text:
The Hunting of Wallace Stevens
Helen Vendler
Wallace Stevens: A Mythology of Self
by Milton J. Bates
University of California Press, 302 pp., $8.95 (paper)
Wallace Stevens: A Poet's Growth
by George Lensing
Louisiana State University Press, 313 pp., $35.00
Wallace Stevens: The Early Years, 1879–1923
by Joan Richardson
It is just over thirty years since Wallace Stevens died. Those of us who wrote on Stevens during his lifetime or within the first ten or fifteen years after his death were occupied in sorting out what his wonderful constructions—tempting, seductive, solacing, impertinent, resistant, teasing—were up to. We learned his language, and instructed others in its odd grammar and lexicon. It was a delightful period, in which his poems were still fresh and (especially the later ones) relatively unknown. It was also a time of preliminary evaluations: Was Stevens good? great? original? or reactionary? conservative? derivative? Was he the dandy and hedonist that Yvor Winters thought him? the elephant to which Randall Jarrell compared him?
Opinion has always been rather sharply divided on Stevens, both as a poet and as a man. As a poet, he tends to write second-order poems. First-order poems (this distinction is a crude one) have a first-person, narrative base ("I went out to the hazel wood"); second-order poems reflect on that first-order plane ("Doing a filthy pleasure is, and short"). Indeed the distinction is so crude as to be false, because all good poetry pretending to be first-order poetry ("I did X, I thought Y") is in fact implicitly second-order poetry by virtue of its having arranged its first-order narrative in a certain shape; the shape is the implicit second-order reflection made manifest. Nonetheless, for crude purposes we can say that there are many poems of the pure second order, which either do not exhibit a visible first-order human narrative, or exhibit it in a subordinate or oblique way. Such poems are most digestible when they imitate prose and treat familiar subjects ("The expense of spirit in a waste of shame / Is lust in action"). But they are baffling to the ordinary reader when they enact the thinking of thoughts, or the sensing of sensations, or the supposing of suppositions (activities for which we do not have the usual narrative plots).
Stevens was particularly interested in such activities, and in the moments when things were coming to be or turning away from what they had been. Those "insolid billowings" of change are of course quite as much a part of "life" as narratively marked events, incidents, or endings in the life of action. Stevens loved
…The first wick of night, the stellar summering
At three-quarters gone, the morning's prescience.
For readers who want to find in poetry robust "real-life" events, decided opinions, political platforms, or wounded outcries, Stevens is disappointing. John Berryman—certainly a man delighted by poetry—could not find it in his heart to give unreserved praise to Stevens. Berryman's own Dream Songs made up a long first-order autobiography, a series of explicit disasters accompanied by their own tragicomic outcries. Stevens's preference for the poem as a projection of experience onto another plane, rather than as a narrative of experience, seemed to Berryman to take the force out of poetry, to rob it of its capacity to wound, to take it from the realm of physics to the realm of metaphysics. And Berryman's mixed feelings leave a sting in his elegy on Stevens (#219 of the Dream Songs). It is the best short brief against Stevens. (In it Berryman calls Stevens a "crow" because Stevens chose crows, grackles, and blackbirds as symbols of his darkened and angular eccentric music; "Henry" is Berryman's name for his own rueful id; Stevens is a "money man" among the actuaries because he was a successful surety lawyer for an insurance company.) Berryman acknowledges Stevens to be his superior as a poet, but he nonetheless finds Stevens's poems temperamentally uncongenial:
He lifted up among the actuaries,
a grandee cow. Ah ha and he crowed good.
That funny money-man.
Mutter we all must as well as we can.
He mutter spiffy. He make wonder Henry's
wit, tho, with a odd
…something…something…not there in his flourishing art.
O veteran of death, you will not mind
A counter-mutter.
What was it missing, then, at the man's heart
so that he does not wound? It is our kind
to wound, as well as utter
a fact of happy world. That metaphysics
he hefted up until we could not breathe
the physics. On our side,
monotonous (or ever-fresh)—it sticks
in Henry's throat to judge—brilliant, he seethe;
better than us; less wide.
Berryman's view—"better than us; less wide"—is widely shared, even among those who write on Stevens. Something in Stevens seems remote, enigmatic, indecipherable, even inhuman to many readers. I believe this comes from the relative absence in his work of first-order poems.
And yet the necessary distance between a poem and its occasion in life has been constantly addressed by poets. Shakespeare and Dickinson both resorted to comparing a poem to perfume; you cannot see the meadow, you cannot see the flower, you cannot see the petals—yet the scent is redolent of the vanished reality. Elizabeth Bishop resorted to the analogy of a map; the poem resembles life as the curved hook called "Cape Cod" resembles Cape Cod. Stevens himself was attracted to Picasso's phrase calling a painting "a hoard of destructions"—a phrase emphasizing the artist's need to dismantle "reality" before rearranging it (in no matter how "lifelike" a way) in art. But because mimetic or illusionistic art conceals its destructions and its rearrangements, its immediate, "wounding" nature seems "real," whereas an art exposing its own strategies—and its own nature as second-order arrangement—always seems "cold" or "narrow" or "rarefied" to the spectator preferring the direct impact of successful mimesis. In Stevens, a reflexive intelligence that cannot evade a knowledge of its own processes is always present. Profound feeling, sustained intelligence whimsical self-derision, and a discipline of aesthetic outline coexist in Stevens, but not in all his readers.
A few years ago, the Huntington Library acquired from Holly Stevens, the poet's daughter, what remains of Stevens's books, manuscripts, and letters (together with family photographs and other memorabilia). A second era of Stevens studies then began, an era in which explication could be aided by scholarship, all of it dependent, of course, on Holly Stevens's own original editing of her father's letters, journals, and poems. Using the Huntington materials and information collected orally (chiefly by the late Peter Brazeau) scholars have attempted new accounts of Stevens, of which three are named above—a short critical life by Professor Milton Bates, a set of loosely connected essays by Professor George Lensing, and a psychoanalytically flavored biography by Professor Joan Richardson (a first volume of two).
Milton Bates's book is by all odds the most enjoyable of the three. It is stylish, readable, interesting, and refreshingly intelligent. It also corrects various misapprehensions about Stevens—for instance the notion that Stevens was indifferent to the social order. Bates shows, in his careful examination of Stevens's poetry of the Twenties and Thirties and early Forties, the degree of Stevens's awareness of, and changing response to, social reality. (By the time the Second World War was ending, Stevens was sixty-five, his formative period long behind him; it is not to be expected that he would be so deeply engaged then as in the Thirties, when he had to come to terms with Marxist demands on art.) In the Thirties, Stevens arrived at the position Walter Benjamin articulated in "The Author as Producer"—that ideological content is not the measure of revolution in art. Rather, Benjamin says, it is the new possibilities of technique (arrangement of content in new collocations, montages, juxtapositions, endings) that define a fresh beginning. "An author who teaches writers nothing, teaches no one":
What matters, therefore, is the exemplary character of production, which is able first to induce other producers to produce, and second to put an improved apparatus at their disposal…. [This train of thought] presents to the writer only one demand, the demand to think, to reflect on his position in the process of production.*
Among the writers to whom Stevens has taught new possibilities, one could name Elizabeth Bishop, Howard Nemerov, Charles Tomlinson, John Ashbery, W.S. Merwin, Louise Glück, Charles Wright, and Jorie Graham (no doubt there are many others). These writers have explored the imaginative, formal, lexical, and rhetorical possibilities opened by Stevens; they have benefited from his sense of the poem as enacted mental process rather than as statement or narrative.
Bates describes Stevens's life as a search for an adequate "mythology of self." Stevens, he argues, "had perforce to shape his image and likeness from materials that lay ready to hand," and so biographical information is brought to bear, deftly and sensibly, as Bates treats Stevens successively as youth, lover, "burgher, fop, and clown," "pure poet," political poet, and inventor of both "medium man" and "major man" (the heroic ideal, so named by Stevens). Bates calls "major man" (invented by Stevens largely in response to World War II) "the most daring and ambitious of Stevens's personae, the cynosure of his mythology of self," while conceding that major man is not necessarily "the most convincing of Stevens's mythic figures."
There is a will to idealism in Stevens's "major man," a will to nobility remarked on by John Crowe Ransom in a letter quoted by Bates. Stevens refused to let Knopf use Ransom's words as a blurb, taking the position that any defining statement freezes poetry into immobility. For Stevens, to be alive was, above all, to change. "Living changingness" ("Notes Toward a Supreme Fiction," proem) accounted for the several successive selves sketched and illustrated by Bates, as the provincial boy from Reading became, in turn, the Harvard man, the New York man, the legal man, the American poet, l'homme moyen sensuel, the heroic man, the filial man. Bates's inevitably simplifying but nonetheless roughly accurate summary reads:
In the early poetry, Stevens had cultivated a variety of outlandish poses, appearing as aesthete, dandy, and clown or projecting such figures onto the stage of his imagination. These dramatis personae constitute what Joseph Riddel has rightly called "a self (or many faces and gestures of a self) in emergence." Together with the hero of his middle period, they enabled him to surpass or extend his limited experience as the son of a lawyer, later a lawyer himself, living in comfortable middle-class surroundings…. In the late poetry, he turns from the exotic to the homely, from dandified clowns and masterful heroes to figures resembling his own parents and, as in a glass darkly, the God of his boyhood and youth.
Though one could quarrel with one or the other interpretation in Bates's discussion of particular poems, his sense of Stevens's aim is a secure one. He feels its risks, he measures its daring, he recognizes its triumphs. Perhaps, in seeing it chiefly as a way of conceiving poetry he slights it as a way of making it. If, as he grants, "major man" is not Stevens's best moment of making, then perhaps a different history of the Stevensian imagination is possible, where the summit of making poetry, not of conceiving it, would be the high point.
Bates's admiration for heroic conceptions, for a dimension larger than the human, makes him decide to give some credence, and even some importance, to the unsupported account by the Reverend Arthur P. Hanley (given a quarter-century after the supposed fact) of Stevens's "conversion" to Roman Catholicism, and his baptism, during the very last days before his death from cancer. (There are no supporting witnesses of this account. Holly Stevens, who was at the hospital daily, knows nothing of its having occurred. The baptism was never recorded, at the time or later, though Catholic baptisms are normally recorded. Stevens was no doubt sedated, as one dying in 1955 of internal cancer was likely to have been. Father Hanley's recollections may be inexact, or exaggerated by the passage of time.)
Father Hanley's explanation for the absence of any record of the baptism, given to Professor Bates, was that "the archbishop of the Archdiocese of Hartford requested that Stevens' baptism not be recorded or made public lest people think that Saint Francis Hospital actively sought to convert non-Catholic patients." But a private record made in a parish registry would not have drawn public attention; and it is not explained how the archbishop would have become aware of the putative happenings in the hospital. Perhaps future biographers will tend to find Stevens's daughter the more reliable witness of her father's last days. In any case, the life work had been brought to a close before Stevens's last days in the hospital, and any judgment on Stevens's work must find those irrelevant events occurring after it was complete.
Bates's book has real distinction. It is free of cant, padding, and special pleading. It has a shape, and a pace, and a sense of nuance appropriate to the poems it takes up. This book is certainly the first one to give a new reader of Stevens. "I particularly address these pages," says Bates in his preface, "to students in and out of the university whose interest and good will have been balked by the difficulties of Stevens's poetry and the sometimes more formidable difficulties of Stevens criticism." I hope that a new generation of readers, brought up on this book, will recognize that the naive canards about Stevens—that he was a heartless hedonist, an ivory-tower poet insensitive to social distress, a cold, over-cerebral aesthete, a poetic conservative, and so on—are all untrue. Bates's book rightly describes Stevens as a poet constantly enlarging the self, a revolutionary imagining new aesthetic possibilities not only for himself but for future poets, aware of social unrest, passionately concerned with the accurate way of conceiving the artist's role in the social order, evaluating the claims of Marx, Freud, and Nietzsche long before most members of his generation, a man of restless self-scrutiny and deep feeling.
George Lensing's study, which makes good use of the Huntington materials, is subtitled "A Poet's Growth." After retelling the relatively familiar story of how Stevens became a poet and a modernist, Lensing moves to his central interests—Stevens's "peculiar habits of composition;…his use of notebooks, epigraphs derived from reading, and the extensive personal correspondence that brought the world to Hartford, from which Stevens only rarely strayed." Lensing has other valuable chapters (notably one on the importance to Stevens of Harriet Monroe's encouragement in his early, lonely years). But I want to emphasize here his brilliant account of the uses to Stevens of writing and receiving letters. Unsympathetic critics have seen Stevens's requests to his correspondents for Ceylon tea or French art catalogs as the dilettante amusements of a rich man. Lensing sees them for what they were—the authentic food for a starved imagination, longing to know what it would be to stand in a Paris gallery, to see elephants in Ceylon. Stevens's correspondence with a Cuban poet, with a Korean student of poetry, permitted him to experience in Hartford what Pound (or even Frost) experienced in Europe and England—the delight of the imagination in unfamiliar things, landscapes, fragrances, pictures, words. As he said in a letter quoted by Lensing:
My experience…has taken place in a very limited space. It means a lot to me to know a man in Dublin, to receive letters from a friend in Italy, to look at the map of Spain [where his friend Barbara Church was traveling] and to find that it suddenly becomes as minutely significant as the map of Connecticut.
The appearance in the poems of items, landscapes, names and words from abroad testifies to the nourishment provided by the correspondence. Stevens had longed to go to Europe; prevented first by his father and later by his wife ("a terrible traveler, and constantly carsick or seasick whenever she went anywhere," according to Holly Stevens), he found "the heaven of Europe" in letters.
Lensing's most interesting chapter makes public the contents of a notebook belonging to Stevens entitled "From Pieces of Paper." Lensing makes the reasonable supposition that Stevens jotted down phrases, titles, and pensées on pieces of paper, at work, while walking, or traveling, and later transcribed them into this notebook. Many of the phrases reappear as titles of published poems. Many others are titles for poems that were never written, or never preserved. How one longs to have the poems called "An American Monster," "The Halo That Would Not Light," "Aultres Dieux," "Revolution against the Rose," "Morgue Near Heaven," "A Jackass in His Own Clothes," "We Are All Indians," "Black Gloves for the Bishop," "Fame & Fright," and "Pax, Ajax, and the Crocuses." There are 361 phrases in all. What the notebook proves is that for Stevens the title was a third-order encapsulation summing up the other two orders—of experience, of poetry—preceding (or following) it. Among the titles he did use, for instance, was "No Possum, No Sop, No Taters." That is the encapsulation of the following second-order scene which opens the poem:
He is not here, the old sun,
As absent as if we were asleep.
The field is frozen. The leaves are dry.
Bad is final in this light.
In this bleak air the broken stalks
Have arms without hands. They have trunks
Without legs or, for that, without heads.
They have heads in which a captive cry
Is merely the moving of a tongue.
Snow sparkles like eyesight falling to earth,
Like seeing fallen brightly away.
The leaves hop, scraping on the ground.
It is deep January. The sky is hard.
The stalks are firmly rooted in ice.
These stanzas render a first-order human experience through a second-order image of a frozen field. The first-order experience, we deduce, must have been one of immobility, sterility, mutilation, and muteness. Stevens's characteristic way of writing was to take his worst first-order experiences, find an impersonal second-order vehicle for them ("The field is frozen"), write in the second order as though it (and not his experience) were the governing subject, and then sum up the whole with an ironic, deprecatory, and oblique title (here the rural phrase, "possum, sop and taters" used by Stevens as well in a 1940 letter quoted by Peter Brazeau). The bleak field of broken stalks and captive cries, and the nameless personal bleakness that created it, both lay, for Stevens, summarized in the rough graffito of the title.
If these are the three Stevenses—the ironist of the title, the landscapist of the symbolic weather, and the historic sufferer of inner mutilation and captivity—it follows that a biographer might want to include all three. The known facts of Stevens's life (by comparison, say, to a life like Byron's) are relatively few, though not so few as to preclude a conventional biography. Joan Richardson's two-volume biography attempts to represent the three Stevenses—and it will certainly be the fullest repository, when it is complete, of facts (major and minor) and quotations relevant to Stevens's life. Richardson is really writing three books at once—a factual biography using the Huntington materials and some cultural history (unfortunately of the potted sort); a study of Stevens's sources (the biography began in a dissertation on this topic); and a psychoanalytic reading of Stevens's inner life. The first volume, just published, covers the years 1879–1923, taking Stevens to the publication, at forty-four, of his first book. Since most of the important biographical facts of this period are known (though filled out here with more quotation), Richardson is staking her book on her sensitivity to what Stevens drew from his reading and on her own analytic readings of his letters and poems.
I was glad to have Stevens's reading reassembled from his brief references to it in letters and journals. It is here summarized, quoted from, and linked (sometimes convincingly, sometimes not) to his writings. Some day there will be an intellectual biography of Stevens (based not on the life but on the poems and letters and essays), and the writer of that biography will find Richardson's reminders of Stevens's reading (from Arnold to Buddhism) helpful. Stevens's own intellectual positions are both remarkably elusive and remarkably precise: elusive because concerned with perception and feeling, precise because they fix and meditate on very subtle points of accord and discord which are not categorized in the coarser taxonomy of psychology.
It is not surprising that Richardson's psychoanalytic account comes down to one that we have heard before: Oedipal rivalry with the father and elder brother; a struggle to integrate the female and male principles; a search for the ideal parent in the choice of a spouse; an ambivalence toward the rival claims of internalized parental values. Even if all such deductions were wholly true, they can never seem other than reductive as the history of a mind, an imagination, and a set of original poems. Criticism and psychobiography are fairly incompatible arts, since psychobiography goes from a set of symptoms in language ("a frozen field," "broken stalks") to the emotional cause, while criticism goes from the cursorily perceived cause ("a landscape poem about feeling mutilated and mute") to the differentiated components. The critic asks what Stevens is doing here with the presence or absence of definite and indefinite articles, how he is articulating his chosen objects, why and how the poem is made to shift structural gears, and so on. Of course there is an ideal horizon where these two parallels would converge, but in fact one's interest must tend in one direction or the other, and so a biography of the psyche and a biography of the art can rarely be combined.
Richardson's biography seems to me, for all its earnestness of endeavor, tonedeaf, awkward, and turgid. It is marked, too, by a frequent vulgarity of tone that makes me distrust the author's own ear, and by solecisms that put in question her ability to follow Stevens's use of language, with its seemingly infinite gradations. I will cite a very few samples (the book has almost six hundred pages, and there is scarcely one unmarred by bad writing).
Stevens would not have become the successful lawyer he did, nor would he have been able to set down the subtle arguments folded into his poems like those unheard melodies sweeter still that jazz musicians hear in their mind's ear as they play the riffs around them, had he not honed the tool of reason to murderous possibilities. [p. 20]
To present an in-depth analysis of Stevens's dialogue with any one of these figures would itself be a healthy volume. [p. 23]
[Garrett Stevens, the poet's father, courting his mother Kate] no doubt impressed her as someone to whom she could entrust her spirit as well as her physical well-being. And, as someone having a similar family background as she, Kate could be fairly certain of their fundamental agreement…. [p. 40]
Her youth and the inadequacy of her education mitigated [sic] against her being able to see herself with eyes that did not share the common view. [pp. 232–233]
He filled out…his developing thought by nosing into other works…. [In his journal] there were also illustrations of the use of words from his nosings in the dictionary…. He had already begun nosing toward the East himself…. [pp. 236, 241, 278]
Unlike his response to Dickinson, Stevens was at first put off by More…. He indicated how Christianity's idealization of the eternal feminine extended Plato's eschewing of the senses. [pp. 245, 247]
Though his relative inaccessibility and difficulty were frequently blamed on this, often called his cerebral quality, quite ironically, wanting to make himself as universally accessible as possible was Stevens's implicit intellectual rationale for choosing structures of argument and terms of reference drawn from the vocabulary of pure reason. [p. 472]
These, as Stevens would have said, are merely instances. But they do, with their psycho-speak, their solecisms, their syntactic lumbering, their bathos, and their mixed metaphors, suggest that the mind producing them is not the mind to move along Stevens's sinuous tracks.
What is more serious is Richardson's frequent misunderstandings of Stevens's theoretical positions. I can cite only one: she is convinced that the distinction Stevens draws between the "true subject" of a poem and "the poetry of the subject" corresponds to the psychoanalytic distinction she draws between the infantile kernel (as she sees it) of a poem—"the fears and uncertainties of the boy who still crouched inside him"—and what she refers to as the "surface of his words' appearance." Richardson then sees a discrepancy and concealment between surface and feeling, and describes the construction of a poem as follows:
It allowed him to hide beneath a "piano-polished" surface…thoughts and feelings that would have been considered indecorous or, at least, inappropriate to one raised as a "good Puritan." This split also reflected the American dissociation of sensibility that began with the first Puritans giving the rhetorical lie to the truth of their experience. (Italics mine)
This may be what one kind of psychoanalytic thinking makes of writing poetry—but it is not what poets write poetry for. They write poetry to be as explicit as possible, to be absolutely accurate, to make a point-for-point map of a mental form. It would therefore be impossible for Stevens to suggest that the "true subject" was indecorous feelings which he wanted to hide, or that "the poetry of the subject" was the rhetorical lie, the polished surface, enabling the cover-up. In the late essay, "The Irrational Element in Poetry," where Stevens draws the distinction between "the true subject" and "the poetry of the subject," the true subject he instances (alluding to a paragraph of Edith Sitwell's) is "the brilliance and color of an impression" that the artist is caught up by. He adds that "the poets who most urgently search the world for the sanctions of life, for that which makes life so prodigiously worth living, may find their solutions in a duck in a pond or in the wind on a winter night." That duck, that wind, are the "true subject." The rendering of the duck (alone? with others? still? moving? close up? from a distance? in quatrains? in couplets? elegiacally? comically?) is "the poetry of the subject." Neither the "true subject" (which one might call the elected symbol) nor "the poetry of the subject" (its manner of rendering) has to do, for Stevens, with psychic kernels or any putative boy crouched eternally inside him. Stevens was quite willing to speak of feelings and poetry—but feelings were antecedent, in the emotional life, to either the subject or the poetry of the subject.
It follows that Richardson's book will not satisfy as an account of Stevens as a poet. Nor is it a biography of him conceived in his character as a poet. The extreme heroism of his poetic life—as he abandoned the received poetic of his century, vowed himself to an exhausting accuracy of registration and perception, tested his powers by examining and rejecting work he believed to be inferior, and persisted through solitude and overwork toward the creation of new forms of language—would, if it were the governing concept, produce a very different sort of biography. The heroism of writing is an unthinkable venture into the unknown, as unmapped and frightening as any voyage to the source of the Amazon, as powerful and daring in its conception as the far gaze of Pascal or the abyss of Wittgensteinian skepticism—this could be the premise of a different biography. Its tone would be one of wonder, even amazement, that the wager of genius was won against the odds of provincialism, a lifetime of responsible work, and a trying marriage.
But Richardson does not see Stevens as a hero. Instead, she wants to "follow the evolution of Stevens's consciousness" in a rather neutral way, and see him as part of "a biography of America from 1879 to 1953" (the latter very superficially done, in the event). She wants to include "weaknesses of character, offensive habits or behavior, and intimate details." These boil down to snobbery (including the verbal anti-Semitism common in his era to his class, never reaching to any thought of anti-Semitic action but nonetheless deplorable), more drinking than Richardson thinks was good for him (though she adduces no evidence to suggest it damaged his business life, his marriage, or his art), and his relationship with his wife, in which Richardson tends to sympathize with Mrs. Stevens rather more than seems warranted.
Holly Stevens has written, in Souvenirs and Prophecies, "All her life, at least during the time I knew her, she suffered from a persecution complex which undoubtedly originated during her childhood." Whatever the strains of living with an artist, and they are many, the strains of living with someone unable to function socially may well be worse. To Stevens's credit, he did not abandon his unsuitable and gloomy wife. Perhaps that is all that can be said about the marriage. Richardson analyzes minutely the idealization, tenderness, didacticism, fantasies, role playing, and hopes for the future that Stevens expressed in the long letters he wrote to his wife during their courtship. These psychological attitudes seem to me ordinary (if somewhat repellently of their era), and could probably be found, although less elegantly expressed, in the love letters of many of Stevens's contemporaries. His beloved was his distant princess, his Little Bopeep, his twin "Buddy," his to-be-docile wife, his beauty on a pedestal, his Arcadian nymph. And Elsie no doubt had equally unrealistic ideas of him during their long-distance courtship, carried on while he was working in New York and she stayed at home in Reading, Pennsylvania. Richardson rightly notes that both partners were unable to compromise and work out a joint life. But surely compromise is stimulated by compatibility; and it is uncertain whether the Stevenses were incompatible in later life because they could not compromise, or whether they were unable to compromise because they were from the beginning incompatible.
One can argue that Stevens, older and better educated, should have perceived the folly of his infatuation with a girl, no matter how beautiful, nothing like himself in character, background, education, or taste; but his apparent virginity and lack of social experience made him as naive as his bride. The subtle air of injury maintained by Richardson ("Elsie must have suffered. She was deprived of both his physical presence and his spirit," etc.) is extended chiefly to the female side. We do not read, "Wallace must have suffered. He constantly encountered Elsie's discontented gloom, her poverty of resource, her lack of humor, her suspiciousness, her incomprehension of his language." The real horror, for a genius, of living with an uneducated, limited, suspicious, and provincial person, one who has no idea of the arduousness of his life project, is not evoked in this book. Stevens spoke of this suffering in indirect terms quite often, and it appears nakedly in "World without Peculiarity":
The red ripeness of round leaves is thick
With the spices of red summer.
But she that he loved turns cold at his light touch.
Later in the poem he refers to "the hating woman."
One can see Elsie's point of view without criticizing Stevens. Biographically speaking, he seems to have married unwisely someone whom he could not, at close quarters, love. The error in youthful judgment does not amount, I think, to a fault in character. His response to his error—to withdraw into reading and writing—seems a fundamentally decent one (preferable certainly to reiterated criticism, abandonment, or infidelity). The persistent suggestion in the biography that he could have acted otherwise—could have continued to engage with, respond to, and love Elsie—seems to me sentimental.
The analysis of Stevens's character here appears mistaken or overstated in several respects. Again, I can give only one illustration. Because Stevens found Walter Arensberg's pre-Columbian art "hideous" (a fairly common response, after all, in the early years of this century, from those trained in a European sculptural aesthetic), Richardson concludes:
In terms of the overt bestiality and violence that [Stevens] despised in pre-Columbian art, contrasted with the hidden bestiality and violence in his poetry—and especially evident in Harmonium—his harsh judgment [is] very instructive.
Since Harmonium does not seem to me to have an especial freight of "bestiality and violence" (more than what? than Yeats's plays? than Les Fleurs du mal? than Shakespeare's sonnets?), I can only await Richardson's second volume for proof that "the impulse to hurt, punish, chastise, humiliate was with him." Richardson sees this sadistic component as "inverted under the guise of self-sacrifice during his periods of asceticism," and "externalized as the macabre celebration of death and destruction in many of his poems." She also sees Stevens "transform[ing] this impulse into the verbal wit for which he was noted."
There is a slippage here from the Freudian assertion that we all possess sadistic impulses (in which case, Stevens may have had no more wish to hurt and punish than the rest of us) to a psychological reading in which Stevens has more sadism in his than the rest of us. ("The personality trait that Stevens had the greatest trouble managing was his violence, his desire to destroy.") These slippages make this biography hard to engage with. No doubt, humor or asceticism may mask or deflect sadistic impulses; but then some people (and Stevens was one) seem to be born ironists; and we think of many other earnest youths who strive for asceticism in order to be artists—Hawthorne, James, Yeats, all fellow ascetics and fellow ironists in their youth. Some breadth of reference might keep Richardson from reading too much into small details (the psychoanalytic stock in trade, in life as in art). Or perhaps Richardson would say that Hawthorne and James and Yeats are all sadists too, given their asceticism, their celebration of death, their wit and irony. The category thus becomes an empty one—since we could equally well include in it Baudelaire, Kafka, Mann, Woolf, Beckett, and who knows who else. A real biography should be engaged in distinguishing Stevens from others, not in drawing large pictures that could fit any artist from Shakespeare on.
The investigation of Stevens through his life and reading was inevitable, given the opening of the Huntington Library collection. In another hundred years, the ferment will have settled, and the life and writing, the man and the era, will come into a clearer relation. For the moment, it testifies to the power of Stevens's fortitude and originality that more and more of his readers are stirred to write about him. He may never be a popular poet, popular taste usually preferring first-order poetry, full of first-person event and emotion. And he may never be popular with another set of readers, those who mistakenly read him as a prosy poet. Stevens does not juxtapose phrasal images, after the manner of Pound and Williams. He seems to be telling rather than showing, and to a certain modern taste this seems a "conservative" form of writing.
I believe—though this is not the place to make the argument—that Stevens is always "showing," though not by images. Rather, he does his showing through his curious words and syntax. His articulation of thought is not (though it may at first look as if it were) Wordsworthian meditation. It is, in fact, utterly unlike Wordsworth. Wordsworth almost always uses words in their common denotative meaning, and he uses syntax for the normal purposes of syntax—momentum and organization. Stevens's words are almost always deflected from their common denotation, and his syntax serves to delay and to disarticulate (Ashbery has learned both of these practices from Stevens). The appearance of "telling" is superficially maintained (there is an iambic sentence, as in Wordsworth, spilling down the page), but one gets nowhere reading Stevens in a Wordsworthian spirit. The assertions, the language, and the syntax are all too preposterous for that:
We make, although inside an egg,
Variations on the words spread sail.
The morning glories grow in the egg.
It is full of the myrrh and camphor of summer
And Adirondack glittering. The cat hawks it
And the hawk cats it and we say spread sail.
Whatever this is in the Forties, it is not conservative discursive writing. Here, as elsewhere, Stevens's art is always about to refresh itself at the well of nonsense. Sound for him is the locus of the primitive, as sight was for Pound. What an image was to Pound, a syllable was to Stevens. There is no need to judge one form of the primitive to be superior to another. What is certain is that every great poet touches both a primitive and a hierophantic note. And it is that reach in poetry toward a double horizon of language—toward "infant A standing on infant legs" and toward "twisted, stooping, polymathic Z" that readers of all tastes ultimately look for. For some readers—and their number seems to be increasing—Stevens's poetry is one of the places to find it.
More by Helen Vendler
'No Poetry You Have Read'
The Tragic Sense of Frank Bidart
The Two Robert Lowells
Joan Richardson
Reading Wallace Stevens
Helen Vendler is the Arthur Kingsley Porter University Professor Emerita in the Department of English at Harvard. Her latest book is The Ocean, the Bird, and the Scholar, a collection of essays. (December 2019)
Reflections (Harcourt Brace Jovanovich, 1978), pp. 233, 236 ↩
Sandra Lim
Alex Dimitrov
Maureen N. McLane
Sylvia Legris
Corn Crowfoot, Corn Buttercup
April 9, 2020 issue
Jan Zábrana, translated from the Czech by Justin Quinn
Evening Trains
Rae Armantrout
Richard Sieburth


PREVIENI IL RISCHIO DI DISFUNZIONI CARDIACHE, INFARTI, ICTUS CON IL RILEVAMENTO DELLA FIBRILLAZIONE ATRIALE E DI EXTRASISTOLI, ARITMIE. LE PATOLOGIE CARDIACHE RICHIEDONO COSTANTE MONITORAGGIO E LA DIAGNOSI PRECOCE È DI VITALE IMPORTANZA. OLTRE A RILEVARE I VALORI DI PRESSIONE, E DI ALTRE DISFUNZIONI CARDIACHE, CON UNA SOLA MISURAZIONE VIENE ANALIZZATO PER LA PRIMA VOLTA ANCHE LO STATO DI SALUTE DELLE ARTERIE, SATURAZIONE SPO2 E INDICE DI IPERTENSIONE.
DIRETTAMENTE IN FARMACIA, DURATA 5-10 MINUTI.


Rally Day – Welcome Back Sunday School Students & Teachers – September 9th. @ 10am.
Please join us worship at 10:00am.
We will welcome back the Sunday School students & teachers back to church.
Following worship we will celebrate with a luncheon.
This entry was posted on August 1, 2018, in Upcoming Events and tagged all are welcome, Back to Church, luncheon, Rally Day, Sunday School Students, sunday school teachers, United Congregations, worship. Bookmark the permalink.


Take advantage of this very unique opportunity to purchase a single-family home in Margate's popular Marina district allowing for a relaxing stroll to Margate's fine dining, exciting nightlife, and Margate best beaches. Exterior features include: totally maintenance free exterior, custom Azek columns with stone accents, multiple oversized decks, huge rear fenced in yard, perfect for BB-Q with room for a pool, multiple car garage along with amazing storage and veranda. Interior features include: three levels of luxury living offering an open floor plan design. The first floor includes a gourmet kitchen highlighted with quartz countertops, upgraded stainless steel appliance package, custom cabinetry with undercabinet lighting, flex room perfect for a fifth bedroom or private den. The main living area features high ceilings, custom millwork package and gas remote fireplace. Second level includes 2 gracious bedrooms and custom tile hallway bath along with the stunning master suite which includes vaulted ceiling's, private deck and elegant bath complete with a walk in shower with bench, rain head, handheld wand, multiple body sprays and double bowl designer vanities. The third level includes additional luxury e'suit with fabulous full bath.


March 7, 2018 – Due to multiple violations of Michigan's Occupational Code and the Prepaid Funeral and Cemetery Sales Act and an imminent threat to the public health, safety, or welfare, the Dept. of Licensing and Regulatory Affairs (LARA) has summarily suspended the mortuary science establishment license of Charles G. Parks Funeral Home in Petoskey, MI, the individual mortuary science license of owner Charles Guy Parks, Jr., and the prepaid funeral and cemetery sales registration of the funeral home. Orders of summary suspension were issued by LARA's Corporations, Securities & Commercial Licensing (CSCL) bureau.
An unclean and unsanitary embalming room, with a rusty machete on the counter, dirty sinks, and unsanitized tools; overflowing garbage receptacles and baseboard trim showing evidence of suspected worm infestation that was peeling away from the wall.
Storage of human cremains alongside cremains of the owner's dog and pet pig; and otherwise unidentified cremains.
Improper storage of embalmed bodies found on March 6, 2018, in an unrefrigerated garage since January 2018, pending burial in May 2018; and in an unrefrigerated chapel, following funeral services held on March 2, 2018.
Wooden caskets with blood-stained cardboard inside of them in the loft area above the funeral home and garage.
Failure to escrow at least $4,935 for prepaid funeral goods or services related to two prepaid funeral contracts (a preliminary assessment in this ongoing investigation).
Failure to deposit monies with an authorized escrow agent within 30 days of receipt.
No current medical waste producer registration.
Fraud or deceit in obtaining a license or registration.
Fraud, deceit, or dishonesty, incompetence, and gross negligence in the practice of mortuary science.
Charles G. Parks Funeral Home has 60 days to either assign its existing prepaid contracts to another person registered under the Prepaid Act and notify the Department and contract buyers of the assignment within 30 days of the assignment, or to cancel the contracts and issue refunds to each contract buyer, providing copies of refund checks and correspondence to each contract buyer to the Department within 90 days, unless the Department modifies, vacates, or extends the terms of the Order.
Respondents also have the right to request a hearing to dissolve the orders or to meet with the Department to demonstrate compliance with the law or engage in voluntary settlement negotiations. CSCL's investigation of the funeral home is ongoing and could result in additional charges after the investigation is complete.
A person who converts funds paid pursuant to a prepaid contract to his or her own use or benefit other than as authorized by the Prepaid Act or who fails to escrow or trust funds according to the Prepaid Act is guilty of a felony punishable by a fine of $5,000 or imprisonment of not more than five years, or both, for each violation. A person who violates any other provision of the Prepaid Act is guilty of a misdemeanor punishable by a fine of not more than $1,000 or imprisonment for not more than one year, or both, for each violation.
CSCL will allow Charles G. Parks Funeral Home to complete funeral services that were in process as of March 6 or refer families to another licensed funeral home before the license suspension becomes effective March 9, 2018.
Members of the public who have questions or concerns regarding the operation of Charles G. Parks Funeral Home may contact the Securities & Audit Division within LARA's Corporations, Securities & Commercial Licensing bureau at 517-335-5237, Monday through Friday, 8:00 am – 5:00 pm, or by email at LARA-CSCL-Securities-Audit@michigan.gov.


Christmas is more than just the celebration of the birth of Jesus.
We read in Romans 8:3 (The Message): "God went for the jugular when he sent his own Son. He didn't deal with the problem as something remote and unimportant. In his Son, Jesus, he personally took on the human condition, entered the disordered mess of struggling humanity in order to set it right once and for all."
Although the project of salvation would eventually be completed through Good Friday, Easter and Pentecost, it was at Christmas when it all started. God became a human being so that He could deal with the worst about human nature and hence enable them to enjoy the best that He had for them.
Being the holy God that He is, it was expected that the humans He had created were also to be holy. Instead they turned out to have difficulty being so. The first sin resulted in sinfulness being an integral part of subsequent human nature.
In His ingenious way, God decided to send His Son to become human, experience all that human life entails, and yet remain sinless. Only He could do that, since every other human being was tainted with sin. As that perfect human, He took on the punishment that the penalty for sin required, that is, death.
A birthday, however, is just the beginning. There is growing up that must follow. A Christianity that focuses and spends too much resources at Christmas compared to the other festivals misses the opportunity to develop well-rounded followers.
The merriment of Christmas soon gives way to the sober realities of human nature, which are the focus of Good Friday. At that festival we remember the Cross that dealt with our sin. However, the consequences of what happened at Calvary continue to affect us daily, especially in dealing with the challenges of the flesh.
The maturing process for followers of Christ involves continually applying the power of what He won at the cross so that we may keep on experiencing its benefits. In order to do that, we draw upon the power of the Holy Spirit.
Hence, when we celebrate Christmas, we are also applying all that we have gained in Christ (which are the themes of the other festivals). Take for example the exchange of gifts. We might be tempted to give a "cheap" item to someone we have drawn lots to exchange with. Here is where we have to overcome our carnal nature (a theme at Lent or Good Friday) and draw upon the fruit of the Spirit love (Pentecost).
Or we may have to exercise self-denial in declining invitations to parties where we know there will be activities unbecoming for a follower of Christ to participate in.
While we make a big deal of the joy of the season, other events surrounding Christ's birth were hardly reasons for celebration. Mass infanticide followed when Herod could not find the child. The newborn and His parents were forced to flee like refugees to Egypt.
Even as I write these words, news of thousands of deaths in the Philippines brought about by typhoon Haiyan has been reported. Thousands more are made homeless and hungry by the devastation.
The rejoicing at the birth of the Christ-child must be tempered with the harsh realities of suffering that even God had to endure at the Cross.
Finally, the very fact that we celebrate Christmas is an affirmation of what is the focus at Easter. The child born on that day eventually became Man, in the truest sense of the word. His resurrection climaxed the divine conspiracy to restore to human beings their rightful place and privilege as the crown of God's creation. Christmas would be an empty boast if Christ had remained in the tomb.


What is the target income demographic for the proposed Chalmers Mills apartment project? Since the plans for the 132-unit building to be built on the City of Amsterdam's south side were released in April by KCG Development, city residents have expressed a number of concerns and complaints about the project. Most notably at the last planning commission meeting, several residents brought up issues with the affordable housing aspect of the project, the exclusion of the originally planned culinary incubator space, and the problem of providing adequate parking for the restaurant/banquet hall facility that will also be part of the site. I recently had the chance to ask questions about these issues to Stacy Kaplowitz, one of the vice presidents at KCG who is overseeing the project, and Bill Teator, managing director of DEW Ventures, a Saratoga, NY-based company partnered with KCG for the project.
The fact that KCG Development is seeking low income housing tax credits (LIHTC) was specified in the very first letter of intent signed with the city in April 2017, as well as in the purchase contract signed by the mayor and approved by the council in October 2017, and I specifically pointed it out in an opinion piece around that time as well. Even though this aspect of the project has been known for over a year, the issue seems to only be surfacing now.
What does the term LIHTC mean? Essentially, the federal government issues tax credits and distributes them to state governments who then issue them to developers such as KCG, who then sell the tax credits to investors in order to raise capital to build affordable housing.
Developers who are awarded the credits meet either a "20/50" rule or a "40/60" rule. Either 20% or 40% of the units in a project must be occupied by tenants making 50% or 60% or less of the area median income (AMI) respectively (source).
According to NY State Homes and Community Renewal, the AMI for Montgomery County is $58,000. Income limits are adjusted for the number of people renting each unit.
According to Kaplowitz, 80% of the apartments at Chalmers Mills will be income restricted. The income limits will range from $27,060 for a one person, one-bedroom apartment, and extend up to $83,590. With the percentage of restricted income units larger than required, KCG has the flexibility to allow a mixture of incomes and still abide by the rules.
Rents for income restricted apartments will start at $650/month for a one bedroom apartment and $730/month for a two bedroom apartment. The remaining 20% of the apartments will have market-rate rents, starting at $1100/month. Kaplowitz said that residents will be subject to credit checks for their ability to make payments consistently.
To get an idea of how the pricing might work, we can look at the income qualifications for another project that KCG is completing this year, the AP Lofts at Larkinville in Buffalo, NY.
What most people mean when they use the term "subsidized housing", is apartment complexes that are funded and managed by the U.S. Department of Housing and Urban Development (HUD), which is sometimes referred to as "Section 8 housing". There are several of these types of projects in the city already which are overseen by the Amsterdam Housing Authority. So it seems clear that this project will not fit that definition.
However I can imagine there are others who would consider any type of tax credit a subsidy, whether it is a child tax credit or a low income housing tax credit. So it depends on how you view the semantics of the phrase.
Our market study identified a significant need for quality, modern rental housing that would serve the area's regional workforce. Since the clear pent up need was concentrated around workforce housing, we designed our project financing to ensure we can offer rents appealing to Amsterdam's and the surrounding region's workers in the civic, healthcare, logistics, warehousing sectors, as well as empty nesters looking to downsize to a modern, maintenance free community.
I understand that many people would like to see luxury apartments on the Chalmers property. Being by the river and the Mohawk Valley Gateway Overlook pedestrian bridge, it seems like the location should be highly desirable by developers.
However, it's been over six years now since the old Chalmers building was torn down. The property has been on the market all this time, and to my knowledge, there has not been a credible offer from a developer to build luxury apartments since then.
If you look at the portfolio of different projects that KCG has built or is in the process of building, you'll see both luxury apartments and affordable housing projects like the one proposed for Amsterdam. The way I see it, if KCG thought they could make more money building luxury apartments, seems to me that's what they would do.
Profit motive is not a bad thing. Large projects like this need to attract investors who look at the potential risks and rewards. If market analysis shows a strong demand for a certain type of housing, then that's where investors are most likely to want to invest.
We may have to acknowledge that attracting a developer to build a 100+ unit luxury apartment complex may not be likely. I don't consider it "settling" to recognize the market for what it is and move forward. And I don't think leaving the land vacant is a better option.
And while I understand the way of the world is that there are renters who will not want to live near apartments labelled "affordable housing," I reject this type of thinking as a matter of principle. I simply can't subscribe to an elitist mentality that people with lower-middle to middle class incomes aren't welcome here. From a purely economic standpoint, I just don't see how anyone can think that bringing in potentially hundreds of people with the target demographic for this project won't be a huge boost to the local economy.
Frankly, the city needs this project not only to improve its economy, but to improve its reputation. It needs to show that it can successfully see a large project like this through without the political parties bringing out the torches and pitchforks. The proposed project may not be the ideal project, and there are other issues, such as parking, which certainly need to be addressed, but I believe it's still a good project overall, and one that is needed to propel the city's downtown toward bigger and better developments in the future.
I'll be looking at the issues of the culinary incubator project, and parking in my next two articles.
There will be a public meeting to discuss the project on Wednesday May 30th at 6pm in the community room at Amsterdam Housing Authority. The entrance can be found at 53 Division Street.
Take a look at the development this group is building in Saratoga. Still considered Workforce Housing yet offer balconies and in-unit laundry . Also, retail space included all for the same price tag. Why not here ? Especially on such prime property overlooking the river ? It makes no sense to me except that it saves on building and liability cost. The community there also had the opportunity to offer their input far in advance of the final plans. Why were we not afforded that respect ?
My question is , will this strengthen our tax base or simply relocate those who already live here leaving our now affordable homes and apartments empty ? Will we end up with more foreclosures ?
I do not view this as an "elitist" at all but as someone who looks at this piece of property as a huge step in the revitalization of Amsterdam. I disagree with those who say "we have to remember who we are". I prefer to have faith in who we could be and more importantly, who we have to be to grow .
We need to take advantage of the trend toward urban living . Millenials think nothing of commuting to work . They want to walk out their front door and walk to a restaurant, a park , a farmer's market , a quaint comfortable downtown . And we senior citizens want the same thing ! The amenities are simply not in this plan to attract new people to our community .
I simply would like to see a building with the amenities that would draw new citizens to Amsterdam to strengthen our tax base .
Pam, I'm looking at pictures of the planned Link @SoBo in Saratoga Springs. I don't see individual balconies, I see a couple balconies that look like they are shared, one being part of the brewery. Do you have a source that confirms whether they have shared laundry or not?
There is one difference I can spot – there are less units in Saratoga's project – 110 vs 132 for Amsterdam. Rents are higher $900 – $1,600 per units vs $650-$1100 for Amsterdam. So right off the bat it will generate more revenue on average.
Hey if we can negotiate a few more features into the project, I'm all for it. But the project cost has to work out for the developers and investors to make a certain profit. If not, then there's no project.
It feel it is elitist for people to portray low-middle to middle class renters as undesirables, and that's what came across from several of the commenters at the last planning commission meeting, not necessarily you personally.


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World War II Facts
Posted By admin On Friday, October 2nd 2015 In Darfur war Tags: Facts, World
There are many theories about what started World War II. The most popular belief is that Hitler wanted more land to expand Germany. Looking for a reason to start a war and invade Poland, but not wanting it to appear that he instigated it, Hitler staged a polish attack on Germany. This would justify Germany's counter-attack and invasion of Poland.
On August 31, 1939, under Hitler's command and Himmler's ingenuity, a small group of German Nazis dressed in Polish uniforms invaded a German radio station. They left behind a dead prisoner from a concentration camp also dressed in a Polish uniform, making it appear like he died in an attack on the radio station. On September 1, Germany declared war on Poland. Ignoring warnings from Great Britain and France to withdraw their troops from Poland, Germany continued their invasion.
Two days later on September 3, both Great Britain and France declared war on Germany. This series of events started World War II. Later, the war would serve as a mask for Hitler's holocaust and genocide of Nazi's truest enemy, the Jews.
The United States entered the war when Japan attacked Pearl Harbor on December 7, 1941. The very next day, the United States declared war on Japan and on December 11, declared war on Germany.
On June 6, 1944, nearly 150,000 soldiers invaded the beaches of Normandy. D-Day, as it came to be known, was the western Allies largest amphibious invasion in world history. Before the month of June was over, more than 850,000 American, British and Canadian troops would occupy Normandy. U.S. General Dwight D. Eisenhower called the invasion on Normandy "The Great Crusade".
On April 30, 1945, Hitler, along with his long time mistress, committed suicide and approximately one week later; Germany surrendered, putting an end to World War II. The end of World War II was the beginning of an era known as the Cold War which would continue for the next fifty years.
Over 100 million military personnel participated in the war making it the most widespread war in history. Around 72 million people lost their lives including 47 million civilians and 25 million military personnel.
20 million deaths were from war related famine and disease and 4 million prisoners of war died in POW camps. This astronomical death toll would make World War II the deadliest war in history. It was not only profound with the large number of casualties. It was also known as the most costly war, costing approximately one trillion dollars.
Jay Villaverde is the owner of http://www.WorldWarCollectibles.net A site dedicated to preserving history from the great wars. The site offers original items from World War II and is a must see for historians as well as collectors.
More Darfur War Articles

redpajama_set_name: RedPajamaCommonCrawl


We've been looking forward to telling you about the new TV experience - and here's what you need to know.
Every package automatically gets 20 Hours of free recording storage.
You can also skip quickly through commercials with your next generation digital recorder.
Functions may be limited in beta. Compatible device required. Not available for select channels. Data connection required. Recordings expire after 30 days.
If you're coming up on your 20 hours limit, you will be notified. If you exceed, the first recorded program listed will be removed to make room for the newest one.
You now have the option to add a third stream to your account for $5 a month, so three people can be logged in and stream all at once.
Keep in mind that streaming a recorded program, VOD, and third party apps also counts as a stream.
Travel with your Locals – granted the local is also available in the market you're traveling to, you can now stream your local channels when you travel.
Less Searching, More Streaming – find favorite shows and movies faster with customizable search.
Entertainment, Uninterrupted – you'll never miss a beat with our new layout, because your stream will be playing in the background, or on a pop-up.
Stay tuned for more good news!
Bookmark this article to stay posted on the Complete TV Experience as we roll out on all our supported devices.
The "True Cloud DVR" is still labelled as "beta", is it available to all subscribers?
Hey @beww357 - for the supported devices for the new experience, it's available to all subscribers. We're still testing it out and want to make sure customers understand that they'll likely see a few more tweaks around the edges as we work on it. We'll keep everyone updated on this great new service, but until then we can all use it to record shows we want to watch.
Thanks, the "beta" tag was confusing, I'd lose it if it's now released.
Are you then allowing access thru test flight for iOS and tvOS for the general user or updating the released app and still labeling it BETA?
BTW if released today, then my prediction of 5/15 wins then, how about a free year service?
Well it appears as though the rumers are coming true after all and we now have the facts which is a good thing. Nothing was said about 4K and Dolby. Hopefully there will be more info in the near future.
...some more info and h265 and 5.1 across all channels would be a nice announcement.
"Keep in mind that streaming a recorded program, VOD, and third party apps also counts as a stream."
Wondering about the third party apps as it was my understanding they do not count as a stream. Did something change?
No you don't, weighs 1300 pounds, requires 30 amps of power plus a source of 120 PSI compressed air.
What select channel won't be able to record?
"No way Third party apps count as a stream, they wouldn't even know"
If the authentication was done through DTVN they would know that you had at least logged into the network site, whether they would know you were actually watching or not, and what, I don't know. They would also need some way to know when you had stopped watching or logged out.
hope y'all are ready for community scrutiny.
Will LG smart tv connect to directv now?


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Clay Leonard is an American artist (born 1984 in Michigan). He received his Master of Fine Arts from Bowling Green State University and his Bachelor of Fine from Adrian College in Michigan in 2006. He currently serves as an Assistant Professor of Ceramics at the University of Houston – Clear Lake in Houston, Texas.
Clay has also been an Artist-in-Residence at Kansas State University in Manhattan, Kansas, the International Ceramic Research Center: Guldagergaard in Denmark, and C.R.E.T.A. Rome in Rome, Italy.
His current research focuses on the important ritual of sharing a meal, utilizing ceramic serving forms as a catalyst for interaction and communication. His work has been featured in various international and national exhibitions and publications including being featured in the May 2009 issue of Ceramics Monthly, as an Emerging Artist. His work is included in various public collections including the International Museum of Dinnerware Design in Michigan, Guldagergaard: International Ceramic Research Center in Denmark, and in the National Museum of Slovenia.


Amalgam are used to pick amalgam and then insert it to a cavity. Amalgam carrier has a single or a double end lever and its end is only single. Most amalgam carriers are made of silver and a combination of mercury and the tip of it is made of a non-adhesive material.


We provide rigs for multi-national petroleum companies, national petroleum companies or independent operators for offshore / onshore drilling programs.
We have access to about 61 tankers totaling approx. 4.8 million tons deadweight.


Of the six classic red Bordeaux grape varieties, it seems that interest in Cabernet Franc is on the rise in the Pacific Northwest. More is being planted, being used in blends and being bottled as a stand-alone wine.
In 2016, Washington state winemakers brought in 4,300 tons of Cabernet Franc. That's up a bit from the previous harvest and up nearly 1,000 tons from a decade ago.
Cabernet Franc is considered a blender in its native Bordeaux, and that's how winemakers often view it in Washington. The grape tends to add a spiciness and herbal notes to Cabernet Sauvignon, while also smoothing out Cab's famous tannins. Winemakers use it to add complexity in the cellar.
While there is no movement to plant a lot of new Cabernet Franc (as there is with Malbec), whenever a new planting of Cab goes in somewhere, count on a few rows of Cabernet Franc being part of the mix.
Read the complete article to find few bottlings of Cabernet Francs we've tasted recently that we recommend trying.


Mitsubishi Chemical Corporation on April 1, 2019.
integrated into that of Mitsubishi Chemical Corporation.
If you have saved our website as a bookmark or favorite, please update it to the URL below.
*If the new page doesn't appear automatically, please click the URL above.
Here are the official websites of the Nippon Gohsei Group companies.
●Osaka Environmental Technology Center Co., Ltd.
●NIPPON GOHSEI (U.S.A.) Co., Ltd.


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C40 Awards the 11 Best Cities of 2016 for Addressing Climate Change
Mexico City, Mexico (1 December 2016) – Eleven cities were honored yesterday at an awards ceremony in Mexico City. The C40 Cities Awards recognize the world's most inspiring and innovative cities tackling climate change. Sponsored by Bloomberg Philanthropies and BYD, the C40 Cities Awards ceremony was held during the C40 Mayors Summit, where more than 40 mayors from around the...
Mexico City, Mexico (1 December 2016) – Eleven cities were honored yesterday at an awards ceremony in Mexico City. The C40 Cities Awards recognize the world's most inspiring and innovative cities tackling climate change. Sponsored by Bloomberg Philanthropies and BYD, the C40 Cities Awards ceremony was held during the C40 Mayors Summit, where more than 40 mayors from around the world gathered to create sustainable and liveable cities for citizens.
"On behalf of C40, I want to congratulate all the winning cities for their commitment to their citizens and their dedication to tackling climate change," said outgoing C40 Chair and Rio de Janeiro Mayor Eduardo Paes. "Throughout my tenure as C40 Chair, I have been increasingly impressed by the calibre of the C40 Cities Award winners, and I look forward to seeing other mayors around the world adapting and implementing these models in their own cities."
"The C40 Cities Awards recognize the best and boldest work being done by mayors to fight climate change and protect people from risks," said C40 President of the Board and U.N. Secretary General's Special Envoy for Cities and Climate Change Michael R. Bloomberg. "The winning projects show that great progress is being made on every continent, and they serve as an inspiration to other cities. They also show how cities can help the world meet the ambitious goals set a year ago in Paris."
An expert jury panel comprised of former mayors, climate experts and others, selected ten winning urban sustainability projects based on excellence in urban planning and dedication to reducing greenhouse gas emissions and improving resiliency. The selected cities exemplified the best policies, projects and programmes globally, and for the first time included a category recognizing social equity.
"Today, we celebrate some of the projects that are key to delivering on the world's climate ambition and will help put us on a path to a carbon-safe future," said Chuanfu Wang, Chairman and President of BYD Co. Ltd. "We recognise the incredible human power and thoughtful consideration that goes into making these projects reality. BYD is extremely proud to support the Awards and help to accelerate the implementation of these truly innovative programs."
Winning city projects are:
Addis Ababa (Transportation): The Addis Ababa Light Rail Transit (LRT) Project has improved the city's public transport system and created more than 6,000 jobs. The cumulative emission reduction potential of the LRT system is forecasted at 1.8 million tCO2e by 2030.
Addis Ababa is one of 10 recipients to receive the prestigious C40 Cities Awards 2016 as global recognition for cities that are demonstrating climate action leadership. An Addis Ababa Light Rail Tram passes through Ethiopia's largest business district Merakto, dubbed the business nerve of Addis Ababa. The electric powered rail line is 34 km long and was inaugurated in September 2015 with the hope that it would give the city's residents a clean, fast mode of transportation. Despite the Ethiopian government building a network of roads across Addis Ababa, its roads are jammed with traffic causing misery for commuters and drivers alike. (Mulugeta Ayene/AP Images for C40)
Copenhagen (Adaptation in Action): Copenhagen is threatened by sea level rise and heavy downpours. The Cloudburst Management Plan – Project Implementation is an integrated system of green streets and pocket parks that will function as water retention areas and water basins.
In Copenhagen, drains have been constructed in the Gammel Strand suburb to send rain water into the nearby canal. In 2015, the Copenhagen City Council officially approved the city cloudburst management plan, which, over the next 20 years, aims to invest, develop and implement 300 projects. The plan will look to increase the level of flood protection across the entire city, while also taking urban planning projects, maintenance activities and resilience strategies into account. The projects to protect against downpours are tightly interlinked with Copenhagen's other key plans for sustainable, social and economic development. For the city, climate adaptation is not just a necessary measure to deal with the risk of flooding. It is also an opportunity to create green growth, to increase the number of recreational areas across the city, and to improve the quality of life and increase health. (Jens Dige/AP Images for C40)
Curitiba (Sustainable Communities): Urban Agriculture in Curitiba aims to reduce greenhouse gas (GHG) emissions through urban agriculture: directly through carbon sequestration in soil, biological nitrogen fixation by legumes and non-use of chemical nitrogen fertilisers; and indirectly by reducing food and waste transport distances, composting organic waste, reduction of "heat islands" and creating environmental awareness.
A young adult with special needs in a vegetable garden adapted for wheelchair users in a school in the outskirts of Curitiba on Nov. 17, 2016 in Brazil. In addition to creating sustainable communities, the project in Curitiba aims to reduce greenhouse gas (GHG) emissions through urban agriculture. The programme has increased environmental awareness by engaging children and teenagers on the topic of agriculture. The project gardens are providing public health benefits through increased physical activity (especially for seniors), providing a therapeutic activity for the mentally ill, unemployed and disabled, and promoting increased consumption of vegetables. Improved awareness about food miles and proper waste disposal practices has decreased waste in the city. (Rodolfo Buhrer/AP Images for C40)
Kolkata (Solid Waste): Kolkata's climate change risks have been exacerbated by unsanitary disposal and waste dumping. Kolkata Solid Waste Management Improvement Project has achieved 60-80% (depending on site) segregation of waste at its source, with further waste segregation occurring at transfer stations. Forward looking, the project aims to eradicate open dumping and burning of waste and to limit the concentration of methane gas generated in landfill sites.
The Kolkata Solid Waste Management Project (KSWMIP) is a trans-municipal project for environmental development through scientific waste management and stakeholder participation. At the compost plant maintained by JICA under KMDA Solid Waste Management Project, a worker uses the compost making machine. (Subrata Biswas/AP Images for C40)
Sydney & Melbourne (Building Energy Efficiency): The CitySwitch Green Office programme aims to overcome the knowledge and resource gap between building owners and tenants by prioritising the reporting of fully auditable achievements, and encourages members to adopt an energy target of between 4-Star and 6-Star on the National Australian Built Environment Rating System (NABERS). The program has an overall target avoidance of 50,000 tonnes of new CO2e per year by its signatory businesses.
A cyclist in Southbank, on Thursday, Nov. 17, 2016 in Melbourne, Australia. Sponsored by an association of cities, including Melbourne and Sydney, the CitySwitch Green Office programme has fostered collaboration and leadership among a growing network of business leaders across Australia who are committed to environmental excellence. The programme offers easy-to-access, high-value support for office-based businesses to improve their day-to-day energy and sustainability performance. (Paul Jeffers/AP Images for C40)
A general scene at the WWF offices, level 1,1 Smail Street, Ultimo on Friday, Nov.18, 2016, in Sydney, Australia. (Rick Stevens/AP Images for C40)
Paris (Adaptation Plans & Assessments): The Paris Adaption Strategy is aimed at tackling climate change-related challenges including heatwaves, urban heat island effect, flooding and droughts. The programme addresses other sustainability issues like air pollution and health related risks, climate refugee challenges and water scarcity. Some actions being implemented by 2020, include: a greening programme to decrease heat-related risks; help for Parisians when it's hot; and a less vulnerable food supply.
The Paris Adaptation Strategy is a framework document unanimously approved by the Paris City Council in September 2015. With a current project end date of 2020, it aims to adapt Paris to the challenges posed by climate change and future resource scarcity. The programme contains 30 objectives and 35 actions ranging from extending the heatwave response plan to increasing green infrastructure and urban agriculture. Nadine Lahoud and Joel Riandey, members of Veni Verdi association, examine the garden on the rooftop of the Henri Matisse college, in Paris, Monday, Nov. 21, 2016. (Thibault Camus/AP Images for C40)
Portland (Climate Action Plans & Inventories): The overarching goal of Portland's 2015 Climate Action Plan (CAP) is to deliver an integrated set of strategies by 2020 to keep Portland on a path to reduce GHG emissions 40% by 2030 and 80% by 2050. The proportion of citizens travelling primarily by public transport, cycling or walking is expected to rise to 50%, and the number of electric vehicles is set to increase four-fold to 8,000. The CAP aims to reduce energy use in existing buildings by 1.7% annually, resulting in an annual GHG emissions reduction of 280,000 metric tonnes in 2020.
"Sharrows" (bike lane markings with double arrow) connect low-traffic neighborhood greenway streets throughout the city, providing cyclists with safer options for getting around in Portland, Ore., Thursday, Nov. 10, 2016. (Greg Wahl-Stephens/AP Images for C40)
Seoul (Social Equity & Climate Change): The Energy Welfare Public Private Partnership (PPP) Programme aims to contribute to the city's targets on greenhouse gas (GHG) emissions reduction while simultaneously reducing energy consumption and spending for low-income families. In 2015, Seoul financed energy retrofits for 1,295 households and aims to finance a further 1,050 households in 2016.
A woman walks in the Haneul Park located 98 meters above sea level in Seoul, South Korea, Thursday, Nov. 10, 2016. Water vapor from a smokestack of a Korea District Heating Corp's facility is seen behind. The Haneul Park was a landfill holding 140 million tons of garbage 20 years ago and the city of Seoul began changing the garbage dump into an ecological park in 1999, as part of a project to build the World Cup Park to mark the 2002 World Cup in South Korea. The city of Seoul installed methane gas extraction wells throughout the former landfill. The gases are channeled into wells by use of fan and used to provide heating for public sites including the Seoul World Cup Stadium, households and office buildings nearby. Seoul's Energy Welfare Public-Private Partnership Programme is designed to ease energy poverty exacerbated by climate change and promote energy saving and sharing culture between businesses, civic groups and citizens. (Lee Jae-Won/AP Images for C40)
Shenzhen (Finance & Economic Development): Shenzhen is one of the fastest growing cities in the world with a population of 15 million and an annual GDP growth rate of 10%. Implementing an Emissions Trading System (ETS) scheme carried many challenges, but Shenzhen has recruited 636 enterprises to partake in its ETS scheme. Green low carbon development of the city is now possible thanks to uncoupling GDP potential from GHG emissions.
A public green space in the central business district in Shenzhen, China on Sunday, Nov. 13, 2016. The City of Shenzhen was the first of seven Chinese pilot cities to launch an emissions trading scheme (ETS), allowing companies to trade carbon emissions and has recruited 636 enterprises to partake. In this first 3-year period, those businesses involved showed a rapid reduction in carbon emission intensity, while maintaining steady economic growth. Green low carbon development of the city is now possible thanks to uncoupling GDP potential from GHG emissions. This has contributed to a marked improvement in the atmospheric quality of the city. (Brent NG/AP Images for C40)
Yokohama (Clean Energy): Yokohama Smart City Project (YSCP) strives to more effectively manage energy use and mitigate climate change through energy management systems. The city's action plan sets the target of an 80% CO2 emissions reduction by 2050. The project is designed to engage citizens and stakeholders as a key factor of successful implementation.
A woman walks past a monitor displaying the status of the energy management system (BEMS) inside a commercial building in Yokohama, Japan, Tuesday, Nov. 15, 2016. In 2010, the city of Yokohama formulated the Yokohama Smart City Project (YSCP) as a five-year pilot in three districts. It has since been deployed to the entire city of 3.7 million people. The YSCP applies smart grids for the energy management of households, buildings and local communities; introduces large-scale renewable energy; and promotes green transportation systems. (Tomohiro Ohsumi/AP Images for C40)
Earlier in the day during the C40 Mayors Summit, C40 unveiled a report, Deadline 2020: How cities will get the job done, outlining a vision to reduce emissions by 2020 and help meet the Paris Agreement targets.
For more information on the Awards and the winning projects, visit: http://www.c40.org/awards.
For the most up-to-date details about the 2016 C40 Mayors Summit, please refer to the website:http://www.mayorssummit2016.c40.org/.
Follow the C40 Cities Awards on social media with #C40Awards and the C40 Mayors Summit with the hashtag #Cities4Climate.
About the C40 Cities Climate Leadership Group: The C40 Cities Climate Leadership Group, now in its 11th year, connects more than 85 of the world's greatest cities, representing 650+ million people and one quarter of the global economy. Created and led by cities, C40 is focused on tackling climate change and driving urban action that reduces greenhouse gas emissions and climate risks, while increasing the health, wellbeing and economic opportunities of urban citizens. The current chair of the C40 is Rio de Janeiro Mayor Eduardo Paes; Mayor of Paris Anne Hidalgo is Chair-elect; and three-term Mayor of New York City Michael R. Bloomberg serves as President of the Board. C40's work is made possible by our three strategic funders: Bloomberg Philanthropies, Children's Investment Fund Foundation (CIFF), and Realdania. To learn more about the work of C40 and our cities, please visit www.c40.org, follow us on Twitter @c40cities or Instagram @c40cities and like us on Facebook at http://www.facebook.com/C40Cities.
About Bloomberg Philanthropies: Bloomberg Philanthropies works in over 120 countries around the world to ensure better, longer lives for the greatest number of people. The organization focuses on five key areas for creating lasting change: Arts, Education, Environment, Government Innovation and Public Health. Bloomberg Philanthropies encompasses all of Michael R. Bloomberg's charitable activities, including his foundation and his personal giving. In 2015, Bloomberg Philanthropies distributed over half a billion dollars. For more information, please visit bloomberg.org or follow us on Facebook, Instagram, Snapchat, and Twitter @BloombergDotOrg.
About BYD: Since its inception in 1995 in Shenzhen, China, BYD Company Ltd. quickly grew into a green-tech giant and relentless advocate of sustainable development, as well as a pioneer in successfully expanding its New Energy solutions globally. Specializing in battery technologies, its sustainability mission to create a Zero Emission Energy Ecosystem – comprising affordable solar power generation, reliable energy storage and cutting-edge electrified transportation – has made the company an industry leader in the energy and technology sectors. BYD and its shareholders – among them notable American investor Warren Buffett – see sustainable development through technological advancement in products and solutions as the only way into the future. In 2016, the company was granted the Large Corporation Award of the Zayed Future Energy Prize for its solid contribution to sustainable development in the energy sector. For more information, please visit us at www.byd.com or www.facebook.com/bydcompany or http://www.c40.org/custom_pages/c40-cities-awards-partners.
About the C40 Cities Awards Jury Panel:
David Miller – Chair of the Jury Panel, President & CEO, WWF Canada; Former Mayor of Toronto; Former C40 Chair
Dr. Fauzi Bowo – Former Governor of Jakarta; Indonesian Ambassador to Germany
Amanda Eichel – Special Advisor, Bloomberg Philanthropies
Nicky Gavron AM – Former Deputy-Mayor of London;
London Assembly Member
Stella Li – Senior Vice-President, BYD Company Limited
Mr. Kgosiento Ramokgopa – Former Mayor of Tshwane
Rodrigo Rosa – Special Advisor to the C40 Chair; Executive Representative of the City of Rio de Janeiro in the C40 Climate Leadership Group
Dr. Leena Srivastava – Vice-Chancellor, TERI University
Jie Tang – Former Vice-Mayor of Shenzhen
C40 News Team
The C40 Cities Climate Leadership Group (C40) is a network of large and engaged cities from around the world committed to implementing meaningful and sustainable climate-related actions locally that will help address climate change globally. Recognizing that cities consume over two-thirds of the world's energy and account for more than 70% of global CO2 emissions, our organization's global field staff works with city governments, supported by our technical experts across a range of program areas to reduce carbon emissions and increase energy efficiency in large cities across the world. The current chair of the C40 is Rio de Janeiro Mayor Eduardo Paes, and 108th Mayor of New York City Michael R. Bloomberg is President of the Board. The Steering Committee includes: Berlin, Buenos Aires, Copenhagen, Hong Kong, Houston, Jakarta, Johannesburg, London, Los Angeles, Rio de Janeiro, Seoul and Tokyo.


Every business needs a brand and the very first step in creating one, is a great logo! We have many years of experience with both logo creation and updates, for companies large and small. So whether you are a 'one-man-band' start-up needing affordable logo design, or an established company wanting to upgrade and consolidate your brand across all media touchpoints, Hot Ink is geared to assist you. We will match solid concepts with beautiful design and take it as far as you need it to go, and within your budget. Our innate understanding of all printing processes also ensures that function and practicality are an integral part of the end result.
Chat to us today about a price package to suit your specific needs.


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Il Santiago Challenger 1995 è stato un torneo di tennis facente parte della categoria ATP Challenger Series nell'ambito dell'ATP Challenger Series 1995. Il torneo si è giocato a Santiago in Cile dal 20 al 26 novembre 1995 su campi in terra rossa.

Vincitori

Singolare

 Nicolás Lapentti ha battuto in finale  Nicolás Pereira 7-6, 6-3

Doppio

 Brandon Coupe /  Sébastien Leblanc hanno battuto in finale  Nicolás Lapentti /  Gabriel Silberstein 3-6, 7-5, 6-4

Collegamenti esterni

redpajama_set_name: RedPajamaWikipedia


text:
Bitterroot Valley History & Museums: Saint Marys Mission in Montana
Bitterroot Valley Montana
> History Museums
> Saint Mary's Mission
Guest Ranches
RV / Camping
History Museums
Saint Mary's Mission
Photo © SeattleRay - Flickr
Photo © Bruce J. Nelson - Flickr
Photo © Jadina Morgan - Flickr
Photo © Patrick Shepherd - Flickr
Photo © Dave Ream - Flickr
See "where Montana began" and learn about the state's early history when you visit St. Mary's Mission, located in the heart of the Bitterroot Valley at Stevensville, Montana.
Located in Stevensville, Montana.
Open year-round.
Tour season runs from April 15 – October 15.
The visitor center is open from 10 am – 5 pm, Tuesday through Friday.
Learn about Father Desmet, the Salish tribe, and early Montana history.
In 1841, Jesuit missionary, Father Pierre Jean DeSmet, established St. Mary's Mission in the Bitterroot Valley. It was the first white settlement in the state, and the mission and later-named town of Stevensville hold the title of "Where Montana Began."
Today, visitors can learn about Father DeSmet, the Salish tribe, and the history of early Montana while exploring the grounds and preserved buildings at the St. Mary's Mission complex. Begin in the visitor center which contains a museum, gift shop and art gallery. Then take a walking tour which includes the chapel with attached residences, cabins featuring Salish artifacts, cemetery, dove cote, park, and more.
St. Mary's Mission is located at the west end of 4th Street in Stevensville, Montana.
From Stevensville, head east at the Stevi Cutoff Rd and continue on Main Street. Turn right on Ravalli Street and continue.
Mailing Address: St. Mary's Mission
Hours/Season
St. Mary's Mission is open year-round.
Guided tours are available from April 15 – October 15, Tuesdays through Saturdays. 10am-4pm Tues-Fri and 11am-3pm on Saturday. Large groups are asked to make reservations. (406-777-5734)
The Visitor Center is open year-round, from 10 am – 5 pm, Tuesday through Friday.
Tour prices:
$7/Adult
$6/Senior
$5/Student
*Fees required to tour buildings. Donations are strongly encouraged for those just exploring the grounds or viewing the chapel.
Historic St. Mary's, Inc is a non-profit organization that supports the mission through gift shop sales, donations, and tour fees. You can also help support St. Mary's Mission by participating in programs such as the $2 A Month Club.
History & Museums
Nez Perce Trail
Big Hole Battlefield
Daly Mansion
Pioneer Memorial Museum
Ravalli County Museum
Stevensville Historical Museum
Victor Heritage Museum
Holt Heritage Museum
Connect with travelers planning a visit to Bitterroot Valley Montana.


SKU: N/A. Categories: Reborn Dolls, Reborn Babies, Premier Reborn Collection.
Tiffany & Timmy are our beautiful soft-bodied babies from the Premier Collection. They have painted hair and take a magnetic dummy. They also come complete with an outfit, which may vary.


text:
Q: Regex match non-standard domains I'm trying to regex match non-standard TLD's (domains that do not end with .com, .net or .org)
I've tried the following, but I'm doing something wrong.
.*(?<!\.(?:com|net|org)\/)

http://www.spam-link.br/getmoneyhere.php

My regex will match anything. Any ideas what I am doing wrong?
https://regex101.com/r/HEbeWU/3

A: Try this:
http://[^:/]++(?<!\.(?:com|net|org))

redpajama_set_name: RedPajamaStackExchange


DPEM partners with originators and innovators to create emotional engagement.
DPEM is an experiential event agency offering strategy, creative concepting, and event management.
Together, we envision the unique characteristics of each experience to guide its ultimate success.
Building upon a visioning strategy, we turn aspirations into tangible, impactful concepts.
We deliver meaningful live experiences by fulfilling all creative and logistical details to achieve goals.
We are inspired when clients come to us with wonderfully challenging projects to explore, nurture, and celebrate.


text:
Q: Change the order of table in Mysql using hibernate I have created a table in MYSQL using Hibernate. I get the table like this :-
+----+--------+------+
| id | report | Value|
+----+--------+------+
|  2 |      A |    10 |
|  5 |      B |    22 |
|  6 |      C |    23 |
|  7 |      D |    24 |
+----+--------+------+

The order of the table is id , report ,Value . But I want the order of the columns in table to be as id->value->report using Hibernate.How can I do that ? can anyone please help .Thanks .


text:
Gwadar's Security to be handed over to Police: commander XII Corps
GWADAR: Corps Commander Balochistan Lt Gen Asif Ghafoor has said that Gwadar's security would be completely entrusted to the police and Levies Force in the next three to four months. He said the armed forces would be confined to their stations and not be seen in the city.
Speaking at a gathering in Gwadar on Thursday Lt Gen Asif Ghafoor said the chief of the army staff would also visit the port city soon.
The XII corps commander met leaders of political parties, journalists, business people and citizens. Out of 41 councilors in Gwadar only one or two were present on the occasion, a fact regretted by the general. Where the speaker had earlier termed the councilors as the real rulers of the city.
He assigned the responsibility of the Jamaat-i-Islami emir in Gwadar, Maulana Liaquat, to meet all the councilors of the city's municipal committee on Friday to discuss how the city's woes could be addressed.
Stressing that Gwadar "is our home and it should not be damaged", he said no one would be allowed to block roads and paralyze the government machinery and development work in the city.
He said problems could only be resolved by working together and not through sit-ins and protests.
Lt Gen Ghafoor said a committee representing people from different walks of life should be formed to address the problems of Gwadar. He said that the list of names of those to be included in the committee should be handed over to the deputy commissioner by Friday.
"We all will try to solve these problems with joint efforts with civil administration and the public," he said.
In this article:Asif Ghafoor, Gawadar Security


Has the world officially run out of ideas?
When it comes to labeling things, we've given up even trying to be creative. Now we communicate using initials.
The Fredericksburg Independent School District Parent Teacher Organization (PTO) has announced the results of its Read-a-Thon spring fundraiser which ended Friday, Feb. 10.
Of the 339 students enrolled at Fredericksburg Primary School, 106 are in the Head Start program operated by BCFS Education Services.
Fredericksburg High School journalism students helped compile stories highlighting Texas Public Schools Week (TPSW), which will be celebrated across Texas, Monday through Friday, Feb.


Matters Of Vinyl Importance are thrilled to announce that legendary author and journalist Pamela Des Barres will be joining them at 6pm on Thursday 26th April to talk about the new and updated version of her 1987 classic book I'm With The Band, published on April 19th by Omnibus Press.
Pamela will tell tales, read extracts and answer questions from the audience. The event will be hosted by Roisin O'Connor.
Entry for this intimate event will be by advance ticket only priced £20, which includes a signed copy. Tickets are very limited and early booking is essential – please go to HERE for full ticket information.
About Pamela Des Barres, I'm With The Band.
Warm, witty and brutally honest, I'm With The Band by Pamela Des Barres stands out as a feminist classic. First published in 1987, I'm With The Band pre-empted books by Patti Smith, Carrie Brownstein, Viv Albertine and Kim Gordon, and went on to be declared as one of Rolling Stone's twenty greatest books about music. Now revised and updated by Pamela, it's a rare perspective on rock 'n' roll through the female gaze. An ordained minister, Pamela now teaches women's writing workshops in Los Angeles and across the US.
Pamela was a regular on Sunset Strip where she knocked on artists' dressing rooms and immersed herself in the drugs, danger and ecstasy of the 1960s music business. Over the next 10 years she had very public love affairs with icons including Mick Jagger, Jimmy Page, Keith Moon and Jim Morrison, and as a member of the GTO's - a girl group masterminded by Frank Zappa - she was at the centre of one of the most exciting times in modern music history.
Wed 1st MAY Q&A with ROBERT ELMS!!!!
February28th - RECORD STORE DAY 2019 -LIST LAUNCH PARTY.


Yvonne and I grew up with art in our lives, our mother painted, she even painted a mural on one of our walls, a zebra standing in grass, looking out into the living room, and of course it was a "hands off" wall.
The art season is in full swing; I spend at least two Saturdays a month in galleries all over New York City. I also visit on a regular basis our wonderful museums. It's not easy looking at art these days with the digital world we live in. It doesn't seem to be about the art anymore. It's about getting picture of the art or posing next to the art instead of enjoying it through the naked eye. I seem to be jockeying space to view the art while avoiding being photographed by strangers. Never mind the distracting conversations between chatty visitors talking to each other or their cell phones.
A good friend of mine runs a gallery in New York's Chelsea district. I asked him about some dos and don'ts concerning gallery hopping from his point of view, from taking a picture of a picture to talking to an artist about art.
"People don't seem to view art anymore," he said. "They seem to be more interested in recording the image." He doesn't mind visitors taking pictures but the polite thing to do is to ask someone at the gallery desk if it's all right to take photographs. If you're planning on using the image for business reasons you must let the gallery know, images will be provided upon request, I do it often because I have an art blog on my company's site.
Interested in buying? Feel free to inquire about the price, not all galleries have prices listed on the description sheets. You may ask for a price consideration (discount), but don't push beyond what's offered, it's not a bargaining point, coming across pushy is frowned upon. Never ask the artist the price of his work, ask his representatives, if he has one, that's what they're there for.
I enjoy visiting artists in their studios; however, this is only appropriate if a gallery does not represent the artist. Studio visits by private collectors are usually discouraged; my guess is some collectors may treat the visit as if they're going to a sample sale in a showroom or the gallery may feel there may be too much information shared on the artist's process. Of course professionals such as curators are always allowed, the arrangements are made through the gallery.
Oops, something broke! Don't assume you have no responsibility even though most galleries are insured. Ask immediately what you can do, which brings me back to touching walls. It's great to expose children to the visual arts; they love the wide-open spaces and the bright colored paintings. They shouldn't touch the work nor be allowed to run around as if they're in a playground. Museums have programs for art appreciation for children; it's a great place to start teaching children about art.
While Yvonne thinks a glass of wine goes well with a nice piece of art, I don't believe alcohol and art are a good mix. Remember you're not at a bar. My gallery friend recalled a story he'd heard about a person complaining that there was no wine. "Hey, I came down here for a glass of wine." He was directed to a bar down the street. Enjoy the wine, just be careful.
Happy gallery hopping wherever you are.
Time for gallery owners to get cell phone blockers.
It a shame that the appreciation for art is lost. Even in this digital age, some things should never go out of style.