At a press conference in front of Smyrna city hall on Monday, Feb. 13, plaintiffs in a federal lawsuit against the city of Smyrna and Smyrna Police Department discussed a federal court order they said protects their free speech rights and the rights of other local citizens.
The federal district court in Atlanta granted Richard Pellegrino, Aaron Bridges and Cobb SCLC Freedom and Justice Fund, Inc. an injunction. The lawsuit was filed on Jan. 23, seeking both damages and a change in the ordinances.
The lawsuit stems from the shooting of Nicholas Thomas by SPD in 2015. In the incident, officers arrived at the Vinings Crossing Shopping Center where Thomas, 23, worked at a Goodyear tire store.
Thomas was driving a customer's 2006 Maserati around the building when the officers were attempting to serve the warrant. Thomas attempted to flee the scene, was shot by officers and died inside the vehicle.
Protesters have attended Smyrna city council meetings since Thomas's death, saying the shooting was unjustified. Smyrna police say Thomas drove around the building several times at a high rate of speed and that an officer fired into the moving car in fear that he placed them at risk to receive serious bodily injury or death.
The officer who shot Thomas, Sgt. Kenneth Owens, was not charged for his actions.
Per the court order, Smyrna has agreed not to re-enact the challenged provisions, and will not be able to exclude private citizens from public areas where citizens are engaging in lawful speech under the First Amendment.
Though the lawsuit was successful in getting the ordinance changed, Pellegrino said the plaintiffs are still seeking damages, including for incurred legal fees.
Williams said attempts to meet with Smyrna city officials have "yielded no fruit at all" and that the group has had no contact with the city since the court order was issued.
Efforts to contact the city of Smyrna and the Smyrna Police Department for comment were not successful at press time.
What is the road forward for the Cobb Police Department?
Be the first to comment on "Smyrna changes ordinance in response to lawsuit stemming from death of Nicholas Thomas"


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Snap general election, the only solution - JVP
by Maneshka Borham
The Janatha Vimukthi Peramuna (JVP) said that the only solution to the current political stalemate is to go for a snap general election to restore stability in the country.
JVP trade union leader and politburo member K.D. Lalkantha told the Sunday Observer that holding general elections early is the only solution for the current political crisis.
"The current situation can only be rectified by a general election alone," he said, echoing the views of the United People's Freedom Alliance (UPFA) and the Sri Lanka Podujana Peramuna (SLPP) who have also been calling for an immediate general election.
However, explaining the party's contradictory move to go to court last week, against the gazettes dissolving Parliament and calling for a general election in early 2019, Lalkantha said the JVP was not agreeable to the manner in which the decision was taken.
"Prior to taking any decision or step, proper procedures must be followed," he said, adding that the JVP believes that a two-third majority should have been obtained to dissolve Parliament and go for a general election."We agree that a general election must be held, but it must be done according to accepted procedures," Lalkantha said.
With the party's recent moves, earning flak for being possible United National Party (UNP) sympathisers, Lalkantha said, "The JVP's recent actions may appear to be helping the UNP to set up a government. However, the JVP is not in any way agreeable to the UNP's attempts to protect the Premiership of Ranil Wickremesinghe and continue with a UNP government. Therefore, only a general election can protect the Constitution and law while bringing an end to the traitorous UNP government," he said.

redpajama_set_name: RedPajamaCommonCrawl


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SolSector.net Forums
Unknown Enemy
Unknown Enemy Re-release.
Thread starter frostytheplebe
frostytheplebe
Seventh Part of the Seal
I'm pretty much 100% positive I know what the answer will be, in fact I'm probably going to kick myself the moment I send it, but oh well.
Are you guys planing on doing some sort of UE re release with the new cockpit meshes you used in Standoff?
Cockpit meshes? No, definitely not.
We have, for many years now, been planning to release an update to UE, to fix some of the bugs we know about. But if/when that finally happens, it's going to be a very minimalist update. The reason for that should be obvious - there is so much that could be improved in UE, that if we really got into it, there'd be no end...
Iceblade
Sounds like a good quick (for a mod) mod project for somebody, though. I mean the source code is released, anybody can go in and update aspects (with permission of course) and such....well maybe not anybody could incorporate the new graphics of Standoff very easily but most everything else would be fairly simple.
PopsiclePete
Mission programmer
I still plan to get to do that last UE update after we're done with Standoff; but as Quarto said, we won't add much to it, only slight changes and bugfixes. I think Quarto said that he likes UE as it is, as a testament of what we could do back then. I am starting to think the same, so don't expect any radical changes.
Yeah, exactly. UE is in no way comparable to what we can do now - heck, even the early episodes of Standoff are embarassing in some ways (...though at least they didn't crash so much ). But, however weak UE might have been, I am proud of it, because it was the best we could do at the time. And it's just so great to be able to see the progression, from UE, on through the five episodes of Standoff...
Wedge009
And I will keep saying to you perfectionists out there (don't worry, I can be one of them too at times), don't be ashamed of what you accomplished in the past, just because it seems 'weak' today or whatever. We are all appreciative of your hard work, flawed or otherwise.
Wedge009 said:
Oh by no means did i think it was weak... honestly I was kinda hoping to see them do the Scimitar's cockpit.


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Instagram/sashafoxyy GettyImages
Vanessa Williams & Rick Fox's Daughter Sasha Shares Photo of Serena Williams and a Touching Message
By Oyin Balogun
Vanessa Williams and Rick Fox's daughter shared a photo she took with tennis pro, Serena Williams on social media. The adorable post came with a heartfelt and touching message.
Vanessa Williams and Rick Fox's daughter, Sasha Fox, who is all grown up, recently snapped photos with the tennis pro and fashion entrepreneur, Serena Williams.
Sasha shared on her Instagram a photo of herself, with Serena, and three other ladies, looking beautiful and chic. In the accompanying caption, she wrote,
"Special thanks to Serena Williams for always being an inspiration, and a great role model. Being part of the @Serena team is an honour, and a dream come true."
"@Serena" is the tennis player's fashion line, which she worked on for 15 years. The line got launched in May 2018, and Serena shared the news on Instagram.
The online brand caters to women of all sizes with denim, dresses, and leisurewear sold between $35 to $250. The tennis player said at the time that fashion is her second love, and when she was 18, she had to slow down on tennis, to go to a fashion school to chase her dream.
In an interesting coincidence, a year earlier, Sasha was about the same age Serena was when she chased the vision that brought them together in 2019.
In May 2017, Sasha was attending her prom and getting dressed up by her famous mother. Now two years after, and the California-born daughter of the "Hannah Montana: The Movie" star is working with the tennis player/fashion designer.
At 13, the young fashion enthusiast wrote, and directed the short film, "Superdate." Way before that, the young actress made her film debut in 2000, starring alongside her mother in, "A Diva's Christmas Carol." She was a baby at the time.
Serena Williams' Husband Shouldered Sole Responsibility of 'Women's Work' to Undo Negative Stereotypes
Serena Williams 'Never Felt a Connection' with Daughter during Pregnancy & Saved Her Own Life after Labor
How Old Is Naomi Osaka? Everything About the Former Number 1 Tennis Player
After Vanessa and Rick divorced in 2004, Sasha lived with both of them at different times, and didn't have any notable role until 2012 in "Justice for All with Judge Cristiana Perez."
These days, apart from working with Serena, Sasha is focused on finishing her studies, and it remains unknown if she would return to television or the big screen.
Barack Obama Was Not Worried about His Daughters Dating Their Current Boyfriends
Michelle Obama Felt 'Lost & Alone' as She Could Not Conceive at 35 - She Described Having a Baby as 'Magical'
Hollywood Stars Including William Shatner Share Tributes to M*A*S*H Actor Sally Kellerman Who Died at 84
Ellen Pompeo's Revelation That She Was the Mom of Her Biracial Kids Once 'Scared' a Little Girl
Girl Disappears Day after Grandmother Gifts Her an Extremely Expensive Necklace – Story of the Day
Mary-Kate & Ashley Olsen Have 3 Other Siblings Besides Elizabeth — Meet the Rest of the Family
Melanie Griffith & Antonio Banderas' Daughter Wanted to Drop Mom's Last Name — She Removed It Legally
Jane Fonda Did Not Know How to Be a Good Parent to the Girl Who Called Her Mom Yet Never Legally Adopted
Who Is Violet Brinson? What Is Known about the Rising Star of 'Walker'
Robin Williams Wanted His Children to Be Proud of Him — Meet His 3 Kids Who He Cherished
Chris Meloni's Mom Knew Sherman Williams Was "The One" First — He Avoided Marrying Her for Years
'Y&R's Tracey E Bregman Finds Dating Interesting After 23-Year Marriage & Welcoming 2 Sons
Days of Our Lives' Kristian Alfonso Wed in the Same Dress as Her Character Hope - Meet Her Husband & 3 Sons


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A Writer's Rage: Reading Claire Messud's 'The Woman Upstairs'
Posted Friday, August 2, 2013 - 10:07 am
Kara Krauze
Nora Eldridge is a "good girl," and finally as she approaches, and then passes, the middling age of 40, she is angry. A self-aware narrator, even while she slips into the murky borderland of desire—desire as urgent need, a driving force with the power to actualize dreams, or desire as fantasy, and possibly delusion—Nora educates the reader on the choices and confines of being a woman, one who learns "a whole other polite way of speaking to the people who mustn't see you clearly. …It doesn't ever occur to you, as you fashion your mask so carefully, that it will grow into your skin and graft itself, come to seem irremovable."
But Nora has had dreams, of being a great artist, which she ceded for more practical activities: teaching third graders and helping her father care for her ailing mother. At age 37, Nora, still single herself, becomes acquainted with the three members of a family, in Boston from Paris for the year, the Shahids: eight-year-old Reza, "this luminous boy," "his cheeks with their faint rosy tinge, the wildness of his black hair and eyebrows and lashes, the amused intensity of those mottled gray eyes"; Sirena, Reza's mother, the exotic and confident, if sometimes distracted or aloof, Italian artist; and Skandar, Reza's father, a thoughtful scholar from Lebanon, engaged as a visiting professor at Harvard, whom Messud gives an air of quiet containment, even with his steady stream of stories and historical analysis, the sort of wisdoms and interesting remarks readers of Messud, author of three previous novels (When The World Was Steady, The Last Life, the bestselling The Emperor's Children) and a pair of novellas (The Hunters), have come to expect.
Nora, through the course of much of the novel, is in thrall to each of these characters. They serve as distraction from her mother's recent death; but even more, they invite Nora to live, to reclaim squelched dreams and intentions. "[M]y dream in my head of being an artist, and my dream in the world of being an artist, I couldn't—until Sirena, I couldn't—connect them." But then Nora frets, "As was so often the case—we Women Upstairs!—[Sirena's] life would be shown to be more important than my life."
Herein we have the overt source of Nora's pulsing rage—a betrayal, revealed at novel's end, but also the constancy of being secondary—the fury which lights up the book's opening pages: How angry am I? You don't want to know.
Don't all women feel the same? The only difference is how much we know we feel it, how in touch we are with our fury. We're all furies, except the ones who are too damned foolish, and my worry now is that we're brainwashing them from the cradle….
The Woman Upstairs is a novel about female experience and about the coexistence of power and powerlessness, metastasized through the tight prism of Nora's friendship with Sirena (and her husband and son) while sharing an artist's studio for the year, at Sirena's behest.
Nora and Sirena might almost be one woman, two parts of one female being, living in a world (our world) rife with contradictions and fraught with self-betrayal. Messud tells Katherine Rowland in an interview for Guernica, "Each of us makes poor choices sooner or later in one way or another," adding, on the subject of making art, "it certainly takes some single-minded commitment, whether that's selfishness or selflessness, I don't know." As the novel insists we see, for many women there are too many needs to fulfill—for others.
At an appearance at The Center for Fiction in early May, Messud was asked about the decision to make the central character of Nora single and childless, offering a two-pronged response. In light of Nora's intense regard for the Shahids and the import she gives them, not entirely reciprocated, Messud suggests that, "When you live in any group situation, you come up against certain reality checks." Nora's single status allows her to become more unmoored. Another consideration involved Messud's "interest in the interior life." Messud, with two grade-school-age children of her own, joked with earned understanding, "When you have children, you lose your interior life."
Michael Washburn explains in the May/June issue of Poets & Writers, "In addition to the lack of gender parity in the world of letters, Messud found motivation in the soft sexism of daily life that often goes unchallenged." Washburn presents an email from esteemed literary critic and New Yorker writer, James Wood, Messud's husband of more than 20 years, which elaborates on this theme:
I think Claire has embodied her anxieties about writing, about continuing to write in [The Woman Upstairs], and that Nora's question is not far removed from questions Claire asks herself often: Why am I making art? ...How does one, as a woman, insert oneself (excuse that verb…) into a tradition still seen as overwhelmingly male? …When Claire and I first met, she was adamant that no serious woman writer could have children, and asked me to look at literary history as evidence…. But of course, we did have children, and there is no doubt that they are at once everything and an enormous obstacle to focused artistic and intellectual achievement; and that this is a more acute question for a woman than for a man, however good and involved a father he is (I am, I am!)
This question of focus—intensity of artistic creation, its pleasures and its possible costs—recurs throughout the novel.
Even while the book is about Nora's anger, it is "also about a time of joy and discovery and wonder," Messud affirms, a reawakening of sorts for Nora, as her engagement with each of the Shahids actualizes her, gives her an inner permission and incentive to return with renewed focus to her art. A part of the creative gamble, in visual art and in writing, is that, as Messud puts it, "you are trying to make something that doesn't exist and nobody cares whether it exists or not." This necessary focus plays through Nora's mind and also recurs in Messud's Center for Fiction discussion of the book, including "the notion of a single-minded obsessive." Messud points out, "We can all think of single-minded obsessive men—but single-minded obsessive women are freakish and horrible." Strongly put, and yet the theme of female solicitude towards others that threads through Messud's interviews this spring, such as the one with novelist David Burr Gerrard in Tottenville Review and appears in several forms in the book, reminds us of how, in Messud's words, "anger is not acceptable in our culture and it's particularly unacceptable for women."
Wood writes in his book, How Fiction Works: "Dostoevsky was the great analyst—in a sense, almost the inventor—of the psychological category that Nietzsche called ressentiment. Again and again, Dostoevsky shows how pride is really very close to humility, and how hate is very close to a kind of sick love…."
Wood, in explicating a scene within Dostoevsky's Notes from Underground, describes how
…the weaker man loathes but 'admires' the officer—and in a sense, loathes him because he admires him. His impotence has less to do with his actual circumstances than with his imaginary relationship to the officer [higher-ranking other], which is one of impotent dependence. Dostoevsky would call this psychological torment the 'Underground,' meaning a kind of poisonous, impotent alienation, a chronic instability of self, and a vaunting pride that at any moment might unexpectedly crash into its inverse—cringing self-abasement.
Here, we find Nora, expert practitioner of ressentiment, fluctuating between self-abasement and a yearning, fueled by anger, that might yet aid her with "a great boil of rage like the sun's fire in me—before I die to fu**ing well live." Nora's anger, along with the more complicated ressentiment, has proven discomfiting to some readers, whether through recognition or refusal. This unease has been recently cloaked in the reductive ideal of "likeability," causing quite a stir in some corridors and rooms, virtual and otherwise, in the world of letters. When Publisher's Weekly interviewer, Annasue McCleave Wilson, posed the question, "I wouldn't want to be friends with Nora, would you? Her outlook is almost unbearably grim," Messud volleyed back with indignance, and, yes, anger:
For heaven's sake, what kind of question is that? Would you want to be friends with Humbert Humbert? Would you want to be friends with Mickey Sabbath? Saleem Sinai? Hamlet? Krapp? Oedipus? Oscar Wao? Antigone? Raskolnikov? Any of the characters in The Corrections? Any of the characters in Infinite Jest? …If you're reading to find friends, you're in deep trouble. We read to find life, in all its possibilities.
Let's turn for a moment to a classic tale, replete with a villain and uncertainty, invoking fear and possibly anger in the reader: reliant upon a trail of breadcrumbs. Yes, breadcrumbs, and right away we recall this imaginary snaking maze, at first placed by young Hansel and Gretel, in all their innocence, juxtaposed with intensity of yearning—to live, to survive—that will appear thwarted when the crumbs, so impermanent and insufficient, disappear.
Hansel and Gretel is not a story in the realist tradition, and yet it invokes very real, and realistic, dangers and fears: those of betrayal, being led astray; aloneness, loss and to be lost in an unknown woods; the opaque, even venomous or vengeful motives of adults; the disappearance and absence of other characters who matter so intently that they drive the story all the more potently in their absence: the mother, the father. What of Hansel and Gretel's father? He is passive, and yet certainly shares responsibility for their predicament, having in a literal sense created the (evil) stepmother and subsequently adhered to her chilling plans. And the mother, well she is dead, offering her the utmost in both power and powerlessness, a metaphor we may find useful within The Woman Upstairs, in which Nora's deceased mother drives the narrative with covert fierceness.
For this is the question of children, what have our parents done, and how shall we mimic it? Shall we avenge on their behalf, replicate, or rebel? Feminism, and femininity, press this question even more fiercely for women, who not only negotiate the external, public world of professions, but also a larger portion of the domestic realm. Intense generational change, and the complications therein, in the last 60 years, has left much still unsettled. Lisa Miller, like Wood and Messud, reminds us, in New York Magazine, "Feminism has never fully relieved women from feeling that the domestic domain is theirs to manage, no matter what else they're juggling." This remains the case despite words, often well-intentioned, to the contrary. Miller notes: "Before they marry, college students of both genders almost universally tell social scientists that they want marriages in which housework, child care, professional ambition, and moneymaking will be respectfully negotiated and fully shared." Susan Maushart, in her 1999 book, The Mask of Motherhood, puts it: "The 'problem that has no name' for today's mother is the struggle to reconcile the rhetoric of equal opportunity with the stubbornly unequal realities of family life…."
The anger within The Woman Upstairs is predicated on Nora's mother's choices and admonishments and her unfulfilled life. She had her first child early, Nora's older brother, and then Nora eight years later, never truly entering the workforce, reliant on her husband for pocket money and never able to move far from domestic life. When Nora suggests that her mother might pursue something more than the classes she periodically embarks on, her mother's fraught response: "Didn't you know, I make a house a home? That's what mothers do." But she tells Nora, "I want you to have it all. You won't live off pin money, off any man, no matter how much you love him. You won't depend on anyone but yourself. We agreed, right?" And Nora hears "there was that edge to her voice, which I thought of then as darkness, and recognize now as rage, the tone that came in her intermittent phases of despair." It is no coincidence that rage and despair are here linked.
A generation later, and we have Sirena, working mother, trying to explain to Nora, working but without children of her own (besides her third graders, left in the school room): "But for me, it's always running against the clock. Someone always waiting, Sirena you're late, you're late…it's always too much." Nora, on the surface of things, wishes for a life more like Sirena's, a respected artist, married with a child, what Nora once imagined for herself. And yet we watch her thwart her own dreams, while she also finds the ploys and ass-kissing of the art world distasteful, wanting and not wanting to share in its privilege.
Nora and Skandar gradually form a pattern of shared nighttime walks, as Skandar escorts Nora home, whether following a dinner en famille, or, more often, after Nora has stayed with Reza (as a dear family friend or as a babysitter, the difference immaterial and yet deeply significant), while the adult Shahids are out. On one such walk, their intimacy growing, Nora explains to Skandar how she has ended up here, in her life, 37 and single:
[A]s we passed the cemetery where my mother was buried…I told him about going to see my mother's grave, and then I told him about her, Bella Eldridge, and her years of illness, and her admirable grown-up combination of competence and resignation, and how furious it made me, how looking at her life I felt like a ravenous wolf, I wanted her to have had the chance to devour the world, to be greedy, to be sated. …And I told him …about how I'd grown up with my mother's longing and had never found a way to fulfill it, how I'd always thought there were rules about what was possible and allowable, even though I hadn't known, really, who'd made those rules. How in high school, art had seemed the way to break the rules, to get around them; but how it hadn't, then, seemed properly grown up, afterward.
"I couldn't bear to be a failure," Nora tells Skandar. "It seemed worse to try and fail than not to try. And then my mother, you see—" The strictures of her mother's limitations have been redesigned; Nora is ravenous; she is rage-filled; thwarted by tradition, whether steady or sundered.
"But," as Nora's friend Didi tells her, "you've got to want something."
After all, even now, 50 years after publication of The Feminine Mystique and Betty Friedan's eruption, like a volcano, precise in its locus and yet wide-spilling, indicative of uncertain and unpredictable volatility beneath the surface, into the public eye—even now we remain leery of female anger. Yes, it is distasteful. Better to show your stuff by climbing the ladder, rising; or by smoothing things over, the silent power of domestic control, whether transplanted into the workplace or not.
And indeed, one might leave The Woman Upstairs feeling that anger has not served Nora either. She has anger, she has reason for anger, and yet, really, in the scope of the novel, where has it taken her? It has, at least in part, been a ploy or distraction: and yet it speaks of truth and of the very real frustrations of women in a variety of situations: unmarried, married, with children or not. The real power here, that which Nora skirts around, testing and tasting, and yet still resisting, may well be desire (for meaning, achievement, love, artistry): dangerous and sharp.
Nora's artistic ambitions, in the now of the novel, are evoked through painstaking work on dioramas, three distinct and separate miniature rooms, each focused on a female artist: Emily Dickinson, Alice Neal, and Edie Sedgewick. A fourth female artist/writer, Virginia Woolf, ironically (and one might presume deliberately, for Messud's intelligence is keen) without "a room of her own" here, is evoked as frequently as the other three. We are told near the book's conclusion that "Virginia Woolf, in her rage, stopped being afraid of death; but I'm angry enough, at last, to stop being afraid of life…." Rage is powerful; yet arguably Woolf's suicide was more about rage internalized—about the boulders of depression (despair) and more—rather than rage as merry-greeter-of-death, a rather too romantic notion of suicide, depression, and mental illness. Nora's rage, one hopes, might push her forward, finally, in contrast with her mother's. But loose ends remain.
This may not be Messud's best novel. For this reader, it was hard to again find the whole-world intensity and beauty of The Last Life, Messud's second work, in which a corollary urgency threads through, rendered within the young narrator's compelling need to understand complexities of life that many an adult never takes on: exile, homeland, loss, generational twists and schisms and bonds and pains, the incomprehensibility of self-selected death and yet the pressing need to understand even when events and urges remain without discrete and finite sense. The greatest maturity arises in rendering the questions and needs, even when answers may remain absent and insufficient.
And yet, while The Woman Upstairs could be considered a less-compelling sequel of sorts (with entirely different characters that nonetheless share some of the same authorial concerns, including those of generational ties and schisms, exile, loss, and even the roles of women and of men, conscripted by society or family, broad and individuated), this work is hugely ambitious, and the more time spent with it the more evident this is.
Within the novel's pages lies an intensity of female experience, focused on a particular life stage. The term middle-age has gone a bit out of fashion. Aren't we all (by which we mean women of a certain class, more present via the media than in life) now perpetually able to avail ourselves of the fountain of youth? Botox and tummy tucks; physical strains of childrearing passed to others; technological gadgets able to keep us abreast of everything, current or au courant. But of course this is a myth; even while life expectancy extends further into the double-digits, and sometimes triple-, our bodies still age, and we still, at some middling point, approach at least a glimpse of the limits of what we might do.
Nora and Sirena both are driven by this specter of mortality (Messud, too). Sirena more productively (and more selfishly) than Nora, through her compulsion to create the most complete and complex version of her vision: an ever modulating Wonderland, an art installation meant to be experienced differently by each visitor, and yet to represent meaning and a female life stage for all. The artistic work, once complete, continues to create something new through video of its guests' journeys, eventually to become their own exhibit. With Nora's unwitting participation, this becomes a reminder that art is selfish, sometimes vengeful, and may involve the sacrifices of someone else, not just the artist.
The Woman Upstairs (notably referred to with capitals throughout the novel) represents the intellect in disuse and in use. The question throughout is how is the Woman (Upstairs) used or neglected, and how might she inhabit desire; what if she does, what if she does not? And what are desire's limits and limitations?
Alas, this reader, who so wanted to fall into a world—remembering so intently a sense-memory of the complex and thoughtful world of The Last Life—came upon some measure of disappointment in the book's middle: where was the sought-after other life (not a life to wish for but to experience and explore, finding meaning and parallels within)? But no, this was not a lasting wonderland. The Woman Upstairs does not inhabit wonderland, not as escape, not for long—and this is part of the point. The Woman Upstairs inhabits reality: of strained dreams, of other people's children, of an aloneness not always chosen. (And forgive us here for excluding men in this overt way; but as with much of our literary tradition, in which women are invited to find themselves and versions of lives of meaning in the corridors of male experience, so here men too may find aspects of self within the confines of female experience, and surely will, with or without the male pronoun.)
Where Nora, as narrator and central protagonist, may cause the book to falter and suffer, is when she serves in the figurative chorus of the novel. Anger, anger, anger, we hear at regular intervals. Sometimes we feel Nora's anger, or even more significantly the sting of inadequacy or rejection and the surge of desire (to make meaning and to mean something), that can either bring on anger or be fueled by it. But to be told of anger, however legitimate, damning, and interesting the circumstance, involves a different kind of engagement on behalf of the reader. We may not always feel it—for Nora, or for ourselves—within the reader-experience of the book. Instead we must consider it; we must think. To our detriment, we have grown accustomed to deeming novels places of experience (often vicarious, sometimes mirrored) and escape, not as journeys of thought. Must the province of the novel remain so shrunken?
Skandar explains to Nora, about Lebanon, "You can allow yourself to be swallowed by your anger, but this will kill you." Earlier, he had spoken to her of the assassination of his homeland's prime minister the day before, and the accompanying deaths of 22 others. Sirena, hours prior, tells Nora of her husband, "His country is in mourning and in turmoil; and here, at the university, even at a private dinner, they want him to talk about this as if it were an idea, not a man, so many men." Continuing, she chides, "Americans see everything too simply—a good guy, a bad guy, does he have a white hat or a black hat?" In this exchange, and the one that follows later that night, as Skandar walks Nora home, we see the shadows of the narrative, the authorial lines drawing things together, outlining a schema for reading.
Skandar's story from his youth, a parable of sorts, contains a panther he spotted as a five- or six-year-old, a sighting deemed impossible by his family—"there were no such animals in Lebanon"—until two mysterious "nocturnal sheep killings" change their minds. And soon the panther could be of "ghosts or sorcery"; it could be a metaphor for anger, dark and lurking.
Skandar tells Nora:
'And yet how can you look at the panther, how can you look him in the eye, when he won't stay still? When he's nowhere and everywhere, belongs to no one and to everyone? So if you're me, how you deal with this is that you say, I'll look at how we talk about the panther. I'll study the history of history, the ways that we tell the stories, and don't tell other stories, and I'll try to understand what it says about us, to tell one story rather than another, to tell it one way rather than another.'
The eponymous "Woman Upstairs"—a multitude—contains fractured parts of the same woman. There is reason to love Messud's anger—relish it, bathe in it, accept it as much needed succor. Anger can bring power. Messud told the audience at The Center for Fiction, "I've never written a book so heartfelt." When an audience member enquired, "Did you have trouble accessing that anger?" Messud answered with a resounding, "No."
Virginia Woolf proclaimed the need for "a room of one's own" (and also, not immaterially, 500 pounds a year). That room (and that sum, whatever it need be) represents not only security, but peace, solitude, time, and the use of one's mind: some minimum of circumstances permitting access to another Upstairs, wherein lies our individuality, our intellect, our imagination -- all of which must be curtailed (particularly the first two, while the third might be put to different, slightly modified and constrained, alternate use) when caring for children. Parenting, particularly for mothers, requires sacrifice. Children demand and deserve it. For many women, this is a huge part of that period we have called "middle age"; bodies are changing, creaking that little bit more, shifting and easing out of reproductive capacities; and when children are present, they demand more of the interior resources that might once have gone elsewhere: to self, to art, to work, in all its forms. Partners, of course, figure into this too. And if we were to take a lesson from The Woman Upstairs—the novel would suggest that as ambitious as Sirena is—and, by the end, more celebrated than Skandar—it appears that it is she who must tend to her husband (and child) more than he to her. Skandar, a character drawn with loving strokes, is arguably the most concisely and thoroughly imparted of the book: complex and yet much tidier than his female compatriots. Lessons here too: another reminder of the unruly nature of female experience and its rendering.
The significant question beneath the text: What does it mean to be a woman writer? What does it mean to be a woman writer with children? But we seldom speak of this. Still, it is taboo: damned either way, whether to implicitly lessened ambitions or to "women's themes," which yet remain largely the domain of what the publishing world considers "women's fiction" rather than "literature." This is signaled through details such as choices in cover art, influenced by and influencing gender suppositions. Fractured—as mothers, as women, as writers. The work of writing exists largely within a self-powered vacuum, the choices all too frequently uncomfortable, in ways familiar to many women balancing work and children.
When it comes to writing, as Messud put it in a 2006 Observer interview, "You have to find the necessity of it because, frankly, nobody else cares, and once you have kids, nobody wants you to do it at all." And if writing remains ephemeral, not-quite-work by many a productive-capitalist standard, then women's writing all the more so. Messud wrote in Guernica in 2010, "[Women] are too often overlooked by the silly popularity contests that are juries and boards and lists. This is not a question of the writers' quality but of our society's habits, and of a habitual—and primarily lazy—cultural expectation that male writers are somehow more serious, more literary, or more interesting." Messud continues,
Here's the deal: men, without thinking, will almost without fail select men. And women, without thinking, will too often select men. … Our cultural prejudices are so deeply engrained that we aren't even aware of them: arguably, it's not that we think men are better, it's that we don't think of women at all. The absence of women from lists and prizes leads, then, to the future absence of women from lists and prizes.
Messud tells Katherine Rowland in her Guernica interview this spring, "The things that we associate with femaleness are not the single-minded, exclusive pursuit of a vocation, whether it be art or anything else. It is not a model that is widespread in our culture, it's not something we think of for women."
The august yet modestly trendy London Review of Books ran a review in May by a youngish (pre-middle age, let's say) writer, Emily Witt, who quite blithely ran right over The Woman Upstairs, the review's tone increasingly snide and, by conclusion, bordering on what the British like to call whinging. Witt concludes the review, which is rather banally titled "How Awful," a double-entendre that does little for the review or the book (or for that matter the often lovely and pleasurable LRB): "Even at her happiest, Nora made me depressed." The sentiment, following on the impatient tone of the rest of the review, looks to damn the book as implausible, and a "bad" read. One might more usefully turn to the reader, any of us, and say, Indeed, depressed, why is that? The answer rests less with Nora than with reality and the complex portrayal of creativity and gender, friendship, family, love, anger, and ressentiment that Messud has created with heartfelt intensity, a writer's urgency fueling the narrative's imperfect, warts and all, anger. Nora may not be likeable, but she is ours, for better and worse, her light on, for which we should be grateful, one hopes because her brain is alive, mercurial and inventive, not because we need her there waiting—for our dirty dishes, metaphoric or real.
Nora, good luck. The dollhouse doors are open.
Kara Krauze is a contributing writer at Highbrow Magazine.
Photos: Nightscream (Wikipedia Commons); Unique Hotels Group (Flickr); LST1984 (Flickr).
the woman upstairs
claire messud
the last life
the emperor's children
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SCOTTSDALE, Ariz. (AP) — Los Angeles Angels manager Brad Ausmus likes to have his regulars play nine innings at least once in a spring training game and on Thursday, it was Mike Trout's turn against the Arizona Diamondbacks.
"He's making all that money, he needs to play nine," Ausmus said.
Trout, who received a 12-year, $426.5 million contract Wednesday, went 1-for-4 with an RBI single in the Angels' 2-1 win over the D-backs. Trout struck out on a checked swing in the first against Arizona's Merrill Kelly, delivered the two-out RBI single in the third, then was called out on strikes in the sixth. He grounded out to end the eighth.


It won't be lonely this Christmas for a fortunate few, as a heart-warming video shows.
The footage shows the incredible moment a separated Gloucestershire family were reunited over the holidays for the first time in years.
The Continental Journeys series, released by Thorntons as part of their #PassTheLoveOn campaign, shows the emotional footage of Victoria returning from Sydney to her home in Gloucester to the disbelief of her sister, Ellie, who had accepted her close sibling was to remain overseas for her 18th birthday.
Distance and work commitments have meant Victoria has missed every Christmas and birthday whilst she's been away.
Hidden cameras show the Christmas miracle unfold as Victoria poses as a waitress before surprising Ellie and the rest of her family at her birthday meal.
Their stories were discovered after the chocolate company asked the British public to nominate a family member they'd like to bring home for Christmas. The winners travelled a total of 27,380 miles from all corners of the globe to surprise their loved ones.
Thorntons is working with the charity SSAFA, which supports servicemen and women, veterans and their families and a donation of sales of all Thorntons Continental products will go directly to SSAFA.
The videos follow research which revealed half (50%) of Brits will celebrate Christmas virtually alone this year, as money, miles and manic work schedules mean they are unable to be with family and friends.
Over a third (36%) live too far away to see their loved ones, whilst one in six (16%) struggle to find the funds to visit family and friends over the festive season.
Ian Tweedale, Marketing Director of Thorntons said: "Despite being the time of year when most families come together, Christmas can be an emotional time – especially for those whose loved ones are the other side of the globe and unable to make it home.
Victoria Bruton from Gloucester, added: "Before I knew I'd won this competition I was so disappointed that I wasn't going to be able to be with Ellie while she celebrated her 18th birthday on Christmas Day.
"Thanks to Thorntons, I've been able to travel over 10,000 miles from Sydney, Australia and surprise my sister at such an important time in her life.


text:
Q: How to draw a third connecting line in Flow Chart I have the following code:
\documentclass{article}

\usepackage{rotating}
\usepackage{tikz}

\begin{document}

% Define block styles
\usetikzlibrary{shapes.geometric, arrows}

\tikzstyle{startstop} = [rectangle, rounded corners, minimum width=3cm, minimum height=1cm,text centered, draw=black, fill=red!30]
\tikzstyle{io} = [trapezium, trapezium left angle=70, trapezium right angle=110, minimum width=3cm, minimum height=1cm, text centered, draw=black, fill=blue!30, text width=7em]
\tikzstyle{process} = [rectangle, minimum width=3cm, minimum height=1cm, text centered, text width=3cm, draw=black, fill=orange!30]
\tikzstyle{decision} = [diamond, minimum width=3cm, minimum height=1cm, text centered, draw=black, fill=green!30]
\tikzstyle{arrow} = [thick,->,>=stealth]

\begin{figure}[h!] %The block diagram code is probably more verbose than necessary
\centering
\begin{tikzpicture}[node distance=2cm]

\node (start) [startstop] {Start};
\node (in1) [io, below of=start, yshift=-0.5cm] {Input (Read all $text$ Files of 90$^{\circ}$ measurments set )};
\node (pro1) [process, below of=in1, yshift=-0.5cm] {Difference between Max and Min value};
\node (pro21) [process, below of=pro1] {Calculte $K$};
\draw [arrow] (start) -- (in1);
\draw [arrow] (in1) -- (pro1);
\draw [arrow] (pro1) -- (pro21);
%-----------------------------------------------------------%
\node (in2) [io, below of=start, xshift = -5cm, yshift=-0.5cm] {Input (Read all $text$ Files of 90$^{\circ}$ measurments set )};
\node (pro12) [process, below of=in2,  yshift=-0.5cm] {Difference between Max and Min value};
\node (pro22) [process, below of=pro12] {Calculte $K$};
\draw [arrow] (start) -| (in2);
\draw [arrow] (in2) -- (pro12);
\draw [arrow] (pro12) -- (pro22);
%-----------------------------------------------------------%
\node (in3) [io, below of=start, xshift = 5cm, yshift=-0.5cm] {Input (Read all $text$ Files of 90$^{\circ}$ measurments set )};
\node (pro13) [process, below of=in3,  yshift=-0.5cm] {Difference between Max and Min value};
\node (pro23) [process, below of=pro13] {Calculte $K$};
\draw [arrow] (start) -| (in3);
\draw [arrow] (in3) -- (pro13);
\draw [arrow] (pro13) -- (pro23);
%-----------------------------------------------------------%
\node (proFinal) [process, below of=pro23, yshift=0.5cm] {Average the $K$s from three};
\draw [arrow] (pro21) |- (proFinal);
\draw [arrow] (pro22) |- (proFinal);
\draw [arrow] (pro23) -- (proFinal);
%-----------------------------------------------------------%
\node (in4) [io, below of=pro22, yshift=-1cm] {Input (Read $text$ file of raw yaw angle at idle state)};
\node (proK0) [process, below of=pro21,  yshift=-1cm] {Calculate $K_0$};
\node (proSD) [process, below of=proK0] {Calculate $SD$ and ${\sigma}^{2}$};
\node (out1) [io, below of=proSD] {Output};
\node (stop) [startstop, below of=out1] {Stop};

\draw [arrow] (start) -| (in4); %% here I need to change, sothat line will not cut other diagrams
\draw [arrow] (in4) -- (proK0);
\draw [arrow] (proK0) -- (proSD);
\draw [arrow] (proSD) -- (out1);
\draw [arrow] (proFinal) |- (out1);
\draw [arrow] (out1) -- (stop);

\end{tikzpicture}
    \caption{Flowchart}
    \label{fig:32}
\end{figure}

\end{document}

Which gives the output  like this:
I simply want to draw an arrow from Start box  to the parallelogram(i.e, which contains the test

"{Input (Read $text$ file of raw yaw angle at idle state)"

in such a way that it will not cross the other diagrams and goes left most side of the flow chart.
Would be nice of you, if you could point out some solutions.

A: like this?

by use of tikz library positioning ant its syntax for positioning i change your code quit significantly. now (for me) is more clear and simple :-) (for further shortened of code temporary i haven't time):
\documentclass{article}

\usepackage{rotating}
\usepackage{tikz}
\usetikzlibrary{arrows,
                positioning,
                shapes.geometric}

\begin{document}

\begin{figure}[h!] %The block diagram code is probably more verbose than necessary
\centering
    \begin{tikzpicture}[
   node distance = 4mm and 17mm,
% Define block styles
     base/.style = {draw, text width=32mm, minimum height=11mm, align=center,
                    font=\normalsize\linespread{0.9}\selectfont},
startstop/.style = {base, rounded corners, fill=red!30},
       io/.style = {trapezium, trapezium left angle=75, trapezium right angle=105,
                    draw,
                    minimum width=30mm, text width=24mm, align=center,
                    font=\normalsize\linespread{0.9}\selectfont,
                    inner ysep=#1,
                    fill=blue!30},
      io/.default = 3pt,
  process/.style = {base, fill=orange!30},
 decision/.style = {diamond, aspect=1.5,
                    base, fill=green!30},
    arrow/.style = {thick,-stealth}
                        ]
\node (start)   [startstop]                 {Start};
\node (in1)     [io, below left=of start]   {Input (Read all $text$ Files of 90$^{\circ}$ measurments set )};
\node (pro1)    [process, below=of in1]     {Difference between Max and Min value};
\node (pro21)   [process, below=of pro1]    {Calculte $K$};
\draw [arrow] (start) -| (in1);
\draw [arrow] (in1) -- (pro1);
\draw [arrow] (pro1) -- (pro21);
%-----------------------------------------------------------%
\node (in2)     [io, below=of start]        {Input (Read all $text$ Files of 90$^{\circ}$ measurments set )};
\node (pro12)   [process, below=of in2]     {Difference between Max and Min value};
\node (pro22)   [process, below=of pro12]   {Calculte $K$};
\draw [arrow] (start) -- (in2);
\draw [arrow] (in2) -- (pro12);
\draw [arrow] (pro12) -- (pro22);
%-----------------------------------------------------------%
\node (in3) [io, below right=of start]      {Input (Read all $text$ Files of 90$^{\circ}$ measurments set )};
\node (pro13) [process, below=of in3]       {Difference between Max and Min value};
\node (pro23) [process, below=of pro13]     {Calculte $K$};
\draw [arrow] (start) -| (in3);
\draw [arrow] (in3) -- (pro13);
\draw [arrow] (pro13) -- (pro23);
%-----------------------------------------------------------%
\node (proFinal) [process,below=of pro23]   {Average the $K$s from three};
\draw [arrow] (pro21) |- (proFinal);
\draw [arrow] (pro22) |- (proFinal);
\draw [arrow] (pro23) -- (proFinal);
%-----------------------------------------------------------%
\node (in4) [io, below=of pro21 |- proFinal]    {Input (Read $text$ file of raw yaw angle at idle state)};
\node (proK0) [process,at={(in4 -| pro22)}]     {Calculate $K_0$};
\node (proSD) [process, below=of proK0]         {Calculate $SD$ and ${\sigma}^{2}$};
%
\node (out1)  [io=4mm, below=of proSD]          {Output};
%
\node (stop)  [startstop, below=of out1]        {Stop};

\coordinate[left=of in1] (aux);           %% added
\draw [arrow] (start) -| (aux) |-  (in4); %% changed
\draw [arrow] (in4) -- (proK0);
\draw [arrow] (proK0) -- (proSD);
\draw [arrow] (proSD) -- (out1);
\draw [arrow] (proFinal) |- (out1);
\draw [arrow] (out1) -- (stop);
\end{tikzpicture}
    \caption{Flowchart}
    \label{fig:32}
\end{figure}
\end{document}

edit:
changed are style definition of the  io node (considered is J Leon V. answer on question tikz-trapezium-angle-with-two-text-lines).

redpajama_set_name: RedPajamaStackExchange


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text:
Акбауи́р () — село у складі Шетського району Карагандинської області Казахстану. Входить до складу Акшокинського сільського округу.

Населення — 219 осіб (2009; 249 у 1999, 467 у 1989).

Національний склад станом на 1989 рік:
 казахи — 100 %.

У радянські часи село називалось також Акбаур.

Примітки

Джерела

Посилання
 На Вікімапії

Населені пункти Шетського району
Села Карагандинської області

redpajama_set_name: RedPajamaWikipedia


text:
Мо́ція (від лат. motio «рух») — експліцитна деривація іменників одного роду від основи другого роду, що називає особу чи істоту. Найчастіше має демаскулінний характер, як спосіб афіксального словотворення іменників-фемінативів зі значенням жіночої статі від іменників чоловічого роду суфіксальним (блондин-блондинка), рідше флексійним (кум-кума) способом. Процес словотворення називають мовируванням, мовацією (нім. Movierung), породжуючі суфікси іменують моваційними морфемами. Моцію визначають як модифікаційну ономасіологічну категорію, сутність якої полягає в тому, що до обсягу породжуючого поняття додається додаткова модифікаційна ознака.

Виділяють два типи моції для утворення іменників: інтегральну, коли чоловіча назва цілком входить до складу жіночої назви (вчитель-вчителька), та суплетивну моцію (нім. suppletive Movierung), коли назва жіночого роду утворена від усіченої основи чоловічого роду (С. Бабич), або коли послідовність деривації не можна встановити  (наставник-наставниця). Також можливе розрізнення семантичних і словотвірних компонентів моції (Е. Барич).

Найбільшу продуктивність в українській мові мають два суфіксальні типи: 1) з суфіксом -к-а (-анк-, -янк-, -енк-, -івк-): школярка, вакханка, смуглянка, француженка; 2) з суфіксом -иц- (-лиц, -ниц-, -чиц-, -шиц-): дослідниця, робітниця, продавщиця.

Малопродуктивими, такими, що вживаються переважно в просторіччі, виступають типи з суфіксами -их-а та -ш-а, котрими передають значення «дружина особи»: бондариха, купчиха, генеральша, а також -ух-а (-юх-а): шептун-шептуха. Характерною особливістю цієї групи слів є співіснування варіантів: вередійка-вередуха.

Найменшу продуктивність демонструють типи з суфіксами -ин-, -х-, -л-, -ад-, -ов- (-ев-), -ен-, -ун-: графиня, сваха, ткаля, попадя, братова, туркеня, красуня, хорошуля. А також із запозиченими суфіксами -ес-, -ис-: баронеса, стюардеса, директриса.

Для найменування жінок за родом занять та соціальним становищем у сучасній літературній мові під впливом офіційно-ділового стилю найчастіше використовують іменники чоловічого роду: академік, декан, директор, генерал. Наслідком є певна неузгодженість родових форм присудка чи означення. Внутрішньомовні та позамовні чинники в українській мові останнім часом активізують тенденцію до творення співвідносних слів жіночого роду: аспірантка, викладачка, діячка (докладніше див.: фемінітиви).

Деякі назви демонструють квазімоцію, тобто коли протиставлення чоловічого і жіночого роду є семантично асиметричним: машиніст-машиністка, друкар-друкарка, покойовий-покоївка.

Назви самок тварин найчастіше утворюються за допомогою суфіксів -иц-, рідше -к- та -их-: вовчиця, лисиця, голубка, чорногузка, бобриха, їжачиха. Співіснують варіанти: ведмедиця-ведмедиха, лебедиця-лебедиха. Існують також назви, що оформлені або тільки граматичним чоловічим родом (жайворонок, крокодил, лящ), або тільки жіночим (ластівка, лелека, муха, оса)

В українській мові трапляються лише поодинокі назви жіночого роду, не співвідносні з чоловічими (модистка, пряля), а також нечасті випадки творення іменників чоловічого роду від жіночого (вдова-вдівець, зозуля-зозуль, доярка-дояр, стриптизерка-стриптизер).

У різних мовах активність моції різна. Серед слов'янських найбільш низькою активність мовирування є в українській, польській та російській, тоді як у чеській мові моція виступає одним з центральних фактів. Моція надзвичайно продуктивна в німецькій (суфікс -in) та нідерландській, але незначна в англійській (actor-actress) та французькій мовах.

Примітки

Див. також
 Деривація
 Узгодження
 Фемінітиви

Література
 Клименко Н. Ф. Моція / «Українська мова». Енциклопедія / Редкол.: Русанівський В. М., Тараненко О. О. та ін. — К., 2000. — С. 354.
 Словотвір сучасної української літературної мови. К., 1979.

Морфологія (мовознавство)


text:
Edison High School didn't have a girl's lacrosse team until a small group of students, led by Mia Whalen, decided to start a lacrosse club in the Spring of 2017. All of them new to the sport, the girls held a summer camp to learn the game and practice their skills.
About the same time, a new teacher joined the Edison staff who had been a girl's lacrosse coach at another high school and along with his friend became the first club coaches.
The team practiced and played throughout the Fall learning the game, honing their skills, and preparing for their first season. Meanwhile, a group of dedicated parents formed a booster board and in December of 2017 registration took place for their first
Spring season. In its inaugural year the club had 66 players, 3 teams and 4 coaches.
Since then, the girls have had two very successful seasons of scoring goals, winning games and having a blast! With the determination, commitment, and hard work of the players, coaches, and parents, as well as strong community support, Edison High School Girls Lacrosse became an official CIF Team sport in 2019, cementing the girls' legacy and the sport's future at Edison.
THANK YOU to our supporters for turning dreams into a reality! GO CHARGERS!
COACH OLIVIA SMART
COACH JEFF NEWMAN
COACH STEPHANIE ONTIVEROS
COACH BAILEY
COACH ALLANA ROCKWELL


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