I turned the key in the lock and took another deep breath because this exhausting workday had found an end. I put my bag aside, pulled the coat off my shoulders and went full of expectation to my black wardrobe. When I opened it a fragrant whiff of latex enclosed me - however, I didn't want to put on just something from my shining repertoire! Since my spontaneous idea required a quite special equipment!


Snap announced that it is testing out a new way to search for products on Amazon using the Snapchat camera.
The company added that it will roll out the new feature slowly.
The news comes after it was reported that the backlash to the Snapchat redesign continued to depress user figures in the second quarter of 2018, with daily active users declining 2 percent year over year in Q2 to 188 million.
However, the company still beat analyst expectations and earnings in its latest financial report. Revenue increased 44 percent year over year in the second quarter of 2018, reaching about $262 million, while international revenue accounted for 33 percent of total revenue — representing a 26 percent year-over-year increase. Advertising revenue posted a 48 percent year-over-year increase, to $260 million.
In the future, Siegel revealed that Snap plans offer more products centered around augmented reality. One current example is Lens Explorer, a tool designed to make it easier to find lenses created by other Snapchat users. "We also released Snappables, new augmented reality experiences that can be shared with friends," he said.


text:
Q: Django admin translate I want my admin in Turkish. So I set *LANGUAGE_CODE = 'tr-TR'* and USE_I18N = True But django admin still in english.
Is there something else I should do?

A: Since the admin is basically just a normal Django app, the usual rules for language preference  apply. I suppose Turkish isn't set as the preferred language in your browser.
In case you want to explicitly set the language for the admin, you might want to have a look at this middleware:
http://source.mihelac.org/2009/11/12/django-set-language-for-admin/

redpajama_set_name: RedPajamaStackExchange


There are some people that anindividual keeps in mind when making a purchase. Usually, such peopledisseminate opinions and other individuals are pressured into following theirtrend, becoming associated with them and using them as a standard of theirpurchase decisions. Such people are known as reference groups and they includeentertainment figures, sports heroes, political leaders, parents, co-workers,teachers and peers. This paper seeks to contribute to the existing body of theliterature on reference group influence. Specifically, it focuses on peerinfluence among young adults' products purchase decisions. A convenience sample of 101 universitystudents participated in this study. The results of Analysis of Variance andt-tests indicated that there is more normative influence for a public luxury(sunglasses) than for a private luxury (cell phone) and private necessity(toothpaste). Informational influence was also more for a public luxury than aprivate necessity.


Marketed for nearly 12 years during 1969-1980 by the French Automobile Company Renault, the Renault 12 is out and out a family car. The car is available in two forms as saloon as well as estate.
The car was produced in different sources across the globe and its production has extended to the current millennium as well. Today the car is manufactured under different licenses in multiple countries.
For the first 12 years of its production, the car was quite popular in Europe and the press applauded it consistently. Features that earned the model praise were as follows.
- Spacious as well as extremely comfortable interior.
- High performance despite managing substantial fuel economy.
In sharp contrast was the way it figured in the North American press.
- They were extremely critical about the obtrusive noises that were created by Renault 12 engine while on the move.
- Heavy as well as non-power steering in the car was looked upon as one of the most serious deficiencies in the car design.
- Critics considered the ventilation system of the car as worse in quality.
Production and marketing that started in 1969 was stopped in Europe in 1980. The model however continued to be manufactured and sold in some parts of Europe and outside. Turkey saw the last piece in 1999 while Romanian Company Dacia persisted with 1310 sedan as well as estate that were R12 based till 2004-06. The last one to be designed was the pickup and it was curtains for them from December 2006 onwards.
One cannot ignore the commercial success of Renault 12 as over 2.5million cars were sold in the market.
Technical Characteristics of 1976 Renault 12 L produced by Renault (FR).


text:
Q: AWS Elastic Beanstalk Nginx Virtual Hosts I have started to test a migration from PHP 7.0 to 7.4 on AWS Elastic Beanstalk. Worked out some issues with yum package names. But im having an issue with my old virtual hosts situation.
Previously this was in a .conf file in .ebextensions:
files:
  "/etc/httpd/conf.d/vhost.conf":
    mode: "000644"
    owner: root
    group: root
    content: |
      NameVirtualHost *:80
      NameVirtualHost *:443

      <VirtualHost *:80>
        ServerName dashboard.domain.com
        ServerAlias www.dashboard.domain.com
        DocumentRoot /var/www/html/
      </VirtualHost>
      <VirtualHost *:443>
        ServerName dashboard.domain.com
        ServerAlias www.dashboard.domain.com
        DocumentRoot /var/www/html/
      </VirtualHost>
      <VirtualHost *:80>
        ServerName txtlocal.domain.com
        ServerAlias www.txtlocal.domain.com
        DocumentRoot /var/www/html/includes/txtlocal_inbound/
      </VirtualHost>
      <VirtualHost *:443>
        ServerName txtlocal.domain.com
        ServerAlias www.txtlocal.domain.com
        DocumentRoot /var/www/html/includes/txtlocal_inbound/
      </VirtualHost>

Now im having issues getting those virtual hosts to work. What do I need to change for PHP 7.4 to work with my virtual hosts? I can see that the server changed to nginx, is there a way to do it in a nginx config file? I can't seem to find anything in the docs for AWS Elastic Beanstalk...

A: Yo are trying to use virtual hosts instead of server/locations. AWS used Apache, but in modern versions they are deploying aplications with NGINX. I'm facing the same upgrade situation.
Read this if you want to understand how to define "virtual servers" in NGINX:
https://www.digitalocean.com/community/tutorials/how-to-set-up-nginx-server-blocks-virtual-hosts-on-ubuntu-16-04
This may also help:
https://www.keycdn.com/support/nginx-virtual-host
You can find NGINX conf file using
nginx -V

Note mayus V


text:
Q: Books on non-perturbative phenomena in quantum field theory I am looking for any good places (preferably textbooks) to study about introductory non-perturbative phenomena in Quantum field theory.
Any suggestion will be appreciated.

A: If you're interested in non-perturbative aspects of quantum field theory,  you should study lattice quantum field theory.  In fact, you'd be negligent not to:  Lattice QFT is the only reasonably general way of defining non-perturbative quantum field theory, and frequently the only practical way of doing concrete non-perturbative computations.  It's also pedagogically worthwhile:   Because lattice QFT is oriented towards non-perturbative phenomena, its textbooks present QFT without the usual perturbative haze.  You get a much cleaner view of what QFT is.
Decent textbooks include:

*

*Smit, Introduction to Quantum Fields on a Lattice

*Montvay, Muster, Quantum Fields on a Lattice
I also like the following notes:

*

*LePage, Lattice QCD for Novices, https://arxiv.org/abs/hep-lat/0506036

*McGreevy, Whence QFT?, found at https://mcgreevy.physics.ucsd.edu/s14/
You should also take some time to study Conformal Field Theory, which is usually concerned with phenomena inaccessible to perturbation theory.  There're a number of standard textbooks & lectures notes.  For brevity, I'll mention:

*

*di Francesco et al, Conformal Field Theory (the bible of 2d CFT)

*Rychkov, EPFL Lectures on Conformal Field Theory in D>= 3 Dimensions, https://arxiv.org/abs/1601.05000
Lastly, you should spend some time learning about topological aspects of non-perturbative QFT, meaning anomalies, instantons & such.

*

*Coleman, Aspects of Symmetry, (the classic introduction, but not much on anomalies)

*Polyakov, Gauge fields and strings, (eclectic and interesting)

*Bilal, Lectures on Anomalies, (solid & modern)

A: The OP did not explain what "nonperturbative" means, which can vary. So I will go with beyond perturbation theory, i.e., not just talking of correlations of a QFT as formal power series in $\hbar$ or the renormalized coupling constant. In that case, the literature on constructive quantum field theory deserves to be mentioned (although it might be too mathematical for OP's taste).
The classical reference is the book by Glimm and Jaffe "Quantum Physics: A Functional Integral Point of View". It starts from classical mechanics and statistical mechanics and goes through QM and finally QFT. Not an easy read but it is quite thorough and mathematically rigorous.
Another reference is the book "From Perturbative to Constructive Renormalization" by Rivasseau which is more technical and is a better source for topics like cluster expansions.

A: The following books assume some acquaintance with perturbative quantum field theory. Together they cover a very wide spectrum of nonperturbative techniques for very different situations.

*

*E. Calzetta and B. Hu. Nonequilibrium Quantum Field Theory. Cambridge Univ. Press (2008). A book on nonperturbative quantum field theory at finite time and finite temperature.

*Y. Frishman and J. Sonnenschein. Non-Perturbative Field Theory. Cambridge Univ. Press (2010). A book on nonperturbative quantum field theory with emphasis on 2-dimensional exactly solvable models.

*M. Shifman. Advanced Topics in Quantum Field Theory. Cambridge Univ. Press (2012). A book on nonperturbative quantum field theory with emphasis on supersymmetry.

A: For an essentially introductory, well illustrated (!) QFT book for the future, one might do worse than taking a look at Yannick  Meurice's

*

*Quantum Field Theory: A Quantum Computation Approach (April 2021)
(IOP Expanding Physics, IOP  Publishing Ltd) ISBN-13 : 978-0750321853

Rather than getting students up to speed for cranking out perturbative cross sections, it dares to bridge the gap to computational physics simulations in finite (small) Hilbert spaces, instead. Focuses on lattice simulation experiments for strongly interacting systems, expressly poised to utilize quantum computing--"an ineluctable modality of the visible (Joyce)", in the author's vision.


text:
Chocolat pode se referir a:
 Chocolat (livro), romance de Joanne Harris
 Chocolate (filme), filme adaptado do romance
 Chocolat (banda), girl group sul-coreano
 Chocolat (2016), filme dirigido por Roschdy Zem

Ver também
 Chocolate (desambiguação)

Desambiguação

redpajama_set_name: RedPajamaWikipedia


text:
Yarnwinder recovery, two lawyers charged
FOUR men, including two lawyers, arrested in a police raid in Glasgow to recover the Leonardo da Vinci stolen from Drumlanrig Castle, have now been charged in a Scottish court.
ATG Reporter
All four gave no plea when they appeared at Dumfries Sheriff Court on October 5 where they were charged with conspiracy to rob and extort money.
Da Vinci's Madonna of the Yarnwinder was recovered in the raid on the central Glasgow solicitor's office HBJ Gately Wareing on October 4.
One of the men arrested, Calum Jones, 42, is a partner of the firm. According to the company's website, he specialises in corporate finance and corporate insolvency.
The other lawyer arrested was Marshall Ronald, 51, who works as a solicitor in the Greater Manchester area.
The other two men were Robert Graham, 55 and John Doyle, 58, both from Ormskirk, Lancashire. All were granted bail.
No date has currently been set for the men to reappear in court, but police have confirmed that they are continuing the investigation and are trying to trace anyone who was either involved in the robbery or has handled the painting since its theft.
A spokesman for HBJ Gately Wareing told The Times that there was "an interesting, but benign, explanation" behind Mr Jones's arrest.
Law, crime and regulation
Dispute keeps lost Blakes under cover
Agnew's fight £1.5m claim over Van Dyck attribution
Court hands lost work back to owner despite compensation deal
Appeal Court ruling protects auctioneer in good faith claim
Caravaggio case – Sotheby's come out fighting

redpajama_set_name: RedPajamaCommonCrawl


Lone Star State of Texas. Join Match.com to meet quality singles like you today! Finding love in the big city of White Settlement,Texas can be complicated. Match.com is simple. You are the driver of your love life; start your journey for love by clicking on any one of millions of White Settlement profiles.


This page shows businesses on MacNaghten Road. Click on a business to bring up its details and a map showing its location.
G B Prouton is an accountancy firm offering assistance with accounts and many other financial matters including tax.
Sunrider Products is a retailer of various health foods and related health products.
The Carpet Gallery is a carpet company selling a range of carpets, rugs and mats.
Find out what people are saying about places on MacNaghten Road.
Map showing MacNaghten Road in Southampton.


Save Vietnam's Wildlife (SVW) is a Vietnamese non-profit organisation that was founded in 2014 but formerly operated as the Carnivore and Pangolin Conservation Programme (CPCP). By addressing the need for more effective conservation action, the organisation aims to safeguard Vietnam's biodiversity for future generations.
At the core of SVW's work in Vietnam is a collaborative partnership with Cuc Phuong National Park, to support the management and operation of the CPCP. The programme focuses on the rescue, rehabilitation and release of carnivores and pangolins (scaly anteaters) confiscated from the illegal wildlife trade, and the development of global conservation breeding programmes for threatened carnivore and pangolin species. WWCT has supported the conservation of species such as Owston's civet and Sunda pangolin predominantly through the staff of Newquay Zoo providing expertise and funds. WWCT has also funded a Technical Advisor at SVW to coordinate animal husbandry and international communication.
Very little is known about the ecology and biology of these elusive species. SVW staff carry out scientific research to understand the requirements of threatened species in the wild and in captivity. Their work informs animal welfare standards and practices for the animals in the care of the CPCP. Wherever possible these animals are rehabilitated and released into suitable habitats, supporting the conservation of wild populations. SVW also plays an active role in the education of law enforcement officers and the public to promote positive perceptions and attitudes towards wildlife conservation in Vietnam.


Users can read the measurements using the testo Smart Probes App installed on their smart device. Smart Probes can be used individually or combined with other Smart Probes to create measuring solutions for most HVAC/R applications. Great for setup and diagnostics of large and small HVAC/R systems!
Here you can download the brochure for testo 605i.


text:
Discandied: On Women and Elegy
September 12, 2011 Issue
Learning to mourn with Susan Howe, Gertrude Schnackenberg, Anne Carson and C.D. Wright.
By Susan Stewart
Poets writing in English have long learned to mourn from classical precedents. They have drawn on a tradition of pastoral elegies, which incorporate the dead into the cycles of nature, that runs from Theocritus' Idylls to John Milton's "Lycidas" and Percy Shelley's "Adonais." They have also found inspiration in a tradition of piercing lyric expressions of loss stretching from Catullus' 101 (Multas per gentes et multa per aequora vectus) to William Wordsworth's "Surprised by Joy" and Elizabeth Bishop's "One Art." More often writing soliloquies of suffering and consolation than collective songs like the dirge, elegists have discovered that lyric sequences can provide a powerful means of addressing the tensions between grief's inchoate emotion and social rituals of mourning. Alfred, Lord Tennyson's "In Memoriam A.H.H.," begun at the news of his friend Arthur Henry Hallam's death in 1833 and published in 1850, became a pathbreaking example of sustained lyric lament. Thomas Hardy's searching, ambivalent reflections upon the death of his first wife in his magisterial Poems 1912–1913 later provided an important model for book-length elegiac sequences, among them Ted Hughes's Birthday Letters (1998), with its belated address to Hughes's first wife, Sylvia Plath, and the Milanese poet Milo De Angelis's Tema dell'addio (Theme of Farewell), from 2005, a meditation on the early death of De Angelis's wife, the poet Giovanna Sicari.
That This
By Susan Howe.
Buy this book.
Heavenly Questions
By Gjertrud Schnackenberg.
www.amazon.com/exec/obidos/ISBN=0374283079/thenationA
By Anne Carson.
One With Others
[a little book of her days].
By C.D. Wright.
In recent years, however, it has been women elegists who, like the Roman epigrammatists of the first century and the British sonneteers of the sixteenth century, are breaking new ground with an established form. Writing most often about deaths within their families, these writers have produced few single or book-length elegies about the demise of public figures; for them, the elegy remains, paradoxically, a public declaration of private emotions. In her prizewinning collection of poems called, simply, Elegy (2007), Mary Jo Bang explores with great anguish the inherently violent and unnatural relation to time experienced by a parent who has lost a child. Here is the conclusion of a poem called "The Role of Elegy":
What is left but this:
The compulsion to tell.
The transient distraction of ink on cloth
One scrubbed and scrubbed
But couldn't make less.
Not then, not soon.
Each day, a new caption on the cartoon
Ending that simply cannot be.
One hears repeatedly, the role of elegy is.
"What is left" in the poem are grief's distinctive valences: the tension between compulsion and distraction; the slippage between commemoration and obliteration; the burden placed on the mourner by the assumptions and demands of others. Bang also negotiates the tension—famously explained by Freud—between melancholia, an endless process of painful repetition, and mourning, with its gradual movement toward closure.
How deeply we might comprehend formal expressions of grief, and whether such comprehension leads to understanding and sympathy, remain open questions. Recent prose memoirs by grieving family members, such as Joan Didion's harrowing The Year of Magical Thinking (2005), Joyce Carol Oates's A Widow's Story (2011) and Meghan O'Rourke's The Long Goodbye (2011), trace a mourner's growing self-knowledge as her life is changed and the dead come into clearer, often disconcerting, perspective. These narrative accounts of traumatic loss necessarily repeat and encompass it, acknowledging, if not an afterlife, at least an aftermath. Writers of recent poetic elegies, however, do not rely on this kind of narrative form alone, if at all. In the past year four women poets have joined Bang in publishing book-length elegies of marked formal originality: Susan Howe, with That This; Gjertrud Schnackenberg, and her Heavenly Questions; Anne Carson, with Nox; and C.D. Wright, One With Others. Carson mourns a brother; Wright, a friend; and Howe and Schnackenberg, husbands. What is perhaps most striking about these books is the formal singularity of each poet's lament. Schnackenberg adheres to a relentless iambic pentameter throughout a six-poem sequence, whereas Howe, Carson and Wright each set the sung emotions of lyric against prose passages, textual fragments, visual images and even research notes.
In earlier times, when a woman's response to the death of a beloved may have been limited to suicide, euphemism or enforced silence, these shaped works of art would not have existed. Euripides described how Hecuba, confronting the death of two of her children at the end of the Trojan War, turned into a dog; Ovid and Dante later retold the story, describing her grief-stricken, barking cries. Pericles' funeral oration for the dead Athenians at the onset of the Peloponnesian War famously directed women survivors, whether mothers or wives, to control themselves and refrain from speaking of their sorrow in public. In other eras and cultures—including ancient Egypt and Syria, and contemporary Sardinia—women have served as professional mourners, beating their breasts and unleashing unintelligible cries. If these masterful new elegies have a ritual function, it is not to reintegrate the community around the body of the dead, as Dylan Thomas did when he wrote, for the survivors of the Blitz as much as anyone, his poem "A Refusal to Mourn the Death, by Fire, of a Child in London." Instead, these elegies summon the creative forces that are the poet's stay against the world's destruction—whether catastrophic or accidental, the work of an embolism or a wayward cell.
Perhaps paradoxically, these elegies may owe some of their originality to the fact that in many first-world cultures, collective and sacred rituals of mourning and burial have declined or disappeared. Such rituals have been replaced by what Wallace Stevens called "the mythology of modern death": extemporary rites that place an increasing emphasis on individual histories and character. As early as 1731, Jonathan Swift took matters into his own hands and wrote an elegy for himself, "Verses on the Death of Dr. Swift, D.S.P.D.," fourteen years before his actual death. He proclaimed: "The time is not remote, when I/Must by the Course of Nature dye:/When I foresee my special Friends,/Will try to find their private Ends:/Tho it is hardly understood/Which way my Death can do them good." Today people have taken to arranging their own "pre-" or "living" funerals, thereby creating an occasion to eulogize their lives and perhaps attempt to satisfy their vanity or curiosity by hearing how they might be mourned by family and friends. As traditions of mourning wane, women's role as designated mourners has also vanished. In consequence, the woman elegist must summon her own resources as an artist.
As That This opens, Susan Howe immerses us in an unexpected fact: the deictic "that this" of the death of her husband, the philosopher Peter Hare, in his sleep in January 2008. Howe was already a widow, and Hare a widower, when they married in late adulthood; and Howe, who in the face of Hare's death is at once shocked and tragically knowing, stresses that loss hovers always over experience, its suddenness an illusion. Her elegy traces the strange mutuality and division between "that," the unknowable world of the dead, and "this," the world of the living. Drawing on the spiritual traditions of North American Protestantism, she searches for whatever may persist in memory and influence beyond an embodied life.
In Howe's many works of poetry and prose, the history of earlier thinkers and artists has priority over sensual experience. Yet such history, made material by citation, becomes the sensual matter of her art. In That This Howe draws on and alludes to the letters and tracts of the Jonathan Edwards family, the semiotic treatises of the philosopher Charles Sanders Peirce and the pastoral landscapes of the neoclassical painter Nicolas Poussin. Each of these bodies of work has a particular resonance to her life with Hare: she was studying the Edwards documents at the time of his death; a mutual interest in Peirce first drew the couple together; and the 2008 Poussin exhibition at the Metropolitan Museum of Art, with its great paintings on the themes of Arcadian vision and sudden death, proved a consolation in her initial period of grief. She says of these voices and images, quoting W.H. Auden's The Sea and The Mirror, that they "reach and reach" and never touch, yet she does touch the words and viewpoints of the past and hauntingly makes them her own.
That This has three sections and a final fragment. The first section, "The Disappearance Approach," is a direct prose narration of Hare's death punctuated by reflections and citations from Howe's reading. "Frolic Architecture," a phrase borrowed from Ralph Waldo Emerson, is the title of the long second section, an interlude of ripped and rearranged passages from a copy of the diary of Edwards's sister, Hannah Edwards Wetmore (1713–73), who writes of her certainty that "our lives are all exceeding brittle and uncertain." Arranged in various patterns and shapes on the page, the fragments seem not only scattered but also suspended, twisted and vulnerable to damage, an impression enhanced by their juxtaposition to six shadowy, abstract black-and-white photograms. Made by James Welling, the photograms evoke shapes viewed in water and the shapes of water itself, an effect Welling achieved by putting layers of paint between layers of Mylar applied to photosensitive paper. Water, eroder of all forms, recurs at intervals and seems to fill the pages, whereas the slight inscriptions of the diary fragments seem shakily held by a breath and about to vanish.
The book's third section, "That This," is composed of seven brief lyrics, all but one in bifurcated quatrains, in which Howe reflects on the conditions of her book's making:
Is one mind put into another
in us unknown to ourselves
by going about among trees
and fields in moonlight or in
a garden to ease distance to fetch home spiritual things
By "spiritual things" Howe means her devotion to certain practices of representation. Despite the book's concisely minimal visual form, That This is not a work of ekphrasis or animation. Instead, the mourner carries the absent loved one within as conscience, beyond the need for manifested presence. Mourning is given form, and eventually closure, as words and phrases, fragmented and deliquescent, gradually echo and respond to one another, their slow cohesion an antidote to death's apparent suddenness. Howe's repeated images of mirrors are not only metaphors of being's relation to appearance but also explorations of love's capacity to "mirror" even vanished objects. Increasingly, Howe expresses a desire to penetrate the phenomenal—to grasp what existed before the organization of perception. Such penetration is, of course, impossible, but if she could close the gap between the dead's "that" and the living's "this," then the tragic, incommensurable separation between presence and absence would finally be breached and mourning no longer necessary. In the end Howe's is a secular heaven of love's connections, no less moving for having been homemade through her elegy.
Gjertrud Schnackenberg's Heavenly Questions traces, with a hallucinatory tenderness, her efforts to draw significance from the final phases of the long illness, hospitalization and death of her husband, Robert Nozick, who was also a philosopher. To do so she turns to the most archaic resources—the relentless bodily rhythm of grief, drummed through six poems of unabated iambic pentameter:
And nothing lost, but found and found again;
And not conquest, but everything in play
Given, not taken; taken anyway,
And not to keep in any case; but kept;
Possessed, but not in order to possess;
Selfsame, self-owned, self-given, self-possessed,
And all in play. But conquered nonetheless.
"Given, not taken; taken anyway": Schnackenberg subjects key terms—"taken," "found," "possessed"—to the possibility of negation. The effect is like desperately trying locks or searching for a hidden door.
The pattern of breakdown and recombination also shapes the book's narrative, as Schnackenberg turns to religious traditions to find some means of coherence in things at once split and gathered. Looking to the fifth, fourth and third centuries BCE, she draws on various kinds of Buddhist, Hindu and Greek wisdom literature and a number of later literary texts. The narrative is framed by an image of the ancient Syracusan inventor Archimedes working on his "Sand-Reckoner," a mathematical experiment to determine how many grains of sand would be needed to fill the universe. His labors are recounted as a lullaby:
And water waves sweep back and forth again,
Materialize, and dematerialize,
Retrieving counted grains and dropping more
Uncounted grains in heaps along a shore
Of granite-particled infinities,
Archimedes' grains gather toward a conjectured, mathematical whole that can be grasped only by the mind. In a companion piece, "Fusiturricula Lullaby," Schnackenberg writes that "In violet-brown across a spiral shell: A record of volutions fills a scroll/[…] As X goes to infinity." She seeks comfort and sleep, and the end of suffering, as she is lulled by these marvelous accounts of infinity. They protect her against the claustrophobic confines of the hospital, the telephone booth, even her winter coat, as, during her husband's last days, her mind races between hope and despair.
Though armed with enduring and farflung metaphysical allusions, Schnackenberg records many of the brute facts of her beloved's illness and death, including his doctors' use of the absurdly named narcotic analgesic Sublimaze. Taking up her pencil, a "Venus Velvet No. 2," she stages a kind of war between writing and ending—a war she cannot win but can at the least narrate and shape. In the middle of her book she eulogizes her husband, noting first his spiritual characteristics:
Nothing denied, held back, or kept apart.
And never lost his gentle ways with me.
And wanted power over no one else,
But master of his heart, and of himself,
And then his physical ones: "His profile marble-carved, noble, sun-warmed,/Even at night, in winter, ruddy-tinged./…The red-lit aureate curving of his ear,/Warm-blooded velvet, made for lips to find."
She recounts, as the sequences come to a close, the self-reflexive story from the Sanskrit epic the Mahabharata of the composition of the Vedas. When Vyasa, the scribe of Hindu Vedas, dictated the epic to the elephant deity Ganesh, Ganesh's pen stopped working, so he broke off one of his tusks and continued writing with it. In Schnackenberg's account, this god of writers rushes to record the names of the dead, the stories of wars and the origin of chess. The poet analogously seems to force herself to keep writing: the game, the play, of life must be sustained, as steadily as a heartbeat or the beat of her pentameter, and she links this persistence to the death-defying chess games of lovers fending off assassins, the storytelling of Scheherazade and the moonlit verbal dueling of Jessica and Lorenzo at the end of The Merchant of Venice as they survey the tragedies of lovers who have lost a love to death. The heartbreaking conclusion to Heavenly Questions will inevitably be the end of its heartbeats. Writing cannot stave off death, and an elegy can never do enough to conjure up the departed:
I stood, barefoot and powerless, and heard
The distant drum in heaven begin to beat
That takes up when a heart falls motionless.
I stood instinctively to hear the call.
Beyond the muffled noise of our goodbyes,
The bindings falling from the swaddled drum
Fall quietly
The power of elegy, even in the face of an unbounded grief, to provide a containing form is vividly embodied by Anne Carson's Nox, a nocturne with carefully controlled visual and tactile properties. Nox is printed on a single sheet of accordion-pleated paper that comes packed in a gray linen box the size of a reference book. As the sheet unfolds and each pleat is opened, the reader follows, on the left side of the crease, an etymological commentary, part scholarship, part speculative meditation, upon the ten lines of Catullus' 101. In this poem, which Carson, an accomplished classicist, first read as a young student of Latin, the ancient poet mourns the death of his brother far from home. On the right side of the crease, juxtaposed to the commentary, Carson traces her belated knowledge of the death of her estranged brother in Copenhagen in 2000.
Carson struggles to mourn the death of someone lost to her many years earlier and whom she barely knew. An itinerant and occasional drug dealer, her brother was accused of being involved in the death of "the love of his life," a girl who suffered from epilepsy and died under circumstances that are never explained. After eluding the police in 1978, the brother disappeared, and in the twenty-two years that followed he wrote a few "laconic" postcards and "only one letter, to my mother, that winter the girl died." A journey Carson makes to Copenhagen to learn more about his life and death turns up very little—just a few anecdotes from his widow. Yet the poet also takes a different journey into the past by sorting through scraps of his writing left by her mother and some black-and-white family snapshots that remind her of her brother's tragic path since childhood. We catch glimpses of the brother's isolation and self-rationalizations, and the sense of incomprehension bordering on hostility that he bore toward his sister.
The boxed work is a facsimile of a memorial scrapbook handmade by Carson. To turn the folds of paper where images are reproduced—their edges and textures an obvious illusion—creates a trompe l'oeil effect that compounds the work's dominating mood of distance and belatedness. The inauthenticity of this replica, deliberately amateurish as a work of visual art, beckons to a prior, fleeting presence that constantly recedes before the mourner.
To call Nox a work of poetry seems too superficial a judgment; the text is a sequence of minimal prose fragments, notes the poet has written to herself, where everything—images, correspondence, classical texts, commentary—is treated as if it were a fragment of an ancient poem. When Carson uses "discandied," a word Shakespeare turns to in Antony and Cleopatra to express the dissolution of sweetness that accompanies disillusionment, the reader feels a certain frisson of recognition comparable to the insights Carson seems to have had by tracing, in retrospection, the revealing postures and shadows in family photographs. Discandied: the word persists, like the proper name of her brother, Michael, a messenger without a message.
As Carson emphasizes in a discussion of Herodotus that comes early in the text, she began her project as a historian—and so must the reader of Nox. Like many elegists, Carson comes to mourn a figure concealed behind the figure in the foreground. Here the concealed figure is Carson's mother, doomed by the fate of her son, and over the course of the text the reader only gradually glimpses Carson coming to terms with her mother's acceptance of the brother's disappearance as an unresolved death—an acceptance that inexorably draws the mother into her own death. "From her point of view, all desire left the world."
This most desolate and solitary of elegies is a work of salvage; in the end what is truly saved, and saving, is the poet's powerful and uncanny relation to Catullus' elegy. It is as though the poem, encountered so early by Carson, was waiting on the other side of adulthood to console her when lived experience offered no comfort. The turn to classical precedent is a calm gesture of ordering; the work of etymology and scholarship, despite the distance of more than two millenniums from the source text, is more fathomable than the relation to a tragic, triadic family.
C.D. Wright's One With Others, in contrast, is a civic poem of celebration: a documentary record of the life of Margaret Kaelin McHugh, an Arkansas friend and mentor of Wright who died in September 2004 in New York City's Hell's Kitchen. An autodidact, McHugh was called V by her circle of young acolytes during a period when she was immersed in Thomas Pynchon's novel of the same name. V was a native of Kentucky, a Roman Catholic and a mother of seven who maintained a lending library in the living room of her Little Rock house. She was especially fond of Irish poetry. She knew much of Yeats by heart, and in her last days quoted from memory the opening lines of a poem celebrating Anthony Raftery, the blind early nineteenth-century poet from County Mayo, as someone "full of hope and love."
In the summer of 1969 McHugh volunteered to be a driver, in charge of water and extra shoes, for the civil rights marchers who had congregated around an activist called Sweet Willie Wine. Inspired by James Meredith's 1966 march from Memphis to Jackson, Mississippi, Wine organized a "March Against Fear" from West Memphis to Little Rock. "It was the most alive I ever felt in my life," McHugh explained, and "I would have followed Sweet Willie Wine into hell." Her decision to join the marchers ended her marriage and led to her expulsion from Little Rock. Reversing the path of the march, she landed in a rough Memphis hotel, where she met Wright and her circle at the local university.
Wright draws on interviews with dozens of survivors of the period and reconstructs the brutal incidents of racism that preceded and followed the march. Replete with local imagery rendered in sensuous detail—an "Elberta [peach] with the fuzz on"; a sky full of "dingy chenille clouds"—Wright records the many facets of McHugh's character, from her youth to her death bed. Voices are presented one sentence at a time, intersecting with Wright's observations:
She was not an eccentric. She was an original. She was congenitally incapable of conforming. She was resolutely resistant.
Her low-hanging fears no match for her contumacy
Grappling hooks in the mud leaf out in the mind
The reader is invited to place these brief patches of oral testimony beside a closing bibliography of established histories of the civil rights movement. Wright explains that "you want to illumine what you see," and we come to see what is gained by the singing of heroines who are otherwise unsung. McHugh had a mission, armed by literature, to fight hypocrisy, and Wright makes it clear that hypocrisy is the enemy of value. What McHugh wanted was
To feel and transmit/The ethical this
that is not that
In the manner of the panoramic memorials of Walt Whitman's Drum Taps and "When Lilacs Last in the Dooryard Bloom'd," Wright specifies the vocation of each of her speakers, for good or ill—SNCC worker, curator of a county museum, retired welding teacher, scholar, fisherman, teacher, night shift worker, state trooper, veterinarian, district attorney. The social status of each of these "others" is judged and reframed by the actions of the outcast "one" who acts ethically. "You have your life/until you use it. You forfeit the only life you know/or go to your grave with the song curdled inside you./No more damned if you did and damned if you didn't." Yet McHugh's good, full, used-up life is invariably juxtaposed to the lost lives of those who died early in the civil rights struggle. Wright underscores the commitment of those who gave up their lives in a fight to increase the dignity of others' lives.
As in Carson's Nox, there is another death behind the death of the figure in the foreground: the suicide, in 1978, by self-inflicted pistol wounds to the heart, of the prolific 30-year-old Arkansas poet Frank Stanford, who was Wright's companion and artistic collaborator during her youth. Midway through the book, Wright mentions that McHugh provided the photograph she used for the cover of Stanford's magnum opus, The Battlefield Where the Moon Says I Love You. Closing the circle with a citation from that work, Wright gives Stanford both the first and the last words of One With Others: "I want people of twenty-seven languages walking back and forth saying to one another hello brother how's the fishing/and when they reach their destination I don't want them to forget if it was bad." With its emphasis on virtue, instruction and ethical action, Wright's documentary and experimental book has a classical aim. Mourning mingles with delight and instruction, and the death of "one with others" reconfigures our sense of others, and of the purpose of life itself.
Susan StewartSusan Stewart is the author, most recently, of Red Rover, a book of poems, and The Poet's Freedom: A Notebook on Making.


Being chosen for this event means absolutely nothing, nothing, nothing. There will be no winners announced, no acceptance speeches, only a lot of discussion of what's good and what needs work in each video.
See you in San Francisco, Tuesday evening, 7:00 p.m., December 6 at the San Francisco Convention Center!


So I know that everyone is all crushing on GoTG currently.
But has anyone but me watched the first ep of Outlander yet? It's been released on Starz.com and On Demand a week early. I also understand that there's a youtube release for those not in the US. I'd like to discuss and fangirl a bit. No spoilers though, please, since the premier isn't until August 9.
The Full Expanse Trailer is Here!


Ishant Sharma, the Indian fast bowler, had an impressive start to his county stint as he took five wickets against Warwickshire in the season opener. Sharma, who went unsold in the Indian Premier League auctions of 2018, decided to follow his teammate Cheteshwar Pujara by opting for a short stint in the English county season.
With performances like these, Sharma should be a major talking point when the selection of the Indian squad for England tour takes place. India is set to tour England later this year in July for 3 T20 Internationals, 3 ODIs and 5 test matches.


Virtual reality headsets are being used to help people going through treatment for cystic fibrosis.
The first trial of its kind in the UK is being carried out at Llandough Hospital in Vale of Glamorgan.
Patients are immersed in a safari experience and can explore their surroundings as a distraction therapy.
Cystic fibrosis is an inherited, life-long and life-threatening genetic disorder where the lungs and digestive system can become clogged with thick, sticky mucus.
Treatment for cystic fibrosis is wide-ranging and includes medication and special techniques to clear people's airways.
It affects about 400 people in Wales and the trial at the Wales Adult Cystic Fibrosis Centre aims to reduce pain levels and anxiety among sufferers.
Could virtual reality change your life?
Virtual reality has already been used successfully with chemotherapy patients in Australia and the trial in Llandough has a cycling experience to encourage patients to exercise.
Patients cannot mix because of the fear of cross infection, but the centre is working with Swansea University to create games they can play against each other.
Consultant physician Dr Jamie Duckers said: "Due to the nature of cystic fibrosis, it affects many organs of the body and our patients often have a really time consuming, complex daily regime of treatment, medication and physiotherapy.
Anthony Phillips from Port Talbot, has been visiting Llandough for treatment every three months for five years.
Matthew Wordley, chief operating officer at the company behind the project, Orchard, said there were plans to expand it.
"We're looking at wearable technology to immediately be able to monitor how the patient is feeling and then to adjust the actual experience to make sure that we're getting maximum benefit for the patient," he added.


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On NIOT.org, you can learn about community efforts to combat intolerance across the US and around the world. You can also share your own ideas, strategies, events, and support with other active citizens. We encourage you to forge relationships with people outside your own community who are also working to repair and strengthen the social fabric of their communities. NIOT.org is a space that fosters positive and inclusive community-building.
Violence, hate and intolerance divide our communities and tear at the social fabric of our civic life. This blog is a tool for community members to use in their efforts to bridge divisions and create a climate where everyone can feel safe and included.
Web Conduct Policy
NIOT.org is a space for people to discuss strategies for responding to and preventing hate in their communities. The Not In Our Town project encourages dialogue and discussion on all topics related to our videos and educational materials. Our website is a place where people can share their thoughts and stories to inspire hope, and for individuals and groups to know they are not alone. We encourage you to share what you have done to positively and effectively respond to issues of bullying, harassment and hate. We encourage you to share your ideas, experiences, and support for each other through comments. However, we carefully monitor submissions and want to make our website dialogue safe for everyone.
NIOT.org is not an open forum; this website has a clearly stated mission, and users are expected to respect the nature of this mission when commenting. Also, we are not a counseling organization and do not have trained or professional staff to handle serious emotional issues.
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Habits and actions are not acquired via osmosis nor do they persist after having once been experienced. Social skills must be learned and teaching children good habits will not only aid them in their childhood development but may well stay with them through their entire lives.
Children will respond more consistently and much more quickly if they have a clear understanding of what is expected of them. Their responses will be built on that understanding and will be more predictable. They want to please and will respond favorably if they know what good manners are and how they will be accepted by those in authority.
As skills are defined and developed, the teacher should respond favorably no matter how gradual the development may be. It is not the completion of a skill or the successful reaching of a goal that is as important as the improvement being made toward that goal.
Define for students why habits are life changing and will last a lifetime.
Explain why habits must be consciously formed, rather than assumed.
Reinforce students' understanding that habits affect every aspect of living, including the controlling of anger, showing sympathy, accepting authority, showing good sportsmanship, following rules, table manners.
Empower students with confidence that they can form habits which will help build friendships and which will receive approval from those adults they admire.
Children often seek attention only to be rebuffed by an adult. "Ignore him. He just wants attention." "She's just trying to get attention. Pay no attention to her!" Teachers and parents alike might more often consider the possibility that the child trying to get attention is doing so not only because he or she wants that attention but because that attention is needed.
While the caregivers might not approve of the method of seeking attention or the actions of the child, that the teacher or parent or caregiver should not ignore the possibility that the child is asking for attention because he NEEDS attention.
The answers all add up to habits. But how do we learn them?
Where do Habits Come From? The teacher might ask where habits come from. If there is a baby or a younger child in the household, ask if that baby has any habits. Answers may be that he does, he wants his bottle when he is hungry so he cries. Is that a habit? And, that baby cries when he needs his diaper changed. Is that a habit? If it is, how did the baby learn it?
Good and Bad Habits: Discuss the difference between good and bad habits. Are they important? Do our friends like us more or less, depending on what habits we have? How do we make habits? Can we do so by ourselves or do we need the help of others?
Ask children to think of two habits they themselves have, a good habit and a bad habit.
Is it a habit to hang up one's coat or lunch bag each morning upon entering the classroom?
Is it a habit to drop that coat on the floor knowing someone else will pick it up later?
Do they have habits about where they place their toothbrushes after using them? Back in the holder? Or do they leave the brush lying on the counter next to the sink? Does that make a habit?
Can they think of habits that they do at home? Is it a habit that parents insists they pick up and put away outside toys, such as bicycles, each night before coming in? Is that a good habit? Is it fair? Should parents ask that of them?


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How to pray the Rosary with the Pope on Saturday
Join Pope Francis in praying the Rosary on Saturday, 30 May, for an end to the Covid-19 pandemic. Ways to participate are indicated below.
By Devin Watkins
Pope Francis is once again urging all of humanity to pray together for divine help during the coronavirus pandemic.
On Saturday, 30 May, at 5:30 PM Rome time (GMT +2), the Pope will lead the recitation of the Rosary from the Lourdes Grotto in the Vatican Gardens.
United in prayer with Mary
The event takes place under the title: "Devoted with one accord to prayer, together with Mary" (Acts 1:14). It is organized by the Pontifical Council for Promoting the New Evangelization.
The Decades of the Rosary will be recited by men and women representing the various categories of people who have been particularly affected by Covid-19.
These include a doctor and a nurse; someone who recovered from the illness and someone who lost a loved-one to it; a priest, a hospital chaplain, and a nun who is a nurse.
Other participants include a pharmacist, a doctor, and a journalist; an Italian Civil Protection volunteer; and, a young family who welcomed a baby into the world during the pandemic.
Plea for protection
As the Marian month of May draws to a close, Pope Francis is bringing the trials and tribulations of people around the world to the feet of Mary.
Saturday's recitation of the Rosary is "another sign of nearness and consolation for those affected by the coronavirus, in the certainty that our Heavenly Mother never refuses our pleas for protection."
The event will be broadcast live throughout the world on a host of Vatican channels, with English-language commentary provided.
- Via the Vatican News portal: click here
- Via the Vatican News English YouTube channel: click here
- Live-streamed on our Facebook page: click here
The event will also be live-streamed in the original language (Italian) accompanied by Sign Language used in Italy : click here


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Home / News + Politics / Nation / Sarah McBride becomes first openly transgender state senator
Sarah McBride becomes first openly transgender state senator
"I hope tonight shows an LGBTQ kid that our democracy is big enough for them, too," McBride said
By Rhuaridh Marr on November 3, 2020	@rhuaridh
Sarah McBride — Photo: B Proud
Transgender activist and health care advocate Sarah McBride has made history as the first openly transgender person to be elected to a state Senate.
McBride, who serves as national press secretary for the Human Rights Campaign, won her race for Delaware's 1st State Senate district on Tuesday, Nov. 3.
The Associated Press called the race for McBride, a Democrat, who bested her Republican opponent Steve Washington.
"We did it. We won the general election," McBride tweeted after her race was called. "Thank you, thank you, thank you.
"I hope tonight shows an LGBTQ kid that our democracy is big enough for them, too," she continued. "As Delaware continues to face the Covid crisis, it's time to get to work to invest in the policies that will make a difference for working families."
I hope tonight shows an LGBTQ kid that our democracy is big enough for them, too.
— Sarah McBride (@SarahEMcBride) November 4, 2020
Annise Parker, president and CEO of the LGBTQ Victory Fund, celebrated McBride's historic win, saying, "Sarah's overwhelming victory is a powerful testament to the growing influence of transgender leaders in our politics and gives hope to countless trans people looking toward a brighter future.
"Throughout this election cycle, Donald Trump and other cynical politicians attempted to use trans people as a political weapon, believing they could gain popularity by stoking fear and hate," Parked continued. "For Sarah to shatter a lavender ceiling in such a polarizing year is a powerful reminder that voters are increasingly rejecting the politics of bigotry in favor of candidates who stand for fairness and equality. Her victory will inspire more trans people to follow in her footsteps and run for public office."
McBride, a 30-year-old former Metro Weekly Next Generation Award winner, has a long history of political activism, co-founding a statewide high school Democratic organization and volunteering for Democratic campaigns in her home state of Delaware.
She previously interned at the Obama White House in college, and advocated for passage of a transgender rights law, as well as expansion of Medicaid. Markell awarded her the Order of the First state, making her one of the youngest Delawareans to earn the state's highest civilian honor.
In 2016, McBride made history when she spoke at the 2016 Democratic Convention on behalf of then-presidential candidate Hillary Clinton, becoming the first openly transgender person to address a major party convention. She published a book in 2018, Tomorrow Will Be Different, which examined her activism and her relationship with her late husband, Andrew Cray, who died at the age of 28 from cancer, mere days after the couple wed in 2014.
Donald Trump's anti-LGBTQ record exposed in devastating viral video
LGBTQ groups sue Trump administration over executive order censoring anti-bias training
Pete Buttigieg urges LGBTQ people to vote: "Help is on the way"
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← Previous Story Donald Trump's anti-LGBTQ record exposed in devastating viral video
Next Story → Shevrin Jones elected Florida's first openly gay state senator
Joe Biden sworn in as president: "A new day has begun" for LGBTQ Americans
Biden picks trans woman Dr. Rachel Levine to be assistant health secretary
Trump Impeached a Second Time, LGBTQ orgs weigh in
Gay far-right activist 'scared' for his life after boasting about Capitol riots
Anti-LGBTQ hate group: God will 'intervene' to give Trump 'miraculous victory'
Gay conservative Andrew Sullivan complains about lesbians 'becoming men' in anti-trans column
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