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No. 92,342
1. K.S.A. 2004 Supp. 22-4513 is construed and applied.
2. Under the facts of this case, the trial court was required to consider defendant's financial resources before assessing attorney fees.
Appeal from Reno District Court; RICHARD J. ROME, judge. Opinion filed July 15, 2005. Reversed and remanded.
Sandra Carr, assistant appellate defender, for appellant.
Karen S. Smart, assistant district attorney, Keith E. Schroeder, district attorney, and Phill Kline, attorney general, for appellee.
Before JOHNSON, P.J., ELLIOTT and MALONE, JJ.
ELLIOTT, J.: Steven D. Hemphill appeals the trial court's assessment of attorney fees, claiming the trial court erred in failing to consider his financial resources or the nature of the burden of imposing the fees. We reverse and remand.
Hemphill pled no contest to various crimes. He was sentenced to serve 12 months in county jail in each case with the sentences to run consecutively. In addition, Hemphill was ordered to pay a $2,500 fine for each of the two driving while under the influence convictions, plus $415 for attorney fees in each case and the $50 Board of Indigents' Defense Services (BIDS) application fee in each case.
Hemphill claims the trial court erred when it ordered him to reimburse BIDS for attorney fees without considering his financial resources.
K.S.A. 2004 Supp. 22-4513 provides:
"(a) If the defendant is convicted, all expenditures made by the state board of indigents' defense services to provide counsel and other defense services to such defendant or the amount allowed by the board of indigents' defense reimbursement tables as provided in K.S.A. 22-4522, and amendments thereto, whichever is less, shall be taxed against the defendant and shall be enforced as judgments for payment of money in civil cases.
"(b) In determining the amount and method of payment of such sum, the court shall take account of the financial resources of the defendant and the nature of the burden that payment of such sum will impose. A defendant who has been required to pay such sum and who is not willfully in default in the payment thereof may at any time petition the court which sentenced the defendant to waive payment of such sum or any unpaid portion thereof. If it appears to the satisfaction of the court that payment of the amount due will impose manifest hardship on the defendant or the defendant's immediate family, the court may waive payment of all or part of the amount due or modify the method of payment."
The State argues the trial court considered evidence of Hemphill's financial resources before assessing the fees; the record does not support this claim. The transcript of the sentencing hearing does not show the court considered his financial resources, and the presentence investigation report does not contain any information on Hemphill's resources. Likewise, the statement by Hemphill's attorney that he wanted to resolve matters quickly so he could help support his family does not show the trial court considered Hemphill's financial resources.
The question on appeal, therefore, becomes whether the trial court was required to consider Hemphill's financial resources before assessing the attorney fees. Our court is divided on this issue.
In State v. Robinson, 33 Kan. App. 2d 773, 109 P.3d 185 (2005) (petition for review pending), a panel ruled the trial court did not err by failing to consider defendant's financial resources before assessing attorney fees. The Robinson dissent argued the language of the statute required the court to consider defendant's financial resources at the time it assessed the fees. Robinson, 33 Kan. App. 2d at 784-86 (Greene, J., concurring in part and dissenting in part).
Another panel of this court in State v. Ellis, No. 91,037, unpublished opinion filed June 4, 2004, found the trial court erred in failing to consider defendant's financial resources before assessing attorney fees, ruling K.S.A. 2004 Supp. 22-4513 and K.S.A. 2004 Supp. 21-4603d(i) required the trial court to make a record of its considerations of defendant's resources before assessing fees.
On appeal, we presume the legislature expressed its intent through the language of the statutory scheme. If the language is plain and unambiguous, we must give effect to the language as written without stating what the law should or should not be. See State v. Gordon, 275 Kan. 393, 397, 66 P.3d 903 (2003). In this regard, ordinary words are to be given their ordinary meanings without adding something that is not readily found in the statutes nor eliminating that which is readily found in the statute. State v. Manbeck, 277 Kan. 224, Syl. ¶ 3, 83 P.3d 190 (2004).
We choose to follow Ellis.
K.S.A. 2004 Supp. 22-4513(a) states all BIDS expenses shall be taxed against defendant. K.S.A. 2004 Supp. 22-4513(b) states the trial court shall take into account defendant's financial resources and further provides a defendant may petition the court at any time to waive the imposition of fees.
K.S.A. 2004 Supp. 21-4603d(i) provides the trial court shall order defendant to reimburse the State for its expenses in providing services for defendant and that the trial court shall consider the financial resources of defendant in determining the amount and method of payment of that sum.
Both statutes expressly state the trial court shall consider defendant's financial resources when assessing attorney fees. These explicit words should not be written out of existence. The clear language should be enforced as written.
Simply put, requiring the trial court to state on the record it has considered defendant's financial resources before it assesses the fees does not, in our opinion, impose a substantial burden on the trial courts. Requiring a trial court to hold a second hearing would, we feel, impose a greater burden.
If the court states on the record it has considered defendant's financial resources at the time it assesses fees, a second hearing would be required only if defendant were to petition the court for a waiver. If the trial court does not consider defendant's financial resources at the time of the initial assessment, under K.S.A. 2004 Supp. 22-4513(b) and K.S.A. 2004 Supp. 21-4603d(i), it would be required to hold a second hearing to determine defendant's financial resources before attempting to collect any fees assessed.
Reversed and remanded for further proceedings in accordance with this opinion.
MALONE, J., dissenting: First and foremost, I submit this court should refuse to consider Stephen D. Hemphill's appeal because he did not raise the issue of imposition of attorney fees before the trial court. Ordinarily, issues raised for the first time on appeal will not be considered. State v. Maass, 275 Kan. 328, 331, 64 P.3d 382 (2003). Exceptions to this general rule are made where: (1) the newly asserted theory involves only a question of law arising on proved or admitted facts and which is finally determinative of the case; (2) consideration of the theory is necessary to serve the ends of justice or to prevent denial of fundamental rights; and (3) the judgment of the trial court may be upheld on appeal although that court may have relied on the wrong ground or assigned a wrong reason for its decision. State v. Wiegand, 275 Kan. 841, 844-45, 69 P.3d 627 (2003). Hemphill's claim does not fit squarely within any of these recognized exceptions.
Consideration of Hemphill's claim on appeal is not necessary to serve the ends of justice or to prevent denial of fundamental rights because the statutes allow Hemphill to petition the trial court "at any time" for waiver of all or part of the attorney fees if payment presents a hardship. In fact, it is curious why Hemphill, or any other defendant similarly situated, would ever file an appeal seeking a new hearing on this issue when the defendant can accomplish the same result by simply filing a motion in district court. In a case where the trial court fails to properly consider a placement at Labette Correctional Conservation Camp pursuant to K.S.A. 2004 Supp. 21-4603d(g), the defendant's only recourse is to file an appeal seeking a new sentence. That is not the situation here.
Hemphill was present at sentencing when the trial court imposed attorney fees in the amount allowed by the Board of Indigents' Defense Services reimbursement tables. He neither objected nor raised any concern to the trial court about his ability to pay the fees. He has never filed a motion in district court seeking relief from the fees although he is permitted to do so. In essence, this appeal is premature. Hemphill can ask the trial court for relief from the fees at any time. If he was to do so, and the request was denied, then this court could review the trial court's decision based upon a proper record. However, this court should not consider Hemphill's appeal of the imposition of attorney fees until he has first raised the issue and been denied relief by the trial court.
As to the merits of the appeal, I would adopt the reasoning of the majority opinion in State v. Robinson, 33 Kan. App. 2d 773, 109 P.3d 185 (2005) (petition for review pending), and hold the trial court did not err by failing to consider Hemphill's financial resources before imposing attorney fees as court costs.


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2014 Augustana Signing Day Recap
SIOUX FALLS, SD -Augustana College head football coach Jerry Olszewski announced today the signing of 35 high school student-athletes to letters of intent to continue their academic and football careers at Augustana. Today's announcement was made on the first day student-athletes are allowed to sign letters of intent.The list includes student-athletes from eight difference states, including Minnesota (12), South Dakota (9), Wisconsin (5), Colorado (3), Nebraska (2), Alaska (1), Illinois (1), Iowa (1)?and Missouri?(1).
"This signing class addressed not only our position needs and depth, but also a level of athleticism necessary to be successful in the NSIC as we build the foundation of Viking football," Olszewski said. "I am very proud of our staff as we attracted the best and the brightest to represent Augustana football and create a high level of competition in our team."
Located in Sioux Falls, S.D., Augustana College is a member of NCAA Division II and competes in the Northern Sun Intercollegiate Conference. Augustana finished the 2013 season 4-7 overall, finishing tied for 10th in the 16-team conference. The Vikings were 2-5 in the NSIC South Division, tying for sixth in the eight-team division.
For a list of bios click 2014 Recruiting Class
Courtesy: Tim Evans, Augustana
© 2014 Associated Press. All rights reserved. Material may not be redistributed.

subset: commoncrawl


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November 21, 2008
Ashlee Simspson And Pete Wentz Welcome Baby Bronx Mowgli
After much labor speculation, then confirmation yesterday…Ashlee Simpson finally popped. She gave birth to a baby boy last night! Unfortunately, Ashlee and hubby Pete Wentz have been reading their copy of Ridiculous Celebrity Baby Names, and have saddled the little one with "Bronx Mowgli". Yeah, Mowgli. Like in The Jungle Book. Sigh. Bronx weighed in […]Read More..>>


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Industrial Modern Reclaimed Wood Bench / H-Shaped Metal Legs
Industrial Modern Reclaimed Wood Bench / H-Shaped Metal Legs
Wood: Pictured in Reclaimed Oak
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Wood Thickness: 1.5" - 1.75"
Wood Origin: Wisconsin
Height: 18"
Depth: 13"
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Legs: Hand Welded H-Shaped Steel || Select Color From Drop Down
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**Please indicate WOOD/FINISH choice at checkout.
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Looking to pair with a dining table? See sizing options below:
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CLICK HERE to purchase the matching dining table.
We use only the good stuff! All the wood we use is 100+ years old-growth wood harvested from torn down midwestern barns. Reclaimed wood's beauty is in its variations, and will have naturally occurring knots, splits, weathering, nail holes & cracks. None of this effects the structural stability of the furniture. No two pieces of wood are alike, which makes your piece of handcrafted furniture one-of-a-kind!
We do our best to represent the color, design and grain shown in the product images, but please allow for slight variations due to the unique character of the wood. All special requests must be agreed upon prior to purchase to guarantee products. By placing this order you agree to these variations.
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At WHAT WE MAKE all of our pieces are handmade by us, for you in our shop just outside of Chicago, IL! We use Old-Growth Reclaimed Wood and durable, VOC - free, eco-friendly finishes to ensure you have a durable piece that will not bring any toxins into your home. All of our furniture is built to last a lifetime. WE take pride in our designs and love building furniture inspired from the materials we use.


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Penelope Cruz walks into a Beverly Hills hotel room with a stunning red dress looking ravishing. Quietly reserved and ferociously guarded, Cruz is receiving strong reviews as the tempestuous ex-wife in Woody Allen's "Vicky Cristina Barcelona".
Cruz is also starring in the erotic adaptation of Phillip Roth's "Elegy" and is about to join the star-studded cast of the musical "Nine". Cruz talked to Paul Fischer.
Question: At the press conference yesterday Woody Allen talked about, and it was very funny to hear him talk about the arguments that you had with Javier in Spanish, scenes where you're arguing with Javier in Spanish, and he had no idea, Woody Allen had no idea what you were saying, until you went back to his, to edit the film, and get someone who could translate what you were saying. How freeing is it for you as an actress to be able to do stuff like that, without even worrying or caring what the director thinks?
Cruz: No, he cares a lot but he was trusting us, you know, he was trusting all the actors to improvise sometimes in English, sometimes in Spanish, he didn't do it only with the Spanish, sometimes he would say okay, now with this, and just turn it around and you know what's the message that the character's has to send of course, but just use the words that you think she would use in that moment, so once in awhile he would do that or he would ask for us to, he said, do what you think Magdalena would do going back from the English to the Spanish, whenever you feel it's natural, and I did a lot of swearing and (laughter) sometimes too much and I was a little bit worried about what he was going to think when he discovers some of (laughter) the things that were said, and then, but we did no looping, there was no ADR, so I think he was happy. And normally he does just a couple of takes I mean sometimes if he doesn't get it, he will do up to five or seven but the median is two, sometimes just two takes, check the gate, and you're doing a scene that is five pages of dialogue, and it's for one shot, there is no coverage, and he knows exactly, I mean you have to be very secure you know, and he knows exactly what he wants, he has the whole movie, the whole map in his head.
Question: So would you ever say, I want to do it again? Did you ever say, can I do it one more time? When you were shooting takes?
Cruz: Every single time (laughter). I drove him crazy with that (laughter). The last day I think he run out of patience because he was so sweet and so kind and he always said yes to one more take, (laughter) but the last take, the last day, I really, I could not stop because it was the end, and it was a difficult scene, and I said, please one more, okay, do it one more, and then we finished the last take and we were going to check the gate, I think it was like the scene before last, before ending the movie, and he was nowhere in sight, (laughter) we said, okay, cut, and I was looking for Woody and he was hiding from me (laughter).
Question: Now is that insecurity on your part, because your still finding your way in American films or?
Cruz: I'm always, I'm like that on the set, as soon as I finish the take, I come up with something that I think is better that I should have done but I didn't, and if I don't get to do another take I torture myself for the rest of the day, and then I remember everything, from every take, from every scene I remember all the takes. So I have like a machine, the Avid, the editing machine in my head (laughter) and I don't think that's good for my health, or for my work (laughter). But always, everything like that.
Question: Can you improve that, can you get rid of it, can you, I mean Almodovar I think has talked to you about that too, trying to get you to free yourself from…
Cruz: I do the same with him, I always ask for one more take, but…
Question: Where did that come from, I guess that need for you to really do more and more and better yourself that way?
Cruz: Since my first movie I've been like that, probably all with the insecurity of the actor and what happens when you relax after the take, then always you come up with something that you couldn't see when you were tense because you were in the middle of it.
Question: You and Javier have a relationship that has gone on for years and years and years in the picture that we don't see, did you guys get a backstory together, did you discuss it, I mean how did you work with…
Cruz: You mean Juan Antonio and Magdalena? What happens to them before the movie? It's all what Woody does with the actors, you know, and he's very open to whatever method the actors can have, very respectful, but sometimes I would go up to Woody with a book of notes on the past of Magdalena (laughter) and he would laugh at me (laughter), but not in a mean way, he's very respectful, but I had like, I'd drawn monsters and things and all the past (laughs) of what happened when Magdalena was told she was a genius, and who told her that, and how that ruined her, and how that has made her live for so many years stuck in this victim role, because she thinks she's too special to be happy and she thinks that she stops suffering, she won't be as talented, because she needs to be the tortured artist and self destructive. So I had a whole thing about all these theories, and he would look at it and let me ask you this, over the notes, he said, I think it's great that you do this, but really, things are going very well, I think you don't need to, (laughter) and but he's so charming and adorable and kind, and…
Question: Is this your first time to work with Javier?
Cruz: No, second.
Question: How was it working with him this time, because you guys have to speak English (unidentified words) joined you guys (unidentified words) in this film?
Cruz: It was great and he's an amazing actor, and I think always it comes from the director you know, to, for, this is a very (unidentified words) movie and a how do you say, ensemble and it's always whatever the director creates you know, the atmosphere the director creates for all the actors, and Woody's is very, I mean he's different from everything else I know, but I love his system because you never, even if there are no rehearsals, you never feel that he's not there for you, he sees everything, and you feel that your director is taking care of you.
Question: He actually wrote this for you in a way didn't he…
Cruz: I don't know…
Question: He said yesterday that you approached, you heard he was going to make a film in Barcelona and you wanted to be involved and he kind of thought of you when creating this character, are you surprised by that?
Cruz: He has to tell me that story because I don't know (laughter). I think my agent called him and said, we heard you're shooting in Spain, do you want to meet Penelope because she would love to work with you, something like that happened, and then we met in New York and we had a forty second meeting…
Question: forty seconds?
Cruz: Yes, (laughter) and somebody, he told me I saw Volver, and I loved it, and I'm writing something, and if it keeps going in this direction, it could be great for you. So I'll let you know in a few weeks. (laughter) Thank you very much. (laughter) There is no bullshit with Woody which I love, you know, he's like, he did say good morning, it's very nice to meet you, and as soon as I started getting to the, oh my god, I loved Deconstructing Harry, (laughter) I love all the movies, he said, mmmm, no, he's so honest, he's the most honest person I know, somebody asked him in Cannes about a country, I'm not going to (unidentified words), but somebody asked him about a country and he didn't like, the time he spent in the country, and he told us the funniest story, it's so honest, I mean you always feel like, did he really say that, and he's like that all the time and I mean that meeting, but I left him, and I left the meeting smiling, because I thought he was really himself and really honest and charming and when I said I would love to work with you, he said well of course (laughter) and then a month later, I was in Paris and I got this phone call and said Woody wants you to make the movie, and I was very, very happy, and happier when I read the script and I said oh my god, he's giving me such a treasure, you know, this is such a really beautiful character, and complicated and with a subject that I'm very, very interested about and with somebody that is very, emotionally very unstable and I wanted to explore that and try to understand Magdelena's reality and not just play her like a crazy person, and she's defending her reality, you know, and for her is equally important as the one of the person in front of her and I wanted to do it from there.
Question: We heard that when you were filming in Barcelona there were many, many people watching you guys, could you talk about filming on location in the city and the crowds of people?
Cruz: People were very nice and very helpful, and they allowed us to shoot in locations that are very, very difficult to get permits, and yeah, there was a lot of expectation because of Woody coming to Spain, people wanted to see him and people really love him there. But everyone was very nice and helpful.
Question: Did you show the Americans a good time in the nightlife of, cause he finishes pretty early at the end of the day right?
Cruz: No, no, Woody came to the wrap party and that was a big deal, and he came to wrap party but…
Question: What about the American actors in the movie?
Cruz: Honestly, everything went so fast there was (unidentified words) of time but and I felt like I was doing the most serious drama that I had done in my career, and then when I saw the movie in Cannes (laughter), I said why are they laughing (laughter) and I understood that when I read the script, but preparing Magdalena and then playing her for those few weeks, I forgot, I was suffering, with her, and I think probably Woody was laughing about that too, about how seriously everyone was taking everything because all the characters are suffering and struggling and I think that's why those scenes are so funny, because Woody managed to make all of us forget that we were doing pure comedy, for us, we were doing drama.
Question: Magdalena and Cristina have, they like the same guy, but she still mentors her with the photography, I thought that was really, course they're all attracted to each other, but I thought that was really nice, and I wondered if in your life, you've mentored a sister or someone who wants to, advice on career, or how do you relate to other women I guess that might want your help, advice?
Cruz: It's always, I don't like very much giving advice, especially in interviews, because it always sounds like who are you to give advice to anybody you know, but (laughter), I always with things that are related to the acting, if I have to get specific, it will be always about saving time to study to prepare your characters, to have your time for months for trying to understand who that person is, because that's when I feel the happiest about the work, the part that gives me a lot of happiness is the preparation time and a few years ago I was just going from set to set, like four movies a year, and I don't enjoy that anymore, I'd rather do one a year or maybe two if they are not too long, but I have my time to prepare.
Question: But I meant a woman in your life, like a younger sister or someone that you have helped with their career. Have you done that or?
Cruz: No, because in my family, we all help each other with everything, we are very close and but I don't have like the role of the old sister, in how annoying I am, yes (laughter) with them, yes, because I am the oldest and I'm always am very protective with my brother and sister but with the rest, with the work and all that, everyone knows what they want to do.
Question: Speaking of preparation, how are you preparing to play in Rob Marshall's new film?
Cruz: God, I am so excited, about the movie. I did many auditions for the movie, singing and dancing and I trained for seventeen years, dancing in my life and now I can get to use it in a movie and I love the character and will be singing many hours a day and training and we're going to record with an orchestra and I think that's going to be an amazing experience for me because I love music.
Question: How's your singing?
Cruz: They say it's good and they gave me the part so now I have to do it (laughter). But I have to work very hard, we're going to be training very hard, I've already been taking lessons but now it's going to be many, many hours a day.
Question: Do you sing one song in the movie, or more than one?
Cruz: More than one.
Question: Did you see the play?
Cruz: Yes, I saw the play, Eight and a Half is one of my favorite movies of all time, because Nine is based on Eight and a Half, and I love Carla, I love this character.
Question: But you have a very, very huge cast for that movie. I think Daniel Day Lewis is in it.
Cruz: Nicole Kidman, Marion Cotillard, Judi Dench, Sophia Loren…
Question: When do you actually start filming? I mean do you go straight into that right now in the rehearsals and…
Cruz: I have to promote both movies, Elegy, and Vicki Cristina Barcelona, and then I go into the rehearsals for Nine, in London.
Question: How different a character is this one from the character in Elegy, because I know that's obviously opening here soon as well.
Cruz: So different. Consuela is very put together, she's very mature for her age, she's very centered, very focused, she knows very much what she wants (unidentified words) have in common is that she can also feel everything very much, the good and the bad, but I really like the movie, I was obsessed with the book, I love Phillip Roth, and I was blown away by Ben Kingsley, I think he's an amazing actor…
Question: And what does he bring to the table, what qualities did you see in him that excited you on the set?
Cruz: Just times of truth, all the time, there is nothing he does that is fake, and I don't imagine anybody else playing that character, I was attached to the project for five years, many other people before all the directors and I don't imagine anybody better than Isabel and Ben. It's a (unidentified words) very honest movie I think.


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Latest News
Huge Baja California condo project gets the axe
President Felipe Calderon has put the kibosh on a giant condo/hotel project in Baja California that could have rivaled Cancun in size.
The project, Cabo Cortes, was to be near the tip of Baja California and adjacent to the largest and northernmost coral reef system in Mexico.
The cancellation of the project is a reprieve to the marine park, known as Cabo Pulmo, which over the past decade has recovered from overfishing to become an example of how marine environments can come back to health.
The villagers of Cabo Pulmo, who fought hard against the development, may have the European financial crisis to thank for the suspension. The Spanish developer, Hansa Baja Developments, owes big time to Spanish banks, one of which was taken over by the Spanish government.
Needless to say, Spain doesn't have money to be throwing at major tourism projects overseas, especially ones that critics like Greenpeace say is damaging to the environment.
In its statement, Calderon's office said that it has become clear that "the project has not yet demonstrated its sustainability clearly and without question, particularly since the area is so important to the Gulf of California, Mexico and the world."
The environmental and natural resources secretariat under Calderon had drawn withering criticism from foreign scientists for giving an initial green light to the project. And Greenpeace Mexico has basically suggested that payoffs may have led the secretariat to let the project continue until today, approving it at two levels.
In a tweet, Greenpeace demanded "punishment for the functionaries that approved this project twice."


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Simply put, quantitative data gets you the numbers to prove the broad general points of your research. Qualitative data brings you the details and the depth to understand their full implications.
To get the best results from these methods in your surveys, it's important that you understand the differences between them. Let's have a look.
Quantitative data can help you see the big picture. Qualitative data adds the details and can also give a human voice to your survey results.
Let's see how to use each method in a research project.
These two research methods don't conflict with each other. They actually work much better as a team. In a world of Big Data, there's a wealth of statistics and figures that form the strong foundation on which your decisions can rest. But that foundation is incomplete without the information collected from real people that gives the numbers meaning.
So how do you put these two forms of research together? Qualitative research is almost always the starting point when you seek to discover new problems and opportunities–which will help you do deeper research later. Quantitative data will give you measurements to confirm each problem or opportunity and understand it.
How about an example? Let's say you held a conference and wanted feedback from your attendees. You can probably already measure several things with quantitative research, such as attendance rate, overall satisfaction, quality of speakers, value of information given, etc. All these questions can be given in a closed-ended and measurable way.
But you also may want to provide a few open-ended, qualitative research questions to find out what you may have overlooked. You could use questions like:
If you discover any common themes through these qualitative questions, you can decide to research them more in depth, make changes to your next event, and make sure to add quantitative questions about these topics after the next conference.
For example, let's say several attendees said that their least favorite thing about the conference was the difficult-to-reach location. Next time, your survey might ask quantitative questions like how satisfied people were with the location, or let respondents choose from a list of potential sites they would prefer.
Open-ended vs. close-ended questions. A good way of recognizing when you want to switch from one method to the other is to look at your open-ended questions and ask yourself why you are using them.
For example, if you asked: "What do you think of our ice cream prices?", people would give you feedback in their own words and you will probably get some out-of-the-box answers.
If that's not what you're looking for, you should consider using an easily quantifiable response. For example:
Relative to our competitors, do you think our ice cream prices are:
- Higher
- About the same
- Lower
This kind of question will give your survey respondents clarity and in turn it will provide you with consistent data that is easy to analyze.
There are many methods you can use to conduct qualitative research that will get you richly detailed information on your topic of interest.
However, this open-ended method of research does not always lend itself to bringing you the most accurate results to big questions. And analyzing the results is hard because people will use different words and phrases to describe their points of view, and may not even talk about the same things if they find space to roam with their responses.
In some cases, it may be more effective to go 'full quantitative' with your questions.
Qualitative survey questions can run the risk of being too vague. To avoid confusing your respondents, you may want to eschew questions like, "What do you think about our internet service?" Instead you could ask a closed-ended, quantitative question like in the following example.
The internet service is reliable:
- Always
- Most of the time
- About half the time
- Once in a while
- Never
Qualitative questions take longer to answer. Survey respondents don't always have the patience to reflect on what they are being asked and write long responses that accurately express their views. It's much faster to choose one of several pre-loaded options in a questionnaire. Using quantitative questions helps you get more questions in your survey and more responses out of it.
Quantitative survey questions are just more… quantifiable. Even word responses in closed-ended questionnaires can be assigned numerical values that you can later convert into indicators and graphs. This means that the overall quality of the data is better. Remember that the most accurate data leads you to the best possible decisions.
Our customer satisfaction survey template includes some good examples of how qualitative and quantitative questions can work together to provide you a complete view of how your business is doing.
Quantitative questions:
How long have you been a customer of our company?
- This is my first purchase
- Less than six months
- Six months to a year
- 1-2 years
- 3 or more years
- I haven't made a purchase yet
How likely are you to purchase any of our products again?
- Extremely likely
- Very likely
- Somewhat likely
- Not so likely
- Not at all likely
Qualitative follow-up question:
Do you have any other comments, questions, or concerns?
The following is another example from our employee engagement survey.
Quantitative questions:
When you make a mistake, how often does your supervisor respond constructively?
- Always
- Most of the time
- About half of the time
- Once in a while
- Never
Qualitative question:
What does your supervisor need to do to improve his/her performance?
Now that you know the definition of qualitative and quantitative data and the differences between these two research methods, you can better understand how to use them together. You can put them to work for you in your next project with one of our survey templates written by experts.
We've got templates for all types of questions. Check out our library of expert-designed survey templates
Want to know what your customers are saying about you? Customer satisfaction surveys can help you find out what people think of your company, get feedback on customer service, and more.Visit Page
When you listen to your employees, you can make decisions that build a happier workplace. Find out how employees really feel about their jobs. Get the feedback you need to keep them happy.Visit Page
Organizing an event is tough work. Who's coming? What's their schedule? Event surveys can give you a clearer picture. When you're done, get post-event feedback to improve for next time.Visit Page
Here are some ideas to ensure that respondents will answer your surveys.
If your survey is short and sweet, there's a greater chance that more respondents will complete it.
Little incentives like small discount or an entry into a drawing can help ensure respondents complete your survey.
With SurveyMonkey Audience, you can purchase access to an audience who meets specific demographic criteria for your survey. It's a great way to get targeted responses from a specific group.
Send as many surveys and quizzes as you want—even with free plans.
Easily create and send professional surveys. Get reliable results quickly.
Access pre-written questions and templates approved by our survey scientists.
Check results on the go from any device. Spot trends as data comes in.
Surveys give you more than just answers. Get feedback and new perspectives.
Extract and share insights from your data with your team.


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Look: Urban Decay Black Palette
Look: Urban Decay Black Palette
Can you tell that I used four eyeshadows in this look? If you can, you earn a merit badge for excellent, discerning sight! Despite looking and even swatching relatively distinctively, when used, the eyeshadows look rather similar. Just kind of looks like an all-black smoky eye to me! Review to follow shortly. This was a really quick look really just done to test out just how much color would show through when used in practice.
I added all that glitter to give this look more va-voom… it was just rather one-note beforehand. I will say that Distortion over Deviant is stunning–more so in person as the glitter flashes.
You will need the following…
- Eyes: Urban Decay Eden Primer Potion (matte beige base), Urban Decay Cobra Eyeshadow (black with antique gold), Urban Decay Libertine Eyeshadow (black with green), Urban Decay Black Dog Eyeshadow (matte black), Burberry Trench Eyeshadow (highlighter), Urban Decay Deviant 24/7 Liner (medium blue), Urban Decay Distortion Glitter Liner (iridescent), Chanel Inimitable Intense Mascara (black)
- Face: Make Up For Ever HD Foundation (140), Laura Mercier Loose Setting Powder (translucent)
- Cheeks: MAC Desert Rose Blush (muted pink)
- Lips: MAC Liquid Lurex Lipstick (iridescent antique gold glitter), MAC Pink Poodle Lipglass (bright pink)
- Brushes: 249 (flat, firm brush), 239 (fluffy shadow brush), 226 (fluffy crease brush), 219 (pointed crease brush), 116 (dense blush brush)
- Substitutes: Liquid Lurex = Tanarama
For eyes, start by applying Eden as your eyeshadow base all over the eye area with the 249. Using the 239, apply Cobra eyeshadow on the lower half of the lid and pat on horizontally. Lightly blend Libertine eyeshadow on upper half of the lid, patting lightly, all the way across with the 239. Next, apply Black Dog eyeshadow into the crease with the 226, lightly blending onto the outer lid. Blend Trench eyeshadow with the crease shade and highlight the brow bone. Bring everything together by applying Deviant liner on the lower lash line, then lightly pat on Distortion glitter liner on top. Finish by sweeping lashes with Inimitable Intense mascara, and then use Distortion glitter liner brushed onto lashes.
For cheeks, apply Desert Rose blush on the apples of the cheeks and sweep upwards towards the temple with the 116.
For lips, apply Liquid Lurex lipstick first, and then layer Pink Poodle lipglass for a complementing lip.


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Keywords filter
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|Collection Title:
Northwest Ethnohistory collection
|Western Washington University, Center for Pacific Northwest Studies
|The Northwest Ethnohistory collection includes oral histories, manuscripts, correspondence, maps, bibliographies, publications and photographs relating to various Native American tribes in the Pacific Northwest. Tribes documented in the collection include Chehalis, Shoalwater, Chinook, Clallam, Clatsop, Cowlitz, Duwamish, Haida, Klamath, Klickitat, Kwakiutl, Lummi, Makah, Muckleshoot, Nisqually, Nooksack, Puyallup, Quileute, Quinault, Salish, Semiahmoo, Skagit, Snohomish, Squaxin, Steilacoom, Suiattle-Sauk, Swinomish, and Suquamish. The records contain information about the various tribes' art, ethnic identity, family relationships, and indigenous languages. The collection also documents fishing, hunting, and whaling practices, and the social conditions and material culture of these indigenous people. The records provide insight into the tribes' social life and customs, including their legends, religious rites and ceremonies. There are also a large number of documents related to politics and government relations including the legal status of tribes, and laws regarding land tenures and treaties.


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Rookie Experience- Most Popular Experience
The Rookie is voted "Most Popular" driving experience for a reason. In this on track NASCAR experience you drive a real NASCAR race car by yourself for an 8 minute timed racing session around one of the nation's premier speedways. More driving time with the 8 minute racing session makes this a better experience for "rookies" in Daytona. Have no regrets! Guaranteed to be an amazing NASCAR driving experience. Come on Rookies- Book the Rookie today! (Retail: $599.99) SALE:$319.99
NASCAR Ride Along
Don't want to drive? Go for the NASCAR Ride Along around the superspeedway. Ride shot gun in a real NASCAR Race Car for 3 heart pounding laps at top speeds as a passenger with a professional racing instructor driving. Do the NASCAR Ride Along for an exhilarating Ride Along Experience. #Ride of your life! NASCAR Ride Along ($149.99 value) SALE: $99.99
DOUBLE Ride Along
NEW! It's DOUBLE the Ride! Sit back and hold on tight as you ride shot gun in the passenger seat of a real NASCAR race car for DOUBLE the laps! Plus you'll go to the FRONT of the Ride Line! This 6 lap NASCAR Ride Along will fulfill your need for speed around this superspeedway. It's an amazing Ride Along Experience with DOUBLE the Laps! Get your race fan the Double Ride Along today! (Retail: $299.99) SALE: $199.99
Practice Experience
Get a taste of racing with the Practice driving experience! You drive a NASCAR race car for a 5 minute timed racing session on one of the nations premier speedways by yourself! The Practice is the most economical driving experience offered at NASCAR Racing Experience and Richard Petty Driving Experience . As the saying goes, "Practice makes perfect". Get your taste of racing with the Practice driving experience today. (Retail $399.99) SALE: $199.99
Gift Cards- The Perfect Gift!
Give the Gift of Speed and Give a Gift Card for ANY Amount. Gift Cards are emailed, personalized and NEVER expire. Gift giving is with a Gift Card. Good for any of the nationwide speedways, for any date and time.
GIFT TIP: Buy a Gift Card TODAY for the SALE amount. Guaranteed to LOCK in the SALE price for the experience when you book.
King's Experience - Petty's Pick
Recommended by Race Fans for an amazing racing experience! You get double the drive time in the King's Experience! Following Driver's Meeting you drive a real NASCAR Race Car by yourself for (2) 8 minute sessions back to back (a total of 16 minutes track time) with a brief pit stop in between. Double the drive time is double the experience on the nation's premier speedways! (Retail: $1099.99) SALE: $639.99
Checkered Flag Experience- BIG SAVINGS!
Drive faster speeds in the Checkered Flag Experience. You'll drive a real NASCAR Race Car by yourself for (3) 8 minute racing sessions all back to back. That's a total of 24 minutes behind the wheel with pit stops in between every racing session! Work on driving faster each and every session on the nation's premier speedway. The Checkered Flag experience is guaranteed to be an thrill like no other! (Retail: $1599.99) SALE: $959.99
Experience of a Lifetime
For the racing enthusiast! You're in control as you drive a real NASCAR Race Car for (4) 8 minute timed racing sessions all back to back with brief pit stops in between. You're driving on track driving by yourself for a total of 32 minutes working on going faster speeds each and every session. It's the "Experience of a Lifetime" for race fans at the nation's premier speedways. (Retail: $2099.99) SALE: $1279.99
Victory Lane Experience
Take it to Victory Lane at the Speedway! In the Victory Lane driving experience you drive a real NASCAR Race Car by yourself for (5) 8 minute timed racing sessions all back to back with pit stops in between. Focus on working on driving faster speeds each and every 8 minute racing session session in the Victory Lane Experience on the nation's premier speedway. That's a total of 40 exhilarating minutes of on track driving time working on achieving top speeds driving white knuckled all the way. Make your dream a reality in the Victory Lane driving experience today. (Retail: $2599.99) SALE: $1599.99
World Champion Experience- Best One Day Experience!
The World Champion driving experience is by far one of the best one day NASCAR driving experiences offered at NASCAR Racing Experience! You drive (6) back to back 8 minute solo racing sessions, a total of 48 minutes with pit stops in between all with one on one feed back from your spotter. Work on achieving your top speeds on track in this amazing World Champion driving experience. Recommended for the hard core racer or race fan. Plus the World Champion is now offered in NASCAR Race Cars every day at the nation's premier speedways when space is available. (Retail: $3099.99) SALE $1919.99
Advanced Racing Experience
The Advanced Racing Experience is designed for the die-hard racer. The "Experience of a Lifetime" or "Racing Experience" courses are pre-requisites for admission to this, the highest level driving experience. The greatly intensified personal instruction makes drivers who take this 40-lap program feel like they're getting ready to take on Richard Petty. Between your 4 driving sessions of 10 laps each, drivers will receive one-on-one feedback from the Pit Road Instructor, as well as additional instruction from the on-track driving instructor. The Advanced is a lead follow and only offered at nationwide speedways. Retail: $3999.99 Call 704-886-2400 for questions or to Book Now.
Find Us at Talladega Superspeedway
Talladega Superspeedway
Talladega Superspeedway
3366 Speedway Blvd.
Lincoln, AL 35096
When arriving to Talladega Superspeedway- Drivers proceed to the infield of the speedway and check in at the Media Center.
NASCAR Racing Experience- The true NASCAR Driving Experience at Talladega Superspeedway
Welcome to NASCAR Racing Experience, the true NASCAR Experience. We put YOU in the drivers seat of a real NASCAR race car that's come straight from the NASCAR teams. You drive a real NASCAR race car by yourself at NASCAR Racing Experience. This NASCAR Experience will be the most authentic driving experience or racing school you've ever attend. NASCAR Driving Experience is offered at 14 of the nation's premier speedways including Atlanta Motor Speedway, Auto Club Speedway CA, Charlotte Motor Speedway, Chicagoland Speedway, Dover International Raceway, Homestead Miami Speedway, Kentucky Motor Speedway, Myrtle Beach Speedway SC, Michigan International Speedway, New Hampshire Motor Speedway, Phoenix International Raceway, Richmond International Raceway, Talladega Superspeedway AL, and Texas Motor Speedway. NASCAR Racing Experience offers E-Gift Cards that are good for 2 years at any of the locations or you can make a reservation to secure your once in a lifetime driving experience. Don't want to drive a race car? NASCAR Ride Alongs are available for those who want to ride and not drive. Make your dream a reality today and sign up for NASCAR Racing Experience, the true NASCAR experience!
NASCAR Racing Experience offers these locations:
NASCAR Racing Experience Charlotte Motor Speedway; NASCAR Racing Experience Atlanta Motor Speedway, NASCAR Racing Experience Auto Club Speedway; NASCAR Racing Experience Chicagoland Speedway; NASCAR Racing Experience Texas Motor Speedway; NASCAR Racing Experience Kentucky Motor Speedway; NASCAR Racing Experience Homestead Miami Speedway; NASCAR Racing Experience Richmond Raceway; NASCAR Racing Experience Myrtle Beach Speedway; NASCAR Racing Experience Michigan International Speedway, NASCAR Racing Experience Talladega Superspeedway; NASCAR Racing Experience Phoenix International Speedway, NASCAR Racing Experience New Hampshire Motor Speedway
Drive a Race Car! Take a NASCAR Ride Along! Buy NASCAR Driving Experience! Do the NASCAR Racing Experience! NASCAR Driving Experience.


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The themes to Skyrim and Game of Thrones have a lot in common — they're both driving, building melodies with a kind of "Nordic Triplet" groove going on. Sure, they're in different keys, but that's never stopped enthusiastic mashup artists in the past, so why should it now?
GeekRemixed has put together this mashup by Fatboy Roberts, called "A Dance With Dragonborn," which combines the two tracks into an at-times discordant, at-times symphonic mix of two of the most iconic recent melodies in fantasy.
There are times where it simply feels like you're listening to two tracks playing at once without any rhyme or reason, and other times when it feels like you're listening to something entirely new. Nice work.


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We know how you depend on us for everyday financial needs. Now, we're giving you the freedom to bank on the go—with the power and convenience of our new Mobile service.
So maybe you've heard of mobile banking—but what does it mean for you?
A whole world of flexibility awaits you with Citizens State Bank's Mobile service. You'll be able to view your account balances and activity, transfer funds, deposit checks, and pay bills – all from your mobile phone. It's our way of keeping you in touch with your money, even when you are on the go!
It's simple, safe and secure!
It's easy to use and puts control of your accounts in your hands. All the services are delivered over a secure mobile platform, based on advanced proven technology that has been used successfully and safely by consumers around the world. To learn more about our security, click here.
It's easy to get started!
Citizens State Bank's Mobile service works with the most popular phones on the market. You can download our App to your mobile phone, access the App via your mobile browser or perform balance inquiries via text messages. You can register your phone for all of these services through one simple process and get going in no time at all. To get enrolled login into your online banking account and select Mobile Banking along the left-hand-column. Follow the instructions and in a matter of minutes you will have access to our suite of mobile banking services.
For App users, below are links to Google Play and iTunes for Android and Apple devices, respectively:
Android – https://play.google.com/store/apps/details?id=com.mfoundry.mb.android.mb_073921190
iPhone – https://itunes.apple.com/us/app/csb-monticello-iowa/id813612362?mt=8
Have a Question?
If you have any questions related to mobile banking, please refer to our Frequently Asked Questions by clicking here.


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Car and Driver's reporting the Lotus Europa-based Dodge Circuit EV electric car may not be dead after all, proven by multiple sightings of test mules at Chrysler's various testing facilities.
Chrysler's been adamant that the Circuit EV program wasn't killed back in May and Car and Driver has now uncovered a few more details of the program. They sat down with Chrysler ENVI president Lou Rhodes to discuss various details of the ENVI program is progressing.
In a similar move to Tesla, and one that makes perfect sense; Lotus will produce the Circuit EV in the UK and then ship it to the U.S. for installation of Chrysler's electric powertrain. That powertrain has yet to reach a final build spec as they are undergoing constant modifications including a recent advancement that has cut the 0-60 mph time by nearly half a second.
Chrysler has stated a sales target of 100,000 for their full range of ENVI vehicles, enough to make a decent return on all the costly technology in place. With those numbers, Chrysler could potentially undercut the theoretically similar Tesla Roadster by "tens of thousands" of dollars.
We've been slightly suspicious of the Circuit EV ever since its initial debut, but if Chrysler can pull it off along with the rest of the ENVI program then color us impressed. [Car and Driver via All Cars Electric via Autoblog]


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- Parent Category: News
Racehorse Shot to Death, Police Seek Answers….
May 30, 2012 (LOWELL, Ind.) -- An 8-year-old horse was shot between the eyes in Lowell, Ind., the day before it was to run a race at Balmoral Park in Crete.
Investigators say they are looking for a white, newer model two-door pickup truck that was seen in the area where the harness race horse was found dead on Tuesday.
Police say the Standardbred trotting horse named Lady May Z was shot between 4 and 6 p.m. on Tuesday, May 29, in a pasture near the corner of 245th Avenue and Colfax Street in Lowell.
The horse's owner questioned "just what kind of a cold-hearted person could take the life of such an innocent creature ? "
An autopsy on the mare will be performed today at Purdue University to remove the bullet and obtain forensic information to aid the investigation.
Anyone with info should call the Lake County, IN Sheriff's Department at 219-755-3346.


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2009 marked a significant year for Project Inform, as we greatly expanded our hepatitis C (HCV) policy agenda at the federal, state and local levels. We began HCV advocacy in 2007 in response to the number of people living with HIV who are co-infected with HCV. It became immediately apparent that in addition to the need to address co-infection, there was a great need for increased policy and grassroots advocacy on behalf of the millions who are infected only with HCV and often have less access to the treatment and health care they need to survive than those who are co-infected.
Between 3 and 4 million Americans are living with chronic hepatitis C and the overwhelming majority are not aware of their status. Chronic HCV can lead to cirrhosis, liver failure, and is the leading cause of liver cancer in the US. Nearly 15,000 people die per year from this preventable disease. In addition, an estimated 25-30% of people with HIV are co-infected with HCV. End-stage liver disease is now a leading cause of death among people with HIV.
Despite these staggering statistics, the response by all levels of government has been abysmal. The federal government provides less than $20 million per year for viral hepatitis prevention services and there is no effort to establish programs to provide access to care and treatment for uninsured people living with HCV.
Meanwhile, most states and localities lack resources and a plan to offer adequate screening, testing, care, and prevention services. Project Inform is working in coalition with national, state and local partners to advocate for a comprehensive strategy to address the HCV epidemic. At the national level, we advocate for increased federal funding through our participation in the Hepatitis C Appropriations Partnership, led by the National Alliance of State and Territorial AIDS Directors (NASTAD). Our advocacy led to a $1 million increase in 2009. While highly inadequate, this represented the largest increase in several years.
We also participate in the steering committee of the National Viral Hepatitis Roundtable (NVHR), a national coalition of hepatitis B and C advocates. NVHR is leading efforts to pass the Viral Hepatitis and Liver Cancer Control and Prevention Act, which would establish a national hepatitis surveillance, prevention, screening, and testing program. We are also taking the lead in organizing the first hepatitis B and C rally at the Capitol on World Hepatitis Day, May 19, 2010.
At the California state level, we participate on the steering committee of the California Hepatitis Alliance (CalHEP), a statewide coalition of hepatitis B and C advocates. CalHEP played a major role in the development of the recently released California Adult Hepatitis Prevention Strategic Plan, a proposed roadmap to addressing the hepatitis epidemic in the state, and will focus on its implementation in 2010. To that end, we will be organizing a hearing in the California State Legislature on World Hepatitis Day.
In San Francisco, we played a leadership role in establishing the San Francisco Mayor's Hepatitis C Task Force and chair its Public Policy Subcommittee. The task force was formed in September 2009, and is composed of 32 advocates, medical and social service providers, and people living with HCV. Its goal is to develop a list of recommendations to the Mayor to improve San Francisco's response to the hepatitis C epidemic. For more information about the task force structure and goals, visit Project Inform's website.


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|Search Results (91 videos found)
|NASA Connect - XPG - X-33 Model Activity
NASA Connect segment involving students in an activity exploring the design of a paper scale model of the X-33. The objectives of the activity involve measuring the linear dimensions of...
Genre: Educational
Keywords: NASA Connect; X-33; Scale; Model; Dimensions; Scale Factor; Linear; Student Activity; Compute;
Duration: 00:04:21
Popularity (downloads): 1420
|Salton Honored - A SMART Celebration: A Unified Model for IR?
The first speaker of the conference, Keith van Rijsbergen, presented the talk - On a point of information: Is there a unified model for IR?
Genre: Lecture
Keywords: Information Retrieval; IR; SMART; Cornell; 30 Years; Computer Science; Keith van Rijsbergen; Unified Model
Duration: 00:40:58
Popularity (downloads): 4276
|ACM CHI 1992 Issue 76 - Coupling Application Design and User Interface Design
Building an interactive application involves the design of both a data model and graphical user interface (GUI) to present that model to the user. The two design activities are...
Genre: Educational
Keywords: CHI; Automatic User Interface Deisgn; Data Models; User Interface Software;
Duration: 00:06:08
Popularity (downloads): 425
|NASA Connect - XPG - Model Design Web Activity
NASA Connect segment exploring a web activity involving the design of a scale model. The video involves students in this activity to build, test, and record data according to the...
Genre: Educational
Keywords: NASA Connect; Model; Scale; Design; Web Activity; Test Flight; Record Data; Online;
Duration: 00:02:25
Popularity (downloads): 1593
|Live and Let Live
Set in a toy tabletop town, this film uses brightly colored model cars and trucks to demonstrate a range of driving safety scenarios. The number of near-misses and accidents would...
Genre: Ephemeral
Keywords: Safety: Automotive;Animation: Stop-motion;Surrealism;
Duration: 00:10:15
Popularity (downloads): 182
|NASA Connect - XPG - X-Plane, Ratios, and TPS
NASA Connect segment explaining the X-Plane, scale model, and Venture Star. The video also explores a Thermal Protection System, or TPS and gives examples of this.
Genre: Educational
Keywords: NASA Connect; Velocity; Speed of Sound; Launch Vehicle; Thermal Protection System; Spacecraft; Atmosphere; X-33; Ratio; Scale; Model; Revolutions;
Duration: 00:05:49
Popularity (downloads): 1879
|NASA Connect - XPG - Model Testing
NASA Connect segment explaining how models are tested to create more efficient designs. The video explores the new X-33 engine and explains what engineers learn from scale models.
Genre: Educational
Keywords: NASA Connect; Model; Scale; Testing; Engineers; Design; Linear Aerospike Engine; Conventional Engines; X-33; Nozzle; Ramp; Bell-Shape; Vertical Stabilizer; Space Vehicle; Venture Star;
Duration: 00:01:57
Popularity (downloads): 1491
|NASA Connect - FOFE - Designing Aircraft
NASA Connect segment explaining the tools, techniques, and requirements of designing an aircraft. The segment also explains the importance in wind tunnels and model planes.
Genre: Educational
Keywords: NASA Connect; Technology; Aircraft Design; Geometry; Algebra; Wind Tunnels; Testing Designs; Mission Requirements; Computer Model; Hyper X; Turbulent Flow; Laminar Flow;
Duration: 00:05:45
Popularity (downloads): 1684
|NASA Connect - VT - Scale Model Activity
NASA Connect segment involving students in a classroom activity that uses graphing, measurement, and ratios to construct a scaled model of the Solar System.
Genre: Educational
Keywords: NASA Connect; Scale; Ratio; Graphing; Measurement; Student Activity; Solar System;
Duration: 00:02:46
Popularity (downloads): 1316
|NASA Connect - ISS - ISS Model Activity
NASA Connect segment involving students in an activity that explores the International Space Station. The activity designs an alternative space station and students create a model of that design.
Genre: Educational
Keywords: NASA Connect; International Space Station; ISS; Components; Student Activity; Budget; Thermal Radiators; Photovoltaic Arrays; Docking Port; Habitation; Lab Modules; Truss Segments; Core Module; Attitude Control Thrusters; Robotic Arm; Mass;
Duration: 00:03:47
Popularity (downloads): 1502


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In the reign of Harad IV there lived at court a maker of miniatures, who was celebrated for the uncanny perfection of his work. Not only were the objects of his strenuous art pleasing to look at but the pleasure and astonishment increased as the observer, bending closer, saw that a passionate care had been lavished on the smallest and least visible details. It was said that no matter how closely you examined one of the Master's little pieces you always discovered some further wonder.
Among the many tasks of the maker of miniatures was supplying court ladies with carved ivory plants and triple-headed sea monsters for their cabinets of delight, drawing the fur and feathers of fabulous creatures in the "Book of Three Hundred Secrets," and, above all, replacing the furnishings of the old toy palace, which the King had inherited from his father, and which was filled with moldering draperies and cracked wood. The famous toy palace, with its more than six hundred rooms, its dungeons and secret passageways, its gardens and courtyards and orchards, rose to the height of a man's chest and occupied its own chamber, across from the King's library. In return for his duties the maker of miniatures was given a private apartment in the palace, not far from the court carpenter, as well as an ermine robe that entitled him to take part in official ceremonies. He was assisted by two youthful apprentices. They roughed out the larger miniatures, such as cupboards and canopy beds, fired the little earthenware bowls in a special kiln, applied the first coat of lacquer to objects made of wood, and saved precious time for the Master by fetching from the palace workshops pieces of ivory, copper, lapis, boxwood, and beechwood. But the apprentices were not permitted to attempt the more difficult labors of the miniaturist's art, such as carving the dragon heads at the feet of table legs, or forging the minuscule copper keys that turned the locks of drawers and chests.
One day after the completion of an arduous and exhilarating task—he had made for one of the miniature orchards a basket of brilliantly lifelike red-and-green apples, each no larger than the pit of a cherry, and as a finishing touch he had placed on the stem of one apple a perfectly reproduced copper fly—the maker of miniatures felt in himself a stirring of restlessness. It wasn't the first time he had experienced such stirrings at the end of a long task, but lately the odd, internal itching had become more insistent. As he tried to penetrate the feeling, to reveal it more clearly to himself, he thought of the basket of apples. The basket had been unusually satisfying to make, because it had presented him with a hierarchy of sizes: the basket itself, composed of separate slats of boxwood bound with copper wire, then the apples, and, at last, the fly. The tiny fly, with its precisely rendered wings, had caused him the most difficulty and the most joy, and it occurred to him that there was no particular reason to stop at the fly. Suddenly, he was seized by an inner trembling. Why had he never thought of this before? How was it possible? Didn't logic itself demand that the downward series be pursued? At this thought he felt a deep, guilty excitement, as if he had come to a forbidden door at the end of a private corridor and heard, as he slowly turned the key, a sound of distant music.
He set out to make an apple basket the size of one of his apples. The new wooden apples, each with a stem and two leaves, were so small that he was able to carve them only with the aid of an enlarging glass, which he set into a supporting frame. But even as he struggled pleasurably over each apple he realized that he was dreaming of the fly, the impossible fly that, as it turned out, was visible only as a speck on the minuscule stem, though it was perfect in every detail when viewed through the glass.
The King, who had praised the original fly, looked at the new basket of apples with astonished delight. When the Master invited him to observe the apples through the glass, the King drew in his breath, appeared to be about to speak, and suddenly clapped his hands sharply, whereupon the Chamberlain strode in. The King instructed him to view the miniature fly through the lens. The Chamberlain, a cold and imperious man, gave a harsh gasp. By the next morning the story of the invisible fly was known throughout the palace.
With new zest, as if he were returning to an earlier and more exuberant period of his life, the middle-aged but still vigorous Master devoted himself to a series of miniatures that in every way surpassed his finest efforts of the past. From the pit of a cherry he carved a ring of thirty-six elephants, each holding in its trunk the tail of the elephant before it. Every elephant possessed a pair of nearly invisible tusks carved out of ivory. One day, the Master presented to the King a saucer on which stood an inverted ebony thimble. When the King picked up the thimble, he discovered beneath it a meticulous reproduction of the northwest wing of his toy palace, with twenty-six rooms fully furnished, including a writing table with ostrich-claw legs and a gold birdcage containing a nightingale.
Scarcely had the maker of miniatures completed the thimble palace when he felt a new burst of restlessness. Once embarked on his downward voyage, would he ever be able to stop? Besides, wasn't it plain that the tiny palace, though but partially visible to the unaided eye, revealed itself too readily, without that resistance which was an essential part of aesthetic delight? And he proposed to himself a plunge beneath the surface of the visible, the creation of a detailed world wholly inaccessible to the naked eye.
He began with simple things—a copper bowl, a beechwood box—for the material he worked with was, before magnification, itself invisible and required of him a new degree of delicate manipulation. He quickly recognized the need for more powerful lenses, more subtle tools. From the court carpenter, he ordered a pair of complex gripping devices that held his hands still and steadied his fingers. This was no work for an old man, he thought—no, or for a young man, either—but only for someone in the full vigor of his middle years.
His first masterpiece in the realm of the invisible was a stag with branching antlers. Through a powerful glass he watched the invisible sharpen into the visible: the head twisted to one side, the mouth slightly open, the lips drawn back to reveal the teeth. He carved it and painted it down to the last detail, tooth and hoof and pale inner ear; and it was said by some that, if you looked very closely through the enlarging glass, you could distinguish the amber irises from the bright black pupils.
No sooner had he finished the stag than he embarked on a far more challenging task: an invisible garden, modelled at first on one of the thirty-nine palace gardens but quickly developing its own, more elaborate design. During the early stages a sudden draft destroyed a week's worth of work. With the aid of the court carpenter, for whom he drew up a plan, the maker of miniatures constructed a teakwood box with a sloping top, in which was set a square magnifying lens. Two panels in the sides of the box slid smoothly up and down, so that a pair of hands might be inserted, and the square lens, attached to a system of rods and screws, could be raised and lowered. The intricate and delicate garden, protected from disturbing currents of air, grew slowly until it contained dozens of twelve-sided flower beds, fourteen varieties of fruit tree with individual leaves, a system of crossing paths paved with tesserae of ebony and ivory, onyx fountains carved with legendary creatures, snails under stones.
Although the King expressed wonder and amazement at the garden seen through the glass, and praised the Master's conquest of a new world, he asked many questions about the lens and the teakwood box, as if he suspected them of working a spell. At last the King permitted himself to wonder whether his maker of miniatures might not soon return to the visible miracle of his exquisite palace furniture. In the King's voice the Master heard a tone of unmistakable reproach. As he explained the apparatus and adjusted the lens, it seemed to him that by venturing beyond the visible world he had embarked on a voyage more perilous than he had known.
But already he had thrown himself into the crowning masterpiece of this period: the King's famous toy palace, entirely invisible to the naked eye. The more than six hundred rooms would be completely furnished and scrupulously rendered in every detail, including dovetail joints in the cabinets, working locks on the drawers, and fifteen dozen complete sets of knives, forks, and spoons in chased silver, each with the royal insignia—a crown and crossed swords—worked onto the handle.
During the construction of his palace-beneath-the-glass, the maker of miniatures paid several visits to the original toy palace, and was startled each time by the vast building that towered almost to the height of his shoulders. The chairs in the council chamber were the size of his fists. Ever since his own work had taken its slight and necessary turn, its odd, unaccountable swerve away from classic smallness toward another, more dubious realm, his two apprentices had assumed the task of supplying furniture for the King's toy palace. And the Master saw that it was good: they were well suited to large and striking effects; he had perhaps been unduly harsh in limiting them to elementary tasks, in the days when such things concerned him.
One day, while looking at a desk in the King's toy palace, the maker of miniatures fell into a reverie. Fastened to the drawer of the desk was a pair of brass lion's-head handles, which had once seemed to him the height of elegance and had cost him three days of work. The smallest object in the toy palace was a silver needle no thicker than a hair. It occurred to him, not without pride, that the entire palace he was now constructing beneath his glass, with its more than six hundred rooms and its gardens and orchards, could be enclosed by the eye of that needle.
But even as he sank deeply into his little world he felt at the back of his mind a slight itching, as if he knew that his palace, even that, could not satisfy him for long. For such a feat, however arduous, was really no more than the further conquest of a familiar realm, the twilight realm of the world revealed by his glass, and he yearned for a world so small that he could not yet imagine it. As he worked on his palace the craving grew in him, and he seemed to sense dimly, just out of reach beyond his inner sight, a farther kingdom.
He began to see it more clearly, with growing excitement, though he confessed to himself that it was less a seeing than a desire gradually hardening into a certainty. Although he now worked with material so minute that it was invisible to the unaided eye, it remained true that the invisible was made visible by his lens. If to others he seemed a magician who brought the seen out of the unseen, in fact he worked wholly in the visible world. It was an ambiguous and elusive world, which vanished into the invisible as soon as the glass was removed, and yet it was a far cry from the purely invisible realm he sensed just beyond. And he longed to construct objects so small that they would escape the power of the mediating glass, remain submerged in the dark kingdom of the invisible.
He began as always with a simple object: an oblong ivory box with a sliding top. Although the box was so marvellously small that it remained invisible even through the glass, he continued to make use of his teakwood viewer with the sloping top and movable lens, for the familiar apparatus served to concentrate his attention and steady his fingers. The ivory box, which never once emerged from its hidden world to reveal itself to the eye of the Master, was completed in seven days. With his inner eye, he contemplated it coolly and felt a calm elation. Despite the absence of visible evidence, he was certain of its formal perfection, of the elegant precision of its parts—never had he taken so much care.
Immediately he threw himself into a more ambitious task: a beechwood peacock with outspread tail. The enchanting peacock, radiant with unseen colors, took him nearly three weeks, and when he was done he felt ready for the task he had secretly been preparing for: an imaginary kingdom.
And so he set to work on his invisible kingdom, with its walled cities and winding rivers, its forests of beech and fir, its copper mines and temple towers, its spoons and insects. By the end of a year he had completed a single city. The city contained cobbled streets and market squares, baskets of grapes on the fruit sellers' stands, merchants' houses with pillared balconies overlooking courtyards, individual bottles in the glassblowers' shops. He felt tired and exhilarated, and as he imagined all that remained undone, stretching out before him like an immense adventure, he found himself wishing that he could reveal his work to someone, as he had once been able to do. The solitude of his task was never oppressive, but from time to time, in the pauses of his day, he felt a touch of loneliness. The King no longer summoned him, and his apprentices had moved into an adjoining chamber and taken on apprentices of their own.
One afternoon, when he was deep-sunk in his invisible kingdom, there was a rap at the door of his chamber. Half raising his head from the teakwood box, the maker of miniatures called for the visitor to enter. The door opened to admit two of the four new apprentices. They began by apologizing for disturbing the Master at work, but explained that they had long admired his unsurpassed art and could not resist the desire to pay their respects and to beg for news of his latest work, of which they had heard confused and contradictory reports. Their own work was still crude and trifling, they had scarcely the skill with which to fashion the leg of a table, and they hoped that a visit to the Master would instruct and inspire them. The Master knew at once that the apprentices, who were both quite young, were very sure of themselves and were belittling themselves only out of courtly politeness, but the loneliness of his last months was soothed by their words of homage. Giving way to temptation, he moved aside to permit them to view his kingdom through the glass. True, they would be able to see nothing, for he had dropped fully beneath the floor of the visible, but perhaps they could somehow sense, as he could in the darkest depths of his mind, the splendor and precision of his invisible art.
The first apprentice bent over the glass in the sloping top of the teakwood box. After a few moments he stepped aside and allowed the second apprentice to bend over the glass. When both had done looking, the younger of the two said that the Master's work was indeed incomparable. Never in his short life had he seen anything so remarkable in both conception and execution. At once, the second apprentice gave voice to his admiration, saying that even in his dreams he had not dared to imagine such loveliness. And, indeed, it was the highest of all honors simply to be in the presence of so great an accomplishment. Then the two apprentices thanked the Master for dignifying them with his attention and respectfully took their leave. The maker of miniatures, knowing that they had seen nothing, that their words were hollow, and that they would never visit him again, returned with some impatience to his work; and as he sank below the crust of the visible world, into his dazzling kingdom, he understood that he had travelled a long way from the early days, that he still had far to go, and that, from now on, his life would be difficult and without forgiveness. ♦


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A shooter at a Nevada middle school wounded two students before the morning bell and killed a math teacher who was trying to intervene, police said Monday.
The suspected shooter, a student, is dead, the Associated Press reports. Police later confirmed the shooter died of a self-inflicted gun wound. Two other wounded students, both age 12, are in stable condition.
Police also said that law enforcement did not fire any shots.
Children from the Sparks Middle School, in Sparks, Nev., just east of Reno, were evacuated, and police set up a command post outside the school with 150 to 200 police officers responding. The family of the math teacher identified him as Michael Landsberry, a 45-year-old military veteran, according to the AP. The names of the shooter and other victims have not been released.