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This interview was conducted by phone in October 2014. It will be readily apparent to the reader that Mr. Homer Hickam is passionate about his craft and is highly knowledgeable of a variety of topics. Distilling more than two hour's worth of conversation is no small task, and there are—by necessity—some edits required for space. To read the rest of the interview (which is highly recommended for fans of Homer Hickam as well as anyone interested in the writing process), please visit the fluent website.
FLUENT The goal here, really, is to get a little more idea of who you are as a writer and what you think of the writing life. As much as possible, I'd like to avoid those questions you probably get asked the most. Some of those are going to be a little hard to avoid because they are questions that I personally find interesting and like to ask other writers.
HOMER HICKAM Well, feel free to ask anything you like.
FLUENT One of the most important, if not the most important, questions is when did you realize you wanted to be—or when did you realize you were—a storyteller?
HH Actually, the third grade. All of us were asked by our teacher to write a short story, and when I wrote mine, the teacher thought it was so good that she mimeographed it and had it sent all around the school. So, when I was in the third grade I already had a fan base in junior high, which is pretty cool. It was historical fiction. I remember it very well—it was the story of Horatio at the bridge during the Roman Empire. So, obviously my teachers had picked up very early that I was a good writer and storyteller, so I continued to write the whole time I was in Coalwood and later wrote for the college newspaper down at Virginia Tech.
FLUENT When you were first starting out, did you have a specific audience in mind, or were you more writing to entertain yourself?
HH After writing a number of short stories, I came out with a little newspaper in Coalwood. We had to handprint it, and I think we had about a dozen issues. I was definitely writing for my teachers, and for the people of Coalwood, for my parents, and for just anybody who would read my stuff.
FLUENT Is that who you write for today, anyone who wants to read your work, do you have a specific audience?
HH (laughs) Well, of course it's gotten a little more complicated now. I write for what I hope will be general audiences, typically. But now I also write for the publishing houses and the editors who bring me on to write particular books, so there's, first, those folks you want to please so that they'll publish your book, and then of course you want to attract general audiences as much as you can.
FLUENT Do you have a preferred writing time during the day?
HH Yeah. I usually do my new writing—my fresh writing—in the morning. I'll usually put in 4 or 5 hours in the morning. In the afternoon, I don't typically trust myself to write new stuff, so what I like to do then is go back and revise. So morning is for fresh writing, afternoon is for revision.
FLUENT Do you write for a set number of hours, or a specific word count, or is it more "That's enough for now?"
HH Well, sometimes I do work to a word count or page count. I would love to do the Hemmingway thing of five pages a day, but that doesn't always work. Sometimes I'll go as much as ten pages a day. But it really kinda depends on the book I'm writing, or if I'm writing an editorial, or blog, or whatever it happens to be that I'm involved in. If I have a blog to write, I'll typically get that done in a couple of hours. If I'm working on a book, I like to get at least two or three pages done every day.
FLUENT Do you have a designated writing space, someplace you prefer to be in when you're composing?
HH Here at home, I have a loft with my computer, desk, printer and scanner, and various research materials. I'll typically retreat to the loft, which is a bit private. I can write just about anywhere, though. We have a house down in St. John, the Virgin Islands, and down there I carry a laptop. I'm usually working on the dining room table down there. Or, if I'm travelling I can work in a hotel room, if I have to.
FLUENT I believe I know the answer to this already, but do you have a first reader, someone to whom you show something you've been working on once you're ready for someone besides you to read it?
HH Typically, I'll run it past Linda, my wife. She's a pretty good editor, and she often catches the mistakes. Sometimes it's just she's catching punctuation problems and that kind of thing. But quite often she'll tell me, "I think you've gone off in the weeds, here. You're going in the wrong direction." Or "I don't know why you've gone this way" or "I don't like your character" or whatever it happens to be. She generally gives very good feedback. I don't always take it, except for punctuation, because she's usually right about that. What we like to do is have as clean a manuscript as possible before I push the button and send it off to an editor or publisher. It's better for an author to do that and not depend on an editor in New York to find errors in your manuscript.
FLUENT I would think, especially writing as you do—writing things that are more personal—you would like to have as much control over that as possible and not leave it up to someone who hadn't gone through it to sort of shape how it's presented.
HH Well, I'm up to about nineteen books now, and of those, I think six are what might fall into the personal memoir category. I wrote a very successful historical fiction series, the Josh Thurlow series, so it's not always personal. My main concern is that I want to give an editor a story that when they read it, they're thinking "I can't wait to see what happens next" and they keep turning the pages even though they're swamped with manuscripts. I want that editor to look at my work first. So a lot of attention goes to that and not only making sure that the manuscript is as clean as possible, but also that there is as little editorial work on the publisher's side as possible. u
FLUENT How important to you are first lines? You mentioned wanting to have something that's a page turner, that'll keep people interested. Do you write until you feel that "This is the ultimate grabber" or is it more having a great first paragraph or first page, or first chapter? How would you say you like to propel your stories?
HH First lines are very important. That's why I go back almost constantly while I'm writing a book and work on the first chapter. I think it's very important to hook the reader from the first chapter, but I don't think I'm the best at it. I'm a good closer, and I have to work really hard to be a good opener.
FLUENT When you're writing, do you typically have that closing in mind? Do you have an end goal that you're shooting toward?
HH I do. I wait to write it. It's sort of my treat. As I get toward the end, it seems like my writing goes a lot faster, a lot snappier. But, I hold out on that last chapter or that last scene because it's what I've been aiming for the whole book.
FLUENT Do you find that when you write with that goal in mind, what you thought might be the ending changes, or do you really try to keep that specific goal in mind?
HH Well, you'll change, sometimes. Sometimes radically, and then you'll aim toward that. I'll realize halfway through the book that I've got a better ending than I thought. The main thing is you don't want to telegraph the ending. Literally, sometimes the way to keep from telegraphing the ending is to be surprised yourself at what the ending turns out to be. I know that's a bit of a contradiction, but I believe that I need an ending in mind when I start, or I'm liable to ramble all around. But as I get to know the story better, or know the characters better, I'll see a better way to end it, or perhaps a more surprising way to end it.
FLUENT You mentioned having the characters developing during the course of a story. How long do you typically let a story gestate—characters, plot, general outline—before you actually start writing it?
HH That kind of varies. Usually, I'll make a proposal to my editor for a book just on a kind of general idea, and then once the general idea or concept for a book is accepted, I'll really start to think about the story in depth, the characters and plot. Now, if it's for a series, like the Josh Thurlow series, then I've already got the characters in mind, but my proposal might be what I'm going to do with them or what's going to happen. That can vary or change once I start thinking about it. Generally, what I'll do is write a couple of spec chapters and know whether I'm on to something or not. It takes a while, sometimes, to get the gears turning. Sometimes it'll catch right on, away I'll go, but usually I'll do a few chapters and modify them, play with them, tweak them, throw 'em away, start all over again over several months.
FLUENT I'm really interested in your series. As you mentioned, you have a couple of different series. When you're writing a story for a series, are you thinking "This is a story I want to tell with these characters" or is it more "It's time to tell another story with these characters?"
HH Well, the first time through, you don't necessarily know it's going to be a series. At least, I don't. So, you're writing the story, you've inhabited it with certain characters, it's interested readers and publishers, so then it's a matter of "what happens next?" Now, in the next book you're able to leave hooks because you know it's going to be a series, and you don't have to finish, you don't have to conclude storylines because you know you've got another book to finish up that storyline. So, series are interesting. What I like to do, is that if you read the third book in the series, you'll understand it as well as if you've read the first two. That gets a bit tricky because you don't want too much backstory, but you do want enough so that the reader understands what's going on.
FLUENT That got me thinking of John D. MacDonald and his Travis McGee series, where you could pick one up and you get a sense of who this character is, and you get a bit of the recurring characters, but you could pick one up in any order, and it's not essential to have read any of the others to understand what's going on.
HH Yeah, it's interesting with the Josh Thurlow series that people who pick up the third book, The Far Reaches, first, they like it as an adventure, historical fiction WWII-type of novel. If people have followed the series from the beginning and have followed from The Keeper's Son to The Ambassador's Son to The Far Reaches, I've had many, many readers tell me that they don't like Josh as the series has progressed, and I don't hear that from people who've read the books out of sequence. The reason for that is that Josh, in the first book, is pretty likeable, and as we go along and he goes further into the war and into some horrific situations, I couldn't let him stay the same character. He had to change, and he's actually gradually going insane.
That was tricky for me as a writer. I couldn't imagine that what he goes through in the series would allow him to remain as easygoing and as likeable as he is in the first book. So it's good feedback from readers. You know, they wish he was the old Josh, but those with post-traumatic stress, I'm sure they'd all rather be the same as they were before being in combat.
FLUENT That's a really interesting critique, in that it seems some readers want the character to stay the same way throughout and not have any sort of growth or evolution—or devolution, depending on what the character is going through—but something I think is very important to have happen, even in a series, is that this is a real character and the events have impact and meaning, that this isn't a serialized TV show, let's say, where the status quo is reestablished at the end of each episode.
HH Yeah. You know, with the Coalwood series, which is Rocket Boys, The Coalwood Way and Sky of Stone, I'm writing about me, and you're learning about me and expect growth because I'm getting older. With the Josh Thurlow series, he's of interest to me, and I'm learning about him, and even I'm surprised sometimes at how he evolves. But, looking back on it, I think he became a whole person in the telling of his story through these three books. The Crater Trueblood series is a Young Adult series, so growth there was a little bit stunted because it all takes place over a couple of years when the characters are still very young, and since of course it is a Young Adult series, I didn't want him to get too sophisticated, too adult. So that was a little more difficult, writing within the Young Adult genre, but it was a nice challenge. I enjoyed it. But it did mean that I had to hold the series to certain standards that are expected of Young Adult novels.
FLUENT What attracted you to the Young Adult genre? You mentioned liking the challenge: Was that part of it, to sort of see if you could do it?
HH Yeah, that was part of it. I like to write in different genres. If the publishers had their way, all I'd do is write Rocket Boys over and over and over again. That's all they really wanted. I just wasn't interested in that. So, I took a gamble with my career and went off to write in different genres—totally different genres.
I mean, historical military fiction is totally alien to anything like Rocket Boys, and The Dinosaur Hunter—which is a sort of paleontological mystery, which not too many people have done—that is totally different from the historical fiction. So, I'm grateful to my publishers for letting me do that.
Now, on the Young Adult novel, this was for Thomas Nelson, which is a Christian publisher, and I had a four-book deal with them. The first book, Red Helmet, was a sort of romance story set in today's West Virginia coal fields. I enjoyed that a lot, and a couple of years passed before I got around to writing the next book, and by then the Young Adult genre had become really hot. The editors at Thomas Nelson asked, "Would you be interested in doing it?" and I was a little bit reluctant. A lot of people think that Rocket Boys and the whole Coalwood series is Young Adult. It's not. It was not written for young adults, really, although I'm certainly glad they've classed it that way and enjoy it. So, I did not think I had much experience writing Young Adult. I didn't read the genre and wasn't sure I totally understood it. I went back and read some Young Adult novels, and frankly I didn't care much for them, so I was in a quandary on what to do. I hadn't written any science fiction novels—a lot of people think I have, but I haven't—even though I like the genre, so I decided, "Ok, I know the science fiction genre, so maybe I can combine Young Adult with science fiction." And I took that to Thomas Nelson, and they liked the idea.
FLUENT You mentioned that you have a lot of research materials in your writing space. Can you talk a bit about research? Do you feel the need to be thoroughly accurate in your writing, especially in your historical fiction, or even the science fiction, where you want to get those technical details correct? Or is it more supplying enough detail to get you into the story?
HH Well, definitely the latter. When you're writing historical fiction, you really do want to get the details correct. With the Josh Thurlow series, the first book takes place on the Outer Banks of North Carolina during WWII, so I was my own research there because I had done my first book, Torpedo Junction, which is a military history of the Outer Banks during WWII. But, I also did a lot of research about the Outer Banks themselves and the people who live there and the colloquialisms they have, the dialect they have. So that's a case in point. I became thoroughly familiar with that Outer Banks type of accent, but you can't use it all the time. If you do, you wear out your reader, so you have to be sparing with it. It's not totally accurate with always using the dialect, but there's enough to give you a taste.
But, in the second book when I moved Josh Thurlow out to the South Pacific, that was a challenge in research. I had not been to the South Pacific, I had not researched it before, so I read numerous books about the South Pacific during the early part of WWII, and I ended up with a young Jack Kennedy as a character, and also a young Richard Nixon as a character in it, so I had to do in-depth research on those two when they were in the South Pacific during WWII. The problem with WWII novels is that you immediately come upon people who know far more than you are ever going to know about WWII. We call 'em "rivet counters."
FLUENT (laughter)
HH And they'll let you know when you've made a mistake. So, rather than say the model number of a particular Japanese rifle, I'll just say "Japanese rifle" because I know I'm asking for trouble [if I don't]. Even if I've researched it and I'm fairly certain it's right, someone will say that at that particular time and date on that particular island, the rifle I wrote about wasn't in use. You kind of have to get a bit generic. If it doesn't help the story to do the Tom Clancy thing and call it the Mark 8 torpedo, then it just doesn't make sense to leave that all in there.
FLUENT When you're reading something that has that intensive level of detail, do you find that wearying or exhausting? Does it ever seem like an author is trying to show you just how much they know about a given topic?
HH Yeah, and I think that comes into play when you're writing. You don't want to tell people; you want to show them. If the characters are using a particular piece of equipment in a submarine or what have you, you want to get those details right for accuracy's sake. It helps you in your writing, too. Even though you may not use it, you know it, and you can write with confidence about related topics. If you have your characters sitting inside a German U-boat and you have no idea how the periscope works, or how many torpedo tubes they have, or anything about that U-boat, it's gonna come off fake, there's no question about it. But, yeah, authors who use that level of detail for everything wear me out, and I don't enjoy reading it. You need to use just enough to let the reader understand you know what you're talking about.
FLUENT Have you ever approached a work and then backed off because you knew the level of research was going to be too intense? Or, when you have an idea do you think, "This is the level of detail I need, and I'm going to get it?"
HH The latter. I like to research. Researching is fun. Sometimes you research so much that you end up doing way more than you need for your book. I get that way. I need to know when to cut it off. In the book that's coming out next year, my parents—long before I was born—and their pet alligator end up in Florida during the 1935 hurricane down there. I started doing research on this hurricane, which didn't have a name—I don't think they started naming hurricanes until the late 1940s or 50s—but I started researching this hurricane, and before I knew it I had read four or five books on this hurricane. I had enough detail I needed on the first one, but there I was fascinated by the details of this thing. So you've got to watch out for that, especially if you're on deadline.
FLUENT How important would you say social media is these days for a writer? Being on Twitter and Facebook, and being connected, let's say?
HH Well, I've got mixed emotions about it. It's something we feel like we need to do these days as writers, and if you look at my Facebook and Twitter pages, you'll see I do quite a bit of it. I would say, so far, the results are kind of mixed. You don't really know who's reading, or if they're readers or are just interested in your life or what you have to say. So you can't really tell if you've got a bunch of new readers or if it's the same group of readers we already have who only want Rocket Boys and aren't interested in all the other things that I do. But, we do it. I think especially for a new writer it's important to get out there and build interest in your book so you can get the wheels turning and help it along. But it's a question that not only writers like you and I worry about but publishers and editors, too, about whether or not social media is doing the job.
FLUENT Is publishing online something you see as necessity these days, or is it a passing fad? Is it just the way the publishing world is leaning from now on?
HH I think the question's more can the old-time publishing houses make themselves exciting enough and attractive enough that readers will still come to them for their books, or if writers who drop the big publishers—or who never had big publishers—are those to whom readers go to, mainly because their books are about something they're particularly interested in.
There's this strong possibility that the book market will get completely diluted if the big publishers go away or dwindle, and readers are faced without the old way of learning about books and having to basically go out and look at thousands of books and pick out one that they want to read. We'll be away from million booksellers and we'll be down to thousand book sellers because there are so many books out there and it's so easy to get them. The old gatekeepers used to tell us, "Here's the top 50 books that you need be reading," and "Here's the top 10 books you need to be reading." The New York Times and all the newspapers across the country would tell you what you need to be reading. All those gatekeepers, except for The New York Times, are pretty well gone. It's a brave new world out there. It's hard to tell how it's gonna turn out.
FLUENT There's a certain amount of quality control involved with working on something a great deal, and generating interest, and finding someone who's willing to publish it versus writing something that you might really enjoy and publishing it online in a completely unfiltered state. Does that make it difficult, going forward, for readers to determine what's worth their time? Is there any difference between someone who's writing out of their house and publishing online versus someone who's going through a publisher in New York and also publishing online?
HH Big publishers are putting out all their books as e-books, so it's all out there online. The difference is that the old gatekeepers used to tell us what's good. Now, I have to say I think the publishers have fallen down a bit, and the books they say are great I think are pretty rotten when I read them, but maybe that's just me. I'm kind of several minds about this whole thing. I think you're right on quality control. You have a lot of writers who don't have a basic grasp of grammar or the English language. But, their readers may not have a grasp either. It's amazing to me all these English words that are totally different and spelled different but sound the same, like sight and site—they end up wrong more and more in manuscripts or books I read. I notice it more, but I'm not sure anyone else does. But these things are cyclical in nature. If you go back and read 18th century work, you'll find that English words were spelled a lot of different ways, and you'll find we're getting back to that. Somewhere along the lines some grammarian will stand up and say, "Alright, children, here are the new rules, here's how we're gonna spell everything." I don't know if people will fall in line anymore, but that's the way it was done in the 19th century after the 18th century was freewheeling on how they spelled and what grammar they used. It's interesting to see how all this evolved.
FLUENT It is all very interesting. You mentioned sight—s-i-g-h-t—versus site—s-i-t-e—and I've seen those confused in professional e-mails. There's not as much focus on the right word. I believe it was Mark Twain who said, "The difference between the right word and the almost right word is the difference between the lightning and the lightning bug."
HH He's absolutely right, and that's one of the things that as writers, we should feel compelled to find that right word and not just be satisfied with the almost right word. I've gone back and read my own stuff, and realized, "Oh, I could have used a much better word there" and was sorry that I didn't use it. Writers should strive for that, in any case.
FLUENT Have you ever had a chance to revisit, I guess we'll call it your juvenilia—early work—and if you have, upon reading it, have you thought, "Ok, I can see the voice start to develop; I can see me in there," or do you think, "Oh, jeeze that's just not very good?"
HH (laughter) Well, I've read some letters that I wrote to my parents and brother when I was a kid at camp, and I'm pretty horrified by the grammar because I considered myself a good speller back then, but I think since then, starting at least in college, I was held to a pretty high standard—with the column that I wrote for the newspaper, and certainly as I started out in the publishing word. I've always wanted to make certain that my grammar and spelling were as correct as they could be, so I don't run into too much of that when I go back and read my old stuff.
But always you look at your old stuff, at least I do, and think "I could have written that better," yet somewhere along the line you have to let it go, or else you'll never finish it, you'll never get anything published. And that's where a lot of new writers make mistakes. They get so hung up on their first book, they just can't get away from it, they just keep trying to make it better, even though it's been rejected a dozen times. That's the time to put it in the drawer and go on to the second book because you've learned so much by writing your first book—you don't even realize how much you've learned—and the second book is usually, invariably, the one that gets published first.
FLUENT Is that how it went with you? Was Torpedo Junction the second book you wrote?
HH No, I said usually, I didn't say always. I was so passionate about that book, and it was also unique in a way. No one had ever written that stuff before—the battle along the east coast. I was onto something with that book.
FLUENT As you said, you've written, by your count, nineteen books, the vast majority of which are not memoir. When you have people who approach you at signings, do you feel like the fans of the memoirs either feel like they know you, or is it more like you know them? Have you heard people say, "I am you," or "That was my life," as if you've written those things just for them?
HH Rocket Boys is the one they all read, and they think from that they know exactly who I am, and of course that's not who I am. It's also interesting to me that people will say they read Rocket Boys over and over and over again, and I say, "Have you read The Coalwood Way or Sky of Stone?" and they just kind of blankly keep looking at me with wide eyes, like "What are you talking about?" For some reason, that book has grabbed everyone's attention, and they made the movie out of it. I'd say the vast majority of people come up to me and say, "I love your book," never books. And I know exactly which one they're talking about. They've had this experience with this book, and they never imagine that I could write anything else. It's like the singer who gets famous for one song, and no one will ever let it go.
FLUENT That's especially interesting in that you didn't start off with memoir. You sort of arrived at it. Your milieu is definitely historical fiction. Do you get people who approach you and say "Hey, you're doing something different" with the historical fiction, when it's actually the memoirs that are the something different?
HH Yeah. It's just the way of it. That's the book I'm known for. That's the one everyone knows. If you added up all my other books together, they probably wouldn't equal the number of copies that Rocket Boys has sold. It just kind of took the world by storm, and it surprised me as much as anybody. It's definitely a mixed blessing. It allowed me to have a writing life, for sure. Torpedo Junction was good and sold a bunch of copies, but I didn't write another book for nine more years after that. Obviously the publishers weren't breaking down my door. And, I didn't really know what to write about. I did 15 years of research writing Torpedo Junction, and I didn't know what else I would have written about. So I put the book-length writing on the back burner and started writing a lot of magazine articles and such. And I might have been content with that. I might have eventually lurched into something else that I was passionate to write about, but Rocket Boys came as a big surprise to me as a result of a magazine article I wrote. As soon as the article came out, people were calling from all around the world wanting to know more, and publishers wanted to know more, and Hollywood wanted to know more, and it was like "I know what I'm gonna write, now." I had all the right tools to write it at that point. If I had written it any earlier, I might not have been in the right mindset to do it. It was the perfect storm time for me to write that book, and everything worked out, and I'm grateful for it.
FLUENT So what attracted you to the idea of a Rocket Boys musical? That's an entirely new genre for you. Are you a fan of musical and Broadway shows? Is that what brought you to it?
HH I always have been a fan of musicals and plays. In high school, I rewrote Julius Caesar to include all the people in my high school—teachers, and students and the principal. Some got assassinated in the end. If you did that these days, they'd probably arrest you. So, I have always been interested in plays. I never imagined, though, that I'd get involved in them. What happened was some folks in New York proposed the idea to me after they had already written a spec script and about a half dozen songs to go with it. These people just blew me away. I got involved with it. The problem is that I don't own the rights—Universal Studios owns the rights—so I had to get permission to do it. They gave their very reluctant permission and agreed that I could do it, so we're making our way. I think we have a quality show. I think it'll be great to take on the road, maybe to high schools and colleges across the country. The main reason we're not on Broadway is because it's so expensive.
FLUENT This is not really talking shop, but more talking about other people's work. What do you read for pleasure?
HH I will generally read historical fiction, or true adventures. I like Bern Cornwell's stuff about the Napoleonic Wars. Patrick O'Brien and his Master and Commander series is really good. I like Steven Saylor, who writes fiction set in Ancient Rome. I always go back and read John Steinbeck and Jack London. If I ever want to know what good writing looks like, I'll go back and read some Jack London and go, "Oh, yeah—that's how you write."
FLUENT What do you read for inspiration?
HH Can't beat Jack London. People don't read him much anymore. There are a lot of reasons for that, but you read a writer for how well they write, not so much for what they believe in.
FLUENT Do you have a favorite writer?
HH I always say Steinbeck and Jack London.
FLUENT What would you say are your two absolutely essential reads? What two works should everybody read?
HH Well, Huckleberry Finn, definitely. The second one is a lot harder, but I'm gonna give you an odd book. Cannery Row. It's not read much these days, only 100 pages, but it has some of the most beautiful writing ever set down.
FLUENT As a final question, I was wondering if you could talk about your annual writer's conference?
HH We hold that here in Huntsville, Alabama. We do it in the church we go to, Monte Sano Methodist. All the proceeds go there. We generally have it in the spring, although this year it's going to be at the end of February. We bring in successful writers from wherever we might find them. We generally try to bring in all types from different genres. We usually like to have a romance writer who's been published. We have a sci-fi writer, and a mystery writer. I can cover memoir. We have a general session where we talk about writing and the publishing world. This is a one-day workshop, so we have a lot of information to pack in. A lot of the writers who come are just starting out, so there's a lot of basic information, but in the breakout session we get into more detail, and we've had good feedback from writers on that.


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2014er Touring Rushmore Bagger
The Year 2014 brought many innovations for the Harley-Davidson touring models and also our parts, we had to adapt to the new bikes. At The Rushmore Excavator so for the first time we have our bolt-on triple trees velvet Daytona bike in a 2014 s model. Besides our drilled air filter and engine lids and custom paint the bike is largely as standard.
More info and pictures can be found at:

subset: commoncrawl


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Joining a Growing Opportunity in the Field of Health Care With Education
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Intelligence analysis methods in scientific literature In a case study I recently completed I had the welcome opportunity to explore in more detail an interesting phenomenon in scientific publications: selective presentation of study results to scientific audience. The example below illustrates publication bias and multiple publication bias at its "best". Whilst I do not underestimateRead… Read more »
Last month, GovLoop had several posts that showed some of the challenges facing healthcare professionals. One example? Matt Garlipp, our current GovLoop Research Fellow, shared how IBM's Smarter Care initiative coordinates disparate healthcare systems to create more efficient and less costly outcomes for social programs. Smarter Care comes at a critical time for healthcare professionals.Read… Read more »
Today, your agency is collecting more data than ever before. For many agencies, they are not only challenged by the volume, velocity and variety of data, but also extracting meaningful insights from the information. It's fair to say that the world has become data-driven. Government agencies are well aware: data will shape the agency ofRead… Read more »
Last Tuesday the Obama Administration unveiled healthcare.gov. Affordable Care Act mandated the Department of Health and Human Services to build an online exchange, or Internet store, to let uninsured consumers compare and buy plans offered by private insurance companies. But almost immediately problems started to pop up. The website was overwhelmed by up to fiveRead… Read more »


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February 13, 1984, Section A, Page 12Buy Reprints
It's after a rainfall, when the earth smells so rich and damp and flavorful, that Fannie Glass says she most misses having some dirt to eat.
''It just always tasted so good to me,'' says Mrs. Glass, who now eschews a practice that she acquired as a small girl from her mother. ''When it's good and dug from the right place, dirt has a fine sour taste.''
For generations, the eating of clay-rich dirt has been a curious but persistent custom in some rural areas of Mississippi and other Southern states, practiced over the years by poor whites and blacks.
But while it is not uncommon these days to find people here who eat dirt, scholars and others who have studied the practice say it is clearly on the wane. Like Mrs. Glass, many are giving up dirt because of the social stigma attached to it.
''In another generation I suspect it will disappear altogether,'' said Dr. Dennis A. Frate, a medical anthropologist from the University of Mississippi who has studied the phenomenon. ''As the influence of television and the media has drawn these isolated communities closer to the mainstream of American society, dirt eating has increasingly become a social taboo.'' Geophagy, the Culture of Earth-Eating
Dr. Frate says nearly every culture has passed through a phase of earth eating, known as geophagy. But it appears to be most prevalent these days among rural black women in the South, some of whom say they eat a handful a day, snacking from bags or jars in which they keep dirt that has been dug from a favorite clay bank, baked and, often, seasoned with vinegar and salt.
In addition, families here in Leflore County sometimes mail shoe boxes full of dirt to relatives who have moved north but still crave the flavor of dirt dug from the clay hills back home.
According to Dr. Frate and others, there is no evidence among those who have been surveyed that dirt eating is harmful to their health.
Researchers say those who eat dirt do not do so to satisfy hunger or to meet a biochemical urge to acquire certain metals or minerals that might be missing from the diet. Rather, they do so because the practice has been learned culturally. Links Are Traced to West Africa
Dr. Frate said dirt eating is one of the few customs surviving among some Southern blacks that can be directly traced to ancestral origins in West Africa. Dirt-eating is common among some tribes in Nigeria today.
According to his research, Dr. Frate said it was not uncommon for slave owners to put masks over the mouths of slaves to keep them from eating dirt. The owners thought the practice was a cause of death and illness among slaves, when they were more likely dying from malnutrition.
Instead of eating dirt, some women use packaged raw corn starch or baking soda as a substitute. Dr. Frate says these materials have a similar paste-like texture to the fine hill clays that have traditionally been eaten.
But not everyone makes that switch. ''I don't hold with either baking soda or starch,'' said Mrs. Glass. ''Starch just don't take the place of dirt.''
It is difficult to say how prevalent dirt-eating is today. But in 1975, among 56 black women questioned by Dr. Frate as part of a larger study on nutrition in rural Holmes County, 32 of them said they ate dirt. The survey also showed that the ingestion of dirt tended to be more common in pregnancy.
While it is was not unusual to find small boys who ate dirt, the practice appears to be shunned by adult males. Of 33 men questioned in the households studied, none said they ate dirt.
Dirt-eating has also been practiced among poor, rural whites, who in the early part of this century were known as ''clay eaters.'' A Certain Kind of Dirt
Those who do eat dirt make it clear that not any dirt will do.
The dirt that is consumed by some of the people who live here in Cruger, a small collection of cinderblock homes and small clapboard houses huddled along Highway 49, comes from a single spot along a sloping bank above a gravel road in the hills about seven miles east of town.
Such favored sites are not uncommon in rural Mississippi. Dr. Frate told of visiting another popular site one afternoon and finding three cars lined up there, ''like at a drive- in bank, so people could fill their bags with dirt.''
According to Mrs. Glass and others, ''hill dirt,'' which is rich in clay, is preferable to the dirt of the flatter landscape of the Mississippi Delta, which has a grittier, rougher texture and is popularly referred to as ''gumbo dirt.'' Rarely a Medical Problem, Doctor Says
Dr. Frate said chemical investigation of dirt samples turned up no evidence that dirt eating is harmful. Not only is the dirt often baked, it is generally gathered from far enough below the surface to be free of chemcial contaminants, insects or parastic worms.
Dr. Sidney A. Johnson, a rural physician in Goodman, a small community south of here, said that among the women he sees who eat dirt, only once was it the source of a medical problem.
''I had a patient who had eaten so much dirt that it had packed her large colon,'' said Dr. Johnson, who noted that fine clays have a tendency to adhere to lining of the intestines.
For her part, Mrs. Glass says she has been off dirt for about a year now, after her husband complained to her that it was a bad habit ''that makes your mouth taste like mud.''
''But there are times when I really miss it,'' said Mrs. Glass. ''I wish I had some dirt right now.''


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OSHA Regulations that Affect Funeral Homes
The Occupational Safety and Heath Administration (OSHA) has no standard specific to funeral homes. There are several regulations, however, within OSHA's Industry Standards Code of Federal Regulations (CFR) Title 29 Part 1910 that apply to funeral homes. This document reviews the standards funeral home operators must follow to maintain a safe work environment.
As of 2013, there are 19,486 funeral homes in the United States. As with any workplace, funeral homes present a variety of occupational hazards. Funeral-affiliated employers must address these hazards to ensure their employees have a safe work environment. The OSHA act states that each employer shall furnish to each of his employees a place of employment which is free from recognized hazards that are causing, or are likely to cause death or serious physical harm. It also requires that employers comply with occupational safety and health standards promulgated under OSHA.
Any employer with one or more employees is covered, and can be cited under the OSHA Act of 1970. In addition, employers with 11 or more employees are required to comply with OSHAs Recording and Reporting Occupational Injuries and Illness (29 CFR 1904) requirements. Under 29 CFR 1904, employers are required to maintain occupational injury and illness records. The purpose of maintaining these records is to:
- Provide injury and illness information which is used by OSHA to measure and direct the agency's efforts
- Enable employees and employers to identify types and causes of injuries and illnesses at each establishment
- Make employers and employees more safety conscious
- Encourage employee and employer cooperation
(For more information on OSHA's recordkeeping requirements, refer to Quick Tips #183, OSHA Reporting Requirements.)
A number of occupational activities performed in funeral homes fall under OSHA's General Industry Standards. These general industry standards are discussed in this document. Funeral home operators must be aware of the following regulations in order to stay compliant.
The Right-To-Know Law, officially known as The Hazard Communication Standard 29 CFR 1910.1200 was enacted November 25,1983, by OSHA. Its purpose is to ensure that chemical hazards in the workplace are identified and evaluated, and that the information concerning these hazards is communicated to both employers and employees. This transfer of information is to be accomplished by means of a comprehensive hazard communication program that includes container labeling and other forms of warning including Safety Data Sheets (SDSs) and employee training. (Refer to Quick Tips #150 for detailed information on the Hazard Communication Standard and Quick Tips #374 on Globally Harmonized System (GHS).)
This regulation applies to all individuals who may reasonably anticipate contact with blood or other potentially infectious bodily fluids in the course of their employment. This includes contact with skin, eyes, mucous membranes or contact from piercing the skin. The focus of the regulation is the creation of a written Exposure Control Plan that describes how the employer will protect employees from exposure (See Quick Tips #105 for additional information on the BBP Standard.).
A key component of the PPE Standard is the hazard assessment of the work area as required under the General Requirements. According to OSHA, under 1910.132(d) Hazard Assessment and Equipment Selection states that the employer shall assess the workplace to determine if hazards are present, or are likely to be present, which necessitate the use of personal protective equipment. If the assessment determines that hazards are present, or likely to be present, the employer shall:
- Select and have each affected employee use PPE that will protect from the identified hazards
- Inform each affected employee of the selection decision
- Select PPE that properly fits each affected employee
- Document that the hazard assessment has been performed through a written certification that identifies the workplace evaluated; the person certifying that the evaluation has been performed; the date(s) of the hazard assessment
In addition, the employer is also required to train the affected employees on the proper use of the selected PPE (For more information on PPE Standard request Quick Tips #240).
This program ensures that all employees are properly protected from respiratory hazards. According to 29 CFR 1910.134, creating and maintaining an individualized written respiratory protection program is the responsibility of all employers who provide respirators to their employees. The program must be administered by a suitably trained program administrator.
When establishing a Respiratory Protection Program, the funeral home operator must first identify what airborne contaminants are present. The SDS required under the Hazard Communication Standard contains this important information. Once the contaminants are identified, the operator will need to conduct air monitoring to determine whether employee exposures exceed OSHA's permissible exposure limit (PEL) for the identified contaminant(s). The established PEL(s) are also printed on the SDS.
If, after conducting the air monitoring, the employer determines contaminant concentrations are above the PEL, the employer must implement engineering controls (ventilation systems) or administrative controls (job rotations) to reduce the employee exposure. If neither of these options are feasible, the employer must then provide appropriate respiratory protection to the employee. Assigned respiratory protection must be approved by National Institute of Occupational Safety and Health (NIOSH) for the contaminant(s) present (For more information on establishing a Respiratory Program refer to Quick Tips #195).
Formaldehyde and glutaraldehyde are two common hazardous materials used in funeral homes. Formaldehyde use is regulated under a specific OSHA standard, 29 CFR 1910.1048 and was established to protect workers from occupational exposures to formaldehyde. It defines an Action Level, a PEL and a Short-Term Exposure Limit (STEL) for formaldehyde exposure in the workplace. The following are the established airborne concentrations for each of these levels:
- Action level: Airborne concentration of 0.5 parts per million (ppm) formaldehyde. If this level is exceeded, the employer must perform periodic air monitoring until the levels can be reduced below this point (29 CFR 1910.1048 (b))
- PEL: Airborne concentrations of 0.75ppm formaldehyde as an 8 hour time weighted average (29 CFR 1910.1048 (C)(1))
- STEL: Airborne concentration of 2ppm formaldehyde over a 15 minute time interval (29 CFR 1910.1048 (C)(2))
All employers who have any form of formaldehyde in the workplace must monitor employee exposure unless they can objectively document that the presence of airborne formaldehyde will not exceed the action level or STEL under foreseeable conditions (29 CFR 1910.1048 (d) (1)). If this cannot be done, the employer must begin monitoring.
Initial monitoring is accomplished by identifying all employees who potentially have an exposure at or above the action level or STEL. Each potentially exposed employee may be monitored, or a representative sampling plan implemented for each job classification and work shift. Monitoring must occur each time a change in equipment, process, production, personnel, or control measures is instituted (29 CFR 1910.1048 (d) (2)). If formaldehyde concentrations are revealed at or in excess of the action level, monitoring must be repeated every 6 months. If the monitoring shows levels at or above the STEL, annual monitoring is required (29 CFR 1910.1048 (d) (3)).
Monitoring can be discontinued if after two consecutive sampling periods (taken at least seven days apart) airborne concentrations are below both the action level and STEL (29 CFR 1910.1048 (d) (4)).
Glutaraldehyde, which is not covered under a specific OSHA standard, is still a hazardous material with established exposure limits. NIOSHs recommended exposure limit (REL) for glutaraldehyde is a ceiling limit of 0.2 ppm. This exposure level should not be exceeded at any time.
Another organization that establishes chemical exposure limits is the American Conference of Governmental Industrial Hygienists (ACGIH). The ACGIH has reduced their ceiling limit to a more conservative level of 0.05 ppm (Additional information on glutaraldehyde awareness is available on Quick Tips #174).
When it comes to emergency eye/face wash and shower requirements, OSHA has two different types of regulations, general and specific. Funeral homes fall under the general requirements that are located in OSHA's First Aid Standard under 29 CFR 1910.151(c). This standard states where the eyes or body of any person may be exposed to injurious corrosive materials, suitable facilities for quick drenching or flushing of the eyes and body shall be provided within the area for immediate emergency use.
The performance guideline for emergency drenching equipment that OSHA recognizes is the American National Standards Institute's (ANSI) Z358.1-1998. This Emergency Eye Shower and Wash Equipment standard aids employers in selecting and installing emergency equipment to meet OSHA requirements (For more information on this ANSI standard see Quick Tips #120).
In 1998, OSHA revised its Medical Services and First Aid regulation, 29 CFR 1910.151. The revision states; In the absence of an infirmary, clinic, or hospital in near proximity to the workplace which is used for the treatment of all injured employees, a person or persons shall be adequately trained to render first aid. Adequate first aid supplies shall be readily available. Included in the revision was Appendix A, a non-mandatory guideline that contains examples of minimal contents for first aid kits.
This appendix is taken from the ANSI Z308.1-1978, Minimum Requirements for Industrial Unit-Type First Aid Kits; it identifies the fill content that should be adequate for small worksites. The employer is responsible for determining the need for additional first-aid kits, quantities and the types of supplies at the worksite for large/larger worksites (Quick Tips #208 has more information on first aid kits.).
Chemicals play an important role in many workplace applications. The inherent hazards of chemicals can be reduced by minimizing the quantity of chemicals on hand. However, when chemicals must be in-house, proper storage and handling can reduce or eliminate the associated risks.
Proper storage information can usually be found on the chemical's SDS. The SDS will answer questions such as:
- Is the chemical a flammable or combustible?
- Is the chemical a corrosive?
- Does the chemical need to be stored at a temperature other than ambient?
- Is the chemical an oxidizer or reducer?
- Is the chemical light sensitive?
- Does the chemical require any special handling procedures?
Proper segregation of chemicals is necessary to prevent incompatible materials from inadvertently coming into contact with each other. If incompatible materials come into contact, a fire, explosion, violent reaction or the creation of toxic gases can result.
When segregating chemicals, acids should not be stored with bases and oxidizers should not be stored with reducing agents or organic materials. A physical barrier and/or distance is effective for proper segregation.
If cabinets are used to segregate chemicals, consider the compatibility of the chemicals with the cabinet itself. For example, corrosives like strong acids and caustics will corrode most metal cabinets. Non-metallic or epoxy-painted cabinets are available and will provide a better service life with these corrosive materials.
Safety cabinets are specifically made to maintain flammable and combustible materials. It's important to be aware of maximum allowable container size and maximum quantities for storage in cabinets based on the class of the flammable. The class of a flammable or combustible is determined by its flash point and boiling point (For more information on flammable and combustible liquids, see Quick Tips #179 and Quick Tips #180).
The disposal of hazardous waste varies from State to State and even between municipalities within the State. To validate that you are in compliance within your local requirements, you may want to contact your waste-water treatment plant.
While this document identifies the OSHA standards that apply to funeral homes, additional guidance may be necessary in interpreting how these standards apply to a specific situation. Your state OSHA Consultation Project (see Quick Tips #185) and the National Funeral Directors Association (NFDA) are resources for this information. The NFDA has an OSHA Support Line that's available to its members.
For information on NFDA membership, you can access their website at http://nfda.org/about-nfda-/membership-information.html or call 1-800-228-6332.
Federal Trade Commission's Funeral Customer's Guide Resource
American Board of Funeral Services Education
(Rev. 6/2014)
Find even more information you can use to help make informed decisions about the regulatory issues you face in your workplace every day. View all Quick Tips Technical Resources at www.grainger.com/quicktips.
Think Safety. Think Grainger.®
Grainger has the products, services and resources to help keep employees safe and healthy while operating safer facilities. You'll also find a network of safety resources that help you stay in compliance and protect employees from hazardous situations. Count on Grainger for lockout tagout, fall protection equipment, confined space products, safety signs, personal protective equipment (PPE), emergency response and so much more!
Please Note:
The information contained in this publication is intended for general information purposes only and is based on information available as of the initial date of publication. No representation is made that the information or references are complete or remain current. This publication is not a substitute for review of the current applicable government regulations and standards specific to your location and business activity, and should not be construed as legal advice or opinion. Readers with specific questions should refer to the applicable standards or consult with an attorney.
©2018 W.W. Grainger, Inc.


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A contribution to the project Sprache der Wand from Michael Carrithers.
Brassaï said: "Save me, take me with you, because tomorrow I am no longer there!"
To Michaels photo he would say: "… in a few minutes I am no longer there."
Dienstag, 11. November 2008
Sprache der Wand
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1960s light green mod mini dress with embroidered flowers on the way to its new owner in the UK!! Thank you for your purchase, we appreciate the business. Enjoy this fabulous dress.
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Women's Vintage Clothing & Accessories
Vintage Apparel, Vintage Accessories, Vintage Clothing, Vintage Fashion, Women's Clothing


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What's New
A Whole New World of Innovation
Fast. Forward. We think ahead and design technology to keep those on the frontlines safe. As the defense industry demands more interconnected and interoperable technologies, L3Harris delivers innovative mission solutions that address customers' critical challenges across air, land, sea, space and cyber domains. We have invested in open systems technologies and are driving the shift to 'software defined everything'. We propel ourselves forward to bring the future to our customers.


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Five lucky Y9 pupils studying CiDA with Game Making (Certificate in Digital Applications) got the chance to go to Wakefield College during half-term to develop a game using Unreal Engine 4 development Kit (UDK). They spent a day developing a 3D racing game using Unreal Engine; Building and editing terrain, designing water features, and building caves.
These are images of Callum's creative racing track design including loop the loop, lake and wall of fire. The pupils had a fantastic day along with pupils from other schools across the region, giving them a real insight into what courses are available at college and inspiring them to continue their education into Higher Education and follow their passion in Game Design.
"I got a lot out of it! It was really informative and extremely fun!" - Callum K.
"It was super fun!" - Mitchell H.
"It was very interesting, we were all involved in a fun learning environment!" - Thomas J.
"It was a great experience and should be open to more people!" - Dan M
Castleford Academy, Operated by Castleford Academy Trust,
an exempt charity and a company limited by guarantee. Registered Office: Ferrybridge Road, Castleford.
WF10 4JQ. Registered in England and Wales No: 7547039


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Discount Price:
You Save 19%!
We offer standard, 3 day express, 2 day express, and overnight express shipping options for your convenience. If you place your order Monday - Friday by 2:00 PM EST using one of our express shipping options, your order will be processed and shipped the same day it is placed!
This Ninja sword is stealthy and fully functional28" black high carbon steel bladeBlack cord-wrapped handleTraditional square tsubaBlack scabbard includedGenuine black leather shoulder harness39" overall length
Product Description
This Ninja sword comes fully functional with a sharpened black blade. All traditional aspects of a Ninja sword are represented with this piece. It has a straight, 28" black high carbon steel blade and the traditional square guard. It has a hardwood handle with all black wrap and the black scabbard has a genuine leather shoulder harness.
Musashi Hand-Forged Samurai Dragon Katana With Scabbard - Clay Tempered 1095 High Carbon Steel Blade, Hardwood Handle - Length 41 1/2"
Musha Hand-Forged Japanese Military Sword
Combat Commander Modern Tactical Spartan Sword - 1065 Carbon Steel
Combat Commander Saber Sword - 1065 Carbon Steel
Musashi Hand-Forged Nagamaki 1045 Carbon Steel Sword
Musashi Hidden Dragon Samurai Sword - Hand-Forged
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Customer Reviews
I just got this sword and it is beautiful! The blade is straight, black, and sharp. The handle is well wrapped and everything is tight. No rattle. The only reason I took off a star was because of the scabbard. The center loop that is supposed to hold the belt was poorly glued on and slid right off. I had to clean off the old glue, repaint the parts where the paint chipped off because of the glue, and refit the loop until it was tight. Now it's all good. And it looks excellent at the very top off my all Musha sword rack. Thanks BudK!
Bought one of these to see how it compares to the Hanwei Kouga Ninjato. To make a long story short, this is a $50 dollar sword, not a $300 dollar sword.
- Saya was cracked when I got it. That's OK for me (I'm shortening the blade / saya anyway), but still.
- Handle had a big crack under the wrap
- Fittings (including tsuba) are zinc alloy, heavily covered in paint. Very rough cast lines that have been sanded down, leaving large non-textured areas.
- Wrap is very strange, one piece of ito, starts and finishes near the fuchi. Glued down.
- Fittings on the saya are glued in place. Two out of three were already loose on my sword when I received it.
- The habaki is alloy.
- The blade is the best part. Straight, blued, sharp. Full tang, two mekugi holes. Pretty rough grind on the nakago, though.
- Rayskin is fake (but pretty nice, suprisingly)
- Menuki are small and cast alloy.
- Leather strap is not too bad, but the metal fittings are very cheap and light.
- Seppa are quite nice:)
Overall, it's a good project sword, but that's about it. Might be ok for display. I don't think it would survive any actual use.


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White is the versatile color for everyone. Without any limits in professions or ages, white cocktail dresses can keep you company for many occasions. Whether for business meetings, weddings, prom or homecoming parties, you would look fabulous in the white cocktail dresses. Every woman deserves an amazing white dress. Find the closest shop in your area and enjoy trying on the beautiful designs! You can go for classical, sexy, modest or trendy styles. Different lengths together with various designs will give you hundreds of options.
Imagine you are going to hold a wedding, what is your best wearing? Of course, the white cocktail dresses! If you prefer long crystal gowns as the wedding dress, cocktail dresses will save you a big sum of money. To be frank, it is unnecessary to pay much for wearing only once. As for beach weddings, short white dresses can keep you away from the sands. And you will look both sexy and gorgeous in short ones. After the wedding, you can also wear the cocktail dress for any other occasions.
For young ladies, black and white cocktail dresses can also be available for proms or homecoming parties. Both simple and max dresses are nice options. Once dress in the beautiful white dress, you will win lots of head turnings as you step in the room. Your friends will scream for your stunning look! As nowadays many young girls love tan skins, white colors can help accentuate on your colors. Also, white is the strong back to show off your hairstyle and makeup. If you have never tried a white dress, I strongly suggest you give it a go and you will definitely love it.
What if you are invited to a formal party? Don't worry about the clothing any more. White cocktail dresses under 100 could also surprise you. As white color is getting more and more popular, almost every woman is crazy about it. And there are special stores where you can only find white clothing. When you are walking on the street, just stop and make a count and you will see the popularity of white dresses. Plus, you can dress up or dress down the clothing according to the formality of the event.
For example, flare skirt with ruffles would be gorgeous than the normal short white cocktail dresses. If you have a formal party to attend, stuff like sequins, rhinestones or other shiny factors can do you the favor. Every store can offer you many kinds of choices. Different styles have different prices, usually from $30 to $60. High quality clothing with complex adornments certainly will cost more. Anyway, there must be a unique one for you. Enjoy the shopping and keep searching until you find your love.


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Following a similar order from DFDS earlier in 2013, a repeat order for PureSOX was placed by Dutch ship owner Spliethoff near the end of the year. The order confirms not only the commercial viability of the exhaust gas cleaning system, but also customer confidence in the system's performance within Emission Control Areas (ECAs).
SOx Emission Control Areas (SECAs)
Signed in November, the order from Spliethoff comprises PureSOX systems for five Con-Ro vessels. The vessels will be retrofitted between June and December of 2014 reports the company.PureSOX is a hybrid scrubber system, able to operate with either seawater or fresh water. And while the technology is relatively new, it has been demonstrated to reduce sulphur content in vessel exhaust by more than 98%. An order based on real-world experienceSpliethoff, one of the largest ship owners in the Netherlands, has been operating with PureSOX aboard the M/V Plyca. Alfa Laval delivered the system in 2012, and it has been in continuous use aboard the vessel ever since it was installed. Sailing within the North European ECA, the M/V Plyca has logged more than 6000 hours in full compliance with the new IMO regulations.Cleaning exhaust from multiple enginesThe PureSOX system installed aboard the M/V Plyca is a multiple-inlet system, able to clean the exhaust gas from both the main and auxiliary engines. The same will be true for the deliveries in the new order. Each will serve four Wärtsilä engines with a combined power of 28 MW, handling an exhaust gas mass flow of 132,000 kg/h. Spliethoff's experience with the multiple-inlet installation aboard the M/V Plyca is that it is both efficient and reliable. According to Alfa Laval this can be expected no matter how many of the inlets are used at a given time. "With PureSOX, we've established very effective means of closing off the pathways from engines that aren't in use," the company says.
MV Plyca with Alfa lavals PureSOx Scrubber
Centrifugal separation – a key to successAnother area where PureSOX has proven effective is the cleaning of the scrubber wash water. PureSOX saves on caustic soda and fresh water by operating in an open loop with seawater. But in low-alkalinity waters or in harbours and other areas where discharge is strictly regulated, a closed loop with fresh water is an alternative. The fresh water in a closed loop must be cleaned, which has proven an Achilles heel for many exhaust gas cleaning systems. The roll and pitch of rough seas, for example, can make it difficult for filtering, settling or flocculation processes to manage their job. In PureSOX, however, Alfa Laval's expertise in high-speed centrifugal separation has provided an answer.
Alfa Lavals PureSOX Scrubber, very effectic and easy to be retroffited
images source: Alfa Laval


text: (CO) JohnFinney Report post Posted March 23, 2019 (edited) Just wanted to post a quick note of warm welcome and highlight our members from Colorado. Looking forwards to meeting up and fishing with you all this season. Our ranks are growing and now include; Amy & Mark Demrovsky Mark Caldwell Bob Crook Holland Oats For those that don't know them, Amy, Mark, Mark, Bob have all featured in CarpQuest videos in 2018 and are frequent posters on the CAG Facebook page, Holland is still elusive and i've yet to fish with him on the banks and get him on photo/film ! Tight-Lines, John Edited March 23, 2019 by (CO) JohnFinney Quote Share this post Link to post Share on other sites


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His tongue is a flame on my skin. He begins at my ankle, soft and cool at first, tracing the narrow bones, a circlet of silver, and as he moves up the back of my calf, I feel his touch burning, burning.
But I'm strong, my skin is feather-light, hard as diamonds. He kisses the back of my left knee and I laugh and call out – it tickles and arouses me, both. His fingers are on my golden thigh, drawing patterns of lust in my skin. I sink my fingers into his white silk hair, rough, tearing. Not even a thread comes loose. He stops, and looks to me. His eyes are blue-green, deep and cold as a lake.
"Don't stop."
But he grins, and skims my hips with his snake tongue, around and about, wavelets that don't make the tide line.
"I'll change, just see if I don't," I whisper, though he's driving me to desperation. Me, an immortal, a goddess – but in this I'm just female, full of desires, weak as a woman.
"Like this?" His white hair turns tawny, his blue eyes golden, he's a tiger looking down on my naked body, warm breath at my throat.
"Like this." I dissolve beneath him, laughing, and become a river of air, so that he crouches on emptiness. But empty is what I am, and what I don't want to be, so I take again the form of a woman, honey-skinned, voluptuous.
He takes me by the throat, softly, and I hear him growl as he enters me. I close my eyes and cling to his thick, soft fur, feel him purr as I constrict around him.
He comes as a man, and we lie together as male and female, and I kiss the perfect lips and know that we've made another, this time.
And that, my little god, is how you were conceived.


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While I have completed over 200 church real estate transactions during my 27 years in the commercial real estate brokerage business. I do not have the particulars on Harris County. However as a general rule, the amount of parking required is based on the seating capacity of the church, and generally it requires one parking space for every 4 seats. However, each municipality can set their own rules. I would recommend that you contact the building inspections department for the municipality where the church is to be located, and they can give you the correct number. I hope this helped.
I can tell you that City of Houston is one spot for every 5 seats in Auditorium/Sanctuary
Review the current IBC - International Building Code in "Off Street Parking Requirement" a Church usually includes a lot of different functions the. Occupancy Ratings tell you how many people can occupy different uses in the church.For example the Sanctuary would be "Assembly" with "Fixed Seating" = 25 Square Feet Per Person Office would be a "Business" type of use = 100 Square Feet Per Person Classrooms "Educational" ................................and so onCheck with the Atascoita Building (City) Building Department and ask what version of the IBC they have adopted.Most cities have an ordinance formally adopting the IBC in the United States.Rule of Law states that the City must take liability if they do not follow this Internationally accepted building code.Then again they can be more strict if they choose.It is often not a great idea to adopt of make building codes more strict when it does not have a good purpose like human safety or use strict use requirements.Also check the City/County Zoning Ordinance usually associated with Building Departments within the City Hall Department.
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announces its
* 25th-Anniversary Season Productions *
Includes the regional premiere of Rantoul & Die by Mark Roberts ("Two and a Half Men") and the new annual Blue Ink Playwriting Contest.
Pictures from most recent production, critically-acclaimed Tobacco Road
November 26 – December 31, 2010
|It's a Wonderful Life: Live at the Biograph!
|Directed by Marty Higganbotham
In the Richard Christiansen Theater, 2433 N. Lincoln, Chicago
Featuring ABT Ensemble members Kevin Kelly, Ed Kross, John Mohrlein and Gwendolyn Whiteside
|From the original director and Ensemble that brought this holiday tradition to Chicago in 2004. Join the American Blues family as we take you back to a 1940s radio broadcast of Frank Capra's holiday classic It's a Wonderful Life, with live Foley sound effects, an original score, and a stellar cast of seven that bring the entire town of Bedford Falls to life. From the moment you walk through the doors, you will be transported back to the Golden Age of Radio, and experience the story of George Bailey like never before. Critics called this production "perfect Christmas theater" and "first class holiday fare."
March 2011
|American Blues – Collected One Acts
|by Tennessee Williams
In the Richard Christiansen Theater, 2433 N. Lincoln, Chicago
Directed by Dennis Zacek, Steve Scott, Brian Russell, Damon Kiely and Heather Meyers
|This one-night benefit performance celebrates American playwright Tennessee Williams' 100th birthday. These five short plays were selected by Williams' in the rarely produced 1948 collection entitled "American Blues" to showcase his commitment to the blue-collar worker. ABT is thrilled to work with directors who have made significant contributions to the success and livelihood of the Blues' Ensemble theater throughout the 25 years. ABT will announce the winner of the first annual "Blue Ink" Playwriting prize at this event.
April 15 – May 29, 2011
|Rantoul & Die
|Written by Mark Roberts i/a/w Stephen Eich and Don Foster
In the Richard Christiansen Theater, 2433 N. Lincoln, Chicago
Directed by Erin Quigley
Featuring ABT Ensemble members Kate Buddeke, Cheryl Graeff, and Lindsay Jones. With guest artists Steppenwolf Ensemble members Francis Guinan and Alan Wilder.
|From the writer and executive producer of "Two and a Half Men" comes a new play with four of the funniest, ugliest, and most heartbreakingly real characters ever, all crammed together in a grimy little world that makes the local Dairy Queen and Dante's Inferno seem one and the same. The Hollywood reporter calls Rantoul & Die "original and devastatingly funny!" Regional premiere.
|from Tobacco Road (our review ★★★)
Filed under: American Blues Theatre, Richard Christiansen Theatre, Season | Tagged: American Blues Theater, and William Payne with Dawn Bach, Blue Ink Playwriting Contest, Brian Russell, Carmen Roman, Casey Campbell, Cecilie Keenan, Cheryl Graeff, Damon Kiely, Dennis Cockrum, Dennis Zacek, Don Foster, Ed Blatchford, Ed Kross, Editha Rosario, Erin Quigley, Erskine Caldwell, Frank Capra, Gwendolyn Whiteside, Gwendolyn Whiteside. James Learning, Heather Meyers, Jack Kirkland, James Leaming, Jim Ortlieb, John Mohrlein, John Sterchi, Kate buddeke, Kevin R. Kelly, Lauri Dahl, Lindsay Jones, Mark Roberts, Marty Higganbotham, Matthew Brumlow, Rantoul & Die, Richard Christiansen Theater, Rick Cleveland, Stephen Eich, Steve Scott, Suzanne Petri, Tania Richard, Tennessee Williams, Tom Geraty, Victory Gardens | Leave a comment »


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June 27, 2007
Everybody loves a winner!Filed by Bil Browning | June 27, 2007 | 8:31 PM |
One of the things we're working on for the big re-launch celebration is some cool prizes that readers could win. They'll run the week we officially throw open the doors and welcome the world to The Bilerico Project. But for...Read More
Ex-Ex-Gay Ministers Apologize for Damaging GaysFiled by Karen Ocamb | June 27, 2007 | 7:19 PM |
According to a new CNN/Opinion Research Corporation poll, a majority of Americans (56%) do not believe that sexual orientation can be changed. That may be good news to the ex-ex-gay ministry leaders heading for the big Soulforce and beyondexgay.com conference...Read More
Queer music all overFiled by Alex Blaze | June 27, 2007 | 2:38 PM |
Hypeful has put together some mp3's of (mostly white, male) queer musicians. Check it out, there are some old groups there and some new artists as well....Read More
Hump day questionFiled by Alex Blaze | June 27, 2007 | 2:31 PM |
Do you plan to vote in the '08 primaries? How about in the general election?...Read More
MySpace is for Queers?Filed by Bruce Parker | June 27, 2007 | 1:00 PM |
Allow me to open with two brief stories, FACEBOOK: As an instructor in a teacher education multicultural education classroom at Purdue University in Indiana I tried everything imaginable to get my students to critically engage in discussions about diversity. Along...Read More
Clinton Campaign Releases List of LGBT Supporters; Edwards Visits L.A. Gay & Lesbian CenterFiled by Karen Ocamb | June 27, 2007 | 12:39 PM |
Updated I just received this list of LGBT supporters for Senator Hillary Clinton's presidential campaign. I emailed the campaign to ask if they are going to post it on the website - and LGBT National spokesperson Jin Chon got back...Read More
A Book is Born!Filed by Sheila S. Kennedy | June 27, 2007 | 10:11 AM |
Okay--file this under E for ego, or S for Shameless Self-Promotion, but I am pumped! My most recent book, God and Country: America in Red and Blue is out--it's available through Amazon, and should be in your local Barnes and...Read More
If you are a Gore Fan, Soprano fans feel your pain.Filed by Storm Bear | June 27, 2007 | 9:23 AM |
click to enlarge...Read More
Britney Spears Buys A Bird! Brad Doesn't Love Angie!Filed by Michael Buckley | June 27, 2007 | 9:21 AM |
A covert operation at the Pentagon?Filed by Guest Blogger | June 27, 2007 | 8:00 AM |
[EDITOR'S NOTE]: The following is a guest post by Steve Ralls, Director of Communications for the Servicemember's Legal Defense Network. In his work with SLDN, Steve has become a recognized authority on the military's gay ban. Steve serves as SLDN...Read More
Transyouth in the NewsFiled by Bruce Parker | June 27, 2007 | 7:42 AM |
The media is paying a lot of attention lately to transgender people. I have posted here a few times about Transyouth Family Advocates. Obviously I am a big fan of the work these four mothers on a mission have been...Read More
Starrbooty's lowest common denominatorFiled by Mattilda Bernstein Sycamore | June 27, 2007 | 6:43 AM |
Back in clubs in the early-to-mid '90s, we were all trying to invent our own histories, I mean I guess this is still the same but that's when I was inventing. We looked to club freaks we could only find...Read More
Coffee & Toast with Barack ObamaFiled by Ed Team | June 27, 2007 | 6:09 AM |
"Somehow, somewhere along the way, faith stopped being used to bring us together and started being used to drive us apart. It got hijacked. "Part of it's because of the so-called leaders of the Christian right, who've been all too...Read More


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For the Love of an Unknown Child
by Rebecca Missey
I don't know exactly what day it was, but I know it was late November. I had just returned home from picking up my mail. I laid it down on the kitchen table and poured myself a cup of coffee. I wrapped my hands around the cup and allowed the warmth to take the chill out of my finger tips. I pulled out a chair and dropped into it. I started sifting through the mail. About three letters down was something I had been waiting for; it was an application from an adoption agency. I was like a child at Christmas as I tore into the envelope. A nervous energy pulsed through me as I filled out the application. I placed it in an envelope and immediately took it to the post office, As soon as I returned home reality hit me like a brick. There was no way I could go through with this.
Here I was three weeks past my 45th birthday, and five years after my divorce contemplating adoption. You see, more than anything I wanted to raise a child. Where did my overwhelming desire to raise a child begin? That's hard to say. I think I wanted to be a mom longer than I can remember. When I was little I had this doll I carried everywhere with me. I carried it to church, I carried it into stores. I slept curled up next to it. For several years you would have not seen me without that doll. By the time I was ten years old I had names for a whole house full of children picked out.
My ex and I married when we were 22. We met our first day of college. For the first several years we were perfectly happy. We both wanted a big house full of children but after several years of trying, it was starting to look hopeless. He would not even hear about seeing a fertility specialist. Thinking I had found the answer to our prayers I said "Why don't we look into adoption?" , We were at the dinner table at the time. My husband dropped his fork to the table. "Absolutely not," If you had seen his face you would have thought I had said "Lets set ourselves on fire."
"Why not?"
"What kind of kid are we going to get? Some kind of brain damaged kid who was born addicted to crack, and will have problems for the rest of his life? No thank you. I am not raising someone elses trouble."
"You don't have to be so hateful about it. There are plenty of healthy children out there waiting to be adopted."
"Yeah if you don't mind putting yourself on a waiting list for several years. We both know you do not wait well."
"Or we could adopt a foreign baby."
"A foreign baby? You know how my parents are. Do you really think they would welcome a grandchild from another country?" He had a valid point. I let the subject drop. I thought after a while he would warm to the idea. I was wrong. The tension between us grew worse and worse. We reached a point where we were fighting over anything and everything. What was worse, we started spending as little time together as possible. He would go "out for a drink", and I would sit home alone.
I soon found myself researching adoption agencies online. One night as I was researching agencies an email came in for Mike. Curiosity got the best of me. I opened the email. My worst fears were confirmed as I read it. "Dear Mike, I went for my sonogram today. I wish you could have been there. My doctor says everything look perfect. I cant wait to hold our baby. I love you both so much. Love, Brittany." To this day I have not gotten over the crippling pain of that moment. A thousand thoughts attacked my mind. I am defective. He can have children. I can not. It was a cold, hard slap across the face. I took a deep breathe. I sucked back the fist sized lump in my throat. I fought back a truck load of tears. I asked him for a divorce that night. That was a little more than five years ago.
The night after I mailed the adoption application I could not sleep. I kept going over the list of reasons why I shouldn't go through with it. What if I die before the child is grown? What if she doesn't like me? I tossed and turned Every lump in the mattress was multiplied by a million. I looked at the alarm clock. It had only been five minutes since the last time I looked. Finally, I gave up. I swung my bare feet onto the cold floor. I went to the kitchen and called the two people I knew would not be mad that I was calling at 5am. They both agreed to meet me for breakfast. Two hours later I was sitting at a table at my favorite restaurant with Beth and Mega, The three of us had been best friends longer than any of us could remember.
"Sara are you okay? You look like you haven't slept in a week." Beth said as she reached across the table and place her hand over mine.
"Or maybe you have met someone." Megan said as she rested her hand against her cheek as she sported her most interested look. "Come on girl, spill it. Don t drag us out this early and the spare detail."
"No, you're both wrong. I've be struggling with a decision." I paused for a moment. I pushed my food around my plate. I was nervous with Beth and Megan for the first time. "I have shared with both of you how much I want to be a parent. I filled out an application with an adoption agency, but I don't know if I will go through with it."
"You should go through with it. I will help you any way I can." Beth beamed. "You would be an amazing mm." Megan suddenly sat her glass done.
"Are you insane? Get a dog or cat. This is the time in our lives when we can finally do whatever we want. Why tie yourself down?" So, as it turned out breakfast with Megan and Beth had not been the help I had hoped for.
For the next several days I walked around in a fog. I was unable to think of anything other than whether or not to adopt. I went to the grocery store for bread and ended up in the baby food isle. I found myself in stores looking at baby furniture. I went as far as buying a rocking chair. I had to make a decision soon or I would loose my mind.
Two weeks after I mailed the application I got a letter welcoming me to the adoption process. Enclosed with the letter was a picture of a little girl. If I was interested the agency thought she and I would be a good match. I couldn't stop looking at the girl in the picture. Her sweet little face stared back at me. I felt as though at any second she was going to crawl out of the picture and into my lap. I felt an instant connection to her. Oddly, I felt as though she and I already knew each other. It was as if she was a part of my soul. After a while I convinced myself she looked like me.
I barely slept that night. I couldn't shut off thinking about the little girl in the picture. Around three in the morning I gave up. The light in my spare bedroom was the only light for miles. As the world slept I purged junk out of a room that had not been used in years. It would be used now. My decision had been made.
Sometimes in the dead of night I hold my breath and tiptoe to my daughter's room. I quietly open the door and watch her sleep. Overwhelming pride and love wash over me. Thank God I had the courage to follow my heart.
Rebecca Missey holds a Bachelors of Science degree in Psychology. She lives in a painfully small town in Missouri. She loves music, reading, and spending time with friends and family.


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What's in Your Kitchen Wednesday
This past week has been full of milestones at my house. We made a trip to the emergency room, lost two teeth in one day, and started the first grade.
So, please…someone pass the cupcakes. 😉
No really, I'm stress eating and I need.more.sugar.
Sugar aside, we're eating healthy on school mornings this year, and I've teamed up with The American Egg Board to offer one of you a year's supply of eggs. So make sure you enter!
This week's top viewed post was this Strawberry Lavender Cake from Blahnik Baker. Isn't it gorgeous?
And because I've got cupcakes on the brain this week, check out these Oatmeal Creme Pie Cupcakes from The Brunette Baker. They have marshmallow buttercream frosting, ya'll.
As much as we love Mexican food around my house, we're equal opportunists when it comes to Asian food. So, we're totally making this Beef and Broccoli Stir-Fry from This Silly Girl's Life.
And eek! I"m so excited that Becca is as much of a pumpkin lover as I am…anyone else ready for Fall baking? Then make sure to check out these Mini Pumpkin Chocolate Muffins from Crumbs and Chaos.
And, if you're like me, and looking for school lunch ideas, check out this awesome list from Growing Up Gabel!
Thank you all so much for coming back each week to make this party a great success! I love seeing all of your great creations, and it's such an awesome way for me to find new blogs to stalk read.
Are you ready to share what you've been up to this week? After sharing, please take a moment to visit some other links–we all love comments!
If you were featured, make sure to grab a button from the left sidebar!
8 Comments
Suzanne of Simply Suzannes at Home on August 13, 2013 at 8:14 pm
Suzanne of Simply Suzannes at Home
Hi Ashley!
Thanks for hosting another great link party!
I love this week's features. I'm excited for Fall baking too!
Have a great week,
Suzanne of Simply Suzannes at Home recently posted..Summer harvest vegetable pizza
Dana @ This Silly Girl's Life on August 13, 2013 at 8:15 pm
Thanks so much for featuring my beef and broccoli stir-fry!
Dana @ This Silly Girl's Life recently posted..Tips for Blogging on a Budget {Part 2 for Food Bloggers}
Becca @ Crumbs and Chaos on August 13, 2013 at 8:20 pm
Oh my word, that cake is GORGEOUS!! Thanks for including me in your features 🙂 Hope you're having a great week!
Becca @ Crumbs and Chaos recently posted..Chocolate Chip Butter Cake
Samantha @ Five Heart Home on August 13, 2013 at 8:58 pm
Yikes…hope this week is less eventful for you than the last one! In the meantime, I think you deserve that extra dose of sugar! As always, thanks so much for hosting, Ashley… 🙂
Samantha @ Five Heart Home recently posted..Slow Cooker French Dip Sandwich Au Jus
Heather @ French Press on August 13, 2013 at 10:07 pm
what a week…hopefully this next one will be less eventful
Heather @ French Press recently posted..30 minute dinner rolls
Kim on August 14, 2013 at 7:41 am
I hope this week is ER-free! Thanks for hosting, Ashley. I always enjoy perusing the recipe links.
Zainab @ Blahnik Baker on August 14, 2013 at 1:40 pm
Thanks for the party and the feature this week!!
Zainab @ Blahnik Baker recently posted..Dark Chocolate Salted Caramel Cupcakes
Jovelyn@BruCrew Life on August 19, 2013 at 12:51 am
Adore that Strawberry Lavender cake!!
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Hello There!
Interestingly enough, I didn't grow up with an interest in cooking. In fact, I informed my mother on multiple occasions that I was not getting an advanced education so I could spend my evenings preparing meals.
Grab My Cookbook!