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The End of the Tour
There's much hay being made among fans of David Foster Wallace recently about the announcement that a film about Wallace is on the horizon. Titled The End of the Tour, the movie will be based on David Lipsky's book Although of Course You End Up Becoming Yourself, which I reviewed favorably here. Jason Segel and Jesse Eisenberg will star as Wallace and Lipsky.
I have pretty negative feelings about the idea of this film but haven't been able to sort out exactly why. I can't really object on the basis of the actors. I think I've seen Segel in one or two things and found him at worst unobjectionable; I've read that he's actually done some good, sincere work, and he's a better pick to play Wallace than droves and droves of people might have been. It's not as if the producers cast Jack Black or the guy who famously screwed a pie in a couple of movies. Eisenberg I guess I know from The Social Network, but let's face it — my undies are not in any sort of wad over the portrayal of Lipsky here.
I thought briefly along with Edwin Turner at Biblioklept that the movie would be a "crass cash grab," but I'm no longer convinced, having read an argument on the wallace-l listserve to the effect that not much money would really have been in play here for Lipsky or the estate. And anyway, Lipsky I took from the beginning to have good intentions. He generously swapped a few emails with me at the time of his book's publication, and I felt very much as if his heart was in the right place. He was at least as much a fan of Wallace's as I was, and he was gracious and even sweet. I'm willing enough to grant that even if he made some cash by selling the rights to the book, his main motivation was to tell the story to a broader audience.
Questions of audience are probably what my negative feelings mostly come down to. My introduction to Wallace's work came during Christmas of 1997, when I was given Infinite Jest as a gift while in college. I holed up and read the book over the course of the break, doing little else. It was an audacious, difficult book, one of the first things I remember recognizing on my own as a good book. Sure, I had read lots of classics and had jumped on the various bandwagons that young people jump on (Salinger so gets me!), but most of what I had read had been filtered to me as something I ought to read. I knew in advance that they were great books. I was given Infinite Jest explicitly because it wasn't by a dead guy or considered (yet) a work of classic literature, and I blundered into recognizing greatness in it. So in a way, it was a validation of my ability to see a thing as a thing of quality. When I learned later that there was a community of readers devoted to Wallace's work — that he was considered among these apparently smart people at least to be a writer with important things to say in artful ways — I felt further validated.
To write about discovering things relatively early (albeit after all the hype that I had somehow missed) is kind of dangerous ground for me. I'm vehemently anti being-a-hipster. I dislike the posture of it, the attitude that liking things before anybody else did is a thing that confers any sort of merit. Yet here I am patting myself on the back for feeling glad that I was able to recognize value in Wallace's work before he was very far into the recent mainstream. Maybe I'm a loser hipster after all, at least in this one little part of my life. In any case, what I'm getting around to is that an affinity for Wallace's work is something that I've always felt as if I had somehow earned. I did the work and recognized the quality of his writing and joined the little club of people who had done the same, and I suppose I came over time to feel as if I had some kind of stake in Wallace's legacy.
So I guess a lot of my angst about the movie stems from my love of Infinite Jest and a selfish feeling that this sort of creation story around the phenomenon of the book can't really belong to people who haven't cultivated a basically emotional appreciation over time for Wallace's work. I read Infinite Jest so many times, studied it, wrote about it. I felt a kinship with Wallace (even though doing that is stupid). It's a very personal book to me. I also managed to take his death super personally (stupid or not). Of course then I read Lipsky's story about the tour and later read D.T. Max's biography and thought of them both as gifts. Wallace's legacy was growing more and more mainstream, and it seemed a little weird. More and more people were reading the books rather than just carrying them around or using them as doorstops. I actually sort of loved the early post-mortem mainstreaming of Wallace. The Infinite Summer project was a wonderful thing, for example, and I was pulling for John Krasinski's adaptation of Brief Interviews with Hideous Men. So I don't think it's that I really object to broader exposure of Wallace's work (maybe I'm not a hipster after all!). But still there's something about this film that doesn't feel quite right to me.
Part of it I suppose is that I'm struggling to understand how the story could possibly be of any interest to anybody who doesn't know Wallace's work well, who hasn't read Lipsky's book out of a real sense of yearning to know the story behind the creation of Infinite Jest. In other words, it's not just my selfish feeling that prospective moviegoers are not entitled to the story but genuine incredulity that most moviegoers would be inclined to receive it. Why make the movie, then? Or, if you're going to make it, how are you going to manufacture an audience for it? Well I suppose you're going to go dirty with it, or sensationalize things in it. Or maybe you make it a movie loosely based on Lipsky's book and Wallace's life, but in that making you lose a lot of the nuance. You write a bullshitty movie about mental illness or you write some kind of bro flick that squeezes the humanity and intelligence out of the conversations Lipsky gave us in his book. Or you write a story that's not about Wallace at all, that's about his name and his tour but that mythologizes him for better or for worse but that doesn't actually portray him (in which case why pick over the corpse?). I suppose I'd be happy enough to see the movie as a documentary, but there just seems so much opportunity to get a biopic wrong, and I can't figure that Wallace is well enough known that he merits a mainstream biopic, which fact all but necessitates fictionalizing the story and telling the wrong mythology (I know, I know, there's no right mythology). So then it begins to feel like a movie that rides whatever wave Wallace's recent broader fame has created without actually having much of a chance at doing Wallace any justice.
Putting aside my personal hangups, there's the fact that part of the point of Infinite Jest is that too-easy consumption can have bad consequences. So here we have a movie starring mainstream actors that many people who've never read a word of Wallace's will spend a couple of hours staring passively at, and in the story, the main characters will talk about heady issues surrounding a book in which people who did pretty much exactly this type of passive consumption had their brains fried. It could practically be a blurb from James O. Incandenza's filmography (just add maxillofacial pain). Maybe it's a brilliant concept after all.
I also have anxiety about actually watching the movie, which I will almost certainly do in spite of my reservations. Once years ago, I went and saw a friend perform in a play. I had known him first as a friend and only later as an actor, so that when I saw him on the stage, he wasn't the character but was my friend pretending to be a character. It was very strange, and I couldn't distance myself enough from my knowing him as a person to decide whether his performance was good or not. Was he playing the part well or badly? If I thought he was doing well, was I biased? If I thought he was doing badly, was it simply because he seemed so different from the person I knew and because I somehow felt almost as if he was lying to me? Watching The End of the Tour will likely have a similar effect on me. It's hard to imagine that I'll love it even if it's very good, and if it's very bad, I won't know whether to trust my judgment of it or not, since maybe I'll think it's bad thanks purely to all the angst I'm feeling about its existence in the first place. For me, then, the movie is almost a guaranteed failure.
Since the movie seems destined to be made whether I wring my hands or not, I'm going to try hard to root for it. I hope it shows some of the good and some of the bad in Wallace. I hope it shows his intelligence and humanity. If it shows him being a pig sometimes (as it probably rightfully should), I hope it shows some moral conflict over it, as a big part of what's so valuable to me in Wallace's work is how it grapples with wanting to do the right thing but doing the wrong thing anyway (because sometimes you just can't help it) and hating yourself for it.
Just about in the middle of Lipsky's book (page 163 if you have it handy), he quotes Wallace on Pauline Kael on the movie Scrooged:
And Pauline Kael has this great thesis about, what's terribly pernicious about a lot of movies, is that they make the bad guys wholly unlike you. They turn them into cartoons. That you can feel superior to. Instead of making you realize that there's part of the villain in all of us. You know?
I think one of my biggest fears is that the movie will strip out what's so enriching about the dialogue Lipsky shared with us and give us instead a road trip movie or a feel-good movie, that it will make Wallace too much the villain or too much the saint, just a character with Wallace's name and history, that it will wind up a real travesty of a cartoon. I really hope it manages not to do that, though I have a lot of trouble imagining it can avoid it.
Infinite Zombies, Summer 2013
I've been thinking for a while about possibly starting up a read for the summer. I have George Saunders on the brain. Before I put in the work, I wanted to collect some feedback to gauge interest. Please lodge your interest or lack thereof below. Note that if you express interest, you can also volunteer to participate more actively by writing for the blog, and you can express preferences about the scope of the project. I imagine we'd start in July sometime if the read materializes.
As you're planning your summer reading, you should be aware that a new Infinite Jest reading group has sprung up. Summer of Jest starts in just a few days and may be of interest to those who've landed on this post either because they're long-time readers of the site or because they did a search for Infinite Jest and landed here by accident.Take The Survey!
Review: Chris Eaton, A Biography
Although I have read a fair amount of literature that can safely be called experimental or at least non-conventional, I tend to doubt my ability to make fair, sound judgments about which among these works are good works. Much of Barth is tedious and masturbatory, and there's plenty under Pynchon's name that strikes me as very weak, for example, and yet both are widely regarded as masters at what they do. (And of course they've also both written plenty that I do find worth serious study.)
In spite of my self-doubt when it comes to such judgments, I think I've made some correct calls. Gaddis and Wallace write good books. Some of Bolaño and Pynchon I recognize to be quality work even when it doesn't appeal to me personally. When a book is a great book, I think I generally have the sense to recognize it as such.
Chris Eaton's Chris Eaton, a Biography, however much it is a book I found myself rooting for, is not a great book. It is not, in fact, even a terribly successful book. But it is a book that I really wanted to be successful, whose conceit I found appealing if, in the end, very overworked.
The promotional blurb sets the novel up rather promisingly (if a little over-enthusiastically):
Chris Eaton, A Biography is a novel that arises from the idea that we have all been driven, at some point, to Google ourselves. And if you did, what did you find? That there are people out there who seem to have something in common with you? Dates, places, interests? How coincidental are these connections? And what are the factors that define a human life? We are the sum of our stories: Anecdotal constructs. We remember moments in our pasts the way we remember television episodes. In pieces. And we realize that our own memories are no more valid in the construction of our identities than stories we've heard from others. Chris Eaton, A Biography constructs a life by using, as building blocks, the lives of dozens of other people who share nothing more than a name, identities that blur into each other with the idea that, in the end, we all live the same life, deal with the same hopes and fears, experience the same joys and tragedies. Only the specifics are different. From birth to death and everything in between, the narratives we share bring us closer to a truth about what it means to be alive. To be you.
This, it seems, will be a book about what it means to be a person struggling through life, and this is what the great books tend to be about. I won't say that I agree with every word of the blurb, but I thought the use of a shared name as the thread through a life, or a series of lives, demonstrating the universality of the human condition, seemed new and interesting. So often it's time and place that throw characters together, and I was receptive to this different organization of a novel's happenings.
Right off the bat, Eaton introduces us to a number of characters whose histories are compelling. It's a little confusing at first, not least of all because without further comment, he begins suddenly using the feminine pronoun for one of the Chris Eaton characters. It's unexpected and gave me a pleasant little jolt. A little confusion in a book like this isn't really a liability. It's probably part of the point, in fact. But as the book unfolds, we meet more and more characters and some of the story lines begin to blur in what for me were unpleasantly disorienting ways. Was I reading, at a given moment, about the life of the punk rocker, the politician, the artist, the wrestler, the pornographer, the carpenter, or somebody else? And for that matter, was it possible that some of these apparently distinct characters were in fact the same character at different times of life, with me having simply missed the connections linking them across the novel's time? And if so, was this all really the designed point — that blur that the novel's blurb mentions — or was it a flaw of the book? And if it was the designed point, was it a good design? These are the sorts of questions that I think make assessing non-conventional literature so hard. It's tricky to decide when the flaw is in the work and when it is in the reader.
Chris Eaton, a Biography grows more fantastical as we move further into it, with conspiracy plots and people with comically specific occupations and proclivities. Some of these I found rewarding and others gratuitous. We meet many people tangentially related to the various main plots, and they become, in spite of the humor with which their stories are so often told, a really big distraction. Think of Pynchon's lightbulb conspiracy or adenoid taming repeated over and over in a much shorter book. What's more, their names or the names of their organizations or areas of interest tend to be anagrams of Chris Eaton, which is clever given the underlying conceit of the book but which becomes so heavy-handed here as to become not just a distraction but a game one can't help but play.
I'm reminded of a thriller by Dan Brown entitled Digital Fortress whose entire plot hangs on the existence of someone's anagrammatized name. The last half of Brown's book hinges on this clue that none of the inspiringly brilliant people in the novel can puzzle out, which turns out to be the anagram that practically blinks on the page. The inability of the novel's brilliant inhabitants to see this obvious thing becomes infuriatingly comical.
Similarly, Eaton's book becomes a sardonic game of "spot the anagram." Some of the anagrams are cute, and I enjoyed some of the stories that go with the name variants, but the game became tiresome. Tonia Hersc? Tina Cerosh? Hornet Cisa? Ian Rotches? A pair named Chorea and Nits studying creatures known as antioch ers? Those couldn't possibly be anagrams for Chris Eaton, could they?
Many of the side stories Eaton presents seem to exist solely for the purpose of introducing another anagram of the name, so that we get a three-page digression here and another there as back story for a back story. These are often hilarious and well enough written, but they also become a little annoying, the more so because they contribute to the muddling of the plots of the main Chris Eatons.
These side stories also result in the book's seeming to consist of summary after summary. Again and again we read "he did, she did" prose but precious little (if any) dialogue that brings us closer to the characters. We skip around from one zany summary to the next, and though the book does contain a number of conflicts, it seems to me by and large very emotionally sterile, devoid of any humanizing drama presented in a way that makes me feel for the characters. The result is a book full of cleverness but lacking the gravity that I think is necessary for a book purporting to offer truths about what it means to be alive.
I wanted to like this book on the basis of its conceit alone, and I did enjoy many of the stories in the book, but I don't think it holds up very well as a novel. It often feels as if Eaton made a list of anagrams and wrote little stories for each one, then stitched them all together into a book loosely centered on the lives of a cluster of Chris Eatons. I'm receptive enough to fragmented narratives, but Chris Eaton, a Biography I think ultimately falls short because of a lack of coherence among its parts. There's too much in the book that's not essential.
Still, on the basis of this effort, I'll root for Eaton. I would try another of his books. I think what he's written here is intelligent and well-meaning if not altogether successful. It's something more than a curiosity if something far short of a masterpiece.
William Gass's The Tunnel is really too big to write about coherently in small chunks. It crosses genres (including drawing, history, memoir, diary, quotation, encomium, rant, fiction, doggerel, epic invocation, and others) and is, by design, a confusion of ideas and modes of thought and means of expression. It's a maddening, ugly book but is at times also a true and lovely book so far. I'm about halfway through it. If you're interested in longer and better analysis of the book, follow along over at Conversational Reading, where for the first week's reading, the topic of truth comes up.
The topic I thought I'd write a few words about today is confession. The Tunnel is essentially a diary, and diaries are essentially confessions. This is not to say that they're true confessions, though. I was recently reading back through some old journal entries from my college days, and although there was plenty of earnest yearning for meaning about the world and about what I was reading and writing, there was also plenty of posturing. After all, maybe I would grow up to be a famous writer one day, my scribbled journals carefully photographed for archival and then typeset and lent out so that the world might know whence my later genius sprang.
Even in more recent things I've written for myself, I think I pose more than I really ought, though not, I think, in quite so naively calculating a way, and I hope not with quite as much silliness and laughable gravitas. Still, now as when I was younger, there is a question of whom exactly I'm writing for and what I want from the effort. I write primarily about my reading and writing, for example. I don't, as folks used to, catalogue my food intake and bowel movements. I don't generally write about my family. So if I constrain my writing generally to the literary topics, even if I'm not consciously writing for an imagined future audience, there's room for questions about why I stick to letters and what that says about what's important to me and whether I don't still quietly hope for a scholarly audience for these supposed private ramblings one day after all and why I see fit to scribble my thoughts in the first place.
Well, writing of course helps us work through our thoughts, and in my case — I'm dreadfully forgetful — it helps me have a way of getting back to elusive thoughts later. But writing, and especially diaristic writing, is also a sort of confession. Gass's Kohler is surely a learned man, but he doesn't stick to the literary in his diary. We learn about his affairs with younger women, about his being fondled by a young boy, about his pretty thorough dislike of his wife, and other things. So for Kohler, the diary's undoubtedly a space for confession as much as for literary endeavor. He even addresses the topic head on in a couple of places. Take this bit from page 21:
Gide meant: could he confess upon the page; put into the writer's pretty paper world some creatures whose troubled breathing would betray the fact they were not fictions; record a few feelings in an ink our blood would flow through like a vein? Sincerity — this Christmas wrap around a rascal — could he dispense with even its concealments and reach reality, expose himself to his own eye?
And this, also on 21:
[I]t is often easier to confess to a capital crime, so long as its sentences sing and its features rhyme, than to admit you like to fondle-off into a bottle (to cite an honest-sounding instance)… words nailed like shingles to the page, the earnest straightforward bite of the spike, is the one which suits sincerity; sincerity cannot gamble, cannot play, cannot hedge its bets, forswear a wager, bear to lose; sincerity is tidy; it shits in a paper sack to pretend it's innocent of food…
In that one, he even suggests that the confession he writes about isn't in fact a real one but sounds like the sort of thing one might confess, undermining our ability to believe that even the things he writes that seem honest in fact are.
Later, on 106, he confesses, "I would hate to have my wife see this." In fact, he hides his diary among the pages of his long manuscript on Nazi Germany, which has a conveniently confessional title Guilt and Innocence in Hitler's Germany. And he worries that his soft touch on the topic will be perceived as a sort of confession of Nazi sympathy (which, well, is he maybe a little sympathetic?).
He blends his concerns about both the personal and the historical writerly impulse on page 106:
When I write about the Third Reich, or now, when I write about myself, is it truly the truth I want? What do I want? to find out who I am? What is the good of that? I want to feel a little less uneasy.
He peppers his diary with limericks (mostly written by colleague Culp, I believe), overwhelmingly starting with variations on the formula "I once went to bed with a nun." Well, nuns are Catholic, and Catholics dig confession. Moreover, the content of these limericks itself is framed as a sort of confession.
So, I've spent a lot of words here to say that this diaristic work seems to be full, as diaries are, of confession. Well duh. What's more interesting within the context of the book is the nature of truth in confession. That is, is confession a sort of Heisenbergian act in that the fact of knowing that you're saying or writing something that others will (or at least may) consume alters how you say it, so that confession is by its nature meta-confession, written here in Kohler's singing sentences and altered subtly in the process? Which is to ask whether you can take confession at face value, ever. Can a trip to the confessional in which you admit "impure thoughts" but fail to mention an inclination toward pederasty really count for anything? Or, to go the other way, can over-confessing so that you make yourself out to be worse than you are as a sort of absolution through self-immolation really suffice? Is true confession really even possible? Or in confession, are we — as a commenter at Conversational Reading suggests more broadly and as becomes more and more important through this book about how we create and receive history — just fooling ourselves?
Infinite Jest Reread, pages 49 – 87
As noted the other day, there's currently a group reread of Infinite Jest in progress on the wallace-l mailing list. We're only on the second week of it, so there's time to catch up if you're interested. I introduced pages 49 – 87 last night and have pasted in my introduction below. If you find it at all enticing, be sure to tune in via the list, as the discussion that follows these intro posts tends to be really good. If you fall asleep or die before you manage to get to the end of this thing, I'll hardly blame you. Since this is a reread, the spoiler rule's out the window.
Main things that happen and concepts that appear in this section:
- Hal gets covertly high.
- Oh look, an underworld in the form of tunnels (even including a sort of limbo for the poor protectors).
- Gately dons a toothbrush.
- A weird detached list on page 60 that I didn't give any attention to below but that maybe merits some attention for its weird detachedness.
- Note 21, the first of a series of inter-referential notes.
- A face in the floor (and other nightmares).
- Note 24, the filmography (brace yourself).
- Orin in cardinal gear, reluctantly.
- Pemulis teaches his little buddies about shrooms.
- Kate Gompert, reluctant to admit to a pot addiction, wants ECT.
- The medical attaché's wife comes home to find him enthralled. Others follow.
- Schtitt and Mario go for ice cream.
- Tiny Ewell goes to detox.
I actually write about very little of that stuff below.
A theme that runs through this section and in fact through the whole book so far is failure to communicate. It begins of course with Hal at the university and moves back through time to Hal being interviewed by a father who doesn't believe he speaks. But we also see it in things like Erdeddy's inability to choose between answering the phone and the door, his habit of cutting off communication with anyone he's dealt with before to get pot. We see it also in Gompert, who for example displays sometimes a flat affect and sometimes forced facial expressions (recall Hal at the beginning) while speaking with a singsongy voice that leaves the doctor (also trying hard to communicate using both voice and mannerism) confused.
I think there's also some interesting stuff pertaining to communication going on in the end notes. For one thing, they are themselves a sort of barrier to direct communication, and even today I think sometimes about skimming the ones that just give drug info or don't seem to relate in terribly important ways to the main story. In the big note 24, the matter of communication gets really out of hand, though. The editors of the book that the note quotes haven't seen some of the films they describe, for example (some of which weren't ever filmed), and yet they write about them, communicating in some cases non-information, which if you think about it is very strange indeed.
Consider the film Annular Amplified Light: Some Reflections. Well, its title is a silly pun, first off, but that's superficial. It's got sound and is sign-interpreted for the deaf, but although it purports to be a "nontechnical explanation of the applications of cooled-photon lasers in DT-cycle lithiumized annular fusion," it's hard to imagine that one could do such a topic any justice in a nontechnical film, much less in one whose almost certainly specialized language it's hard to imagine could be signed efficiently.
And: Union of Nurses in Berkeley, silent and closed-captioned interviews with hearing-impaired RNs and LPNs. I suppose it's silent either to elicit a sort of empathy with the interviewees or maybe to avoid what could be a comical treatment of audible interviews of people whose pronunciation and enunciation may have suffered thanks to their hearing impairment. It's a strange audiovisual blend, at any rate, that seems to be fooling around with ways in which people communicate.
And: Cage II in which a blind convict and a deaf-mute convict placed in solitary confinement attempt to figure out ways of communicating with one another. This is a bad joke, of course (and calls to mind the old Wilder/Prior movie), but it also demonstrates a concern with how people manage to connect. It's a wonder this one wasn't at least captioned if not signed.
And: Death in Scarsdale, in color, silent, with closed-caption subtitles, which almost becomes hard to visualize once you've got all this business on the brain. In this one, an endocrinologist begins to sweat excessively while treating a boy who sweats excessively, which again, with this stuff on the brain and maybe under no other circumstance, makes me think of things like how you never stutter until you find yourself speaking with somebody who stutters, when you suddenly start channeling Porky Pig out of maybe sympathy or self-consciousness.
A couple of the other films are sign-interpreted as well, and in general, JOI's films demonstrate an awareness of the interplay between sight and sound, different ways of perceiving things, of being perceived, and of being perceived while perceiving things such that you morph from subject into object and back into subject again.
All of this of course is mediated through films and (usually) soundtracks themselves devised by makers whose communication with you is from the past and not at all personal, which can be a little creepy if you think about it too much. And all of that is further mediated through a book of fiction and yet further through end notes that put it at an even greater distance.
Early in the book we're exposed to Hal's precocity with respect to grammar and usage, given to him by good old Avril. She and Steven Pinker make appearances in the filmography in a silent, closed-captioned film documenting a grammar convention. This strikes me as kind of funny and really quite interesting, since closed-captioning would have the effect of memorializing in print the words spoken by the grammarians. Grammar being generally a little looser for even the strident among us when speaking aloud than when writing formally, the idea of capturing in print any non grammatical speech by these super-grammarians would be kind of tantalizing, and of course I can imagine that making the viewers of the film read the language while connecting it to the images moving onscreen could have a weird effect (in the way that watching subtitled films if you're not accustomed to doing so can make a movie a lot of work and hard to trust that you've really grokked). I guess it's worth noting that though Hal speaks, his father hears no words coming from him, and this film seems to capture the effect.
Grammar of course is just a map of our language. Descriptivists will say that if it's spoken naturally by a native speaker, it's grammatical and ought to be recorded, while prescriptivists tend more to demand adherence to an existing set of written rules. (This is a gross oversimplification, I know.) In either case, we can see grammar as a sort of map of language, and the main thing at issue is whether the map ought to change along with the terrain or not. "Map" and "terrain" turn out to be loaded terms when talking about IJ, of course, and they make appearances in the filmography, if obliquely. In the most oblique treatment, we see Every Inch of Disney Leith, in which the eponymous man has his innards mapped. Comically, the title uses the Imperial measure, while in the film he listens to a forum on metricization in North America, which is another way of communicating the same things using different terms. Later, in No Troy, we learn about the erasure of Troy, NY from both terrain and map (by, explicitly, cartographers). Sort of humorously, archivists don't list the title by the name given here but variously use the names The Violet City and The Violet Ex-City.
So then to me the threads of language as communication, language as a construct (i.e., grammar), and map/terrain — which roughly corresponds to the relationship between language as construct and language as communication — begin to become intertwined very early in the novel in the notes about the filmography, which is itself, of course, nothing if not a map whose aim is to relate the technical features of JOI's films with what they communicated across his career.
Every time I read the filmography, I spot some new fun detail I had either overlooked or forgotten or just not given enough thought to on previous reads.This time it was the appearance of C.N. (presumably Charles Nelson) Reilly as a narrator in a couple of the early, sign-interpreted documentaries. The idea of CNR as a narrator on a documentary (even a whimsically titled, nontechnical one) is kind of a laugh, and then the idea of someone trying to interpret his self-interrupting, story-nesting style for the deaf is even more comical. Maybe he'd stick a bit closer to the cards in a documentary, though. But it's also worth noting that CNR was basically ubiquitous in the 70s and 80s, crossing stage, film, and TV shows in the form of game shows, talk show appearances, and television series, so that it's hardly inconceivable that an aging CNR would dip his wick into the documentary wax late in life (and yet no less the funnier). This inter-"text"-uality all seems kind of relevant to the sort of things Wallace was considering in "E Unibus Pluram," which of course informs a lot of IJ.
I also love how you can see little sub-plots within the filmography if you pay attention to the names. For example, P.A. Heaven becomes Paul Anthony and then goes back to using initials, and one wonders why. And Soma Richardson-Levy apparently marries an O-Byrne and later a Chawaf (also credited within the filmography) and just keeps collecting hyphenated suffixes to her name. Then of course there's the interplay of the films with things happening in JOI's life and at ETA.
Now moving away from the end notes for a bit, I'll note that I like how Wallace is already setting us up for things to come with little one-off references to things like the O.S.U.O.S, cartridges (note 18, page 58), DMZ/M.P. (note 8), DuPlessis, experialism, and annular hyperfloration cycles. These things are easy to read past but all become pretty important later, so it's neat on a reread to see where he's left these little breadcrumbs.
It'd be just short of criminal not to at least mention the face in the floor dream even if I don't say much about it. I love that whole passage, and the way he just slips the face in there is horrifying and I suppose embodies the thing we've read before about how the thing that's great about Lynch's surrealistic horror is that almost everything has to seem normal for the really bad thing to be really bad.
I haven't even touched on Schtitt and Mario or on similarities between some of the things we learn about Erdeddy and Gompert, but I'm really just out of wind, and so, I imagine, are you. I feel like the filmography tends to get short shrift, so maybe I've corrected that some (however clumsily and single-purposedly) and others can fill in the other huge gaps I've left.
Infinite Jest and The Tunnel
A couple of years ago, I got a copy of William Gass's The Tunnel and burned through the first 100 or 200 pages of it before some shiny object distracted me and I put the book down. I had considered starting up a group read here sometime to force myself to pick the book back up and finish it. In fact, it was included among options for future reads on a poll I posted after the Gravity's Rainbow read. Well, Scott Esposito over at Conversational Reading has scheduled a group read on the coattails of Gaddis's J R. If you're game, you can see the (I think) ambitious schedule here. Although I doubt I'll have it in me to write much about the book, I hope at least to read along.
In progress on the wallace-l mailing list is a reread of Infinite Jest. This reread is part of why I won't be putting as much time as I'd like into The Tunnel. I haven't reread IJ since Infinite Summer a few years ago, and I had been wanting to. When D.T. Max's biography came out, it made me really want to dig back into Wallace's book again. And then the wallace-l reread was proposed and I was hooked. You can get a peek at the schedule here. I'll be introducing the second chunk on the mailing list in a couple of days. It won't be a group read proper here at IZ, so if you want to play, I encourage you to subscribe to the mailing list, where you'll get a broader and smarter range of opinions and interpretations than mine anyway.
I hate that these reads are happening at the same time, as the result'll be that I'll do kind of half-assed reads of both. I've been through IJ enough times that I can afford to half-ass it, but The Tunnel's a different story. Still, I can't resist trying to keep up with IJ too.
Every Love Story is a Ghost Story
Over the weekend, I read D.T. Max's biography of David Foster Wallace entitled Every Love Story is a Ghost Story. If you're reading this, it seems vanishingly unlikely that you haven't first heard about the biography elsewhere. So in a way, I feel silly even mentioning it because my doing so seems a little bit like cheering for a game that's already over. All the people whose opinions people want to hear have already spoken up. But it's a book about stuff that's important to me, so I also feel weird just not saying anything at all.
I had written a long rambly thing connecting my affinity with Wallace's work when I first encountered it in the form of Infinite Jest 15 years ago to an affinity that Holden Caulfield expresses for Thomas Hardy and Ring Lardner. It was self-indulgent and stupid and all a round-about way of saying that Wallace's work has been a major influence on the way I read, write, think (and think about thinking), and live.
Unsatisfied with the long preface I had written for what would be a very brief review of Max's book, I put it aside and thought about abandoning it. But then a few comments about the book landed on the wallace-l email list, one of which curtly described the book as "thin." A follow-up comment expanded by saying that the biography gave us little that we didn't already pretty much know from Wallace's own words in his books and interviews.
Well, this is partially true. But I think it also misses the point. You can't exactly pry secrets from a ghost, and there's something grave-robberish about digging for too much grit from family and friends for whom Wallace's death is still no doubt a bit of a wound. Although Max does give a fair amount of background about Wallace's early struggles both personal and authorial, it tapers off substantially as we move to Wallace's years post-Infinite Jest. If you're hoping to read Wallace's suicide note or to learn lots of new information about the circumstances of his last decline and death, you'll be disappointed; there's very little substantially new information here about his last days beyond what came out in a couple of long articles shortly after Wallace's death.
Every Love Story is a Ghost Story is a book more about drawing broad lines between things that happened in Wallace's life and things that appeared in his writing than about divulging every nasty or saintly thing he ever did. Although the author of the "thin" comment seems to have wanted the latter, I'm grateful that Max gave us the former. I feel like it helped me to better understand Wallace's Gately-ish transformation as both he and his work matured, which made me feel good about where Wallace had been headed, if also really sad about where he wound up.
I think a book divulging many more details of Wallace's life would have been simply sordid. And a book doing much more in the way of line-drawing and analysis would have been tiresome and speculative. What Max gives us instead is a book that provides a comfortable balance of detail and analysis. It's a sympathetic and gentle book in the way that David Lipsky's Although of Course You End Up Becoming Yourself was, and like Lipsky's book, I think Max's is a sort of gift.


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Strategy for building an application to replace a large spreadsheet
- by Dan Walmsley
I'm working on an application that is going to replace a rather large spreadsheet. The spreadsheet is used to budget purchases and things like that. It is the largest spreadsheet I have ever seen, and it required a lot of manual data entry, so this application is going to automate much of that. But as I'm working on this I've noticed its slow going. And I got to thinking this must be a common thing to do many companies will start with something like a spreadsheet, then when they get too big to maintain that, they will get a custom application built. So is there anything out there ( a framework or similar ) that does this sort of thing, migrating a spreadsheet to a custom application. I've had a quick Google but not really seen the kind of thing that I'm looking for. It's too late for this project, but I thought it would be worth having a look for next time. How do you guys tackle this problem?

subset: commoncrawl


text:
Mamedov, 68, editor of a now-defunct minority
newspaper Talyshi Sado, died
The official statements were directly at odds with accounts from the journalist's lawyer and supporters.
Ramiz Mamedov (no relationship to the journalist), the
editor's lawyer, said the journalist told him two days before his death that
medical treatment had been inadequate and his health was deteriorating. The
lawyer also told CPJ that prison authorities refused to release the journalist
on humanitarian grounds despite calls from the Council of
Emin Huseynov, director of the Baku-based Institute for
Reporters' Freedom and Safety, told CPJ that prison authorities did not comply
with a local court's order to provide Mamedov with medical treatment beginning
in March. He said authorities refused to allow independent medical treatment
offered by a
Azerbaijani authorities took Mamedov into state custody in
February 2007, initially on a trumped-up charge of resisting arrest, which was
then changed to charges of state treason and incitement of ethnic hatred. A
three-month-long, closed-door trial culminated in a 10-year jail sentence.
Authorities never disclosed their evidence against the journalist. News reports
said the case was based on an allegation that he had received money from


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Lets talk about hotspots.
I'll start by getting the definition correct..
Hotspot: The place thats happening, The place were everyone goes,
The place where you know you will have a good time.
Moving on to why the hotspot is important?
One reason being if you have ever been to a place you didnt like.
It sucks and half the time your there thinking to yourself . I could of stayed at home for this.
The hotspot is everyone's favorite place. Its were you know you will be satisfied . You know what to expect.
Its the place you are sure to get everything you want for the night.Good music,good food & the best drinks.
Oh & dont forget the most important thing about a hotspot."The People".
I dont know about you but Ive been to places were the people there annoy me more than anything else.
I mean have you ever walked in a spot & said."
This is not my crowd"?..The music isnt right, the drinks are watered down, the parking sucks & worst of all everyone
seems younger than me.
There is a name for these types of places. It's called "The Cold Spot".The place you dont want to be.
No need to worry
I am about to give you insight on some of the best places to go to have a good time
I recently moved to LA and one thing LA is known for is its diversity.
Living in this beautiful state I have noticed.There are so many different things to do. There is a variety of some of the best parties,
concerts,events,amusement parks, amazing beaches & one of the things that always tickle me saying.
You can even go sking in the middle of summer by heading up to the mountains.I mean me personally.
Coming from the cold midwest. Im not looking to see any snow anytimesoon. And to know people pay to see it here.
When they can pay cheaper to catch a flight in the dead of winter & experience the mess
first hand.Cracks me up.Lol. However its sill cool to know if i ever miss snow i know i can go up to he mountain's feel like im home..
Is a comfort. A cold comfort, but comfort none the less.
I recently found a place that I just cannot get enough of.
I myself am a big fan of music & my favorite is rnb, neo-soul, jazz & old school .
I mean I like my hip-hop & will always love my hip-hop. My favorite music what I really like is what i call music for the grown & sexy.
Now if you like the music I like & your looking for the perfect spot to experience all the above.
RnB live! If you have not heard of it it is a sure thing you will. Sooner than later.
Every week some amazing people grace the stage of this lavish concert venue.
I have been to this place a few times & I cannot say I have ever been disappointed.
On wednsday night some of today's hottest stars come out. Like Robin Thicke, Tamia, Tyrese, Joe, The DeBarges,
Bobby V, Ray J & Brandi, Eric Benet & even Bobby Brown.
Just to name a few. This place is definite hotspots for some of your favorite athletes, actors & comedians.
You will find some of everything here. They tape live & roll out thru red carpet & giving everyone the opportunity to feel like a star.
Weeknights just got sexy & you should be putting the kids to bed, calling up friends & heading out to the hottest place to be on a Wednesday's.
Rnb Live located 12229 Ventura Blvd Studio City, Ca
You can also go to RnBlive.com to check it out live or up coming performances.
So that 's my hotspot for you grown ups.Be sure to stop by & have a great time.


text:
27 Retro Recipes You Forgot Existed Gallery
Decades ago, dinner looked a whole lot different than your family's dinner looks today. Today's dinners at home are rarely actually home-cooked at all, thanks to food delivery and other convenient options. But when modern-day families do get around to cooking for themselves, it's more common to keep things simple. One-pot dishes, Instant Pot recipes, and other no-hassle dinner ideas are far more likely to make it on the table than the made-to-impress dishes of decades past.
But it's fun to jazz up your dinner table now and then! Why not bring some of these dishes back for a revival? While millennials are out "killing" foods left and right, home cooks of the 20th century whipped up innovative (and sometimes wacky) recipes. Trying a few throwback dishes will give you a dose of nostalgia and entertainment. You won't believe some of the oddball recipes that seemed normal when your parents were growing up.
Sure, you're probably glad gelatin molds stayed in the '60s where they belong. But other vintage recipes, like clams casino and chicken à la king, were actually pretty great. The days of home entertaining had housewives in a tizzy preparing passed apps, chips with all kinds of dip, impressive main courses, and a (sometimes literally flaming) dessert to top it all off.
You don't have to time-travel to enjoy these retro recipes. Bring back the classics - it's time these forgotten recipes made a comeback.istockphoto.com
Clams Casino
Clams casino was the bee's knees during the early 20th century. Shellfish-based dishes such as shrimp cocktail, oysters Rockefeller, and other baked appetizers were on nearly every up-and-coming restaurant's menu. Now, these menu items have practically disappeared. Clams casino, made of baked clams on the half shell topped with breadcrumbs, butter, and bacon, was especially popular in the northeastern United States, but quickly became a hit nationwide.
Click here for the Clams Casino recipe.istockphoto.com
Deviled Ham Dip
Eggs aren't the only things that can be deviled! The 1960s came with all kinds of recipe fads, one of which was serving chips and dip. But it wasn't all the guacamole and French onion dip you might see served today. The types of dip served back in the '60s included things like soup dip, shrimp dip, and the surprisingly popular deviled ham dip: a mixture of diced ham, mustard, spices, and generous portions of mayonnaise. The new appetizers' popularity sparked the invention of the "chip and dip," a kitchen item which allowed for simple serving of chips and any kind of homemade dip.
Click here for the Deviled Ham With Pickled Peppers recipe.istockphoto.com
Smoked Salmon Dip
You've probably seen smoked salmon as a topping for bagels with capers and cream cheese, but smoked salmon was once commonly seen as part of a mayonnaise-based dip. As part of the dip craze of the '50s and '60s, smoked salmon dip was served alongside crackers or crudité.
Click here for the Salmon Dip recipe.istockphoto.com
Spinach Dip in a Bread Bowl
Bread bowls have stuck around in the 21st century (Panera even serves a double bread bowl), but they were especially popular in the 1980s as a serving bowl for creamy spinach dip. You can make the bread bowl yourself fairly easily - and the spinach dip to stuff it with isn't hard to throw together, either.
Click here for the Classic Spinach Dip recipe.istockphoto.com
Stuffed Celery
Back in the '50s, folks thought of all kinds of ways to fill the ridge in a stick of celery. From "ants on a log" (peanut butter and raisins) to cream cheese, Roquefort, garlic, and olives, you knew you had come to the right party when there was stuffed celery.
Click here for the Ants on a Log recipe.istockphoto.com
Swedish Meatballs
Ikea helped this dish make a comeback in the modern day, but Swedish meatballs were a popular passed appetizer for dinner parties in the 1960s and '70s. (Fun fact, they aren't actually Swedish originally.) Served either as a main dish with noodles or as an appetizer on toothpicks, Swedish meatballs are coated in a savory lemon-pepper sauce.
Click here for the Swedish Meatballs With Cream Sauce recipe.istockphoto.com
Beef Bourguignon
Julia Child made this dish famous in America in the 1960s when she called it "certainly one of the most delicious beef dishes concocted by man" in Volume 1 of "Mastering the Art of French Cooking." Beef bourguignon originates as part of French cuisine; it's a beef stew cooked with red wine, carrots, onions, and garlic, often garnished with pearl onions, mushrooms, and bacon. It's no easy task to master, but it's worth the effort. A bowl of this hearty stew will keep you warm all winter long!
Click here for the Beef Bourguignon recipe.istockphoto.com
Beef Wellington
Better known in Britain, beef Wellington is a classic main dinner dish that's sure to impress. It's a large fillet steak coated with pâté and duxelles (an herb mix involving a fancy type of mushroom, shallots, herbs, and seasonings), then wrapped in puff pastry. The whole loaf is baked and then served in slices. This hearty dish was often served around the holidays; though it looks like you spent all day in the kitchen, beef Wellington is deceivingly simple to make.
Click here for the Beef Wellington recipe.istockphoto.com
Chicken à la King
This dish is made of diced chicken doused in a cream sauce, then poured over generous portions of pasta or another carb-heavy base. It's also topped with vegetables and other add-ins, depending on how it's made. There are a number of theories floating around as to where this dish originated. But the famous restaurant Delmonico's in New York stakes their claim to the first-ever version (then called Chicken à la Keene after Olympic gold medalist Foxhall Parker Keene) in the 1880s. The New York Times published the recipe in in 1893, and other publications soon followed suit. A little less than a decade later, the dish was all the rage.
Click here for the Chicken à la King recipe.istockphoto.com
Chicken Marbella
This classic chicken dinner debuted in 1982 as part of "The Silver Palate" cookbook and was a fashionable favorite of 1980s home entertaining. The dish is salty, sweet, and very garlicky (the original recipe used 1 1/2 full heads of garlic). The chicken is marinated with prunes, vinegar, olives, capers, and garlic overnight for a rich flavor that's hard to beat.
Click here for the Chicken Marbella recipe.istockphoto.com
Hamburger Pie
What is a hamburger pie, you ask? It's precisely what it sounds like - a savory pie filled with seasoned ground beef. Many recipes for hamburger pie also contain mushroom soup or another filling to accompany the beef. For those who dare turn it into a cheeseburger pie, you may also add slices of cheddar; though you may not want to use slices of American. Depending on the brand you buy, your American cheese slices might not really be considered cheese at all.
Click here for the Hamburger Pie recipe.Shutterstock
Layered Salads
The most popular layered salad is the famous seven-layer salad, made with the following seven layers of ingredients atop iceberg lettuce: tomatoes, cucumbers, onions, sweet peas, hard boiled eggs, sharp cheddar cheese, and bacon pieces. The salad is then smothered in a mayonnaise-based dressing and occasionally dolloped with sour cream. 1950s America was far less concerned with saturated fat than people are today; this cream-heavy salad was often served as lighter fare during barbecues, potlucks, and picnics alongside main dishes such as steak, burgers, and grilled ham and cheese sandwiches.
Click here for the Sweet Seven-Layer Salad recipe.istockphoto.com
Salisbury Steak
This once-popular diner menu item was invented in 1897 by an American doctor by the name of J.H. Salisbury, who was an early advocate of a low-carb diet for weight loss. Salisbury steak isn't actually steak at all - it's a patty of ground beef topped with gravy and mushrooms, usually served on the side of mashed potatoes and green beans. The TV dinner version of Salisbury steak can remain a thing of the past; but done right, this dish is delicious.
For the Slow Cooker Salisbury Steaks recipe, click here.istockphoto.com
Steak Diane
This meat-heavy dish hit its peak popularity in the '50s and '60s. Popular New York steakhouses would serve the juicy entrée alongside a side of vegetables. However, home cooks soon adopted the recipe, as well. Steak Diane consists of a pan-fried beefsteak coated in sauce made from the seasoned pan juices. Restaurants would typically prepare the dish tableside and flambé the steak before serving.
Click here for the Steak Diane recipe.Dreamstime
Tuna Noodle Casserole
If you grew up in the '50s, casseroles were one of the foods that were often on your family's dinner table. Casseroles of all kinds were popular, primarily because they could be mostly made with inexpensive canned foods. Of course, some casseroles are more appetizing than others. To make the most (in)famous of all casseroles, tuna noodle casserole, all you had to do was mix up some canned tuna, canned peas or corn, shredded cheddar, and cream of mushroom soup. Then, top everything with some crushed potato chips or canned fried onions and bake.
Click here for the Tuna Noodle Casserole recipe.istockphoto.com
Waldorf Salad
A Waldorf salad consists of a mix of fresh apples, celery, grapes, and walnuts, which are then doused in a generous portion of mayo. The salad is often served on a bed of lettuce. It got its name because it was first served at the Waldorf-Astoria hotel in New York City. This dish was a fashionable appetizer in the 1970s, but is much less popular today. Still it's one of the better types of classic salads, so why not revive it?
Click here for the Waldorf Salad recipe.istockphoto.com
Wedge Salad
With all the E. coli scares linked to romaine lettuce, iceberg lettuce has been making an unforeseen comeback. If you're not sure how to turn your head of crisp lettuce into something delicious, look to this forgotten trend for inspiration. Wedge salads were a hit in the 1960s; Roger Sterling from "Mad Men" orders himself a wedge salad with blue cheese and bacon in Season 3 of the period drama. But you can really top a wedge salad with anything; it's typically made with a creamy dressing such as ranch or blue cheese.
Click here for the Wedge Salad recipe.istockphoto.com
Baked Alaska
You might have heard of baked Alaska, but you've probably never tried it. It's nowhere near as popular as it was back in the '60s, and that's a real shame. Besides being extremely difficult to make, baked Alaska is the dessert of your dreams. It consists of a sponge cake topped with ice cream and smothered in meringue, baked in the oven and often served at the dinner table in flames. A baked Alaska is impressive to serve and even more impressive to bake - just like these other difficult-to-make desserts, it'll leave your guests in awe.
For the Baked Alaska recipe, click here.istockphoto.com
Baked Apples
Baked apples were a better-for-you dessert popular in American homes in the 1960s. This cinnamon-dusted, cozy, warm dessert recipe is ready for a revival. This version even wraps the apple in puff-pastry to mimic apple pie if you want to get fancy. But the classic version is just as delightful without!
Click here for the Stuffed Baked Apples recipe.istockphoto.com
Butterscotch Pie
The 1940s graced America with both meringue-covered desserts and butterscotch. Butterscotch is more than just the candy melting at the bottom of Grandma's purse - butterscotch pie, butterscotch blondies, and other baked goods were a hit back when she was a young'n. Butterscotch pie is essentially a rich butterscotch pudding in a pie crust covered in a whipped topping. It's sure to be a crowd-pleaser!
Click here for the Marvelous Butterscotch Pie recipe.The Baking Cocolatess
Cherries Jubilee
Cherries jubilee certainly sounds like a party - and likely tastes like one, too! This dessert made its debut at the cusp of the 20th century when it was served at Queen Victoria's golden jubilee celebration. Cherries and liqueur are flambéed and served atop vanilla ice cream. This dessert hit its peak in the 1950s. The 1960s were the end of its reign, when it became too cliché and fell out of fashion.
Click here for the Cherries Jubilee recipe.dreamstime
Chiffon Pie
Looking for a lighter take on classic fruit pie? Chiffon pie is for you; invented in the 1920s, this dessert is a pie filled with an airy, meringue-like filling similar to mousse or cream pie. It's light and fluffy, typically served cold. Apricot chiffon pie was featured in the Ladies' Home Journal in 1948, after which it was made popular by housewives looking for recipes to impress their guests in an era of home entertaining. But chiffon pies could be flavored with anything from pumpkin to key lime!
Click here for the Chocolate Chiffon Pie recipe.istockphoto.com
Crêpes Suzette
Crêpes Suzette is a French recipe popularized in the '70s by Julia Child. This dessert was served flambéed, which was sure to add a wow-factor for every guest in attendance. Of course, you can make yours simpler - so long as you add orange zest and don't skimp on the butter, this dessert is sure to be a hit!
Click here for the Crêpes Suzette recipe.istockphoto.com
Indian Pudding
Indian pudding is a vintage Thanksgiving classic in New England, rumored to have been conjured up by the Pilgrims, who brought a similar recipe over from England. Wheat flour was not as readily available in America as it had been in England, and so the Pilgrims improvised by creating Indian pudding using cornmeal.
Click here for the Indian Pudding recipe.Shutterstock
Pineapple Upside Down Cake
Fifty years ago, you would have seen this hot dish on the table at many a dinner party. Pineapple upside down cakes were uber popular in the 1950s and '60s, but it's time they made a comeback. They require zero actual kitchen tools to make, despite their impressive appearance. Make one to add some tropical and nostalgic flair to your dessert table!
Click here for the Pineapple Upside Down Cake recipe.istockphoto.com
Colorful and layered, trifles were especially popular dessert menu items in the 1960s and '70s. A mixture of fruity flavors and textures, trifles are sure to entertain. Make one large dish to serve a crowd or make single-serving trifles for a smaller dinner at home. This rhubarb and berry mascarpone trifle is layered with softened sponge fingers, rich mascarpone cream, zingy rhubarb, crunchy biscuits, and freshly made custard.
Click here for the Rhubarb and Berry Mascarpone Trifle recipe.istockphoto.com
Watergate Salad
This dessert dish is a super-sweet concoction of pistachio pudding, canned pineapple, whipped topping, crushed pecans, and marshmallows, invented by Kraft to promote their new product: Cool Whip. The recipe called for both Cool Whip and Jell-O instant pistachio pudding. Kraft Heinz (then called General Foods) published the recipe as "Pistachio Pineapple Delight" in 1975; the name "Watergate salad" didn't arise until later, when (according to Kraft) a Chicago food editor used the title to earn the recipe more traction. Another iteration of the story goes that Watergate salad was invented at the Watergate Hotel in Washington, D.C., as part of their brunch menu. Though the infamous Watergate scandal had nothing to do with its invention, the salad does owe President Nixon its popularity. Watergate is one of those events no one who grew up from the '70s could forget - and if you grew up in the '70s, you couldn't forget these classic foods from the decade, either.
Click here for the Watergate Salad recipe.
More From The Daily Meal:
What Dinner at Home Was Like 50 Years Ago
If You Grew Up in the '50s, You'll Definitely Remember These Foods
101 Best Slow Cooker Recipes
25 Retro Recipes You Won't Believe People Actually Made
17 Cozy Cinnamon Recipes Perfect for Winteristockphoto.com


text:
psychology, science or study of the thought processes and behavior of humans and other animals in their interaction with the environment. Psychologists study processes of sense perception, thinking, learning, cognition, emotions and motivations, personality, abnormal behavior, interactions between individuals, and interactions with the environment. The field is closely allied with such disciplines as anthropology and sociology in its concerns with social and environmental influences on behavior; physics in its treatment of vision, hearing, and touch; and biology in the study of the physiological basis of behavior. In its earliest speculative period, psychological study was chiefly embodied in philosophical and theological discussions of the soul.
Sections in this article:
The Columbia Electronic Encyclopedia, 6th ed. Copyright © 2012, Columbia University Press. All rights reserved.
See more Encyclopedia articles on: Psychology and Psychiatry


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text:
Away-day joy for Grecians yet again
Exeter made it five away league wins in a row as they left Bootham Crescent with all three points following a 2-1 victory against York.
The Grecians, who climbed up to fifth place in the League Table table in the process, opened the scoring in the 14 minute with their first attack of the game courtesy of a calamitous own goal from Alex Rodman.
The on-loan winger somehow managed to divert the ball past a motionless Michael Ingham in the area with John O'Flynn ready to shoot.
York's response was immediate as they levelled five minutes later through Michael Potts, who was first to react to find an empty net following Artur Krysiak's save from Matty Blair.
Eight minutes after the restart Exeter regained the lead through Jimmy Keohane's strike. Kevin Amankwaah's cross from the right found the winger at the back post and his effort managed to squirm under Ingham's body.
The hosts almost levelled proceedings in the closing stages with Blair chipping wide of the target with Krysiak out of his goal, before substitute Lanre Oyebanjo saw his goalbound effort blocked by defender Craig Woodman.
Source: DSG
Source: DSG


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You have no items in your shopping cart.
Tablet of organic chocolate with peanuts 100 grs.
The fine chocolates El Ceibo are produced using the finest grain-producing farmers in the cooperative. This is a natural product made with certified organic cocoa for export. By purchasing this product, you are contributing to the welfare of thousands of families of small farmers in Bolivia. The chocolate factory El Ceibo is located in the city of El Alto, La Paz at 4000 meters at the foot of the Andes.
EL CEIBO is entirely owned by, made up of and run for the benefit of its members: Bolivian farmers and their families who have been working since 1977 to produce organic and Fairtrade cocoa beans and cocoa products, such as chocolates, liquor and butter.
EL CEIBO is a "second-floor cooperative", which means it is entirely owned by smaller cooperatives spread throughout the Alto Beni region. Today, EL CEIBO has more than 1,200 associates, all small farmers, and generates direct employment for over 100 people. It sells its products in Bolivia and is an exporter since the early 1980s.
From the trees to the beans to the chocolate, EL CEIBO can genuinely proclaim: "We do not work with the farmers, we are the farmers!"
block type="Yoast_Filter/Result" name="filter_result" template="catalog/product/list-manufacturer.phtml" attribute="manufacturer" value="20"


text: Social media accounts that are strange, offbeat or odd. This category includes accounts that reflect a unique perspective in thought and action strong enough to start a revolution, change a behavior pattern, or advance old thinking lodged in bad habits, or that are just plain strange. Branded social media campaigns belong in the Experimental & Innovation category.


text:
KENSINGTON � The Kensington American Legion Auxiliary will be hosting a trip to Foxwood on Thursday,October 25th.The cost is $35.00 per person. On arrival you will receive a ticket for a free buffet(value $18.00) or $10.00 food ticket and $10.00 in Keno from Foxwoods. The bus leaves from the Kensington American Legion parking lot at 6:45 am. We are located on Rt. 150.
For more information or to reserve your seat you may e-mail firstname.lastname@example.com or call Dot at 778-0655. You could also see Dot or Kathie at Tuesday night Bingo at the Kensington Legion.
DOVER � On Oct. 10 at 3 p.m., the Dover Friends Quaker Meeting House, 141 Central Ave., is having a discussion and presentation of facilities available to seniors wishing to remain in their homes as along as possible. David Gilland representing Maine Home Helpers and Direct Link will give a talk. Open to public. Contact Constance Weeks 207-439-2937 and Barbara Sturrock 603-742-3694.
DOVER � Dover Community Senior Center news: Current and new players are always welcome to join any of our on-going games: Cribbage, Bridge, Poker, Canasta, Pay Me, and Whist. Also looking for players who enjoy playing Bingo, Chess, Mahjongg & Scrabble. Pick up our newsletter to learn more about the games or our other groups & classes. Book club also meets once a month! We also have a walking group that meets on Tuesdays and Fridays at 9:30 a.m. Sign up at the Senior Center or call Mary at 516-6420 for more information!
The next session of our fitness classes with Instructor Theresa Bean, 2012 Outstanding Achievement Award winner from the Governor�s Council on Physical Activity and Health have begun! Theresa teaches a wide range of classes specifically geared towards Seniors including Chair Yoga, Zumba� Gold, Cardio and a Muscle Strength Range of Motion class. Pick up our newsletter or call (603)516-6436 for information on classes, times and cost for these programs.
Travel Update: All trips leave from the Dover Ice Arena �Park and Ride� lot unless noted
October 11: Foxwoods $30.
November 14th: NEWPORT PLAYHOUSE. �Greetings!�. Enjoy Newport�s beautiful Ocean Drive, a buffet at the Newport Playhouse and Cabaret Restaurant, and then sit back, relax, and take in the Newport Playhouse�s performance �Greetings!�. $77 per person. Flyers at the Center!
December 8th: Christmas Spectacular - The Fabulous Reagle Players! Join us as we travel to Waltham, Massachusetts to enjoy one of the area�s most enduring holiday traditions, �It�s Christmas Time� with the Reagle Players. We will also stop at the Old Country Buffet for a delicious luncheon featuring a variety of entrees and desserts! Cost: $75.
February 1 - 16, 2013: Daytona Beach. Get out of the cold and enjoy 16 days in Florida! Flyers available at the Center - $1849/pp double occupancy.
April 4 - 13, 2013: Canyon Country featuring Arizona, Utah & Las Vegas! Join us for this amazing trip with Collette Vacations.
DOVER � Maple Suites, an independent senior living community in Dover, is offering educational Let�s Talk Seniors seminars on Oct. 9 and 23. All seniors and families are invited free of charge. Maple Suites, www.maplesuites.net, is located at 30 Holiday Drive. The seminars include: Financial planning seminar presented by Lowrey Financial on Tuesday, October 9 at 3 p.m. Interim Health flu prevention* on Tuesday, October 23 at 9:30 a.m. Maple Suites is hosting other free activities throughout the month. For full details and a schedule of events, please call Maple Suites at 603-742-8820.
NEWMARKET � Newmarket Senior Citizens Group News: Meetings are the first Wednesday of every month at 10 a.m. at 6 Beech St. Ext.
ROCHESTER � Don�t want to cook? Area residents, aged 50 and older, are invited to join the GOOD OLE SPORTS at Spaulding High School cafeteria on Tuesday evenings for dinner. Cost for meals this year will be $7.00 per person.
This is a very active social group. There are no dues to pay, but there will be dinner, cribbage and dancing to both records and a DJ. Also available are door prize raffles and a 50/50 �pot-o-gold� raffle.
For more information and to make a reservation or to cancel a reservation, call (603) 948-1883 between 4:00 and 8:00 p.m.
In case the school is closed on the scheduled Tuesday, there will be no meeting of the Good Ole Sports.
ROCHESTER � Area Seniors news: Board of Directors meets on the first Wednesday of every month at noon. All members are welcome to attend the meetings. The Tea Party will then be held on the following Wednesday, at 1:00. Join us for some tea, coffee, goodies, cards and board games. Bring a friend or two. There is no charge or sign up necessary.
Our quilting group meets on Mondays at 11:30. Experienced and new quilters are welcomed. We offer Bingo for our members every Tuesday at 1:00. We have a lot of fun. Various crafts are on Thursdays. We also have a variety of books, movies and puzzles for you to borrow.
Our dinner meetings are held on the 4th Wednesday of the month at noon. This month it will be Baked, stuffed chicken, salad, potato, vegetable, dessert, coffee and tea.Cost is still only $6.00 for members. You must call by noon on the Monday, before the meal, to cancel or add your name to the list. We must pay for all meals ordered.
Our monthly Wellness Clinic is on the same day before the meeting from 11:00-12:00. Nurse Sandy from the Rochester VNA will be here.
On the 4th Thursday of each month, Donna from Wentworth Home Care brings us lunch and information of interest to all Seniors. There is no charge, but you must sign up ahead of time.
The Senior Center Office is open on Monday, Tuesday, Wednesday, and Thursday, from 11:00 a.m. - 2:00 p.m. We�re located in the Community Center Building on Wakefield Street. Look for the red railings. Drop in and get a free copy of our latest newsletter, The Senior Scanner. It includes a calendar that lists all of our activities. Membership is open to all who are at least 50 years of age or more and you don�t have to live in Rochester. Dues are still only $12.00 for the entire year.
SOUTH BERWICK � South Berwick Senior Center news:
�Home for the Holidays� A tribute to the famous Andrew sisters from the 1940s. Meal, entertainment and transportation for $85. Tuesday, December 4th.
Advanced line dancing classes are held on Fridays from 2:00 -3:00 p.m. Cost is $2 per class.
Don�t forget Thursday lunch is a la carte. No reservations are required.
The senior center is located at the South Berwick Community Center on Norton Street. Stop by and pick up a Monthly Newsletter or call (207)384-3310 for more information.
WAKEFIELD � The Greater Wakefield Resource Center offers Bingo on Monday, Wednesday and Thursday at 10 a.m., doors open at 9 a.m. A hot meal is served immediately following Bingo at noon. Attendees do not have to live in the area to participate. Donation requested of $2.75 for each meal. For a menu, visit http://www.greaterwakefieldresourcecenter.net. A monthly Blood Pressure clinic is held the second Thursday of each month at 9 a.m. The resource center is open Monday to Friday 9 a.m. to 1 p.m.
For more information please call (603)473-8324.
KENSINGTON � The Kensington American Legion Auxiliary will be hosting a trip to Foxwood on Thursday,October 25th.The cost is $35.00 per person. On arrival you will receive a ticket for a free buffet(value $18.00) or $10.00 food ticket and $10.00 in Keno from Foxwoods. The bus leaves from the Kensington American Legion parking lot at 6:45 am. We are located on Rt. 150.


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Captain Marvel
Captain Marvel was introduced in February 1940 in Whiz comic books. An orphan named Billy Batson met the wizard, Shazam, and whenever he said the magic word he was transformed into a superhero. A movie serial was released in 1940. The comic was discontinued in 1954. A second Captain Marvel appeared in 1966, a third in 1967. Only the original was transformed by shouting "Shazam." DC Comics got the rights to Captain Marvel and the Marvel family of characters in 1991, but because Marvel Comics got the rights to Captain Marvel in 1972, since then their comic books have been titled Shazam! DC Comics featured Captain Marvel in a recent 12-issue series titled The Trials of Shazam!


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Group prepares to help families on Fallen Heroes Day
COPS is support system for families suffering from recent loss
Family members of first responders from across Maryland who were killed in the line of duty in 2012 will gather Friday in honor of Fallen Heroes Day.
Every year family, friends and dignitaries gather at the Fallen Heroes Memorial at Dulaney Valley Memorial Gardens in Timonium to mourn and remember police officers, firefighters and other rescue workers killed in action.
"When there's a problem or an issue, they run toward the issue to help people, and this is something we can never forget -- that our officers did just that. They did their job, they did what they were trained to do, and they put themselves in the line of duty -- in harm's way -- to protect the citizens," said Sue Nickerson, the president of the organization Concerns of Police Survivors, or COPS.
Nickerson helps organize Fallen Heroes Day every year. Her son, Michael Nickerson, an officer with the Centreville Police Department, was killed in the line of duty in 2001 at the age of 24.
"It was certainly overwhelming when we lost Michael. I had no idea of the police community. I had no idea of the coming together -- the brotherhood of law enforcement," she said.
The ceremony this year will introduce family members who lost loved ones in 2012 to that brotherhood and support system. Nickerson said the ceremony will help the families start to heal and do justice to the memory of the fallen officers.
"When we lose an officer, we're always told they'll always be remembered -- they'll never be forgotten. It's a time of the families coming together to prove just that. You just kind of support each other and know where each other has been and where we're going," she said.
Nickerson attends the ceremony every year to show support for the new families dealing with their loss and to let them know they're not alone.
"The families that are going to be coming together here this week, my heart goes out to them. I want them to know that across Maryland, we do support them and we do care very much about their loss," she said.


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I really like using Allstate. So far, things have been great and I will continue to use Domenick Carofine.
I had a minor 'accident' in a parking lot - I broke the blinker light on the fender and bent a piece of molding - 'Oh, no problem' right? Allstate increased my insurance by almost...
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From family friendly trips with kid friendly activities to local plumbers lawyers, spas, and contractors. Judy's Book has millions of listings and reviews for the best and not so great. Whether you're looking for a specific business or just trying to discover great places we make it easy. We're a family oriented site focusing on bringing trusted reviews and recommendations to moms and others. Green and Sustainable places are becoming more relevant to Judy's Book users, have a favorite place? Write a review and tell users why it's Green!


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Does your mother lean more toward contemporary styles? FTD offers a nice selection of Mother's Day flowers, Mother's Day plants and Mother's Day gifts that will suit her modern-day flair. And with same day flower delivery options, you can get Mom a gift even if you've waited until the last minute.
Looking for contemporary Mother's Day gift ideas? Our Mother's Day flowers include modern floral arrangements in sleek containers, such as Steuben Glass vases. Choose a simple bonsai tree for a plant gift or a Starbucks gift basket as a modern twist.
Before you order flowers from FTD, find out their meanings in our Mother's Day Flower Guide. You'll learn the language of tulips, roses, daisies and more, so you can send your contemporary mother the perfect gift with the perfect meaning.
While every mom deserves to feel special 365 days a year, this is the one day when she is especially celebrated. For customer favorites, take a look at our Mother's Day Best Sellers section. Count on FTD to help put a big smile on Mom's face with our Mother's Day flowers, plants and gifts.


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A Mossy Oak Rustic Life series candle, Bird Dog Blonde has a fragrance reminiscent of the honeysuckle that flourishes in the Spring. Never too sweet. Hand Made from Recycled Beer Bottles to keep glass out of the landfill and Create Jobs in the USA. Supports Believe in Tomorrow Children's Foundation. Great smelling candle, burns for 50 hours with no soot, clear to the bottom.
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Unnatural Nature 24"x24"
Purchase includes the following:
Price includes shipping. Paintings are wired for hanging. Artwork is signed and includes Certificate of Authenticity. Shipping within Canada and United States is included. Artwork can also be paid in three monthly installments by sending three post dated cheques to: GEOFFREY DARWENT, P.O.BOX 55015 BELMORE, MONTREAL, QUEBEC H4V0A1 CANADA


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COL is a community-based organization in Washington, D.C. working to ensure sound science underpins ocean policy and decision-making at the federal level. As the voice of the ocean science and technology community, COL is the trusted resource for policymakers seeking credible information about ocean challenges and opportunities, societal impacts, and science-based solutions. Our strong reputation enables us to magnify our members' ability to shape the future of ocean science and technology.
By joining COL, your institution teams up with other ocean science and technology organizations giving ocean research and federal funding a voice at the federal level – and keeping them national priorities.
Donating to COL or to one of our programs, like the National Ocean Sciences Bowl, supports our efforts to advance sound ocean policy and to create an ocean-literate society.
Have ideas, thoughts, or perspectives to share? Join the conversation!
Have a job or internship opening? Conference coming up? Public comment period beginning? Share these opportunities and events on our website.


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Movies We Like
Dust Devil: The Final Cut
Dust Devil has suffered from a bad reputation ever since Harvey and somebody Weinstein eviscerated Richard Stanley's cut of the film from 108 minutes to 87 for its ill-fated theatrical release. Stanley's previous feature was the cult hit Hardware, which was noted for having made back its micro budget many times over as a video store hit. Why the Weinsteins chose to lop off 20 minutes and remove all the sense from the film is a bit of a mystery. Hopefully, Dust Devil: The Final Cut will redeem the film in the eyes of those who had seen it previously and introduce this gem to a new generation of horror fans.
Set in an arid, remote region of South Africa, Dust Devil follows an enigmatic serial killer (Robert John Burke), half man-half demon who follows the lonely highway, making love to and then killing depressed women. The killer uses ritual magic, attempting through his murders to transcend the earthly plane so he can return to the spiritual world. The desert setting gives the film a Western atmosphere as does the casting of an American actor in the drifter-killer role. Whether there are supposed to be additional political connotations in an American man using African magic and killing white African women is an unresolved quandary. Wendy, a narcissistic housewife, leaves her brutish husband, eventually crossing paths with the handsome killer. The fact that neither the killer, nor Wendy, nor her husband are likeable characters and the latter two are idiots, makes the final battle all the more enjoyable. By liberating you from sympathizing with the protagonists, Stanley allows the viewers to consider the killer's motivations objectively and also enjoy the resulting bloodshed more thoroughly.
For a horror movie the visuals are more indebted to Days of Heaven and The Wild Bunch than The Exorcist or The Omen, which suggests that Stanley is comparing post-apartheid South Africa to the Wild West. The gorgeous score is by Simon Boswell who has composed music for everything from Jodorowsky's Santa Sangre to Fellini's Voce de la Luna to Michele Soavi's Stagefright. Perhaps the most poignant aspect of the film are the low-key, high-quality special effects, perfectly tailored to suit the film's intimate tone, augmented by chilling sound design. Dust Devil is from the period of Total Recall and The Thing, when you couldn't see the pixels in whatever was supposed to be scaring you, when visual effects teams weren't frantically switching angles and speeding up sequences so the viewer wouldn't notice how fake their creations looked. If you're interested in one of South Africa's only horror films, if you fondly recall Stan Winston and Screaming George, Dust Devil might have a place in your half man-half demon heart.


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Human-Collaborative Robot
The human-collaborative robot MOTOMAN HC10 provides 6 axes and a payload of 10 kg.
Power and Force Limit technology assures the operators safety by stopping the robot in case of contact.
Dual-Arm Robots
To achieve human-like flexibility in fully automated assembly processes, dual-arm robots have 15 axes. This is the best way to reproduce the human arm and shoulder region and makes assembly processes faster and more precise.
Watch the video
Lightweight construction and energy efficiency
Ever lighter and more energy efficient robots make it possible to increase efficiency and thus add greater value even in the case of applications for small and medium batch sizes. The development of lightweight grippers and lightweight spot welding guns is helping considerably to reduce energy consumption and costs in the overall system. We have perfected increased energy efficiency through efficient programming and optimisation of processes.
Cooperation between man and machine
Operators and robots work hand in hand—all for the sake of humans. The robot itself takes on the task of work safety. Safety systems such as safety fences, guards and safety monitoring sensors that separate personnel from hazards are no longer required. This relieves personnel from having to perform frequently recurring and particularly strenuous tasks, whilst the quality of the work steps continues to remain consistent.


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I place the blame for my passion for genealogy on the family storytellers and also on being a naturally nosy person. As a child, I grew up hearing stories about my relatives. It was inexpensive entertainment and there was an abundance of characters. When my dad told the story of how Hugh Wolstenholme crossed the mountains and "washed his hands in the clouds," I wanted to know which mountains he crossed. How old was he when he crossed those mountains and where was he coming from?
Through research, I've learned a few answers, but enough questions remain unanswered to keep me researching the next 30 years - at least I hope so.


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Stop travelling to your local debt office. Your debt extract is now just a few clicks away. Easily sign your order online and pay with your credit card. The debt extract will be sent as PDF by email.
The cost of CHF 29.90 can be broken down as follows: CHF 17 government charges, CHF 12.90 handling, credit card, delivery fees and taxes. Processing time usually 1 to 2 working days. No delivery or processing on weekends or public holidays. Your debt extract is delivered by email.


text: Just a reminder that The Clone Wars returns from holiday hiatus this evening with the all new "Escape from Kadavo". Anakin tries to convince the Zygerrian Queen that she too is a slave and pawn in an evil Separatist plot. Meanwhile, Obi-Wan toils in the slave camps of Kadavo, a grim situation that grows increasingly bleak. The episode airs tonight at 8 pm/ 9 pm Central! Click here to view a preview at StarWars.com.


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Earlier today, Netflix and Comcast announced that they have come to an arrangement that should ensure quality television and movie streams for Comcast customers for the foreseeable future.
Here are the basics: Netflix will pay Comcast an undisclosed sum, and in exchange Comcast will connect directly to Netflix's servers, improving streaming quality for all Netflix content.
Of course, there's more to it than that. If you haven't been paying attention, the situation can look really confusing.
For those trying to make sense of the latest reports or wondering what it means for Netflix's relationship with cable companies and other ISPs, we've put together the following guide to the Netflix-Comcast deal.
Netflix stream performance has been falling on Comcast since September.
For the last several months, Netflix stream performance has been dipping for Comcast customers. Netflix's ISP speed index shows that since September of last year, Netflix stream speeds on Comcast's network have fallen by roughly a third — enough of a drop that it started to become noticeable for users streaming HD content.
The problem was caused by an expensive traffic jam occurring between Netflix and Comcast.
Streaming high-definition video to millions of homes every day means moving a ton of data around — 30% of peak Internet traffic in the U.S., in Netflix's case. Since 2012, Netflix has let Internet service providers video improve stream quality by connecting directly to their Open Connect network.
Comcast, Time Warner Cable, Verizon, and AT&T have all refused to hook their data centers up to Netflix's servers without payment from the video streaming service. Their logic: when they move data for content networks like Akamai, they get paid for delivering that content to end users. Netflix is doing the same thing, so they should pay up too.
Netflix has been using a middleman — Cogent Communications — to connect their network to Comcast and other ISPs while negotiating for Open Connect partnerships. For some time, the interconnects where Cogent and Comcast meet have been running at capacity.
Normally, Comcast and Cogent would both pay to upgrade this interconnect, but Comcast thought Cogent (or Netflix) should pay up since the traffic is flowing in essentially one direction; Netflix wanted to hook up one of their Open Connect servers inside a Comcast data center and theoretically save money for both of them.
Netflix and Comcast came to an agreement in January.
Both The Wall Street Journal and GigaOm have independently confirmed that Netflix CEO Reed Hastings and Comcast CEO Brian Roberts met at the Consumer Electronics Show in Las Vegas to work out a deal.
Comcast is the big winner in the agreement. Rather than installing one of Netflix's Open Connect servers at a Comcast data center (giving up some control over the traffic it moves), Comcast will link up with Netflix at third-party data centers and charge the company for data that it delivers — likely on a per-gigabit basis.
The deal is an important strategic move for Netflix as well. An extended period of poor stream quality could convince users that paying for a Netflix subscription isn't worth it, so getting performance back up for Comcast's millions of customers was a top priority.
This might set a precedent for Netflix's relationship with ISPs.
Time Warner Cable is one of several other ISPs that has refused to directly connect to Netflix's servers without payment. As the second largest cable provider in the U.S., it may have had the leverage to get Netflix to make a similar agreement to that made with Comcast. Now that Comcast is buying Time Warner Cable, it's unclear if that will even be necessary.
Meanwhile, Netflix stream performance has been dipping on Verizon for some time as well. Verizon may try to negotiate a similar deal now that it's seen the video service give in to its cable counterpart.
Not about net neutrality.
Counterintuitively, the deal doesn't have anything to do with net neutrality and the FCC's upcoming new attempt to ensure that internet providers don't reduce or "throttle" each other's bandwidth. This is because the bottlenecks in the flow of Netflix downloads were taking place at Cogent and other interconnecting internet traffic companies such as Level 3.
The agreement thus takes place separately, but in parallel, to that issue.
NOW WATCH: We Finally Figured Out How To Pay Less For Cable TV


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Brandon Weeden is expected to start for the Browns against Jacksonville, probably with a newly signed quarterback backing him up.
Look for Browns quarterback Brandon Weeden to be the man against Jacksonville on Sunday.
"Chances are he'll start," head coach Rob Chudzinski said in his Monday-after press conference.
Weeden replaced Jason Campbell twice during Sunday's 27-11 loss to Pittsburgh, first for one play after Campbell aggravated a rib injury, then for most of the second half after Campbell suffered a concussion.
The Browns are 1-5 in games in which Weeden has played this year, a factor — along with his poor 66.0 passer rating — in his reception among fans. He was intermittently booed Sunday.
"I understand where fans are coming from," Chudzinski said. "At the end of the day, he's a Cleveland Brown."
Campbell fell to 1-3 as the Browns' starter. He left the game after getting clocked by William Gay on a corner blitz. He had thrown for 124 yards and trailed 14-3 when he left the game for good.
He fumbled on the play, and Gay's long return set up a touchdown that made it 20-3.
Chudzinski said Campbell reported to Browns headquarters Monday morning but soon went home. He has been placed in "NFL concussion protocol."
Chudzinski did not rule him out of the Jacksonville game. If, as expected, Campbell misses the game, the Browns will need a backup quarterback, having none on the roster other than Weeden and Campbell.
"We have a number of options," said Chudzinski.
A quarterback is expected to be signed by Tuesday.
Reach Steve at 330-580-8347 or on Twitter: @sdoerschukREP


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RBC Wealth Management Canada > RBC Dominion Securities > Investor Tools & Resources > Investor Education Centre > Tax Planning Guide
With a careful tax-planning strategy in place, you can grow the wealth you have accumulated while minimizing your tax burden.
We've provided the following information to introduce you to some useful tax-planning strategies and help you better understand how taxes can affect your investments:
Our Investment Advisors are here to help recommend the solutions that are best for you. To learn more, please contact an advisor or ask an advisor to contact you.


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Steve McClaren quits as FC Twente coach
Former England coach Steve McClaren has quit as coach of Dutch club FC Twente after the team began 2013 with four ties and two losses and dropped from first to fifth in the standings.
McClaren, who led the team to its first ever league title in 2010, says the recent form slump prompted him to walk out on a contract that ran until 2014.
McClaren says "the club is bigger than any one individual and Twente is too big in my heart to stand in the way of its progress.''
Twente lost to SC Heerenveen 2-1 on Saturday.