and Jewish Museum, again these are absolutely heartbreaking, but shouldn't be missed.... we were at the museum a good four hours and still missed out a huuuuuge section at the end, so allow plenty of time to go around. On a lighter note, we had some smashing burritos at Maria Bonita and also visited the Berlin book tree - where I picked up the dead cool "Yokoland" that someone had left behind - well proud of that find! Berlin screams retro and its trendy vintage shops, working internet cafes, people and public transport are all dead cool and remind me no end of the nineties. It is 100% somewhere I hope to head back to very soon.


The veteran brewer who created Italy's best known beer, Nastro Azzuro, has given his blessing to the brand being sold to Japan's Asahi.
The premium lager is produced by Peroni, a one-time Italian family firm which is currently owned by SABMiller. It is up for sale to help win regulatory approval for the London-based group's proposed $121 billion takeover by Anheuser-Busch InBev.
AB Inbev announced on Wednesday that Asahi had offered €2.55 billion ($2.85 billion) to acquire Peroni and the Grolsch and Meantime brands.
"Given that it has been a decade since Peroni was in the hands of the family, it's better it is being bought by Asahi, which is a very good brewer, than by an investment fund which would only have had a speculative interest," said Giorgio Zasio, 74.
"The important thing is that the company and those who work for it can look to the future with confidence."
Nastro Azzuro was first created in 1963 but was not an immediate hit, Zasio revealed in an interview with Italian daily La Stampa.
"It was very different from the current beer, it was too strong and not at all well received by our customers. We spent two years restyling it, changing the face of Nastro Azzuro, making it less bitter and reducing the alcohol level."
Nastro Azzuro, which means "blue riband" in Italian, is still produced exclusively in Italy and is exported to more than 50 countries around the world.
The light-coloured lager weighs in at 5.1 percent alcohol by volume and owes its distinct taste to the unusual mix of grains used to produce it: three quarters barley to one quarter nostrano maize, a proprietary variety produced for Peroni in the Po plain of northern Italy.
The sale of Peroni and the other brands to Asahi will only go through if the AB Inbev-SABMiller tie up is finalized, the companies said.


(i)Indigenous cattle kept on communal land set aside by village government.
(ii)Semi-nomadic system whereby large herds of cattle move around depending on availability of pastures and water.
(iii)Small holder dairy cattle farmers who practice zero grazing mainly (Friesian, Boran or Ankole cattle).
The District is estimated to have about 10000 cattle, 9500 goats and 7360 sheep. Efforts have been made to reduce land use conflicts by setting aside areas for grazing purposes. the grazing areas around the District have been identified and by-laws have been enacted to control the use of these grazing areas. There are still difficulties with enforcement of agreed Village by-laws for land use.
Other economic activities include fishing, carried out in rivers and lakes.


text:
The Last Honest Man
Lakshmi Mani | Oct 25, 2011
After a collection of short stories, Between the Assassinations, Adiga comes back to the novel form, setting Last Man in Tower in Mumbai, where real estate can be the fast track to riches.
In Last Man in Tower, India has not changed much in the three years following Adiga's debut novel The White Tiger, which garnered him the Booker Prize. The story takes place in the buildings (known as "towers") of the Vishram Cooperative Society. Set in the suburb of Vakola, the residential complex becomes a target for developers as the area gentrifies and appreciates in value.
When Masterji resists the overture of the developers, he dies under mysterious circumstances. The cover-up by the perpetrators and their attempts to label his death as a suicide makes the reader question if the moral compass of modern Mumbai is completely broken, though one must admit that there is plenty of cinematic precedence for that kind of behavior.
Adiga does not leave us with this bleak conclusion. There is at least one other man who refuses to barter his freedom to choose where he wants to live. Adiga's portrayal of his characters shows them as flawed but not without humanity. Ajwani, the broker, feels guilty even though he does not participate in the murder of Masterji. The Puris are good citizens who accept the deal because they have an 18-year-old son with Down Syndrome, and need the money for his medical care. Money corrupts these ordinary people with normal lives and aspirations even as they experience feelings of guilt and sorrow over the death of the last honest man in their midst.
Unlike the cynicism of White Tiger, here Adiga seems to suggest that one individual can make a difference, even if it is only in the hearts and minds of the people he leaves behind.
Lakshmi Mani writes on American and Indian-American literature, and is a National Endowment for the Humanities fellow.

redpajama_set_name: RedPajamaCommonCrawl


text:
Billboard Music Awards to Feature Travis Scott, Becky G
"Entertainment"
Sun, 15 May 2022 09:17:39 +0000
https://english.aawsat.com/home/article/3646491/billboard-music-awards-feature-travis-scott-becky-g
Sunday, 15 May, 2022 - 08:30
American singer and actress Becky G speaks during an interview about her new album "Esquemas", in Miami, Florida, USA, 11 May 2022. (EPA)
Sunday's Billboard Music Awards will include performances by Travis Scott, Ed Sheeran, Becky G and other artists who have enjoyed chart-topping success.
Sean "Diddy" Combs will emcee the show, which is being broadcast live from the MGM Grand Arena and will air live beginning at 8 p.m. Eastern on NBC and its Peacock streaming service.
Becky G, who released the album "Esquemas" on Friday, will perform her hit song "MAMIII," which topped the Billboard's Hot Latin Songs chart. Sheeran will deliver a remote performance from Northern Ireland, where he is on tour.
Other acts taking the stage include Scott, who's nominated in the dance/electronic music category, as well as Miranda Lambert, Meghan Thee Stallion, Morgan Wallen, and Grammy Awards darlings Silk Sonic.
Nominees are determined by Billboard chart rankings and winners are selected based on several criteria, including their album and digital song sales, airplay and streaming success and touring.
London Gallery to Show McCartney Photos from Beatlemania Era
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Natasha Lyonne Stars in 'Poker Face,' a Peacock Howdunit
Comedy, Romance, J.Lo and Pirates in 'Shotgun Wedding'
Tom Hanks Nominated for Three 'Razzies'
US Toughens Sanctions Against Russia's Wagner
US Raid in Somalia Kills Senior ISIS Figure


Keenan (Cianán) is a male Irish name which means "ancient, distant". Keenan is an Anglicisation of the Irish name Cianán which is a diminutive of Cian. The Ó Cianáin clan (Keenan) were the traditional historians to the McGuire clan.
Recorded as O'Keenan and more usually Keenan, this is an Irish surname. Found mainly in the Ulster and northern counties of Fermanagh and Monaghan, it originates from the ancient pre 10th century Gaelic name O' Cianain meaning "The descendant of the faithful one" or similar. It may not have been entirely coincidence that the clan was famous throughout the Medieval Period for producing both high-ranking members of the church, and early historians, in several cases the same thing. The first recorded scribe was Adam O' Caianain, who was also the canon of Lisgool in Fermanagh. He is mentioned in the annals known as the "Four Masters" as being the historian to the famous Maguires of County Fermanagh. It is said that in 1659 in Petty's Census of Ireland that the spelling was found as MacKeenan, but if so this spelling is now completely extinct and research suggests that the original recording may have been a clerical mistake.
According to the United States' Social Security Administration , Keenan was the 607th most popular first name for newborns in the United States in 2006, which is a decrease from being the 362nd most popular in 1992.
Brigid Keenan, British/Irish writer of best-selling memoirs "Diplomatic Baggage"
This page was last edited on 30 January 2019, at 09:48 (UTC).


This term in Cornerstones, Year 1 have been studying the topic of The Enchanted Woodland. They have been learning about the various types of plants that grow in this environment and have investigated the similarities and differences between them. They have also been considering the animals that live there and the habitats they live in.
During the topic, the children visited Oxleas Woods to gain inspiration for their writing and collect various woodland objects such as leaves, twigs and moss to make their fairy houses.
As part of our Enchanted Woodland theme the children were visited by the Wiggly Wild Show. They were shown all sorts of different animals; ranging from insects to reptiles and even some small mammals. As well as looking at the animals they had a chance to touch and hold many of them and hear all about the habitats that they would normally been found in. As you can see the children thoroughly enjoyed themselves.
This half term our Cornerstones theme is called Dinosaur Planet. To help the children in both their writing and their afternoon topic lessons a visit to the Natural History Museum was needed. The students had the chance to explore different areas of the museum that focused on both dinosaurs and fossils from different time periods.


text:
Hugh Syme [ Illustrator ]
HUGH SYME spent much of his time growing up in Sunderland, England, after which he attended York University and the New School Of Art, Toronto, in his native Canada. Although Hugh began as a traditional painter, working in acrylics or oils on canvas, his media of choice in recent years has been both digital and traditional. By combining traditionally illustrated elements, three-dimensional, photography and digital illustration, Hugh is able to fashion a world of"improbable realism" with startling detail and seamless credibility. Hugh has designed and produced over 300 album packages for musicians such as Rush, Aerosmith, Def Leppard, Queensryche, Supertramp, Whitesnake, Celine Dion, Charlotte Church and many others. He has received nine Juno Awards for Best Album Cover and three People's Choice Awards, Canada for Best Album Cover. When not spending time with his wife and three young daughters, Hugh enjoys composing, arranging and recording in his 64 track digital studio.
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text:
Jennifer Porter
The Green Frog Publishing Company
"If that frog's DNA would mix with mine, I'd do him," I say. After two and a half hours of spilling my guts to my interviewee I decide to tell her about my obsession with Kermit. Brag about the letter I got from his creator over thirty years ago when I wrote and begged him for an unpaid internship on the Muppet movie he was making and the only reason I didn't get the job was they were filming in Canada and he couldn't take on any more Americans. I framed that letter and it hangs over my desk and reminds me of my unfulfilled fantasies. When I close my eyes at night, I can feel Kermit's mound of felt against my nether parts and it is a warm, satisfying experience.
I know every Muppet movie better than I know my own son. When Henson died, I mourned for seven months and wore my black Animal shirt to stiffened shreds. I had to leave the movie theater when the next movie came out and Henson's son had done Kermit's voice. He just didn't get it right and I couldn't handle it. Finally they hired the guy who does Rizzo the Rat and he nailed it. My Kermie was back.
I tell the job candidate all this and she stares back with a blank look. So I think maybe this is the time to give her the offer. I want her to join my army (that's what I call my employees) at the Green Frog Publishing Company as an editor. It is a phenomenal opportunity. My publishing company is bursting at the seams. I have authors from all over the world willing to pay me 1,000 dollars to get their book published, but I do have my standards.
She passed the on-the-spot editing test. I shoved a red pen into her hand and told her to read a ten-page story and line edit. She passed when she told me there were too many grammatical mistakes to mark them all but I didn't like it when she questioned how the glass of the lighthouse's lantern room could be smashed by a broken off in-a-storm tree limb, something about lighthouses being significantly taller than trees. Then she had the nerve to question the phenomenal ending. The keeper re-lights the lantern with a small mason jar of fireflies and the Great Lakes ship does not crash into the coast. She didn't think an entire jar of fireflies could give off enough light for a ship to see in the midst of a raging storm and I chastised her for not honoring the author's vision. That story is already published, I said. I like it, I said.
Speaking of artistic visions, I said and I gave a lengthy synopsis of every single book I've ever written (five now) and self-published plus my three works-in-progress. One of which is a dystopian science fiction novel that I didn't want her to label dystopian, because there are a lot of those now. See, I can't decide which kind of writer I want to be so I write it all – memoir, science fiction, romance, poetry. I'm not really sure what she's writing, there wasn't enough time. Literary mumbo jumbo of some sort, you know, the hoity-toity kind where nothing ever happens and no one ever gets laid.
Once I tried to go to a literary writer's group and everyone disparaged writers with MFA's. I made sure to tell her this. See, she just got her MFA from some school on the East Coast, I can't remember which, and I want to get my MFA too and while she tried to tell me about her school I interrupted because I like all my schools to be online and hers isn't. That's how I finally got my bachelor's degree – online. I think all schools should be online but she said that online doesn't work for everyone. I guess she might be right about that, but anyway, getting back to me. If she's going to be a Green Frog tadpole she needs to know about me.
I already know she can write. She sent me some samples and I was so nervous meeting her that I told her right away about all the times my ex-husband moved when he went to the University of Michigan. Every semester he would move to another apartment. I think she went to Michigan too, but I can't remember. She's a literary writer but she needs to know that I am a writer with a far more promising future. I started a publishing company and published all my own books. She was kind enough to tell me that Virginia Woolf and her husband Leonard did the same thing, but I had no idea who she was talking about. Probably some literary writer with an MFA from an East Coast school who didn't do online.
I think she's very much hoping for a job, something about student loan payments due soon. I even ask if she thinks I can break into the literary end of the publishing world and she thinks so yes, but I might need to create a separate division from the self-publishing one. I think she's dissing me, but I can't be sure. So I hand her a copy of our latest literary journal. It is the spring edition so all of the poems, essays and stories have to have spring in them or be about spring. I go on to tell her that fall will have to be about fall and winter about winter and before I get to summer, she tells me she gets it. I ask her to look at it, right then and there, and give me her first impressions. Does she really care about the writers and their artistic voices or is she just obsessed with literary acclaim? That's what I need to know.
She takes a minute and browses through the journal that is thick enough to be an excellent door stop then looks at me and says, "Next time, I'd suggest that in the table of contents, you note whether prose is fiction or non-fiction." This leaves a very bad taste in my mouth, like the taste I had when Henson's son did Kermit's voice but I can't quite put my finger on what it is I don't like about her because she has hardly said a word. I'm getting the sneaking suspicion she's stuck-up, even though she doesn't have a single book published. You know how those literary types are. I mean, she even put it in her cover letter that she writes literary fiction. Woop de doo.
Anyway, I'm excited that she might work for me, so I slide across the table an AGREEEMNT. She pauses for a second, staring at the top of the contract as if she has a bug in her eye, and then she lightly taps "AGREEEMNT" several times with the tip of her finger and just looks at me, again with that strange, blank look.
She reads the five page contract, sits back (it's way past lunch and I'm hungry) and says, "This is an Independent Contractor arrangement?" I nod. It is an excellent offer. I know, I know, I told her I had an editor's position open with my company, but Independent Contractor is the way to go. No payroll taxes. No unemployment insurance. No Obamacare.
I already explained to her that she will edit each manuscript four times. I reminded her that the manuscript must be brought up to my standards before I will publish it. The first two times will be line by line working with the author and she asked if the manuscripts are in the same condition as the lighthouse story and I said, "Yes, of course." And the final two times will be going over galley proofs. She nodded. I thought she fully understood.
She slides the contract back at me. Can you believe it? Three hundred dollars per manuscript beginning to end and she has to think about it!!!
"What is there to think about?" I confront her.
A dark look passes over her face. I've not seen this look before and I don't like it. She says something about how many hours does it take to edit four times a three hundred page manuscript. And I remind her of two things, one - that some of the manuscripts may only be one-hundred forty-nine pages and two - I pay an additional dollar for all pages over three hundred. She raises her eyebrows.
So I throw in the kicker to seal the deal. What I know she's really hoping to hear.
I do a little drum roll on the table. "Plus! I will publish one of your books. At NO cost to you, unless it is a children's book and then the pictures will cost you three hundred dollars. You could be an author with Green Frog Publishing Company. Just like me!"
Her mouth starts twitching at the corners a little and she does this funny thing with her eyes, not squinting really and not the dark look, but like she might be very tired. Her hand trembles as she pulls a tissue out of her purse and wipes her nose.
"I know right, a very exciting offer. I just made it worth the long drive!"
She looks at her watch and says she has to get going, that long drive, and she slides my literary journal back to me and my AGREEEMNT.
"Those are for you to keep," I say but she won't take them back and she can't answer. Overwhelmed probably. "I can get you a Green Frog t-shirt too. Next year, I'm going to have sweatshirts."
The way she shakes her head back and forth, slow and lost makes me feel kinda sad. Whenever I feel like this, I throw a Muppets movie in the DVD player and Kermit makes it all go away.
I try to tell her this but she's already out the door.
Jennifer Porter holds an MFA from the Bennington Writing Seminars and her fiction has appeared in the Apeiron Review. She recently joined the staff of the Riding Light Review as an associate editor. She lives in Ortonville, Michigan - a small town sandwiched between Detroit and Flint.


Absolutely stunning shot taken at Lanikai Beach by Robert Hamilton featuring Japanese Bride Shiori.
See the Groom reflecting in her shades?
Very cute pose! This Bride knows how to give the camera a run for its money.


pump Supplied with standard power cables for the single-phase version: 5 metres HO5RN-F cable for: FEKA 600 M-A. 10 metres HO7RN-F cable for: FEKA 600 M-NA. Standard cables supplied for the three-phase version: 5 metres of HO7RN-F cable.
Operating range: from 1 to 16 m3/h with head up to 10.2 metres.
Liquid temperature range: from 0°C to +35° C for domestic use.
FEKA sewage water from septic tanks.


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text:
Biography of George A. Clark
George A. Clark, the leading hotel keeper of Rifle, where he owns and conducts a house that pleases the commercial tourists and the general public in its appointments and the manner in which its accommodations are served, is a native of Hartford county, Connecticut, where he was born on October 11, 1844. His education was secured by a limited attendance at the public schools and a term or two at Lewis Academy. At the age of fourteen he went to work in a shoe store, and from that time until 1865 he was so occupied in his native state and Wisconsin, during a portion of the time being also a clerk in a mercantile house. In 1865 he moved to Marquette, on the shore of Lake Superior, where he was variously employed until 1871, when he returned to his Connecticut home, and after remaining there for a number of months came to Colorado in 1872. He made a short stay at Denver, then moved to Fairplay where he and A.B. Crook started a mercantile business which they conducted until 1876, meeting with good success. In the year last named Mr. Clark opened the first hotel with hot springs bathhouse attached that was ever conducted in this part of the country. In the spring of 1878 he changed his residence to Leadville and soon afterward to Malta. Here he engaged in merchandising and the livery business, and in connection therewith conducted the post office and for nine years served as justice of the peace. In 1887 he sold out his interests at Malta and moved to the Rifle valley, where he purchased the improvements on the one hundred and sixty acres of land which he still owns. When he settled here the country was also wholly undeveloped, there being few roads and no bridges, the settlers being obliged to ford the river when they wished to cross. Of his ranch one hundred acres are tillable and produce abundant crops of hay, grain, vegetables and fruit, hay and cattle, however, being the chief resources of revenue thereon. Since 1895 Mr. Clark has been a hotel keeper and the most prominent and successful one in the town of Rifle, showing in his business a skill in management and a suavity of manner that make him and his house universally popular. In political faith he is an unwavering Republican, and in fraternal life belongs to the Elks and the Eagles. He is the son of George and Henrietta N. (Cowles) Clark, the former of Scotch and the latter of English descent. The father was a blacksmith and machinist and also a farmer. He supported the Republican party with ardor and pushed his business with vigor and successful enterprise. He died in 1880, having for a year outlived his wife, who passed away in 1879. They had a family of ten children, four of whom are living, Josephine, at Denver, Mrs. A.B. Clark, at Fairplay, George A., at Rifle, all in Colorado, and Edward A., at St. Louis, Missouri. Of the other six four died in infancy and Frederick A. and John in later life. George was married on April 29, 1874, to Miss Minnie Norman, a native of Chillicothe, Missouri. Mr. Clark is highly esteemed as a man of liberality, public-spirit and enterprise who has been a potent factor in promoting the growth and development of his county and community, and as a genial and companionable citizen.


Create Developers And Manage Virtual Devices Android What are the Legally Acceptable Forms of ID in Pennsylvania?
Android Manage Virtual And Devices Create Developers Whether or not the ID is a duplicate. If it is, ask for another form of ID.


text:
What you need to know about cato and formal dress styles
Cato formal dress is a formal wear style popularized by Italian fashion designer Stefano Gabbani.
The dress is worn by professional athletes, celebrities, and entertainers as well as by many of today's most popular models, including Kylie Jenner.
The style's popularity has been so strong that it has even spawned its own line of designer catos, which are a formal dress made of cotton, linen, and suede, and which typically feature a bow tie.
A few years ago, designers began offering a new version of cato called "fior di cato," which is loosely translated as "faux formal."
But the most common formal dress in the world today is the shein dress, which is a dress with a simple pattern and a long neckline.
The shein is a traditional Italian dress, often worn by a woman of the upper classes.
According to fashion magazine Glamour, "the shein has its roots in the French court, where the women wore it to play cards.
The French, who invented it in the mid-19th century, still use it today, but in the United States, the sheen dress is more common."
This style is typically made of a traditional French or Italian silk fabric and has a length of about 8 to 10 inches.
In the past, the American version of this dress has been the classic dress called a blouse, but the American sheen is now catching on, too.
In addition to being a fashionable dress for professional athletes and celebs, the cato is also a fashion statement.
In a recent article for Vogue, model Jessica Wild told Vogue that she loves the sheens, which she said are "more refined than the sheins."
It's a trend that continues to grow, too, and is expected to grow more in the future.
"The trend is a little bit of a bit of an upswing, but I think it will grow in the next few years, and then the trend will become mainstream," Wild told the magazine.
"I feel like this is the time to really try something new, like an avant-garde dress, and be more sophisticated."
Tags: camo formal dresses cato formal dresses shein dresses formal star dress formalCategories: Wedding dress
How to dress up for your upcoming wedding
When formal is the new formal dress: Beige formal,beigey formal dress,formic formal dress


text:
Q: How can I get a list of all deterministic functions made by a user in PLSQL? I want a list of all determinstic functions created by the current user on a database.

A: select owner, object_name, object_type, deterministic
from user_procedures
where object_type='FUNCTION' and deterministic='YES'

redpajama_set_name: RedPajamaStackExchange


Catalogue of Archives and Manuscripts Collections | National Library of Scotland | Search | Subject: Printed materials. Object genre., Subject: Administrative records.
Correspondence and papers of the 1st Earl of Minto., 1781-1786, 1793, undated.
Report and papers of the committee established by the 4th Earl of Minto in August 1906., 1906-1910.
Printed reports of the Committee on Councils Reforms., 1908.
Miscellaneous papers relating to and concerning Council reforms., 1906-1910.


text:
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SPECIAL-SECTIONS
Today in Jacksonville History: July 22, 1934
Bill Foley
It was a day people remembered.
Where they were. What they were doing. It was the day Dillinger died.
The day was hot, hot, hot all over America. It was a long, hot summer. Dillinger bought it outside the Biograph Theater in Chicago, at 9 o'clock on a hot summer night.
Maybe Jaxons were at a cool movie, beating the heat at the Florida Theatre with Shirley Temple in Baby Take a Bow, or at the Palace watching Myrna Loy and George Brent in Stamboul Quest.
Others were at the ballpark that sweltering afternoon, watching Jacksonville's Babe Adams drop a 1-0 pitching duel with DeLand's Gene Fisher as the Dr Peppers left the bases loaded in the bottom of the ninth.
Hundreds fled to the Beaches where many watched the Coast Guard rescue a fishing party from a motorboat stalled a quarter-mile off the Atlantic Beach pier. Georgia's "Old Gray Bonnet" regiment, the 51st National Guard, sweltered in summer training at Camp J. Clifford R. Foster south of the city.
Maybe when they heard the news that John Dillinger was dead they recalled the stark headlines leaping from the front of their daily newspaper over the last several months:
Dillinger Escapes, Using Wooden Gun; Machine Guns Guard Dillinger Gangsters; Two Die as Dillinger Gang Shoots Way Out of Roadhouse; Bank is Robbed, Dillinger Accused . . ."
And the next morning Jaxons read, probably every last one of them:
"John Dillinger, arch criminal of the age, was shot dead by a group of Department of Justice operatives as he walked out of a Chicago movie theater. . . . He whipped an automatic revolver out of his pocket and had it half raised, when the operatives loosed a withering blast of revolver fire that dropped him mortally wounded. He died a few minutes later."
Also on July 22, 1934
Lester M. Gillis, known as Baby Face Nelson, was odds-on favorite to replace Dillinger as Public Enemy No. 1.
The death toll from scorching summer heat rose to 507. It was 112 in Quincy, Ill.
Twelve died when a bus to a Sing Sing prison baseball game plunged off a 25-foot embankment in Ossining, N.Y.
A regularly scheduled Milwaukee Railroad passenger hit 103 mph while averaging 75.5 in the 80-mile run between Chicago and Milwaukee.
Bill Foley was a Times-Union reporter, editor and columnist for more than 40 years. He's best known for his quirky columns about Jacksonville and Northeast Florida's history. He wrote this series of Millennium Moments columns in 1999 leading up to the year 2000. Foley died in 2001 at age 62.


This is to notify that, due to some unavoidable circumstances all academic activities of DIU will remain closed on 07 August 2018.
The scheduled final examinations of 08 August 2018 will be held at the previous declaration. Students are advised to take preparation by using Moodle, online resources, and technologies.


Water Baptism is an important and powerful step in the Christian life. Baptism declares that you are a follower of Jesus Christ and it is a public confession of your faith in, and commitment to, Jesus Christ. It is the next step after salvation through repentance and faith and is an important foundation for the Christian life. If you've recently dedicated or recommitted your life to the Lord, we encourage you to be water baptized!
Baptism takes place in all 3 services!


Why didn't we think of that? Welcome to WatchMojo and today we will be counting down the Top 10 Coolest "Shark Tank" Ideas.
For this list, we're looking at Shark Tank ideas that were picked up by one of the investors, and we're focusing on the most interesting, memorable and useful ideas pitched.
One of the best parts of the holiday season is showing off your ugliest sweater. In the case of Tipsy Elves, founders Nick Morton and Evan Mendelsohn saw the opportunity to take this annual tradition and make a business out of it. Tipsy Elves is unique on its take in holiday apparel by appealing to the more humorous sensibilities of adults. These sweaters will no doubt make you stand out at your holiday work party. You'll definitely be the coolest one there with clothing that incorporates a little bit of naughtiness into their designs.
This production company was created for all the horror movie lovers out there. Apparently Mark Cuban is one of them, as he offered the largest investment that had even been made on the show at the time: $2 million for a 20% stake. Ten Thirty One has two amazing hayride attractions in both Los Angeles and New York that will transport you inside of a horror movie, if you're into that kind of thing. They have developed new technologies and effects that make the experience of a haunted house even more realistic. The ability to make a fantasy a reality is an incredible innovation, even if it is a little spooky.
Formal wear, shoes, swimwear and more that's both fashionable and affordable? It may sound too good to be true but entrepreneur Diana Harbour sought to make this dream a possibility. Harbour took her love of fashion that she developed as a college student and turned it into something more. If you want to be dressed to the nines at all times without hurting your wallet look to Red Dress Boutique first. The coolest part of Harbour's business is that you can find many of today's trendier items that you wouldn't normally want to invest in at a super reasonable price.
Just when you thought you couldn't innovate cupcakes, mother/daughter duo Tracy Noonan and Danielle Descroches decided to put them in a jar and offer them by mail. Wicked Good Cupcakes is an apt name for the company, as their cuteness is only matched by their delicious taste. Cupcake flavors range from the traditional to the quirky, like their famous unicorn cupcake. The brick and mortar bakery is located in Cohasset, Massachusetts but no worries if you're not close by; the cupcakes ship to every state! Kevin O'Leary thought the idea was so sweet that he invested $75K into the bakery.
What an adorable name for a product that protects against the nastiest of pests. Buggy Beds is an innovative and extremely helpful product that detects bed bugs at first sign and lures them into a deadly glue trap. These bed bug monitors are a great asset for any home or store owner, and are so fantastic because they run at under $20 a pack, making them accessible for anyone. And in fact, people are using them worldwide, with Buggy Beds being sold in 23 countries!
Al "Bubba" Baker is a former NFL player who has not only received accolades for his athleticism but also for his delicious cooking. Bubba displayed his love of barbeque at his restaurant Bubba's Q and made his way onto "Shark Tank" where Daymond John invested in the concept of a "De-Boned Baby Back Rib Steak". Since the initial investment Baker has grown his restaurant into a barbeque empire, and expanded his company into a line of delicious dry rubs and sauces, as well as juicy boneless ribs, all available for order online. Authentic barbeque delivered to your front step is a pretty genius idea in our opinion.
Lani Lazzari is such a brilliant entrepreneur that she had the idea for Simple Sugars when she was only 11! Simple Sugars is a line of all natural beauty and skincare products that was created when Lazzari was experimenting with ways to treat her eczema. There was simply nothing on the market that could treat her uncomfortable skin issues, so she decided to make her own product, and Simple Sugars was born. Simple Sugars is proven effective on the most sensitive of skin, as well as treating issues such as eczema and psoriasis. Of course, the fact that they come I delicious "flavors" like chocolate and maple doesn't hurt either.
A picture is worth a thousand words, or in this case millions of dollars. Subscription services are a dime a dozen these days, but these creators wanted to take a sentimental spin on the premise. They feared that physical photos were losing their luster compared with their digital counterparts so they made a photo book much more appealing to younger users. Subscribers to the Groovebook app can receive up to 100 of their favorite photos a month in an adorable booklet with a groovy design. Photo giant Shutterfly thought Groovebook was so cool that they bought the company out for $14.5 million!
Don't let the smiling face fool you, this sponge is tough on grime! Entrepreneur Aaron Krause brought his idea for a scratch free, reusable sponge to the tank back in season 4, and scored a deal with the Queen of QVC, Lori Greiner. Scrub daddy is so rigorous on stains you will have no need for any other sponge in your life. And whereas many tough sponges leave a scratchy service, Scrub Daddy leaves it smooth. And for a pretty low price, who wouldn't want one of these in their lives?


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A vibrante simples retroflexa é um tipo de som consonantal, usado em algumas línguas faladas. O símbolo no Alfabeto Fonético Internacional que representa este som é ⟨ɽ⟩, e o símbolo X-SAMPA equivalente é r`.

Características
 Seu modo de articulação é tepe ou flepe, o que significa que é produzida com uma única contração dos músculos de forma que um articulador (geralmente a língua) é lançado contra outro.
 Seu ponto de articulação é retroflexo, o que significa prototipicamente que ele está articulado subapical (com a ponta da língua enrolada para cima), mas de forma mais geral, significa que é pós-alveolar sem ser palatalizado. Ou seja, além da articulação subapical prototípica, o contato da língua pode ser apical (pontiagudo) ou laminal (plano).
 Sua fonação é sonora, o que significa que as cordas vocais vibram durante a articulação. É uma consoante oral, o que significa que o ar só pode escapar pela boca.
 O mecanismo de fluxo de ar é pulmonar, o que significa que é articulado empurrando o ar apenas com os pulmões e o diafragma, como na maioria dos sons.

Ocorrência

Bibliografia

Linguística
Fonemas
Fonética

redpajama_set_name: RedPajamaWikipedia


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Q: Node AntiAffinity in StatefulSets, how to rely solely on node name vs. finding a specific label? I'm having trouble using nodeAntiAffinity... in my use case I need to prevent the instances of a StatefulSet running on the same node, and that's it. I don't have labels for my nodes, which the doc looks to list as a requirement. Is it possible to purely rely on unique values of the built in label "kubernetes.io/hostname"?
What I am trying to do in my StatefulSet:
spec:
  podManagementPolicy: OrderedReady
  affinity:
    nodeAntiAffinity:
      requiredDuringSchedulingIgnoredDuringExecution:
        topologyKey: "kubernetes.io/hostname"

What the examples in the doc say I have to do:
spec:
  podManagementPolicy: OrderedReady
  affinity:
    nodeAntiAffinity:
      requiredDuringSchedulingIgnoredDuringExecution:
        nodeSelectorTerms:
        - matchExpressions:
            - key: <some key>
              operator: In
              values:
                - <some value>
        topologyKey: "kubernetes.io/hostname"

A: To prevent the instances of a StatefulSet running on the same node, you need a podAntiAffinity, excerpt from zookeeper tutorial of Kubernetes document :
  affinity:
    podAntiAffinity:
      requiredDuringSchedulingIgnoredDuringExecution:
        - labelSelector:
            matchExpressions:
              - key: "app"
                operator: In
                values:
                - zk
          topologyKey: "kubernetes.io/hostname"


There are so many bits of paper involved in renting a house. Some of these can end up being worth hundreds of dollars to you, so it's definitely worthwhile knowing what to keep and what you can throw. If there is a chance that you might lose an important document, scan or photograph it, and email it to yourself for safe storage.
You should receive a lease or contract outlining the conditions of the home you want to rent. Never sign a lease/contract until you have visited the property yourself. You cannot rely on photos alone, as sometimes false or old photos can be used by property owners. The lease/contract should be written in English and signed by the landlord. It is also important that you know what that person's full name is, and where you (or the Sheriff) can contact them. Please read your lease/contract BEFORE you sign it. If you would like an SRC caseworker to read it for you, just email a copy to help@src.usyd.edu.au Regardless of whether you do not understand or agree to a clause in the lease/contract, if you have signed it, you will be bound by its conditions. You should always keep a copy of your contract/lease.
You should receive a receipt for anything you pay to your landlord or housemates. This includes bond, rent, bills, deposits, etc. Your receipt should have the amount that you paid, what it was for, the date, and the home address. The landlord/housemate should also sign it. Again, it must be in English. If you have paid by a bank transfer you should still ask for a receipt. There are some situations where the landlord is not required to give you a receipt, but there is no harm in asking. You should definitely keep all of your receipts.
The Condition Report is what you and the landlord both agree as being the condition of the property at the time that you moved in. If there is any damage to the property, beyond reasonable wear and tear, you will be liable to pay for its repair, unless it is noted in the Condition Report. In addition to the Condition Report it is a good idea for you to take photos of the property (e.g. anything broken, damaged, or dirty) and email them to your landlord. This will "timestamp" those photos and will allow you to refer to them at a later date to show that whatever damage you are being blamed for, was already there when you moved in. You should always keep a copy of the Condition Report and the photos.
It is a good idea to email your communications to the landlord. This will give you a record of the time and date that you spoke, and exactly what was said. If you have a telephone conversation with the landlord it is a good idea to send a follow up email confirming what was said during the phone conversation. It's a good idea to keep these on your email account.
The SRC has caseworkers trained in many different aspects of housing law. You can email your questions to help@src.usyd.edu.au, or if you prefer a face-to-face appointment call 9660 5222 to book a suitable time.


Tormented rock star Liam O'Reilly left Dublin and achieved success, hoping to build a new life, free from the demons of his past. Now that seems he's got everything he ever wanted, why isn't he happy? Is it because he's realized that the most important thing in his life is the promise that he never kept? Sensitive and damaged Rain O'Donovan lives with her brother and his friends in a tiny seaside town north of Dublin. Once a popular and lively schoolteacher, a car accident has wrecked her life, so that her only pleasure is walking in the rain, and her world revolves around mundane tasks, devoid of hope for the future. The amnesia around the time of the accident that changed everything means that her struggle with life is a day-to-day torture, and, more than anything else, she longs for answers. When Liam returns to his home town after his two-year absence, he's determined to try to make amends for the terrible mistakes he made. But is it too late to put things right? Rainy Days is a complete standalone and a part of the Four Days Series. Originally published in Italy and became a bestseller.
A.S. Kelly was born in Italy but lives in Ireland with her husband, two children and a cat named Oscar. She's passionate about English literature, she's a music lover and addicted to coffee. She spends her days in a small village North of Dublin, looking for inspiration for her next stories.


An alternative medicine which is mostly concerned with the treatment diagnosis mechanical disorders of the musculoskeletal system is referred to as chiropractor. These diseases especially affect the spine. Some fields of study have proved out that the vertebral subluxation is the one which is greatly affected through the nervous system.
Spinal manipulation therapy and the manual therapy this are the main chiropractic techniques used in the treatment. Those in charge of the chiropractic services offers quality chiropractic solutions.
The chiropractic can be said to be beneficial in that disorders one's earlier in nervous system will be probably healed. This is because of the disease responsiveness in one's nervous system. The nervos system consist of the brain and the spinal cord. They are thus considered important because they are responsible for sending impulses to the body. Because one can be able to locate and sense the source of pain, this activity is considered important in that he can be able to respond to the pain in a more positive manner.
Another advantage of the chiropractic care is that helps one to reduce and remove the nerve interference by enhancing restoration of the increased functioning of the spinal cord. The spinal cord function easily restored to its normal body functioning. Without chiropractic care the spinal cord will automatically be unreactive. This condition is termed as paralyzing. Chiropractic specialist can treat one from the paralyzing conditions. Paralysis can be treated by the medical personnel who offer chiropractic care.
Some benefit that usually arises from quality chiropractic include the improved nervous system. This is due to the stimulation of many white blood cells this is as a result of chiropractic practices. Person who has undergone the chiropractic practices will eventually have an improved immunity system. Probably one will have a better defensive mechanism to microorganism. Several individuals who have the muscular skeletal disorder usually prefer the use of the chiropractic care to boost their immunity system.
It is considered as an advantage that because they are able to access to know the general health condition. The individuals are able to know the causative agent of this disorders and avoid them Also the individuals can be able to know how to have a perfect lifestyle. By directly focusing on one's nervous system and the spine your chiropractor can help restore a quality lifestyle and the overall health and wealth being.


God is the King of all that is, was and ever will be. The good news that Jesus came preaching was that God's kingdom was near. He called us to repent and to believe that good news. He called us to become his disciples, to come to him: the way, the truth and the life; the only way to the Father.
The Bible teaches that God is the creator of all things, and that we were made to enjoy and glorify him. To live in God's kingdom – with him as our king – is to live the best life that there is. It is to be connected to the one who is life and who is love; it is to be in a relationship with the one who is the fountain of delights.
So why is it that so many people don't delight in God? Even God's people find themselves drawn to put our hope for meaning and joy and satisfaction in things (even imaginary things) rather than in the one true God. We are, as the hymn writer put it, prone to stumble, prone to leave the God we love.
Israel's experience of being ruled by kings started by them seeking a human king, such as the surrounding nations had, to rule them. Their seeking a king was, we saw, a rebelling against God as their king. God allowed kings, intending them to present his will to the people and to represent the people before God. Yet "The human heart is the most deceitul of all things, and desperately wicked. Who really knows how bad it is?" (Jeremiah 17:9). Even the people who had seen God's power and character throughout their national history – Israel – grew further and further estranged from him, led by kings who by and large rejected God and his ways. Even a great reformer like king Josiah was unable to produce lasting change in his people. The brokenness of sinful humanity goes too deep.
At humanity's worst, we refuse to delight in God, rejecting His ways to dig our own (leaky) wells of joy. At our best, we are people who desperately recognise our need for God's grace and mercy. Even our best isn't that great. What's amazing is that God's plan to rescue us back to himself is big enough to use us regardless of where on that spectrum we stand. What's even more amazing is that God in mercy reaches to us. Oh, how much he loves us!
Some might think it strange that our Christmas series has so far focussed on the historical kings of Israel. And yet there's something right in that. Because God sent his son as the fulfilment of a long history with his people. Jesus didn't step into a cultural or theological vacuum. He stepped in as the answer to all of God's promises to his people. He is the fulfilment, God's YES! to his promises to Adam, Abraham and David, Israel and us.
But Matthew also wants us to know that Jesus is not just an ordinary man. He is, legally, the heir of David and Abraham. But he is, supernaturally, the child conceived in Mary by the Holy Spirit. He is God with us, the divine King: our rescuer.
Jesus is the one who can do what no other human ruler can do: be God with us, perfectly represent us before God, and perfectly rescue us from our sins. In him is history completed, and God and humanity united. In him is hope for humanity. He is the one King worth following. He alone lived a life fully delighting himself in the Lord, and in revealing God's heart most fully invites us to do the same. He invites us back into the Kingdom of God, where we were made to be.