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How a Wizard Would go About Fighting a Vampire
Jesse Teller Author Interview
In Hemlock vampires are returning with the intention of taking over all living creatures. What served as the inspiration for the theme of this novel?
Well, I was always going to do a vampire book. I think, as often as we see them, we still don't understand them. Everybody that does vampires well reinvents them for their own world. This was my chance to do that, to create a vampire that was all mine. Vampires have been in my life through other genres as long as I can remember. I wanted to see what it would look like to have a vampire in a fantasy setting, wanted to see what the creature could do and how a wizard would go about fighting a vampire. I'm fascinated with other genres, but fantasy is my home. In the past, I've written fantasy adventure. I've written fantasy horror. I just am fascinated with other genres, but I know what's in my wheelhouse. So I enjoy mixing other genres with the fantasy world to figure out how to make them one way or the other. How do you blend a fantasy and a western? Well, in a book I wrote not too long ago, but hasn't been published yet, I write a fantasy western. In April of 2019, my fantasy romance will hit the market. Exploring other genres I think keeps a writer sharp. But the language I've always spoken has been fantasy. This was my chance to write a fantasy vampire book, and if you can, you should.
I always enjoy your characters, one stood out to me this time. Aaron the Marked was a fascinating character. How did you set about developing his character and how did it differ from other characters?
Well, this is the first time we're seeing Aaron the Marked, but it was not the first book he was written in. Because of my method of writing, my books can't be published in chronological order. If I tried to do that, I would have series spanning decades and decades. So I have to find another way to do it. Aaron the Marked's origin story shows up in a book that will be published April 15th, 2026. We get more of his story than we have received so far in a book that will publish October 5th, 2019. It doesn't back up to his origin, but it backs up quite a bit. Aaron is a character that really captured my imagination. I spent a lot of time in his skin, writing him as a point of view character. I fell in love with him. So far, as written, he spans five series. He's a major facet of my world. Aaron the Marked is a character we'll be seeing as long as I'm writing. One day, we will be able to take all of my books and line them up in chronological order, and at that time, we'll realize that everything I have ever written in the end, boils down to the story of two men. One of them is Aaron the Marked.
I felt like we again get to explore the dark side of humanity in this book. Do you find that you are drawn to this theme, or is this where the story leads?
All of my books are about hope in some way or another. By the end of the story we find out that it was all built on hope. Because of the childhood I lived and my life as a young adult, I have a deep understanding of despair, of the darkness of the mind and the evil people are capable of. My work is about telling people that there is a way to rise above that horror. But in order to show the power of the light, we have to explore utter darkness. So my work ends up being very dark, very depraved at points, until we climb out of that and enter happiness and well, hope. A lot of people say that my work is really dark, but I hope when they think about it a second or third time, when they find themselves trapped in despair, that they think not of the horrible parts of Jesse Teller's novel, but of the way people were able to overcome those things, meet their darkness head-on, and triumph over it.
The next book of The Manhunters series is called Crown. It's already been written. It's currently with an editor. It'll be ready to go very soon. I'm really excited about it because if you've read any of my work before, you're most likely acquainted with a character who goes by the name Sob. In her last book, we find out her children were kidnapped and taken from her. In Crown, we get to see those children. We get a glimpse of how they overcame losing their mother and the effect it had on them. No event that intense occurs within a bubble. There are always going to be ramifications. In Crown, one of the stories we embark on is the telling of those consequences. So I'm very excited to be able to explore that section of my world. We get the final segment of the telling of the Manhunters, the things they suffer, the deaths within their numbers that they have to work past, and the challenges they have to overcome. We get to meet all new villains, and alongside Rayph, try to figure out how we can prevail over them.
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The busiest pirate bay in Perilisc is newly infested with vampires. These monsters will soon overrun the world, but the Manhunters must try to stop them in secret. Agents of the king are hunting Rayph's vigilante crew. With one false step, they could all end up at a royal execution.
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To Face Off Any Horror
Song follows Rayph Ivoryfist as he gathers his friends to return the prisoners that escaped from Mending Keep. What was your inspiration for the setup of the story and how did that help you create the ending?
It's a simple idea. There's a prison break. The worst criminals in the world are released, and one man takes it upon himself, with no funding and no support from the crown, to hunt these fugitives down and end their reign of terror. It's an idea we've seen before, but I got stuck on it, and I thought, "What would make this idea different?" I realized the thing I wanted to focus on was the characters themselves, their relationships, and the relentless nature of their leader. It's not a crime story. We've seen crime stories. Song is an exploration of friendship. So that's what I focused on. I've always had this idea that if real trouble ever hit, I could call on a small collection of men and women who surround me to face off any horror that entered my life. And I think it's not unique to me. I think everybody has that group of people, that if things really went bad, they could call on to help them fight their way out of it. This book is a love story to that kind of friendship. It asks the question, "If my back was against the wall, and I desperately needed help, who would I call on?"
When you first sat down to write this story, did you know where you were going, or did the twists come as you were writing?
When I started writing the story, I had the prison break. I had the characters of the Manhunters themselves, and I had the villains. But when I write all my books, I do not know exactly how it will end or how the plot will progress. All of that comes to me as I write. This book just kept surprising me. I would write a scene and see that it was going in a completely different direction. I would write something and see a twist coming down the road. I let a friend read this book before it was published. His criticism of the book was that it paid off too many times. He said it reaches one climax after the next. I think Song is unique in the fact that I spend 250 pages setting up four different climaxes. But it wasn't planned. The book is just complex.
As always, your characters are thoroughly developed. What is your writing process like for creating characters?
When I write a character, I like to do away with all archetypes. I think they get in the way. When I meet somebody in real life, I don't think to myself, "Oh, that person is an underdog." or "Oh, I know people like this. This guy is a survivor." Those aren't the kind of things that hit me when I meet someone. So why would I think that when creating a character? A lot of people talk about knowing the motivation of your characters. But motivation is pliable. I can tell you why Rayph does a thing because I want him to do it. The traits I like to concentrate on are my characters' hang-ups, the things that bother them, the things they cannot tolerate. I think too often writers create characters in a bubble. They try to describe their character in artificial terms. They create a character outline or a character spreadsheet. They try to create their character in a sterile environment. But that's not how we get to know people. I like to think about character creation as going to a soup kitchen and meeting people there. Real lives, real problems.
What is the next story that you're writing and when will it be published?
Well it's already written. The entire Manhunters series is completed. I will be doing some rewrites and final touch-ups of course, but the story's already been told. The second book in the series comes out April 15th. It's called Hemlock, named after the city that is the poison capital of my world. In this story, the main villains the Manhunters find themselves up against are vampires. These are not vampires as we know them in the modern world. I took inspiration for my vampires from the original legends. This is before Anne Rice, stories centuries older than Bram Stoker. In the original vampire legends, they were all monsters. No good, no mystery, no romance, just vicious monsters. When they were hungry, they were pale. After they fed, they took on a ruddy complexion. And when they were full, they were a close shade of purple, because their bodies were suffused with blood. My vampires are old and powerful, nearly immortal, and diabolical. Vampirism spreads like a poison, like a plaque, and the Manhunters fight to stem the tide. So look for it April 15, 2018.
Some of the darkest minds in Perilisc attacked Mending Keep, releasing all its prisoners. Despite his strained relationship with the crown, Rayph Ivoryfist calls old friends to his aid in a subversive attempt to protect King Nardoc and thwart terrorist plots to ruin the Festival of Blossoms. But someone else is targeting Rayph, and even his fellow Manhunters might not be enough to save him.
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Set in the world of Perilisc, Jesse Teller returns to this world with another series sure to captivate readers. The Manhunters series starts off with Song, and tells two story lines that intertwine. Rayph Ivoryfist is an immortal magician that has his own personal demons to fight, but is bound by honor to protect the land and the boy he believes to be the next great ruler. When the prison he built is destroyed and all the evil had brought to justice is released he knew he needed help. Rayph than builds his own army of powerful beings, with his old friend Smear at his side. Parallel to the story of Ivoryfist preparing for battle is the story of Konnon, the father that wants a cure for his daughter's paralysis. To help his daughter Bree, Konnon must work with his partner Glyss. Together the two of them have a reputation for being unstoppable and deadly. They live up to this reputation, knowing each other inside and out. The two pair's separate missions will unavoidably end them up together in the town of Song, the question is, who is alive in the end?
Jesse Teller has a way with describing the setting that really makes you feel like you are there. The swamps that Rayph visits, you can almost feel the mud clinging to you, smell the decaying woods and animals used for sacrifices, and feel the tension that the people around the main characters create. The level of detail that goes into settings, also goes into the action. While this is great for really getting into things, those with a weak stomach for gore might not be pleased. Teller describes in detail the torture of some characters, and details the death of many. This level of detail may not appeal to all, but Teller can also detail the compassion and love between two characters just as well. The example of Konnon and his daughter Bree. There is no question about the devotion and love he feels for his daughter, it is relatable and pulls at the heart strings. A father's undying love and willingness to do whatever he must to save her, no matter what the cost is to himself.
One of Teller's greatest skills is relationships. Not romantic quest love relationships, but bonds between people and spirits. These bonds draw the readers in sometimes more than the story lines do because they are so powerful and relatable. As I read Song, I felt the bonds that form between Rayph and his army. The magic that makes it so they can all be connected is just a piece of the puzzle, they genuinely build a brotherhood and work as one. Konnon and Glyss while not blood brothers move as one unit together, they are bound and know each other so well there is no need for words. It is a great read for the relationship factor alone. If you enjoy studying and reading about human (or in this case non human) relationship Teller will not disappoint. Through his use of many magical creatures from humans, to fairies, to demons, all working together for a common goal the passion for survival and willingness to put all differences aside for is apparent. Perhaps it is a good lesson for modern society, put our differences aside and work together to defeat the evil looking to rip our world apart.
Pages: 319 | ASIN: B074GP13JC
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I Wanted to Study Obsession
Mestlven follows Meredith as she returns to her home at Sorrow Watch to destroy her enemies. What themes did you use as you built this new story in the Perilisc series?
As a man without a father attempting to raise two sons, in a lot of my work, I study fatherhood. In this book, I studied motherhood, and the effects of a mother's estrangement from her children. I wanted to study obsession and how it can dominate the mind and creep into the soul. So far in the work I've published, I've played very little with love, and the love that I did show in Chaste was an old and familiar love. In this book I wanted something new and fresh. Of course, I wanted to spend some time on revenge. It is an idea that's gone through my mind often in my life because of my childhood, and I wanted to develop that theme and play with it in my work. In most or all of these topics, I found a certain amount of cathartic release. Mestlven really did help heal me in a lot of ways, and I'm very thankful for it.
The town of Mestlven is a haven for the depraved, dirty, greedy and perverted. How did you set about creating this vivid world?
In my past, I learned that when you live with darkness, you live in darkness. If you're violent and ugly, the world you live in can't help but be the same. Evil breeds more evil. The tragedy of Sob's situation is that she is so enthralled by the idea of her own revenge that she attracts darkness to her. In many places, she had the opportunity to walk away from this darkness and find some other kind of peace. She had the friendship of Sai Sibbius Summerstone, and the love held out to her by Jeffery. But in both these situations, she turned away from that, seeking darkness. Usually, we find what we go looking for. There were many places in the city of Mestlven where you can find goodness and light. But Sob goes out of her way to avoid those places, to look for deadly pets and vile foes, and so the book is wrought with them.
The Pale is very morbid in this story. What was your inspiration for The Pale? Did anything develop organically?
For the most part, all of my work develops organically. My writing style is very much like I go around setting ideas into motion and watching them spin out of control. Very rarely do I plot an idea's course. I started out with the idea of a festival of death, and tried to picture the city that would willingly hold such a festival. I realized that none would. None would truly welcome in the goddess of death to take over their city. So she would force her will upon them. I started looking at the sort of things that would be held sacred by the goddess of death, thinking of what would be The Pale's virtues, what would she love? That's when I realized she would see killers and murderers as her most beloved. She would hold sacred certain diseases, and when she sees someone like Sob, preparing to paint a masterpiece of death, she would send aid. I pictured the face of death, and what that face would look like, and for some reason, the image was of a beautiful woman with pale skin. So I named her The Pale. My gods I cast as people. They've all got their own likes and dislikes, loves and desires. They have their own flaws and their own sins. The only trick to creating my religion is understanding the quirks and foibles of the deity.
This being the fourth book in the Perilisc series, are you developing a fifth book or a different story?
We're going to set this story line here for awhile. In 2019, we'll pick up where we left off and head into a 5-book epic series I have already written that will take us through The Escape. But for now, we're going to head southwest and find Rayph Ivoryfist for a trilogy called The Manhunters. When we left Rayph Ivoryfist in Liefdom, he had had a falling out with his king, Phomax. In my next book, Song, Rayph has been wandering the countryside of Lorinth, helping out where he can, and waiting for the king to die. Soon, a new evil organization rises, and he must gather what allies he can and rush off to face it. That's where we go next. It introduces a set of new characters, characters that will show up again everywhere. With the first seven books I release, my goal is to build a character list. I'm introducing as many different people as I can organically in order to have them in place for later novels. What's exciting about Song, and really the entire Manhunters series, is that we get to meet a new cast of characters, all unique and varied, all of which are leading somewhere. And we get to make cheese.
Revenge, Insanity, and the Bloody Diamonds
Meredith Mestlven was abused and betrayed by her nobleman husband. After a desperate fit of retaliation, she fled for her life and lost her sanity. Now nearly 20 years later, she returns to her home at Sorrow Watch to destroy her enemies and reclaim her jewels. How far will she go to satisfy her revenge? Dark, cunning and beautiful, Mestlven will win your heart or devour your mind.
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Mestlven: A Tale from Perilisc
Mestlven is the latest book in the Tales from Perilisc series by Jesse Teller. I found this to be the best book yet by Teller. The last novel Chaste left many characters in turmoil. This time Teller takes us to the city of Mestlven. Here we learn about Sob and her past. We learn about her obsession with stealing jewels and how she became the deadly assassin that she is. We also discover just how troubled and deep her instability runs and why she became this way. Joining her in this novel from the past is Emily, the young girl in Chaste that she saved and took under her wing, and Sai the swordsman that was her friend and companion on their last adventure. In this story, though, Sai is no longer her friend but an unfortunate enemy that she shares an understanding with. Teller introduces several new characters that the story line focuses on as well, Mort, the priestess of the Pale, Saykobar, a wizard of immense power, and Donnie the Ego, the young man that runs a mass crime ring. Together their destinies intertwine and we see the full savage and cruel world that Perilisc is, where modern decencies are nowhere to be found and suffering is common place no matter what your station in life is.
Mestlven is the town Sob is from, the castle Sorrow Watch, was her home when she went by the name Meredith and was married to Malcolm. She was content in that life, even though her true love Stephan, Malcolm's brother, was dead. Malcolm loved Meredith and together they had a child, a girl named Megan. This is the baby she always referred to in Chaste. Her life however was destroyed when a group came and murdered her child and Malcolm. This set her insanity into full swing and a series of events that followed lead her to become the deadly assassin she is. Sob returns to Mestlven to exact her revenge on the people that ruined her life. The town of Mestlven is a haven for the depraved, dirty, greedy and perverted. Their perversions know no bounds and Sob means to rid the town of those that soil her home. She shows no mercy to those that made her this person. The goddess of death, The Pale, sends Mort into Mestlven to assist Sob in getting her vengeance. The Pale works in gross and morbid ways, such as taking a disease from one and then sending to another that the Pale wants to inflict pain and suffering on. Mort has the skills to do the bidding of the Pale and her works coincides with Sob's.
Mestlven is a well composed story line with dynamic characters. Jesse Teller is able to bring their minds to life, their personalities are deep and complex. Sob's story is heartbreaking and despite her clear insanity the reader can't help but feel great compassion for her and want to see her achieve her goal of vengeance. So many of the other characters are not what they seem from beginning to end. You'll end up loving characters your supposed to hate, and characters you trust will betray you. I won't say that there is a happy ending, but sometimes you settle for just having peace. Teller has composed another great novel and I look forward to reading where the story line of Perilisc will go next.
Pages: 330 | ASIN: B06X8YNCF1
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Chaste: A Tale From Perilisc
Chaste is the third book by Jesse Teller in the Tales from Perilisc. In Teller's prior book, Legends of Perilisc the god Cor-lyn-ber is mentioned the father of Hope and Light; Chaste focuses on Cor-lyn-ber and his followers in the small town. The town of Chaste is a remote town dedicated to Cor-lyn-ber that has been overcome with a deep sickness. Five strangers to the town arrive and all their destinies take a turn. The book is dark and filled with detailed violence. It is not for someone looking for fairies and elves. The theme of rape, abuse and murder run though the whole book revealing a dark and sick society struggling to find the light again.
The main characters are Father Frank, Cheryl the barmaid and self-appointed watcher of the town, and the five strangers, Ambul, Ruther, Sai, Sob, and Trevonne. Cheryl watched her parents die, her mother and battle and her father murdered. They were the religious leaders for Cor-lyn-ber and Cheryl from that point on lost all faith in her god. The first half of the book is all about the devastation of the town, the murders of their children, the sickness and evil that penetrates the land and people. The reader learns little about the five strangers only getting pieces of their history bit by bit. Trevonne is wizardass in training, she arrives in the town of Chaste weak and sick. Sob, an assassin and thief has taken on the role of protector of her. Ruther appears to be the leader of their group with a no nonsense mentality. Ambul and Sai call themselves brothers but they are not related. Sai is known as the great swordsman and dreams of a woman each night where they continue their love saga from afar. Ambul is referred to as the gentlest and good man known to man. He is an innocent and pure of heart, with a secret past.
The five strangers arrive in the town right after the death of another child. They all feel there is a wrongness in the town. The first night there Sob is out looking for jewelry to steal and comes in contact with the killer of the children. She recognized there was something evil and not human from the start but wasn't staying around to investigate further. Meanwhile, back at the tavern and inn Ambul goes missing after a fight with Sai. The fight was brought on out of nowhere, the towns sickness already infecting them with its poison. From here the story of finding their missing friend, discovering the source of the sickness and purging the town of the poison is told.
The story of Cheryl is key to the novel, and she goes through a drastic transformation. Like all major transformation in life hers is a hard story and she learns lessons of pride and sacrifice. She also learns just how much control the gods of Perilisc have over her life and that of the world around her. She learns that her destiny is set by them, not herself. She must face her past, and Cor-lyn-ber himself.
Overall this book is not for the reader looking for a happy ending fantasy novel. This is fantasy at its darkest. Abuse, demons, and torture are key themes and some are described in vivid detail. If you can get past all that, the story is one of transformation, overcoming evil and delivering justice.
Pages: 244 | ASIN: B01J0FVC9S
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The Escape Is A World Changing Event
Legends of Perilisc is a collection of short stories that tell the mythological struggles of royalty, immortal love, unruly wizards, and lost heroes. Did this book always start out as a collection of short stories, or did you write the stories individually and later decided to consolidate them?
The stories were written individually. Many of them were written many years ago as a way of answering questions. I needed to know things about my world, like how it was created, and where certain things came from. Every world has a creation myth. I needed one of those. I wanted dragons, and I needed to know where they came from. Some stories in here helped me deal with my own demons and come to terms with my past. Some of the stories bind together books I would later write. Others were just dream stories. For instance, I always dreamt of knowing how Clark and Ferallorn met. To Love A Beast came from this desire. The plan was never to publish this book. It shouldered its way in when I realized I wanted to give prospective readers a look at the world to help them decide if they wanted to commit to reading one of my novels.
What is your favorite story from the collection and why?
I have two. The Apprentice's War showcases a wizard named Saykobar. It is exciting to see his introduction to the world. It gave me a thrill to write the first words of his story because Saykobar goes on to do many great and terrible things. He shapes the course of the world. It was fun to watch him shrug up from the ground like the bud of a poison flower.
Then there's The Stalwart. This was the first short story I wrote about Perilisc. I wrote it in 2005, sent it out to magazines for publishing, and received a handwritten rejection letter. I was told the story had promise, but there were major things wrong with it, major things wrong with the world it was in. No one source has had a greater impact on the creation of this world than that one letter. It focused me, helped me realize what I was doing. It's my favorite of my many rejection letters, and I'm lucky to have gotten it.
Simon the Bard seems to be the only consistent character through the different stories. He travels the world claiming to be a simple story teller, but seems to be much more. What were your ideas when creating this character and did he turn out as planned?
In my family, there were fantastic storytellers. I wasn't concerned with playing with my siblings and my cousins. I wanted to be standing by the poker table in the haze of smoke, listening to the adults tell wildly inappropriate stories. I always wanted to tell those kind of stories, always wanted to tell a story well. So I apprenticed under the great storytellers of my family, learning everything I could about how to craft a description and how to nail a climax. Simon is a result of that training. Stories are important. It's how we understand who we are and the world around us. Stories give us power, the power of knowledge and the power of understanding. That was the concept behind Simon Bard. He's a wandering storyteller. But he only goes to the people who need to hear the story. He goes to the heroes that need light cast upon the world around them in order to commit acts of bravery and startling deeds of wonder. Simon has shaped the world. He helped craft it and he loves it. He is trying to provide guidance. He is exactly how I planned him to be, and I'm very proud of him.
Will readers ever get to find out what "The Escape" is?
Yes, The Escape is so important. It is the defining moment of my world. It provides the B.C. / A.D. point for my history. The Escape is a world-changing event. It brings about much hope and much despair. I can't tell these stories without it. It will be revealed in books to come, and its effect will forever change the face of my world.
Will there be another book that tells more stories of the land of Perilisc?
Oh, man. Is this ever a firm and resounding yes! Perilisc is the platform for 26 books. I have 21 of them written, and today I started the 22nd. In rough draft form, I have written 10,600 pages of Perilisc story. I have five more novels to write before I set Perilisc down for a moment and concentrate on other places. Perilisc is the name of a continent, not a world. These novels tell the story of that continent. But after these books have been written, I cast light on other corners of the world. I have conceived three acts to my career, and after these 26 Perilisc novels, I will have finished Act I. There is more Perilisc coming. I have decided to publish a book every six months for the next 32 years.
This collection of short stories features myths and lore from Perilisc, a unique fantasy setting. Journey deeper into its history. Struggles of royalty, immortal love, unruly wizards, lost heroes, blistering vendettas and more, provide gripping insight into the scope of this realm.
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Legends of Perilisc
Legends of Perilisc is a collection of short stories created by Jesse Teller. This collection has eight different stories that all tie together along a timeline. While each story can stand alone there is a sense that it's building up to something that we don't get to in this book. Each title is subtitled with a phrase like "120,000 Years Before The Escape" (Teller p.7) and "Three Years Before The Escape" (Teller p. 197). While the preface lists the date as being after the Escape it offers no clue to who is escaping what. This leaves the author open to create many more books in this series. There is one character that reoccurs in most of the stories, Simon the Bard.
At first the beginning story sounds like a twist on the Greek Mythology stories from when the Gods battled for control of the world. While some of the names mentioned do link back to mythology, most of the characters are original to Jesse Teller. Their personalities and names differ from one story to the next. I think this lack of continuity is intentional and well done showing the different times and places in Perilisc. These stories are dark; they are not happy endings with moral lessons. It is a work of fantasy unlike anything I have come across. Each individual story tells of a quest, usually the quest is to find someone and kill them. Through these short stories you get so much detail though. The author does not waste words. Every line is important to character development, the action or setting.
Piecing together information from the different stories we learn more about Simon the Bard. He is the constant so far in the world created by Teller. He travels the word claiming to be a simple story teller, but is always in the right place at the right time to offer important information. He is immortal, and has magical powers but the reader does not discover just how deep those powers go.
As with any collection of short stories it can be frustrating to get small pieces of a story line and not see where they end up. Knowing that all these story lines interact building up to "the escape" is even more frustrating given the huge jumps in time. Chances are we may never know more about the characters we read about. One example is Konnon. His story is brief, we find out about his devastating childhood, his enslavement to an enchanted beast, and his revenge. His story takes place in one night, but we don't know how this fits into the overall story line. It is just a good snap shot into the world and how it is developing through time.
Legends of Perilisc is a great collection for the reader looking for a fresh take on fantasy novels. It is not for the reader looking for a happy ending and a magical quest with elves and good wizards. This collection is dark, full of death and evil. Topics of patricide, cannibalism, adultery, rape and many more dark topics fill these stories. A good read with an open ending leaving the author free to continue this world and create many more stories to entertain and shock his readers.
Pages: 141 | ASIN: B01I7KD9O8
Tags: action, adventure, amazon, amazon books, anthologies, anthology, author, book, book review, books, cannibalism, dark, dark fantasy, ebook, ebooks, fantasy, fantasy book review, fiction, fighting, greek, horror, jesse teller, kindle, Legends of Perilisc, literature, lore, love, magic, murder, mystery, myth, novel, patricide, publishing, reading, review, reviews, short stories, short story, stories, war, wizard, writing


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From RSFSR to USSR-- The Early Days of Soviet Aviation
An Introduction to Soviet Aircraft, 1917-25
By Erik Pilawskii
As we have previously announced, the site would like to expand our coverage of Soviet aviation. We currently list the dates of 1917-50; the hope is to incorporate all forms of propellor-driven aviation (turboprops notwithstanding) one day. With these new time frames now open to exploration, we thought it might be a great idea to focus a bit on some of the subjects one might encounter in them. This article, then, will be the first of (hopefully) many such.
It is important, firstly, to understand the current level of research pertaining to early Soviet aviation history. The military, biographical and contextual history of the early (say, 1917-25) period has recently been much improved with expanded research. Some aspects of these activities remain only partially explored, or indeed controversial (i.e. the Russian Civil War, or the campaign against the Poles), but on the whole the printed material available is certainly better than it has been hitherto.
However, with regards to the technical aspect of this history regarding aviation construction and finishing techniques and practices, virtually no significant advancement has been made since the time of VB Shavrov. We do not know now what, in fact, lacquers, dopes or other types of finish were employed on Soviet aircraft of this time. We do not (ergo) know the nomenclatures of these finishes, what their characteristics might have been, and of course-- most importantly-- how they might have appeared. All attempts to reproduce these aircraft in colour, as is done here, must be regarded as educated guesswork. We hope that this contains some considerable education; it is guesswork, nonetheless.
Furthermore, there is very considerable difficulty in understanding and interpreting photography of this period. Let us note immediately the most important point on this topic [one that is utterly relevant, by the way, to all forms of photographic analysis, from all eras]: if one does not understand the nature and technical details of the films, cameras, development procedures and other related photographic details, one cannot possibly analyze any period photograph. There are no exceptions. This point is a major failing in many attempted works based on analysis. The relevance of this reality to photography of the 1917-25 period is immense. It can be extremely difficult even to identify the type of film employed in many photos, a fact which, by itself, makes impossible any serious understanding of the image. However, even if the type of film can be determined, there is scant current evidence on development methods in use, or on the treatment of the negatives during development (manipulation of which was very commonplace). These difficulties are exacerbated by the irritating properties of many of the widely employed films of this time. Orthochromatic films, for example, being insensitive to red and yellow light, render these colours as "black" on the image, making it virtually impossible to distinguish between these three hues. Well, and the list goes on at length; the main point to bear in mind is that analysis of these images is fraught with difficulty.
With all these caveats in mind, still there is much to discover and learn about the aircraft of this period. As well, these aircraft tend to be highly individualistic, both in their finish and colouration, and also in the mechanical nature of the modifications made to them. Certainly, these facts only enhance their appeal and desirability-- they are wonderful aircraft. It is certainly high time that we study them in detail.
Part I The Nieuport 24
One of the fighter aircraft taken into the inventory of the early Soviet aviation services were Nieuport designs from France. These were the types familiar to observers of the First World War, the N.17 and N.24 predominating. Regarding the Nieuport 24, two main versions of this aircraft were see in early Soviet use, these the N.24 and the N.24bis. The 'bis' was, curiously, a bit of a retrospective design, in that the N.24's fixed fin and rudder were replaced with the older all-moving N.17 type rudder. There seem to be more 'bis' types in Russian service with Lewis gun type armament, as well, but these might also be largely examples manufactured in England (some of the Soviet N.24s were British-built machines).
The N.24bis was also manufactured in the RSFSR (that is, until 1922) in the Duks factory, later to become the famous Factory No.1 (Moscow). Production was modest, perhaps 300 or so in total, and in mid 1923 the largest number of serviceable aircraft of this type reached 125. Numbers of the N.24 in service plummeted rapidly thereafter, and it is thought that none survived past 1926.
The following are some delightful examples from early Soviet service. The photographs depicting all of these aircraft can be located in Geust and Petrov's superb volume Red Stars 4, pp. 50-55.
A Nieuport 24bis which is attributed to the 1 MIAO (Naval unit) at North Dvina, 1919 (p.54, top). The caption indicates that the unit's commander was Yakovitskij, but no ownership of this machine is listed.
The anchor artwork certainly gives a 'navy' feel to the scheme. The aircraft looks to be finished in an over-all dull aluminum dope, possibly being similar to that used in France on the Nieuport (indeed, it may be an example imported from France). The rudder looks to be painted white, and very nicely so. The text forward of the fuselage anchor is the acronym KISA, the meaning of which I do not know. The colour of the anchor and text seems to be in agreement with the photo, in that there is a limited contrast distinction between the red stars and the (likely) black anchors.
The national markings of this period were haphazard, so say the very least. This aircraft bears red stars inside of a white disc. These appear to be very nicely executed, a feature which is exceptional rather than the norm. These stars appear in four positions, top wing uppers and bottom wing lowers.
This attractive N.24bis was said to be photographed on the Northern Front, 1919 (p.53, centre). No pilot attributation is listed.
The caption suggests red as the background colour to the skull-and-crossbones, and certainly this seems a distinct possibility. Indeed, no matter how odd it may sound, these skull markings are most likely the aircraft's national insignia! While star markings were favoured, by no means were they the uniform nor agreed national marking for Soviet forces. Some aircraft in the Civil War displayed red circles, discs, or even blobs of red paint as an identification; presumably anything red would indicate the side to which the machine belonged. In that way, one presumes this was the reason here for the red background. Curiously, also, these markings look to be present on the bottom wing lower surfaces, the rudder, and on both the upper and lower surfaces of the top wing.
The aircraft again looks to have been finished in dull aluminum dope. No other details are available.
The Nieuport 24 illustrated here was said to have belonged to a special detachment in Moscow created by cadre from the Military Flying School (p.55, right). The date is given as 1919, but no pilot attributation is available.
The highly dramatic finish looks to be the result of applying red quite generously over the base coat of dull alum dope. Red stripes have been applied along the fuselage stringers, to the fin and rudder, the wheels, and of course to the entire nose section. A national star marking has been painted on the rudder, this obviously by hand, being quite typically oblong and asymmetrical. No other national type markings appear to be present; one presumes that none further would be needed (!).
This Nieuport 24 was photographed with pilot A.P. Shishkovskij standing in front, certainly giving the impression (at least) that it may well be his personal mount. No date is given, but the same pilot operated a very similarly marked N.24bis during May 1920 (p.54, p.52).
The basic finish again looks to be over-all alum dope. National markings in the form of red stars superimposed over white discs are clearly and skillfully presented. These appear again in six positions (one might say in the WW1 'Nieuport manner')-- bottom wing unders, top wing upper and lowers. The rudder appears to sport a plain red disc, this on a white background.
No other markings or decoration can be seen. Shishkovskij's bis fighter looks virtually identical.
Nieuport 24bis s/n 4309 was photographed in a wrecked condition near Moscow, 1921 (p.53, bottom). No pilot is listed for the aircraft.
Being in such condition, the profile is certainly a reconstruction. The wing surfaces are not in view, and so sadly we cannot see if national markings are present there. The rudder carried delightful stripes in what looks to be red and white. The aircraft's serial number appears on the rear fuselage, and what might be the designation "Nieuport 24 bis" (does this suggest French manufacture, I wonder??). The most interesting feature, however, is the rather passable looking plain red star type national marking on the fuselage. This insignia would not look out of date at any time up to 1945; one wonders if examples like this one help to establish the later markings?
Alas, nothing else seems to be known about this attractive aircraft.

redpajama_set_name: RedPajamaCommonCrawl


From a photograph of a donkey floating its boat in the Mediterranean Sea to polar bears covered in feathers, expect the unexpected in Paola Pivi's new exhibit at The Bass, https://thebass.org/. Opening Oct. 13, Art With a View blends the surprising with the familiar, including the Milanese artist's 65-foot inflatable ladder, canvases of cascading pearls, and video of fish in flight on a passenger jet. The Miami Beach museum's exhibit runs through March 10, 2019.


This post will include a slide show of images taken during Young Author's Day. If you are reading this in your email you will not see the slideshow. Please try to view it again on our computer from the QAE Library site so that you can see all the excitement. Huge.
The sun was blazing, a great author was visiting, students were ready to share - it was an amazing day watching young writers and illustrators read their stories! Thank you wonderful volunteers (40+), your support made a difference. The groups were small, insuring plenty of time for each author to read their story and receive comments from their peers.
The day was kicked off by author/illustrator Richard Jesse Watson. He inspired by sharing his beginning as a writer and how he begins stories and the process he takes to publish. After lunch, he gave two interactive workshops on the art of illustrating. After school signed books and student art.
Hopefully your child's story they shared made it to their digital portfolio. If not, let me know and I can support you with scanning and uploading. My pleasure.
Young Author's Day is Here!
QAE celebrates young authors tomorrow! Students will choose their favorite works and read out loud to a small audience. The will finish by receiving encouraging comments and praise from their peers.
Kicking off Young Author's Day will be a presentation by author/illustrator Richard Jesse Watson. After students read their stories they will visit Richard again for an interactive presentation, hopefully inspiring future authors and illustrators.
If your child would like a personalized copy of one of his book, they will be available for purchase. Click here to download the book descriptions and order form.
Thank you to all the volunteers that have offered their time to be with us tomorrow and listen with small groups.


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Q: Considering a sequence $\{a_n\}_n$, $a_n=(-1)^n\left(\frac 12-\frac 1n\right)$, finding right alternative
Consider a sequence $\{a_n\}_n$,
$$ a_n=(-1)^n\left(\frac{1}{2}-\frac{1}{n}\right).$$
Let $b_n=\sum_{k=1}^n a_k$, $\forall\; n\in\mathbb{N}$. Then which of the following is true?
(i) $\lim_{n\to\infty} b_n=0$
(ii) $\lim\sup_{n\to\infty} b_n>\frac{1}{2}$
(iii)  $\lim\inf_{n\to\infty} b_n<-\frac{1}{2}$
(iv) $0\le\lim\inf_{n\to\infty} b_n\le\lim\sup_{n\to\infty} b_n\le\frac{1}{2}$

Now $\lim{a_{2n-1}}=-\frac{1}{2}$ and $\lim{a_{2n}}=\frac{1}{2}$. So my intuition says that (i) might be true. But I have got no such theorem that supports my thinking.
Again $\lim{a_{2n-1}}=-\frac{1}{2}$ may indicate that  $\lim\inf_{n\to\infty} b_n\ge-\frac{1}{2}$ and  $\lim{a_{2n}}=\frac{1}{2}$ may indicate that $\lim\sup_{n\to\infty} b_n\le\frac{1}{2}$. So (ii) and (iii) is not possible.
(iv) could be a possibility.
I am unable to solve this problem. But MSE always wants a try from the poster. So I posted this although I know that there are some mistakes.
SOURCE: CSIR-UGC NET

A: Asserting that $\lim_{n\to\infty}b_n=0$ is the same thing as asserting that $\sum_{n=1}^\infty a_n=0$. But the series $\sum_{n=1}^\infty a_n$ diverges, since you don't have $\lim_{n\to\infty}a_n=0$.
On the other and, if $n\in\Bbb N$,\begin{align}b_n&=\sum_{k=1}^n(-1)^k\left(\frac12-\frac1k\right)\\&=\left(\sum_{k=1}^n\frac{(-1)^k}2\right)+\left(\sum_{k=1}^n\frac{(-1)^{k-1}}k\right),\end{align}and$$\sum_{k=1}^n\frac{(-1)^k}2=\begin{cases}-\frac12&\text{ if $n$ is odd}\\0&\text{otherwise.}\end{cases}$$On the other hand, for each $n\in\Bbb N$,$$\sum_{k=1}^n\frac{(-1)^{k-1}}k\in\left[\frac12,1\right],$$since, if $(x_n)_{n\in\Bbb N}$ is a decreasing sequence of real numbers, you always have$$\sum_{k=1}^n(-1)^{k-1}x_k\in[x_1-x_2,x_1].$$Therefore, the second option is the correct one, since$$\lim_{n\to\infty}b_{2n}=\sum_{n=1}^\infty\frac{(-1)^{n-1}}n=\log(2)>\frac12.$$

redpajama_set_name: RedPajamaStackExchange


means it's better at becoming part of memory.
Print is dead—or is it?
With all the hype surrounding the internet, and newspapers in steady decline, it's easy to believe in the demise of the printed page. Everybody's so eager to eulogize print, we may be burying it alive. But don't count print out just yet—done right, it might still be the best tool in your marketing arsenal. According to findings from a Millward Brown research case study (1), neuroscientists using fMRI brain scanners, discovered that paper still has some advantages that bits and pixels can't match. Their conclusion shows that greater emotional processing is facilitated by the physical material than by the virtual. The "real" experience that the physical media provides means it's better at becoming part of memory. Like it or not, human brains are wired to put more emotional and mental stock, into something that's been printed on paper, rather than a computer screen. Plus, they tend to give a physical copy more attention than they do to something that's online. For this reason, printed materials are more useful than digital banners ads or emails.
We know paper trumps digital for emotion. But there's another way paper might be better: its weight. The idea comes from a scientific study which has discovered that when reading printed materials, our judgement and behaviour is subconsciously influenced by the weight of the physical medium and by basic tactile sensations. (2) Because we've always used our hands to learn and manipulate our environment, the sense of touch –which is the first sense to develop– plays a highly critical role. That explains why documents designed to impress are almost always printed on heavier stock with solid ink coverage and varnish coating that further add to the perception of weight.
When is print a better choice?
Certain objects look better on the page, with texture and colour that create memorable effects. Because it forces readers to slow down and absorb the message, print is well suited for complex and in-depth content. Type, colour, cropping, and page layout are much more controllable in print than in electronic media. Print is ideal for linear presentation of information: you control the delivery and adjacent imagery, away from any distractions, like competing ads and whimsical pointing and clicking. Because it requires more complex design choices and an investment in ink and paper, print conveys a commitment to quality that reflects well on your brand.
Email marketing? The brutal truth is that most of email lies unopened. Spam accounts for about 90% of it. By contrast, printed mail gets delivered. It doesn't get caught up in spam filters. It has also been proven, that most people, prefer to read ink-on-paper rather than on-screen, and find that experience to be more comfortable. We may live in the digital age, but we walk around a very real world and we prefer to interact with real, tangible things. Take direct-mail for instance. You can do things with a direct-mail piece that you can't still do with web. It's a physical experience. You can touch it, smell it and even taste it. It has a greater engagement factor and a higher brand recall. That's why print marketing tends to be read, instead of scanned. In leaner times, astute and nimble businesses–still interested in making print work for them–have a chance to penetrate niche and local markets, like never before.
While print is still very much alive, today, these tangible sales materials have evolved. The use of a simple QR code device has enhanced print by linking it with digital. When print and web complement each other, they strengthen the brand experience and make it real, seamlessly integrating into an immersive life-brand continuum. Furthermore, the use of variable data and imaging technology, can create a one-on-one relationship with each customer and prospect. The aim for all brands, of course, is to drive sales and increase customer loyalty, while at the same time, create strong brand advocacy among its customers. But conditions like these don't just come from doing the same thing over and over. For that, you need a different way of thinking and communicating. And MängaDesign, with its fresh, NeuroCommunication approach, can help.


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MKWANAZI COMPASSION INTERNATIONAL
MKWCI In Education
Mthwakazi Scholarship Fund >
Our Graduates and Their Testimonials
Our Students And Their Testimonials
MKWCI In Health Care
MKWCI In Church
MKWCI In Life Skills
MKWCI In Business
MKWCI Is Honored To Serve As Administrator For The
mKWANAZI COMPASSION scholarship fund
Sponsor a Student Today
computer ceremony and 2016 - lunch meeting held with students and the committee of friends trust (CoFT)
Sponsoring a student gives one the incredible opportunity to finance that student's education and make a positive impact on their future. We have the privilege and the honor to be the administrator of the Mkwanazi Compassion Scholarship Program in partnership with our Sponsors and the Committee of Friends Trust in Zimbabwe. We have now seen 17 College students graduate. These graduates represent various fields such as, Medicine, Insurance & Risk Mgt, Human Resources, Applied Mathematics, Biology, Sports Sciences, Human Resources, Environmental Science & Health, etc. Currently we are sponsoring 23 students who are still enrolled at the University of Science and Technology (NUST) and Lupane State University (LSU) in Bulawayo, Zimbabwe. It costs approximately $1,200 annually to sponsor a student. A contribution of $100 monthly will send a student through University in Zimbabwe.
The launching of this scholarship fund was our way of alleviating the economic challenges faced by many parents who currently reside in Bulawayo, a city that was once revered as the industrial heart of Zimbabwe and of Southern Africa to a greater extent. Scenes of desolation and abandonment now characterize Zimbabwe's second largest city. Bulawayo's vast industrial areas remain mostly abandoned. The roads are filled with potholes. Warehouses lie empty with broken windows. Their grand entrances, once crowded with workers, are now filled with overgrown elephant grass. Faded signs, rusting roof panels and chained gates tell a story of something gone horribly wrong.
Although the massive economic problems Zimbabwe is grappling with are not unique to Bulawayo, it is probably the country's hardest-hit city. Tribalism is a major factor that has affected the residents of this city including the whole region of Matabeleland, which has been subjected to marginalization and disenfranchisement. Having grown up in a country that had the highest literacy rate in Africa, Education was paramount in one's life and community. Every parent's dream was to ensure their children received quality education. In the 1980's Zimbabwe was reported to have an adult literacy rate of approximately 90% which was still the highest in Africa. However, Zimbabwe has since been hit by political and economic crisis that has led to a total collapse of the education system. Poor salaries for teachers and other civil servants have caused them to leave, leading to a brain drain in the country. Rural districts have been most adversely affected.
mkwci@hotmail.com


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Lust for a Vampire (1971)
Jenn Dlugos
Hammer's Carmilla Cycle
Jimmy Sangster
Tudor Gates
Yutte Stensgaard
When Nate asked me to review this film for the second time, I scoffed. This isn't unusual as I tend to scoff at anything Nate says, but the reason for this particular brand of scoffing lies in my former opinion of this movie. Long ago, in a galaxy far, far away, when I had a column at Classic-Horror called "Jenn's Obscure Movie of the Month," I reviewed this film. My general opinion was that it was a half hearted attempt at lesbian vampire porn and should be called Lust for Knockers. I believe I even suggested to get the widescreen version so you wouldn't miss one erect nipple this movie has to offer. God, how my view of this film changed the second time around. In reality, Lust for a Vampire is a fine vampire film well worthy of the name "Hammer Films".
The film is about a beautiful, blond female vampire. Everyone who falls in love with her (male and female) seems to inexplicitly disappear. This is a pyramid scheme by a head vampire who is using beautiful chick vampires for… er… it's not quite clear, but it's really, really bad. And possibly Satanic. Well, at very least, a lot of people are going to die. I was most impressed by the way this film moved and grooved. By the opening scene, I was absolutely hooked. The script was very, very solid. This is quite a rarity in obscure Hammer horror, and a refreshing treat for the viewing audience.
I enjoyed this film because it took the classic story of Dracula and put a female twist on it. Even in present day, the film still seemed fresh to me. Sure, it was predictable, but in the most delightful way. It was the typical vampire-wreaks-havoc-and-gets-killed-with-a- stake- through-the-heart-story. It's a formula that has always worked and will always work. However, just the addition of a simple twist, such as making the head vampire a beautiful female, and the concept looks brand new again. Two gangrened thumbs up for creativity.
There is one thing from my former review that I'm standing by, however. This film very well could have been called Lust for Knockers. The directors didn't miss one possible shot of bare-breasted nudity, especially in the first half hour of film (I get the haunting feeling that I just lost all my male readers to Blockbuster). In my first viewing, I was a little shocked by it, as blatant nudity was not something I was used to seeing in a horror film from this time period. Upon second viewing, I discovered that the nudity was in fact very tastefully done. It was not nearly as gratuitous as I formerly believed, and it added leaps and bounds to the sensuality of the film. After all, vampires are erotic beings -- female vampires more so -- and the film is caused Lust for a Vampire. The film is meant to be a little spicy, and the director gave it the perfect atmosphere.
I watch Hammer for the atmosphere of the films. Quite frankly, this film had atmosphere coming out of its naked butt, and it blew many of the non-Dracula Hammer vampire films out of the water. This film was a little different than most Hammer horror films because it concentrated on "shock" horror than the normal, subtle eeriness. This was fine, because they made proper adaptations. The music score was perfect. They used music with plenty of forte and strong chords, instead of the hauntingly slow, single note music that Hammer is used to. This is not to say one is better than the other, but for this film, the stronger music worked superbly well.
To comment on the acting: it did not completely suck. In fact, all of the actors involved were quite good. This is a huge step in the right direction for a Hammer Film that does not involve either Christoper Lee, Terence Fisher, or Peter Cushing. Some of the dialogue was a little on the so-bad-it's-funny side, but it really added to the campiness of the film. The catchphrase for this particular movie is "A heart attack.". Rent it, look for it, and try not to laugh.
Lust for a Vampire is best viewed alone. Viewing it with a bunch of friends who are looking to laugh at how dated an old film looks will likely hinder your enjoyment *scowls at friend whom Jenn watched this movie with originally*. However, for the solitary evening viewer, Lust for a Vampire might just be the classic horror sleeper hit you've been searching for.
The Man and the Monster (1959)


Clint Stencil Construction has built over 1,500 homes and over 2,500 apartment units since its start in 1979. Clint Stencil Construction takes pride in our ability to deliver a quality built living space that caters to the requests of the customer. Please view our completed projects below.


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Q: Windows error and python I'm working on a bit of code that is supposed to run an exe file inside a folder on my system and getting an error saying...
WindowsError: [Error 3] The system cannot find the path specified.
Here's a bit of the code:
exepath = os.path.join(EXE file localtion)
exepath = '"' + os.path.normpath(exepath) + '"'
cmd = [exepath, '-el', str(el), '-n', str(z)]

print 'The python program is running this command:'
print cmd

process = Popen(cmd, stderr=STDOUT, stdout=PIPE)
outputstring = process.communicate()[0]

I have imported subprocess and also from subprocess import *
For example, This is how my exe file location looks like in the first line of the code I show:
 exepath= os.path.join('/Program Files','next folder','next folder','blah.exe')

Am I missing something?

A: You need to properly escape the space in the executable path

A: Besides properly escaping spaces and other characters that could cause problems (such as /), you can also use the 8 character old DOS paths.
For example, Program Files would be:
Progra~1 , making sure to append ~1 for the last two characters.
EDIT: You could add an r to the front of the string, making it a raw literal. Python would read the string character for character. Like this:
r " \Program files"

A: If I remember correctly, you don't need to quote your executuable file path, like you do in the second line.
EDIT: Well, just grabbed nearby Windows box and tested this. Popen works the same regardless the path is quoted or not. So this is not an issue.

A: AFAIK, there is no need to surround the path in quotation marks unless cmd.exe is involved in running the program.
In addition, you might want to use the environment variable ProgramFiles to find out the actual location of 'Program Files' because that depends on regional settings and can also be tweaked using TweakUI.


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title: Base de Conhecimento
layout: knowledge-base-index.hbs
---

# Base de Conhecimento

redpajama_set_name: RedPajamaGithub


The color #508043 is one of 16,777,216 (16^6) hexadecimal colors. It is closest to the websafe color #669933.
The CSS property style="color: #508043" can be used to change the color of text.
To change the background color use style="background-color: #508043".


Finest days to vacation – Travel specialists book a lot of vacations each year plus they understand what the best days to visit come from the point of view of a person's budget in addition to in the perspective of your time. If you can to supply the agent with a few versatility in travel dates, they can acquire the least costly and many stress-free selections for your honeymoon travel.
Reduce your vacation – Whenever you pick a tour operator to reserve your vacation they'll obtain the best discounts on flights and hotels since travel agencies can purchase tickets in large quantities and pass these savings onto you.
Saves a lot of work when planning your vacation – It can save you hrs of your time because the agent would be the one to handle the booking and formulations of the vacation. You need to simply let them know where, when and why.
A travel agent can offer solutions to the questions regarding documents requirement for vacation- A person's agent knows essential closing dates and requirements for passports, etc. They'll help lead you with the process.
A tour operator can present you with some insider perks for vacation- Since travel specialists are acquainted with the proper questions you should ask, they might be able to picking out offers the common person would not encounter by themselves.
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text:
Tag: Edgar Alan Poe
AUTHOR INTERVIEW: Stephen Volk
September 16, 2021 megHan
And now, for a little bit of fun…
Meghan: Hey Stephen! Welcome… back? Hahaha. What is your favorite part of Halloween?
Stephen: 1) My grandsons having fun!
2) The movies!……. It is the one day of the year when TV puts out horror movies or shows about horror movies. And it is the one night of the year when people who don't like scary things like to be scared, And – see – that's when we GET them! Heh heh heh!
Stephen: Telling ghost stories by candle light. Except nobody does it any more. Our campfire tales are usually told in front of the latest wide screen plasma screen. And told by cinematographic storytellers. But there is nothing quite like the old tradition of HEARING a ghost story to truly chill the blood. The images you conjure up in your head are far worse than any CGI can deliver!
Stephen: I like ANY holiday because it means the phone won't ring and I can get on with writing without being disturbed!
Stephen: I'm not superstitious in the conventional sense, but I have a desk full of talismanic objects… A statuette of Peter Cushing, Poe and Alfred Hitchcock, skull money boxes, monster toys etc…
But generally I believe in "paying back" – so if I get paid for a screenplay, I like to spend money on a work of art. Be it a small print of £50 or a bigger piece of artwork I have fallen in love with – or indeed an expensive or lavish book. I love the visual arts – painting, etching, etc – lots of my friends are artists and you can pick up an original work of art rather than a mass produced print and feel you are supporting the artist. I like that! I also like to share all sorts of weird images on my twitter feed or Facebook timeline – they are great inspiration for stories!
Stephen: It would have to be Frankenstein's creature. It isn't just frightening it has a lot of tragedy and pathos – it was rejected by its father, so it wasn't born bad, it was made bad by being treated badly. I love that as a metaphor for life. Maybe there is a story to be written where Viktor Frankenstein was a good daddy? That would be interesting.
Stephen: The Jack the Ripper murders of Whitechapel in 1888, of course. I don't think we will ever get to the bottom of the mystery. Not anymore, so long after the primary evidence has decayed and the witnesses and investigators are all dead. All the theories overlap and the territory is too muddy. My own theory is that "London" or specifically the East End was the murderer. There was no single killer of the canonical five. And the person who wrote the "Dear Boss" letter was an enterprising reporter called Tom Bulling. In fact, I wrote a TV script about him, and the creation of the first tabloid true crime story. Bulling "created" the myth of Jack the Ripper, I think. (I was always fascinated that Inspector Abberline was alive long enough to have watched Hitchcock's "Ripper" film The Lodger in a movie house!)
Stephen: The phantom hitchhiker, probably. It's very easy to hallucinate a figure at the side of the road but it turns out it's only a signpost or tree, but the idea of a hitchhiker being a ghost sitting next to you is terrifying. We're terribly vulnerable in our cars at night. I tried to dramatise this is a script I wrote called Octane (called Pulse in the USA) starring Madeline Stowe and Norman Reedus. It was about vampires who prey on people in car crashes at night. It was a cool idea but the movie didn't quite work.
Stephen: I don't find serial killers interesting or charismatic. In real life they are boring, odious non-entities. I think we have to grow up and face the fact that they aren't comic book monsters let alone "heroes" – they are human beings who have gone badly wrong. And we can't spot them in a crowd because they look like you and me. In my stories about people who do terrible things I always want there to be shadings of gray. Maybe a terrible person does something for a good reason, or a good person is forced to do something awful. That is much more interesting to me than a Freddy or a Jason.
Stephen: First horror movie was on TV and it was a black and white one called The City of the Dead. It was a British film, I think, but set in the USA, full of men in monks' cowls and streets swathed in fog – it was terrific! There is one particular image that stayed with me ever since, and that was a man staggering through the fog holding a life sized cross from the graveyard to ward off the evil ones – who I think burst into flames! That, to me, was almost the equal of the iconic scene in Hammer's Dracula where Van Helsing leaps up and pulls down the curtains letting in the sunlight that shrivels Dracula to a crisp – then holds the two candle sticks in the form of a crucifix to finish him off! Wonderful stuff!
First horror book was a magazine – FAMOUS MONSTERS OF FILMLAND magazine! I used to save up my pocket money and go to the local newsagent and buy it. The photographs were like nothing I'd ever seen. And of course long before I was old enough to see any of the movies themselves – which were "X" certificate in Britain – ADULTS ONLY! That's how I got to know Boris Karloff and Bela Lugosi, way before I saw the films.
Stephen: Possibly Dracula at a young age – it sort of felt real because it was in diary form. Like the equivalent of a "found footage" movie today. You plunge into the immersive world and it doesn't let go. When you are young you don't understand the graphically sexual imagery – it is just the force of predatory evil and strangeness that is all-consuming.
Stephen: Without doubt, Nicolas Roeg's Don't Look Now starring Donald Sutherland and Julie Christie. It's my number one film of all time because when the ending happened (I was sitting in a movie house all alone on a wet Wednesday afternoon) I thought I'd lost my mind. I thought the reels must have been switched. I didn't get it, then it all made sense. Then there was that marvellous montage of all the hints that had told you what was going on all along. It's a true cinematic masterpiece, and I will watch it over and over till the day I die. Purely from the craft point of view there is so much to learn from the storytelling and the depth of character.
Stephen: I have a skinhead skullcap with a massive rubber Mohawk sticking up. I like it because my dad wore it one time and it looked hilarious so it reminds me of him. And, since I'm bald, it is kind of perverse to wear a bald skull cap on top of a bald head! But hey, that's how I roll!
Stephen: Gotta be "The Monster Mash". I can't think of any other. And now I've got it playing in my head, damn you!
Stephen: Nothing. I'll eat anything. If you were a chocolate bar, I'd eat you.
Meghan: Stephen, thanks again for joining us today. Not for one interview, but TWO. Before you go, what are your favorite Halloween movies?
Stephen:
#1 Halloween – the original and the best!!
#2 Ghostwatch (I wrote it – so, sorry!)
But for Halloween night, I'd always recommend these superlative cinematic treats:
#3 The Innocents
#4 The Haunting (black and white version)
#5 The Woman in Black (British TV version)
#6 Herzog's Nosferatu
#7 Dreyer's Vampyr
#8 Haxan
#9 Viy
#10 The Devil's Backbone
Thanks for the interview. To sign off here is George, my grandson, carving pumpkins and looking super chilled:
STEPHEN VOLK is best known as the writer of the BBC's notorious "Halloween hoax" Ghostwatch and the award-winning ITV drama series Afterlife. His other film and television screenplays include The Awakening (2011), starring Rebecca Hall, and Gothic, starring the late Natasha Richardson as Mary Shelley. He is a BAFTA Award winner, Shirley Jackson Award finalist, and the author of three collections: Dark Corners, Monsters in the Heart (which won the British Fantasy Award), and The Parts We Play. The Dark Masters Trilogy comprises of three stories (Whitstable, Leytonstone, and "Netherwood") using Peter Cushing, Alfred Hitchcock, and Dennis Wheatley as fictional characters, with a guest appearance by the occultist Aleister Crowley. His provocative non-fiction is collected in Coffinmaker's Blues: Collected Writings on Terror (PS Publishing, 2019) and his most recent book, also from PS Publishing, is Under a Raven's Wing – grotesque and baffling mysteries investigated by Sherlock Holmes and Edgar Allan Poe's master detective Dupin in 1870s Paris.
Under a Raven's Wing —
The Apprenticeship of Sherlock Holmes
In 1870s Paris, long before meeting his Dr Watson, the young man who will one day become the world's greatest detective finds himself plunged into a mystery that will change his life forever.
A brilliant man—C. Auguste Dupin—steps from the shadows. Destined to become his mentor. Soon to introduce him to a world of ghastly crime and seemingly inexplicable horrors.
The spectral tormentor that is being called, in hushed tones, The Phantom of the Opera . . .
The sinister old man who visits corpses in the Paris morgue . . .
An incarcerated lunatic who insists she is visited by creatures from the Moon . . .
A hunchback discovered in the bell tower of Notre Dame . . .
And—perhaps most shocking of all—the awful secret Dupin himself hides from the world.
Tales of Mystery, Imagination, and Terror
Investigated in the company of the darkest master of all.
The Dark Master's Trilogy —
Whitstable – 1971.
Peter Cushing, grief-stricken over the loss of his wife and soul-mate, is walking along a beach near his home. A little boy approaches him, taking him to be the famous vampire-hunter Van Helsing from the Hammer films, begs for his expert help…
Leytonstone – 1906.
Young Alfred Hitchcock is taken by his father to visit the local police station. There he suddenly finds himself, inexplicably, locked up for a crime he knows nothing about – the catalyst for a series of events that will scar, and create, the world's leading Master of Terror…
Netherwood – 1947.
Best-selling black magic novelist Dennis Wheatley finds himself summoned mysteriously to the aid of Aleister Crowley – mystic, reprobate, The Great Beast 666, and dubbed by the press 'The Wickedest Man in the World' – to help combat a force of genuine evil…
The Little Gift —
The nocturnal scampering invariably signals death. I try to shut it out. The cat might be chasing a scrap of paper or a ball of silver foil across the bare floorboards downstairs, say a discarded chocolate wrapper courtesy of my wife, who likes providing it with impromptu playthings. I tell myself it isn't necessarily toying with something living, but my stomach tightens.
Coffinmaker's Blues: Collected Writings on Terror —
The Parts We Play —
An illusionist preparing his latest, most audacious trick… A movie fan hiding from a totalitarian regime… A pop singer created with the perfect ingredients for stardom… A folklorist determined to catch a supernatural entity on tape… A dead child appearing to her mother in the middle of a supermarket aisle… A man who breaks the ultimate taboo—but does that make him a monster?
In this rich and varied collection of Stephen Volk's best fiction to date, characters seek to be the people they need to be, jostled by hope, fears, responsibility, fate, and their own inner demons—and desires. These tales of the lies and lives we live and the pasts we can't forget include the British Fantasy Award-winning novella, Newspaper Heart.
Tagged Afterlife, Alfred Hitchcock, author interview, BAFTA, Dark Corners, Don't Look Now, Dracula, Edgar Alan Poe, Famous Monsters of Filmland, Ghostwatch, Gothic, Halloween, Halloween Extravaganza, Halloween Extravaganza 2021, Haxan, Herzog, Inspector Abberline, Jack the Ripper, Leytonstone, Madeline Stowe, Mary Shelley, Monsters in the Heart, Natasha Richardson, Netherwood, Nicolas Roeg, Norman Reedus, Nosferatu, Octane, Peter Cushing, PS Publishing, Rebecca Hall, Sherlock Holmes, Stephen Volk, The Awakening, The City of the Dead, The Coffinmaker's Blues, The Dark Master's Trilogy, The Devil's Backbone, The Haunting, The Innocents, The Little Gift, The Monster Mash, The Parts We Play, The Woman in Black, Tom Bulling, Vampyr, Viy, Whistable, WhitechapelLeave a comment


text:
Wing-tsit Chan (18 d'agost de 1901 – 12 d'agost de 1994) fou un investigador i professor universitari xinès, conegut per la seva recerca en el camp de la filosofia xinesa i les seves traduccions de textos filosòfics xinesos. Nascut el 1901, va emigrar als Estats Units el 1924, on es doctoraria a Harvard el 1929. Va ser professor a la Universitat de Dartmouth i a la Universitat de Chatham la majoria de la seva carrera acadèmica. El 1963 va publicar el llibre A Source Book in Chinese Philosophy, que va esdevenir un manual de referència en el món anglòfon, sovint utilitzat com a font per parlar o citar filosòfs clàssics de la Xina.

Publicacions destacades
 A Source Book in Chinese Philosophy (Princeton University Press, 1963).
 (with Wm. Theodore de Bary and Burton Watson) Sources of Chinese Tradition (Columbia University Press, 1960)
 An Outline and an Annotated Bibliography of Chinese Philosophy (Yale University Far Eastern Publications, 1969)
 Reflections on Things at Hand: The Neo-Confucian anthology compiled by Chu Hsi and Lü Tsu-Ch'ien (Columbia University Press, 1967)
 Instructions for Practical Living and Other Neo-Confucian Writings by Wang Yang-Ming (Columbia University Press, 1963)
 Religious Trends in Modern China (Columbia University Press, 1953)
 Chinese philosophy, 1949-63
 The Way of Lao Tzu (Bobbs-Merrill, 1963)
 (with Ariane Rump) Commentary on the Lao Tzu by Wang Pi (University of Hawaii, 1979)
 The path to wisdom: Chinese Philosophy and religion, a chapter in Half the world: The history and culture of China and Japan (Thames and Hudson, London, 1973), edited by Arnold J. Toynbee.
 (ed., with Charles Moore) The Essentials of Buddhist Philosophy by Junjirō Takakusu (Greenwood Press, Westport, CT. 1976)
 Chu Hsi New Studies (1989)

Premis i reconeixements
 1992 - Premi de l'Associació d'Estudis Asiàtics per la seva contribució a la disciplina

Referències

Morts el 1994
Alumnes de la Universitat Harvard
Professors de la Universitat de Dartmouth
Filòsofs xinesos
Morts a Pennsilvània
Persones de Guangdong
Filòsofs estatunidencs

redpajama_set_name: RedPajamaWikipedia


text:
using System.Reflection;
using System.Runtime.InteropServices;

[assembly: AssemblyTitle("Ballance.FibonacciRetry")]
[assembly: AssemblyDescription("Fibonacci Retry system")]
[assembly: AssemblyConfiguration("")]
[assembly: AssemblyCompany("Ballance.IT")]
[assembly: AssemblyProduct("Fibonacci Retry")]
[assembly: AssemblyCopyright("Copyright © 2016 Chris Ballance")]
[assembly: AssemblyTrademark("")]
[assembly: AssemblyCulture("")]
[assembly: ComVisible(false)]
[assembly: Guid("CAF0B3FF-3D6F-43FE-A666-3AD68776E6D3")]
[assembly: AssemblyVersion("1.0.1.0")]
[assembly: AssemblyFileVersion("1.0.1.0")]


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You can disable a provisioning service on the RealPresence Group Series system web interface.
In the system web interface, go to Admin Settings > Servers > Provisioning Service.
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text:
Park Service Pedals Backward on E-Bikes
Tags: e-bikes, national parks, NPS
Paula Dinerstein pdinerstein@peeer.org (301) 580-4020
In the Midst of Lawsuit, Trump-Era Order is Rescinded
Washington, DC — The National Park Service (NPS) has ordered all of its units to "reconsider" past approvals of electric bikes on park trails and roads, according to a new internal policy directive. The directive cites the ongoing litigation by Public Employees for Environmental Responsibility (PEER) and others challenging the legitimacy of all prior e-bike authorizations made during the Trump Administration.
The June 30, 2021, memorandum from "acting" NPS Director Shawn Benge directs all parks to –
"[R]econsider whether, where, and under what conditions e-bike use should be allowed on trails or administrative roads… based on the resource conditions of the park, the particular characteristics of the trail or administrative road, conflicting visitor uses, safety concerns, and any other relevant considerations. This memorandum does not dictate the substantive result of this reconsideration."
Benge's memo cites the lawsuit by a PEER-led coalition challenging the legality of e-bike orders and a final regulation issued under former Secretary of the Interior David Bernhardt on multiple grounds, including that the NPS never complied with requirements of the National Environmental Policy Act (NEPA) to undertake a thorough prior assessment of the potential environmental impacts.
"This is a wobbly move by the Park Service," remarked PEER Senior Counsel Peter Jenkins, who is handling the suit. "It shows they recognize they have a bad legal mess on their hands created under David Bernhardt, but it is insufficient to fix the mess."
Much of the controversy concerns heavy, fast-moving e-bikes on backcountry trails carrying risks to startled wildlife, deteriorating trail conditions, and disturbing other users, such as horseback riders, as well as the prospect of injuries from e-bike collisions. PEER has identified 28 parks that allowed e-bikes on backcountry trails for the first time as a result of the NPS's maneuvers, including Acadia, Everglades, Glacier, and Rocky Mountain National Parks.
The Benge memo also promises to assemble after-the-fact research, stating:
"To assist superintendents with their decisions, the NPS is working expeditiously with the U.S. Department of Transportation Volpe Center to review relevant e-bike studies and other information and prepare a summary of key findings regarding e-bike use patterns and broad potential resource and visitor impacts. Superintendents should apply relevant information to the specific conditions at their park to inform their decision regarding e-bike use on trails and administrative roads…"
"Scrambling to assemble impact research after its final e-bikes regulation was issued is both a violation of NEPA and bad resource management," Jenkins added, suggesting that this NPS tactic is aimed to fend off the pending litigation. "Having inherited so many legal problems, the Park Service under Deb Haaland should not keep trying to salvage a fatally flawed approach but instead go back to the drawing board to do it the right way."
Read the new Park Service e-bike directive
Look at looming PEER lawsuit
See the 28 parks that have allowed e-bikes on backcountry trails
Big South Fork
City of Rocks
C&O Canal
Golden Gate NRA
San Juan Island National Historical Park
Santa Monica Mountains NRA
Sleeping Bear Dunes National Lakeshore
Valley Forge National Historical Park
Wrangell-St. Elias
Yukon‐Charley Rivers National Preserve