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When the FAA stalled on the idea of granting Special-Light Sport Aircraft certification to the amphibious Czech Aircraft Works Mermaid, the company asked its customers to sign a petition to press an exemption to the new rule. The company wanted the FAA to understand that many people want the aircraft certified as an S-LSA.
"The response was overwhelming," says Czech Aircraft Works President Chip Erwin. "I believe the petition had 241 positive responses and only one negative, without any substantiation. This strong response should push the FAA to the clear and final resolution of allowing retractable gear on LSA amphibious aircraft without any restriction besides meeting ASTM design standards and a pilot training endorsement. The petition did prove an important point: That LSA customers strongly and overwhelmingly want amphibious LSA aircraft."
The Mermaid is a two-place LSA with a gross weight of 1,432 pounds. It was specifically designed for the American LSA market.
But the LSA rule, as written, does not allow amphibious landing gear because it can be repositioned in flight. In 2004 officials from the Seaplane Pilots Association issued warnings to potential buyers and manufacturers that FAA verbal claims of the acceptability of amphibious landing gear were not backed by the written rules. According to SPA officials, FAA officials said the rule's language was a mistake and would be corrected. To date, no change has been made to allow amphibious landing gear, SPA officials note on the association's website (Seaplanes.org). "If approved, the petition will clear the way for further exemptions and/or accelerate revision of the Light Sport rules," SPA officials note.
Van Stumpner, aviation safety inspector with the FAA's Light Sport branch, confirmed that the manufacturers of the Mermaid had applied for an exemption that would allow the Mermaid to be certified as an LSA, but as of Feb. 7, the FAA had not made a decision.
According to Stumpner, S-LSA certification for the Mermaid was initially denied because all the sales brochures for the new plane indicate it is a retractable gear aircraft.
"Retractable gear means it can be moved in flight," he explained. "Repositionable gear remains fixed in its position through takeoff and landing."
According to the LSA rule, aircraft intended for water operations may have repositionable gear, as it does not add mechanical or operational complexity to the aircraft.
Stumpner added that since the rule is so new it is likely the regulations regarding landing gear will be refined in the future.
As this issue was going to press, Czech Aircraft Works officials were in the process of scheduling an appointment with a Designated Airworthiness Representative for a certification inspection of the Mermaid within a few weeks.
Czech Aircraft Works' Erwin and Danny Deflici, president of Sport Aircraft Works LLC, a Palm City, Fla.-based company that is a major importer and distributor of Czech Aircraft Works aircraft in the United States, met with several FAA representatives in January during the U.S. Sport Aviation Expo in Sebring, Fla., to discuss certification of the Mermaid.
"They agreed the Mermaid meets the S-LSA criteria and should be certified," Deflici said.
Because the aircraft is imported, each plane needs to be inspected for certification.
"But after you get the paperwork through for the first one, the process gets smoother," Deflici explained.
For more information: 772-223-8915.


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More than 11 years after the attacks of Sept. 11, 2001, claimed the lives of their family members, nine people traveled to Guantánamo Bay, Cuba, in mid-October to attend the pre-trial hearings of Khalid Shaikh Mohammed, the attacks' alleged mastermind, and four others accused of organizing and financing the attacks. The defendants, arraigned in May by U.S. military commissions, face execution if convicted.
By traveling to Guantánamo Bay, the family members had a unique opportunity to face personally the men accused of murdering their loved ones. Eleven years after that tragic day, the emotions were as raw as ever. "I wanted to walk past them when we came into the courtroom," said Kathleen Haberman of Farmington, Wis., who traveled to the Guantánamo Bay facility with her husband, Gordon. Their daughter Andrea, then 25, died in the attack on the World Trade Center. "I truly wanted to just look in their faces because, to me, these cannot be human beings.... No human being would do this."
Some family members spoke of the importance of faith in carrying them through the darkest moments since Sept. 11. "The Lord will help you through anything in life. You just have to ask," said Mrs. Haberman.
Merrilly Noeth lost her son Michael, then 30, a member of the U.S. Navy, at the Pentagon on Sept. 11. "I know he is with me. I believe very firmly, and I always have," she said.
Yet for those who attended the hearings, forgiveness is hard—even unthinkable. Forgiveness "for them?" asked Ms. Noeth. "I'm not that good."
Mr. Haberman admitted: "That's a tough one for me. When I sit in court with these guys, can I forgive them? I have a hard time. I mean, they don't want my forgiveness. I think justice is the word."
Dorine and Martin Toyen of Avon, Conn., lost their daughter Amy, then 24, in the World Trade Center. She was engaged to be married. "Her whole life was taken away from her," said Mrs. Toyen. "There is no way I could ever forgive them."
Mr. Toyen concurred. "I want justice, not forgiveness," he said. "I'm still very bitter. Rage." If the accused "are found guilty, then I would have no qualms with the death penalty."
During the week of hearings, Army Col. James L. Pohl, chief judge of the military commissions, heard more than a dozen motions related to the defendants' presence in court, what they are allowed to wear, how to treat classified information, calling and compelling witnesses, the applicability of the U.S. Constitution and whether the defendants should be able to recount on the record details of mistreatment while secretly detained by the Central Intelligence Agency.
Human rights organizations contest that the military commissions, a special court system created to try terrorism suspects, are unnecessary. Instead, they argue, the case should be moved to federal court, which has a proven record of trying and convicting terrorism suspects.
Peaceful Tomorrows, an organization of 9/11 families dedicated to peacemaking, agrees. The military commissions "currently fail to guarantee the fairness and respect for due process that federal trials would," the group said. "Justice will be served only if the highest legal standards are met."
Alexandra Scott of Stanford, Conn., who lost her father Randolph Scott, then 48, in the World Trade Center, shared her perception of the fairness of the current hearings. "There are different ways to gauge fair. Fair for whom? Fair for us?" she wondered. "This is 10 years in the making, but at the same time, it is also just the beginning. A matter of fairness is kind of hard to judge at this point."

subset: commoncrawl


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Lukas And Trio Of Preakness Hopefuls Arrive At Pimlico
Lukas And Trio Of Preakness Hopefuls Arrive At Pimlico
BALTIMORE, 05-14-13 – Five-time Preakness winner D. Wayne Lukas arrived at Pimlico Race Course with his three-horse contingent of Oxbow, Titletown Five and Will Take Charge at 4:55 p.m. Tuesday following a grueling 12 ½-hour van ride from Churchill Downs.
"They're better than I am probably. It's a long little trip." said the 77-year-old Hall of Fame trainer, who rode in one of the two vans that transported his three hopefuls for Saturday's Preakness Stakes and six other horses from Kentucky.
Will Take Charge and Oxbow, the eighth- and sixth-place Kentucky Derby finishers, respectively, walked off the first trailer. Titletown Five emerged from the second, and all three looked no worse for wear. Both Oxbow and Will Take Charge are coming back on two weeks of rest after solid performances at Churchill Downs on May 4.
"We're here in pretty good shape," said Lukas, who dismissed any notion that through numbers alone he might be in control of the Middle Jewel of the Triple Crown with three of the nine probable starters.
"I don't think I'm in control unless Shug scratches," Lukas said, referring to Shug McGaughey, trainer of Kentucky Derby winner Orb. "If he'll scratch, I'll feel better about the whole race. That's an exceptional horse, and in great hands. It's going to be difficult to beat him. His work this week was great, and I know Shug's very confident with him."
Oxbow worked at Churchill on Monday for jockey Gary Stevens, going four furlongs in 49 4/5 seconds. Will Take Charge went in 48 1/5 seconds in his final workout for the Preakness. He gets a rider switch to Mike Smith for the Preakness.
Stevens (Point Given, Silver Charm) and Smith (Prairie Bayou) have three winners in the Preakness between them.
Titletown Five, owned by a group that includes Paul Hornung and Willie Davis of Green Bay Packers fame, ran fourth in the Derby Trial on April 27. A win might have sent the son of Tiznow onto the Derby, but that became a moot point when he failed to qualify under the new points system.
Oxbow won the LeComte (G3) in January at Fair Grounds and was second in the Rebel behind Will Take Charge at Oaklawn before finishing a troubled fifth in the Arkansas Derby. Will Take Charge's other win this year came in the ungraded Smarty Jones at Oaklawn on Jan. 21.
"I think we'll be effective," Lukas said. "You can't mail it in. It's a different surface, a shorter race, the configuration of the track's a little bit different. You have to run uphill at the end of it. I think we're learning a little bit about them (his three horses) every time. If you look at the aerial view of the Derby, Will Take Charge ran one hell of a race."
Lukas has started 37 runners in the Preakness and won in his first attempt with Codex in 1980. His last winner was Charismatic in 1999 after scores by Tank's Prospect (1985), Tabasco Cat (1994) and Timber Country (1995). Titletown Five would be the first colt to win in which Lukas had a share of the ownership as well.
Trilogy Stable and Laurie Plesa's Preakness hopeful Itsmyluckyday arrived by van from Monmouth Park at 2:30 Tuesday afternoon. The Gulfstream Park Derby and Holy Bull (G3) winner, who finished 15th in the Kentucky Derby, was accompanied on the ride to Pimlico by assistant trainer Frankie Perez.
"Everything went good. He's so professional. Nothing bothers him," said Perez, who has worked for trainer Eddie Plesa Jr. for 20 years.
About Pimlico Race Course
Historic Pimlico Race Course, home of the Preakness® Stakes, the middle jewel in horse racing's famed Triple Crown, first opened its doors on October 25, 1870, and is the second oldest racetrack in the United States. Pimlico has played host to racing icons and Baltimoreans have seen the likes of legendary horses such as Man o' War, Seabiscuit, Secretariat, Affirmed and Cigar thunder down the stretch in thrilling and memorable competition. For more information on Pimlico, visit www.pimlico.com.
Pimlico Race Course is a Stronach Group company, North America's leading Thoroughbred racetrack owner/operator. The Stronach Group racetracks include Santa Anita Park, Gulfstream Park & Casino, Golden Gate Fields, Portland Meadows, Laurel Park and Pimlico Race Course, home of the world-famous Preakness. The company owns and operates the Palm Meadows Training Center in Florida and is one of North America's top race horse breeders through its award-winning Adena Springs operation. The Stronach Group is one of the world's largest suppliers of pari-mutuel wagering systems, technologies and services. Its companies include AmTote, a global leader in wagering technology; Xpressbet, an Internet and telephone account wagering service; and Monarch Content Management, which acts as a simulcast purchase and sales agent of horseracing content for numerous North American racetracks and wagering outlets. The Stronach Group is also a major producer of televised horse racing programming through its HRTV cable and satellite network and is North America's premier supplier of virtual online horse racing games, as well as a leading producer of social media content for the horseracing industry.


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Fairfield Prep soccer blanked by Greenwich
GREENWICH -- Patrick Santini put it best while describing the roll his Greenwich soccer teammate Will Gittings is on lately.
"It's ridiculous, Will can't stop scoring," Santini said. "Every time his head touches the ball, it turns to gold."
The Cardinals can certainly live with that for the rest of the season.
The Gittings/Mateo Gowland combination struck again Thursday, as Gowland set Gittings up for two of his three goals in top-seeded Greenwich's resounding 4-0 win over 16th-seeded Fairfield Prep in the second round of the CIAC Class LL tournament at Cardinal Stadium.
The Cardinals (18-0-2) advanced to Saturday's quarterfinals, where they will host eighth-seeded Amity. Since being moved up to forward the 6-foot-4 Gittings has scored eight goals in the postseason, seven of which have come the past three games. He had a goal in Greenwich's 4-1 victory against Ridgefield in the FCIAC final and recorded a hat trick in the semifinals against Wilton. And yes, Gowland helped set up most of those goals off set pieces.
"He's so big and physical, he is always one of my first targets out there," Gowland said. "He got two goals on set pieces today I think and I always look for him on set pieces because he creates a lot of chances and puts them away."
The game was the first for Greenwich since it beat Ridgefield for the conference title a week ago Wednesday, but it didn't come out flat against Fairfield Prep -- the squad that ended its season in the Class LL semifinals last fall.
"I was a bit concerned about having a break and coming out flat," said Greenwich coach Kurt Putnam, whose Cardinals lost to Prep on penalty kicks a year ago. "What saved us was playing Prep. Had it been anyone else there was the potential for us to be flat and have to play ourselves into the game. When you have a chance to go up against the team that knocked you out, that's motivation."
Santini, who recently shifted from forward to the midfield, scored the game's first goal with 27:08 left in the first half. Gowland's cross was headed by sophomore forward Nick Bartels and the ball came out to the opportunistic Santini who blasted a shot from 18 yards out past Jesuits freshman goalie Daniel Szabo.
"If we score early it opens the floodgates and the goals start coming one after another," Santini said.
"Patrick broke the game open there for us," Putnam said. "He did a fantastic job of neutralizing their speed on the wings."
The Jesuits' strategy was to play behind the ball, but once the Cardinals took the lead it forced them to take more chances.
"We played behind the ball a lot, playing five in the back a little bit," Prep coach Ryan Lyddy said. "We moved another guy up in the second half, then we threw three and four guys up."
The Cardinals extended their lead to 2-0 when Gittings scored on a header off a free kick from Gowland in the 29th minute. Gittings converted another header, this time off a Gowland corner kick, putting Fairfield Prep in a 3-0 hole in the 45th minute.
"They are definitely the biggest team we have played, it feels like everyone on their team is over 6-3," Lyddy said. "But we didn't give up, which is good. We lost a lot of guys from last year and had a nice season. We were absolutely not supposed to be here this year."
Gittings completed his hat trick with just under 10 minutes left to play, softly chipping a shot over the head of Szabo after junior Kelian Dequeker sent a header toward him.
"Eight goals in the postseason -- you can't take that away from him," Putnam said of Gittings. "If we put the ball in a place where you can attack, the likelihood is he is going to score."
The Jesuits' scoring opportunities meanwhile, were few and far between. Senior Santiago Irigoyen made four saves in goal for the Cardinals, who were once again anchored defensively by seniors Jonathan Palmer, Ryan Flippin and Sebi Hickman. Santini also did a solid job of marking Fairfield Prep senior Austin Sims, whose teammates, Mike Infante and Travis Cantu, worked hard to create scoring chances.
"Last year I broke my jaw playing them in the semifinals, so it was nice to score four goals against them," Gowland said. "It was great to be able to beat them 4-0 on our home field."
firstname.lastname@example.com; 203-625-4423
Class LL second round
Records: Greenwich 18-0-2; Fairfield Prep 9-7-3. Goals: G -- Will Gittings 3, Patrick Santini. Assists: G -- Mateo Gowland 2, Nick Bartels, Kelian Dequeker. Goalies: FP -- Daniel Szabo (7 saves); G -- Santiago Irigoyen (4).


text: Sell Used 13 Inch Apple Macbook Pro MC724 A1278 2011 Original Accessories Included Charger Original Invoice Box Condition* Select Like New Minor Wear & Tear Partially Defective Not working. Warranty* Select Less than 2 months old - At least 6 months valid Warranty More than 2 months old - At least 2 months valid Warranty No valid warranty. Functional Issues Screen is broken or damaged Hinges are broken Speakers are not working, Cracked sound Battery backup is poor less than 20 Minutes Keyboard is broken, Keys are missing Dvd drive is not working Wifi card or Bluetooth cards are falulty Touchpad is not working External USB Ports or Earphone ports are working Processor* Select 2.3 GHz Intel Core i5 - 2nd Gen 2.7 GHz Intel Core i7 - 2nd Gen RAM* Select 4GB 8GB 16GB HDD Select 320GB 500GB 750GB Note: If the device is under warranty, valid invoice with IMEI / serial number should be presented for verification.


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Integra Inspired Allure 35mm Metal Curvatura curtain pole end bracket in Brushed Silver. Allure is a grand design of sinuous elegance and an excellent quality finish. The Integra Inspired range is inspired by the flowing form of molten metal. With curved forms and graceful lines, this range is the perfect finishing touch for a traditional or contemporary room. * Available in 35mm diameter. * Available in 3 colour finishes, Chrome, Burnished Brass and Brushed Silver. * Sold in singles.
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Stoning people still happens today in the name of god.
Views: 415
"I'm Heather and I am an angry atheist!" - I simply love that end statement! :)
I agree with Heathers viewpoint... It is very frustrating that religious people explain/justify their actions in magical words or nonsense phrases or quotes from what ever religious text they rely on.
Kind regards, Martin (angry danish atheist)
Heather- I think there is plenty to be angry about- and I agree with your points.
But I believe people who regard the Bible as the word of God, for the most part, are unable and/or unwilling to really think for themselves and provide an argument without the Bible (even if the Bible was written by racist, sexist, homophobic, misogynistic, patriarchal, uninformed, narrow minded men and is full of contradictions).
And for those who argue the New Testament trumps the Old, they likely haven't read the New Testament very carefully but have cherry picked the "nice" verses to support their "nice" beliefs (while failing to recognize some of the horrible verses and implications of the New Testament, the mental bondage created by the New and the Old Testaments, and the mental prison they call Christianity).
The sad reality, that many Christians will likely never come to see as we do, is the evidence that Jesus even existed is weak. Everything written about him is hearsay, and most of the things written about his life are borrowed mythology. But I can grant them the assumption that he did. Even so, when the New Testament is carefully read, one can make an easy case that Jesus and his father/God (who are really the same being, so the myth goes) were not really the supremely nice and loving characters Christians make them out to be- the examples are right there in the black and white "words of God" in the New Testament as well as the Old. The New Testament is really no better than the Old, when all is said and done, when it comes to the "character" of the Christian god.
Your intelligence is an asset with respect to helping the atheist cause and preventing this world from being ruled by religion and falling into another dark age (which I believe is not out of the realm of possibility). Keep up the good work (preferably as peacefully as possible, but I know it is extremely hard to maintain peace and calm when confronted with the obvious ignorance, irrationality and/or stupidity religion perpetuates).


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You are here
Several of the stars of Aquarius have names that signify luck or good fortune. The most prominent examples are the constellation's two brightest stars, Sadalmelik and Sadalsuud. The names are from ancient Arabic, and mean "lucky one of the king" and "luckiest of the lucky." The names may refer to the stars' positions. When the constellations were named, the Sun passed through this region of the sky in early spring, when the long nights of winter had passed and the new season brought life-giving rains. Aquarius is one of several "watery" constellations in that part of the sky.
The constellation is home to the globular cluster M2. It is 38,000 light-years from Earth, but is bright enough to see through binoculars because it consists of about 100,000 stars packed into a dense ball just a few light-years in diameter.
The cluster is one of the oldest objects in the galaxy, so all of its bright, heavy stars have long since expired. The brightest stars in M2 today are yellow and orange giants — stars that were once like the Sun, but that expanded and brightened as they consumed the nuclear fuel in their cores. M2 doesn't belong to the Milky Way galaxy's flat disk. In fact, the disk didn't even exist when M2 was born. Instead, M2 is part of the galaxy's halo — a shell of stars that surrounds the disk.
Another of Aquarius' wonders is an obscure star system known as Gliese 876. The star itself is a red dwarf, which is the smallest, faintest class of stars. Gliese 876 is only a third as massive as the Sun, and looks about a thousandth as bright. So even though it is just 15 light-years away, it is far too faint to see without a telescope.
The system contains at least four planets, including one that may be one of the most Earth-like worlds yet discovered. From a tiny "wobble" in the star's light caused by the planet's gravitational pull, along with other evidence, astronomers calculate that the planet probably is about twice as big as Earth and a few times more massive. Like Earth, it's probably a rocky world. And its gravity is strong enough to retain any atmosphere it was born with. The planet isn't a likely home for life, though, because it's so close to Gliese 876 that surface temperatures are hundreds of degrees. So if anything lives on the planet, it would have to be quite different from life on Earth.


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The magician shows four blue-backed jokers. One after another, in front of the audiences eyes, the jokers become red-backed. Then as their jaws drop, the magician changes all four jokers back to blue-backed cards! This amazingly visual routine comes complete with the necessary cards.
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Broadcast is once again on the hunt for the best TV talent under the age of 30 in our annual Hot Shots.
Entries are now welcome for Hot Shots 2012, a special supplement that will appear in the 24 August issue of Broadcast, which will be distributed to influential executives and producers at the Edinburgh TV Festival.
We're looking for people to nominate star names in seven key categories:
- Directing
- Production
- Writing
- Craft
- Post-Production
- Business, Strategy and Marketing
- Digital
Completed forms are due in by 10 July and should be completed by a senior figure within a production company, digital agency or broadcaster on behalf of their chosen nominee(s).
Successful candidates will be notified by telephone later in July and will be invited to a London photoshoot with their peers in early August.
Hot Shots has long been recognised as the place to find the best rising TV talent and the movers and shakers of tomorrow.
Previous Broadcast Hot Shots include BBC1 controller Danny Cohen, The Office co-creator Steven Merchant, BBC3 controller Zai Bennett, Shine chief Liz Murdoch and Red founder Nicola Shindler.
Click here to download the entry form or click on the file below…


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Francois Hollande, the French presidential candidate for the Socialist Party, appears to have set out his tax plans in a prime time interview on French TV, the BBC reports:
"Above 1m euros [£847,000; $1.3m], the tax rate should be 75% because it's not possible to have that level of income."
Those are strong words - Hollande has already spooked some people with his stubborn positions on the EU treaty and called the "world of finance" his real enemy.
The FT's Hugh Carnegy reports that the proposal goes far beyond Hollande's own manifesto, which calls for a top bracket of 45%, and "seemed to take his own party by surprise".
The timing seems odd too, what with Hollande's trip to London tomorrow. We struggle to see how this announcement will win the support of City-based investors.
Sarkozy has been closing in on Hollande's lead, according to Reuters, halving the gap to 3.5% in just a week. However, Hollande remains far ahead in polls regarding a head to head race between the UMP leader and himself, a distinct possibility in France's two round system. If the move is intended to win over voters, it's perhaps a risky gamble.


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Members of the 5th-Grade "Fun Bunch" from the eventual high school Class of 2008 don't really resemble this innocent covey 9 years later. But I like to take out the old snaps every once in a while to remind myself how far they've come since then.
Ella Numera Dos arrived back at college yesterday, after a 1,400-mile (give or take a few) road trip. Yes, Scribe Fans, she & a friend just did a repeat of the Great American Silo Tour, minus the good weather & the Chicago breakdown.
She's glad to be back home.
She's safe and so I'm happy.
My 18 words today (if you count my post title, too), are brought to you by Cate & her 6-Word Saturday. I needed a few extra syllables to adjust to being an empty-nester again. Thanks for your indulgence.


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To meet the man of her dreams, Wendy West didn't even have to leave her house. A mutual friend thought this former Los Angeles schoolteacher would hit it off with Andy Stein, a furniture manufacturer from Memphis, so a phone date was scheduled. After three weeks and about 200 hours of long-distance talking, the two finally met in person. Eleven months later, Andy proposed.
Caught up in their whirlwind romance, the couple wanted a short engagement. They called in wedding planner Randie Pellegrini. "She was amazing. We made the decisions but she brought us all of the choices," says the bride. Wendy and Andy exchanged vows in a garden at the Beverly Hills Hotel on March 26, 2005. The enchanted-forest theme came to life when guests entered a tent filled with trees, chandeliers and handmade butterflies. The bride, escorted by her parents, walked down the aisle in a Swarovski crystal–adorned strapless gown. "The dress had so many buttons that it took an hour to get into it," Wendy laughs. For "something blue," she had her name and the wedding date embroidered in blue thread inside her dress.
At the reception, guests feasted on lobster ravioli and filet mignon, followed by a dessert trio of strawberry mousse, vanilla crème brûlée and chocolate molten-lava cake. Other highlights included hand-rolled cigars and a bar made out of ice, but what guests really loved was an artist who painted a portrait of the reception as it was happening. "People kept walking by to check out his progress," Wendy recalls. Both the painting and the wedding were everything the bride had hoped for. "It was the wedding of my dreams."
Learn From Wendy and Andy
Transform your reception space: Wendy and Andy had special furniture brought in to create a loungy feel and hired a lighting specialist to help set the mood for their party. As an added touch, their names and bouquets of flowers were projected in lights on the dance floor.
Entertain your guests: Along with an artist who painted a portrait of the reception as it happened, the couple brought in a magician to visit the tables and perform tricks for guests throughout the night.
Say a sweet goodbye: As guests left the reception site, they were handed surprise treats for the road—pieces of wedding cake and warm Krispy Kreme doughnuts packaged in small boxes for easy transport home. —Anita K. Henry


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Yeah... ah... oh, shit!
Das Racist! Ha! That's ridiculous!
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20
Get that guap, get that money
Meathead, street cred
Weed edge, Greedhead
[Kool AD]
Young Charles Ponzi
Waka Flocka Fonzie
Sippin' Dom P, don glassage on Africa
Buddhist zooted, they write down my Agatha Christie mysteries
Officer Rick Ross, gold chain Mr. T's
Open every cell at Attica, sellin' Acuras, it's a commercial
Room full of Draculas, big commercial
Which little idiot wanna fill a piggy bank of more, much more?
Paid for Rushmore, Larry Johnson, the best first godson
Terry cloth Kangol, Luke Driscoll piss on Dodge Durango
Rango, Johnny Depp in it, Bay reppin' it
Alameda, don't step in it
Used to stay there, now I stay where young Icarus went to daycare
Hey, there! All you little kids better play fair!
Yo, yo, this shit is too much, kid!
One day I'll roll up and be like "What up, kid?
I'm fitter, happier, more productive!"
Until then I lay home and bump this "Loveless"
Yeah, that's My Bloody Valentine
Forty crack your dome call it My Bloody Ballantine
Call it my bloody country club
Hindu thuggee come from blood
Won't stop yellin' 'til I'm comfortable
Tumblr full, wonderful
Keep it 100, I'mma dime, like, 10 times
Be the first to run if I hear some lead fly
Costanza steeze, sandwich on the bedside
...Stack chips Mr. Vegas
I'll kill 'em with the --
I'll kill 'em with the --
[Outro -- repeat and fade out]
Hello, yes, it's happy rappy!
This is what you're hearing right now, actually
At the end of Das Racist's performance of "Hugo Chavez" on KEXP on 10/10/10, Dapwell and Kool A.D. toss around the phrase "Happy rappy."


text:
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text:
"According to a Conway (Ark.) Police Department incident report, the subject kicked open the front door of a student's residence at Carrington Apartments on Cleveland Avenue, ran through the apartment and exited by jumping from the two-story balcony. ... The subject stated that a 'large beast,' which was covered in 'gorilla fur,' began to talk to him and told him to 'get rid of the odor.'
"'The only thing (the subject) could think of is that he needed to disguise his own odor. (The subject) went to Carrington Apartments and took off all his clothes, threw them in the dryer with someone else's clothes, and then poured a gallon of bleach in the dryer. (The subject) then put on some more clothes and decided to scare the "werewolf" off. (The subject) attempted to light the bleach and clothes on fire but was unsuccessful," the report stated. The subject stated that he became scared and kicked in the door of the nearby apartment when the 'werewolf' threatened to kill him if he did not." [Log Cabin Democrat] (H/T Janice)


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Management of Hypotension In the Preterm Infant (HIP)
|The safety and scientific validity of this study is the responsibility of the study sponsor and investigators. Listing a study does not mean it has been evaluated by the U.S. Federal Government. Read our disclaimer for details.
|ClinicalTrials.gov Identifier: NCT01482559
Recruitment Status : Unknown
Verified January 2015 by Dr. Gene Dempsey, University College Cork.
Recruitment status was: Recruiting
First Posted : November 30, 2011
Last Update Posted : January 28, 2015
- Study Details
- Tabular View
- No Results Posted
- Disclaimer
- How to Read a Study Record
The HIP trial is a large pragmatic, multinational, randomised trial of two different strategies for the management of hypotension in extremely low gestational age newborns (Standard with dopamine versus a restricted with placebo approach).
HYPOTHESIS: A restricted approach to the management of hypotension in extremely low gestational age newborns will result in improved neonatal and long-term developmental outcomes.
PRIMARY OBJECTIVE: To determine whether a restricted approach to the management of hypotension compared to using dopamine as first line pressor agent in infants born less than 28 weeks of gestation within the first 72 hrs after birth (transitional period), improves survival without significant brain injury at 36 weeks postmenstrual age (PMA) and improves survival without moderate or severe neurodevelopmental disability at 2 years corrected age.
|Condition or disease
|Hypotension Low Blood Pressure Intraventricular Hemorrhage of Prematurity
|Drug: Dopamine hydrochloride Drug: Dextrose 5%
|Phase 3
Show Detailed Description
|Study Type :
|Interventional (Clinical Trial)
|Estimated Enrollment :
|830 participants
|Intervention Model:
|Parallel Assignment
|Quadruple (Participant, Care Provider, Investigator, Outcomes Assessor)
|Primary Purpose:
|Official Title:
|Management of Hypotension In Preterm Infants: The HIP Trial Protocol for a Randomized Controlled Trial of Hypotension Management in the Extremely Low Gestational Age Newborn
|Study Start Date :
|January 2015
|Estimated Primary Completion Date :
|January 2018
|Estimated Study Completion Date :
|January 2018
Placebo Comparator: dextrose 5%
IV Infusion
Drug: Dextrose 5%
IV Infusion Minimum dose = 5mcg/kg/min Maximum dose = 20mcg/kg/min
Other Name: Placebo
Experimental: Dopamine Hydrochloride
IV Infusion
Drug: Dopamine hydrochloride
Active drug substance 1.5 mg in 1 mL IV Infusion Minimum dose = 5mcg/kg/min Maximum dose = 20mcg/kg/min
Other Name: ATC Code: C01CA04
- First Co-Primary Outcome Measure: Survival to 36 weeks postmenstrual age free of severe brain injury [ Time Frame: 36 weeks ]Survival to 36 weeks postmenstrual age free of severe brain injury (moderate or severe ventricular dilatation, intracerebral echodense lesions, and cystic periventricular leukomalacia) on cranial ultrasound at 36 weeks or discharge home which ever is the earlier.
- Second Co-Primary Outcome Measure: Survival without moderate or serious disability as defined using consensus criteria for neurodevelopmental impairment. [ Time Frame: 2 years of age ]Families will be offered routine appointments as per the local follow-up system. At 12-months, the physician will complete a simple disability assessment and all surviving infants will have a locally performed formal neurodisability assessment at 24 months age corrected for weeks of prematurity defined using criteria set out in the consensus statement "Health status...." (ww bapm.org/publications).
- All cause mortality at 36 weeks gestational age [ Time Frame: 36 weeks gestational age ]
Choosing to participate in a study is an important personal decision. Talk with your doctor and family members or friends about deciding to join a study. To learn more about this study, you or your doctor may contact the study research staff using the contacts provided below. For general information, Learn About Clinical Studies.
|Ages Eligible for Study:
|23 Weeks to 27 Weeks (Child)
|Sexes Eligible for Study:
|Accepts Healthy Volunteers:
Inclusion Criteria:
- Gestational age at birth less than 28 completed weeks, i.e. up to and including 27 weeks and 6 days.
- Within 72 hours of birth
- An indwelling arterial line, either umbilical or peripheral (e.g. radial, posterior tibial), suitably calibrated and zeroed, to monitor BP with the measuring dome at the level of the infant's mid-axillary line when supine
- A pre-trial cerebral ultrasound scan demonstrating no evidence of grade 3 or 4 haemorrhage intraventricular haemorrhage (IVH)(i.e. intraparenchymal echodensity or echolucency, with or without acquired cerebral ventriculomegaly)
- A mean blood pressure 1 mmHg or more below a mean BP value equivalent to the gestational age in completed weeks, which persists over a 15 minute period (mean BP < gestational age)
Exclusion Criteria:
- Considered non-viable by attending clinicians.
- Life-threatening congenital abnormalities including congenital heart disease (excluding patent ductus arteriosus, small atrial and/or ventricular septal defect). Infants known to require surgical treatment e.g. congenital diaphragmatic hernia, trache-oesophageal fistula, omphalocele, gastroschisis. Neuromuscular disorders. Frank hypovolaemia. Hydrops Fetalis.
- Cranial ultrasound abnormality grade 3 IVH or more prior to enrolment
To learn more about this study, you or your doctor may contact the study research staff using the contact information provided by the sponsor.
Please refer to this study by its ClinicalTrials.gov identifier (NCT number): NCT01482559
|Contact: Eugene Dempsey
|00 353 21 4920525
|Contact: Niamh O Shea
|00 353 87 9696229
|University Hospital Antwerp
|Not yet recruiting
|Wilrijkstraat 10, Edegem, Belgium, B-2650
|Contact: David Van Laere 00 32 3 821 58 07 firstname.lastname@example.com
|Principal Investigator: David Van Laere
|Katholieke Universiteit Leuven
|Not yet recruiting
|Oude God, Leuven, Belgium, 3000
|Contact: Gunnar Naulaers 003216324010 email@example.com
|Principal Investigator: Gunnar Naulaers
|Canada, Alberta
|University of Alberta
|Not yet recruiting
|Edmonton, Alberta, Canada, T6G 2R3
|Contact: Po-Yin Cheung 0017804923111 email@example.com
|Principal Investigator: Po-Yin Cheung
|Canada, Quebec
|Centre hospitalier universitaire Sainte-Justine
|Not yet recruiting
|Montreal, Quebec, Canada, H1T 1C9
|Contact: Keith Barrington 0015143454931 email@example.com
|Principal Investigator: Keith Barrington
|Czech Republic
|Univerzita Karlova v Praze
|Ovocný trh 5, Prague, Czech Republic, 11636
|Contact: Zbyněk Straňák 00420224491111 firstname.lastname@example.com
|Principal Investigator: Zbyněk Straňák
|Coombe Women and Infants University Hospital
|Dublin 8, Dublin, Ireland, 8
|Contact: Jan Miletin 0035314085200 email@example.com
|Principal Investigator: Jan Miletin
|University College Dublin
|Not yet recruiting
|Dun Laoghaire, Rathdown, Dublin, Ireland
|Contact: Colm O Donnell 0035317167777 email@example.com
|Principal Investigator: Colm O Donnell
|Cork University Maternity Hospital
|Cork, Ireland
|Contact: Eugene Dempsey 00 353 21 4920525 firstname.lastname@example.com
|Contact: Niamh O Shea 00 353 879696229 email@example.com
|Principal Investigator: Peter Filan
|Royal College of Surgeons in Ireland
|Not yet recruiting
|Dublin, Ireland
|Contact: David Corcoran 0035314022100 firstname.lastname@example.com
|Principal Investigator: David Corcoran
|United Kingdom
|Royal Maternity Hospital
|Not yet recruiting
|Belfast, United Kingdom, BT12 6BA
|Contact: David Millar firstname.lastname@example.com
|Principal Investigator: David Millar
|Study Director:
|Eugene Dempsey
|University College Cork
|Principal Investigator:
|Peter Filan
|Cork University Maternity Hospital
|Principal Investigator:
|Gunnar Naulaers
|KU Leuven
|Principal Investigator:
|Zybnek Stranak
|Univerzita Karlova v Praze
|Principal Investigator:
|Keith Barrington
|St. Justine's Hospital
|Principal Investigator:
|Colm O Donnell
|University College Dublin
|Principal Investigator:
|Jan Miletin
|Coombe Women and Infants University Hospital
|Principal Investigator:
|Po-Yin Cheung
|University of Alberta
|Principal Investigator:
|David Corcoran
|Royal College of Surgeons in Ireland
|Principal Investigator:
|Neil Marlow
|University College, London
|Principal Investigator:
|Gerard Pons
|Institut National de la Santé Et de la Recherche Médicale, France
|Principal Investigator:
|David Van Laere
|Neonatale Intensieve Zorgen
|Principal Investigator:
|David Millar
|Royal Maternity Hospital
|Responsible Party:
|Dr. Gene Dempsey, Professor Eugene Dempsey, Consultant Neonatologist, University College Cork
|ClinicalTrials.gov Identifier:
|NCT01482559 History of Changes
|Other Study ID Numbers:
2010-023988-17 ( EudraCT Number )
|First Posted:
|November 30, 2011 Key Record Dates
|Last Update Posted:
|January 28, 2015
|Last Verified:
|January 2015
Keywords provided by Dr. Gene Dempsey, University College Cork:
Intraventricular haemorrhage
Periventricular Leukomalacia
Additional relevant MeSH terms:
Cerebral Hemorrhage
Pathologic Processes
Vascular Diseases
Cardiovascular Diseases
Intracranial Hemorrhages
Cerebrovascular Disorders
Brain Diseases
Central Nervous System Diseases
Nervous System Diseases
Cardiotonic Agents
Autonomic Agents
Peripheral Nervous System Agents
Physiological Effects of Drugs
Dopamine Agents
Neurotransmitter Agents
Molecular Mechanisms of Pharmacological Action
Protective Agents


text:
There's no greater freedom for a busy woman than waking up, getting dressed, and walking out the door to start her day. And that's the luxuriously simple lifestyle you can grow accustomed to after a lash stylist from the Amazing Lash Studio has applied your lightweight and comfortable semi-permanent eyelash extensions.
The extra time you would've spent painstakingly washing away your sleepy raccoon eyes (despite what you thought was a thorough cleansing the night before), then curling your eyelashes and applying enough coats of mascara to look alive first thing in the morning could be allocated toward a longer workout, more quality time with your kids, or 10 precious extra minutes of sleep.
But perhaps the true beauty of your longer and thicker lashes from our location eyelash extension studio is the convenience — you can schedule your appointment early in the morning, late at night, on the weekends or over your lunch break. And our affordable membership plan makes your monthly upkeep a breeze, because you'll enjoy discounted products and services and the utmost care from your favorite lash stylist.


text:
One Thousand Years of Honors
Honors College students make significant contributions to the University and the city of Houston during their time on campus and beyond. Through work in the Honors curriculum—pondering the "human situation" and how best to apply the skills they learn at the University—and participation in the Honors community, Honors students develop vision, confidence, and a sense of responsibility.
The One Thousand Years of Honors campaign provides an opportunity for dedicated alumni and friends to invest in these outstanding students. The scholarship idea, originally conceived by Honors advisory board member Ben Bosco, aims to provide incentive scholarships of $1,000 to 1000 students over 10 years, thus supporting a thousand years of Honors education. "We thought this would be a good way to help the maximum number of students," said Bosco, a businessman from Utica, New York, who wants to support Houston by supporting students at the University. For many recipients, such scholarships can be the deciding factor that brings them to Houston.
Honors biology and creative writing sophomore Sara Khan, recipient of the Wilhelmina Robertson Scholarship, says that her award enticed her to leave her home state of South Carolina and come all the way to Houston. According to Khan, her Honors scholarship is the "blessing that makes attending the University of Houston possible." As an out-of-state student with a competitive scholarship of at least $1000, Khan qualifies for a tuition waiver that makes out-of-state education affordable. And the University of Houston, with its unique combination of a renowned creative writing program and access to the Texas Medical Center, was exactly where Khan, who plans to be a doctor but also loves literature, wanted to be. "I also wanted to be a part of something more select, which is why I applied to the Honors College."
Adrienne Huntsman, an Honors junior in political science, says her Honors scholarship has allowed her to focus less on financing her education and more on getting the best education possible. "In a family with three children in college, tuition is expensive. My Honors scholarship allows me to continue my education without picking up extra loans." Through her studies in political science as well as her minor in Phronesis, the burgeoning politics and ethics program offered by the Honors College, Huntsman is preparing for a career in human rights.
"Being able to offer Honors scholarships in addition to what the University provides goes a long way in the effort to recruit the best and brightest students to the Honors College and to the University," said Honors Dean Bill Monroe. "And by supporting the education of good students, the Honors College is investing in great leaders."


text:
Acronova Technology Inc. has announced the DupliQ, a new automated CD/DVD recording system. Weighing less than 10 lbs and smaller than a toaster, the DupliQ is a portable, multi-functional, PC USB-connected automated CD/DVD recording device. Bundled with Nero Express and QFOX, it is capable of offering automatic CD/DVD recording up to 25 discs at a time. Its SDK is also available for access to autoloader controlling. "
The DupliQ is available in many e-tail stores, with an MSRP price between $699 and $799 depending on model.


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Town resident Richard Bourque lost his 21-year-old niece Samantha Bourque to cancer last year, but was throughly inspired by her high spirits. He said she and fellow cancer patients acted as if nothing was wrong.
Town resident Richard Bourque lost his 21-year-old niece Samantha Bourque to cancer last year, but was throughly inspired by her high spirits. He said she and fellow cancer patients acted as if nothing was wrong.
When he was 16, David Wilson lost his 15-year-old sister to cancer. His mom, now 95, also fought breast cancer twice.
Both Dighton residents will use this as inspiration Saturday and Sunday when they pedal down Centerand Horton streets and other town thoroughfares as part of the the 34th annual Pan-Mass Challenge, "the nation's first charity bike-a-thon that raises more money than any other athletic fundraising event in the country," according to a written release.
The riders will be among 5,500 cyclists who will ride with the collective goal of raising $38 million to support adult and pediatric patient care and cancer research at Dana-Farber Cancer Institute through the Jimmy Fund, also according to a written release.
The ride has two starting lines Sturbridge and in Wellesley, and five finish lines with two in Provincetown and the remaining three in Bourne, Wellesley and Foxboro.
There are six two-day routes that range from 153 to 190 miles and five one-day rides that range from 25 to 110 miles, also according to the release. Some great athletes will be among the mix, while others will labor to the finish line, inspired by the cause.
In addition to being inspired, Bourque and Wilson have some inspirational stories to tell themselves.
Bourque, 57, had a heart attack recently but called it only a minor setback as he continues to train.
Riders range in age from 13 to 88 and Wilson, 65, also represents some of the older riders.
Nearly 50 years later, he still fondly recalls his sister, Nancy.
"When she was young, I recall the struggle she had just swallowing vitamin pills. When she was only fourteen she developed a severe pain in her right knee," he wrote in a written release. "The pain was so persistent; she went to see our family doctor who immediately, that day, sent her to a specialist in Boston at Children's Hospital. That was my first memory of Dana-Farber. The diagnosis was devastating — she had an aggressive form of bone cancer."
Wilson considers himself a survivor and considers it his duty to give back.
"I am one of the lucky ones. I am able to give to those who need and that is how I go about it," he said during a phone interview. "One day I might have some needs and someone might have to give to me."
On Saturday between 8:35 a.m. and 1:40 p.m., riders will pass through Regional Road in Dighton and will have the opportunity to stop and eat lunch at the Dighton-Rehoboth water stop located at Dighton-Rehoboth Regional High School on Regional Road in Dighton
Between 8:40 a.m. and 2:15 p.m., riders will pass through Horton Street onto Williams Street and continue toward Center Street in Dighton.
Two people who will certainly cheer on the riders will be Center Street residents Eliza and Paul Couture.
"It is always an inspiring thing; it is pretty incredible. People put chairs out and root the bikers on. It's a great thing," Paul Couture said.


text:
Panel Analyzes Benefits and Challenges of Cloud Computing for Government Agencies
WASHINGTON, July 12, 2013 – A panel of experts discussed the potential for the use of cloud computing by federal agencies at an event held by the Information Technology and Innovation Foundation on Wednesday morning. The security of cloud computing was a primary concern for many of the panelists. Matt Wood, General Manager of Data… Keep Reading


text:
Reading Versus Watching: Toward a New Aesthetic
There are some problems with my RvW of two weeks ago about my favorite television programs. I say at the beginning that what we like is often something we feel in our gut and justify after the fact. Perhaps this explains why my attempt to explain why I like what I like fell so far short, why it felt so unclear; it is an unfortunate for a critic to not be able to articulate why he does or does not like things. Does it all come down to taste? What does that mean, really? One just as easily says "It's a matter of taste," implying that taste is subjective as one says, "he has poor taste" or "she has good taste," implying that it is not. But the last thing I want to do is go down some maddening Deconstructivist train of thought about "what does 'taste' signify when we talk about it."
When I was a kid, I knew what a good television show or a good book or a good movie was. "Good" meant that it took me away, that I forgot about where I was and how I felt and it made me happy. "Good" meant Star Wars and Iron Man and The Transformers and The Hitchhiker's Guide to the Galaxy. As I became a teenager, I sought after more serious fare, at first from Vonnegut and Kerouac and later from Philip Roth and Gabriel García Márquez. The only comics I still read were Neil Gaiman's The Sandman and Dave Sim's Cerebus, until I discovered Eightball and Acme Novelty Library and rest of the lit comics set, and as for movies and television, I think I thought of them both as inherently inferior to books; while I still watched them, I didn't put much stock into them.
Much as I now wonder why I can't get into "The West Wing," I think at the time I wondered why I couldn't get into many of the "great" writers, especially the high modernists from Flaubert to Joyce to Beckett. Even Hemingway leaves me cold. And yet I do get a little angry when I talk to people in the entertainment-first mindset (who are legion), who try to say that writers like Joyce are somehow "bad" just because they're difficult or not "thrilling" in the contemporary sense of "thrillers." I remember reading an Amazon review of Alan Moore's Voice of the Fire (a review now nowhere to be found), saying that the book is as bad as Flaubert and Camus and Joyce. Which is a little like saying someone's cooking if as bad as a five star restaurant. Joyce is clearly a great and important writer. Works like Dubliners or Ulysses are brilliant and changed the way people write. So why would I rather read Kelly Link?
I'm not the first to ponder this sort of question. In an essay called "Mr. Difficult," Jonathan Franzen wondered why he couldn't finish a number of "difficult" novels, including seemingly odd (to me) choices like Moby Dick and Don Quixote. (But then, he might find it odd that I can't get into Hemingway.) He divides up attitudes on the quality of books into "Status" versus "Contract" authors, which strikes me as a fancy version of Neal Stephenson's "Dante" versus "Beowulf" writers. That is, whether writing fiction is primarily about entertaining your audience or primarily about creating something of great literary merit, Flaubert's art for art's sake. Of course, one could argue that a person could be entertained by an "art" writer just as much as another person is entertained by an "entertainment" writer, and we return to the thorny problem of taste. But what I really question is the whole division between art and entertainment; fundamentally, I wonder why it has to be this way at all. Why can't literary novels be just as entertaining as genre novels? Why can't genre fiction have the depth and psychological sensitivity of literary fiction? Who made this division in the first place and why do so many people take its existence as gospel truth?
JF Quackenbush enjoys talking about how readers of literary novels are simply more intelligent than readers of genre fiction. My suspicion is that this attitude is born largely from his own frequently frustrating conversations with genre fiction fans and writers and the tenor of the discussion among them. His attitude may still strike you as snobbish and even insulting, not to mention generalizing, but that doesn't mean it's entirely without basis. That is, most genre fiction seems to be cranked out at an alarming pace, peopled with two-dimensional characters and have as its only purpose the stringing together of one cliff-hanger after another (or in the case of comedy, one joke after another). This is just as true for prose fiction as it is for television and movies and comic books. One can hardly imagine one of the Karamazov brothers walking into The DaVinci Code and giving the characters searching for the "true" story of Jesus a thoughtful lecture on the nature of religion. Dostoevsky's ruminations on religion are complicated and meaningful and challenging and all the things that The DaVinci Code's religious quest is not. And yet one can't help but feel that the sorry state that genre fiction finds itself in today is the direct result of the invention of the concept of "genre fiction" in the first place. Sure, there's always been bad writing. But in the nineteenth and early twentieth century, the writing of entertaining stories was not at all seen as precluding literary merit. Edgar Allen Poe wrote detective stories, Frankenstein came into its own as an important literary work, and H.G. Wells had no less a fan than Henry James, who said Wells' novels filled him with "wonder and admiration." What happened in the twentieth century with the bloom of modernism on one hand and the niche-ification of genre fiction on the other was that publishers and writers seemed to decide that this sort of people only want this kind of fiction, and that sort of people only want that sort of fiction, and this is the only way that we can market this material. This served to cement in the popular mind the idea that any story that had, say, time travel or detectives was pure entertainment and serious works were plotless, chiefly psychological and, if not realistic, then at least "Kafkaesque" or "Absurdist." In a lot of ways I think movements like Postmodernism in the anglophone countries, the "Nouveau Roman" in France and Magical Realism in Latin America and Iberian Europe were all reactions to this mindset. By the 1960's, literary fiction seemed like it had reached a dead end. As Alain Robbe-Grillet wrote in Pour un Nouveau Roman in 1963:
The art of the novel has fallen into such a state of stagnation—a lassitude acknowledged and discussed by the whole of critical opinion—that it is hard to imagine such an art can survive for long without some radical change.
Robbe-Grillet wrote novels that stripped all interiority from their characters and displayed them as they appeared purely on the surface, a direct response to the emphasis on psychology introduced by the modernists. The Magical Realists brought magic and wonder to their stories, things modernism had stripped away in favor of gritty realism or the terrifyingly bizarre. The anglophone Postmodernists went to great lengths to create distance and jarring juxtapositions in their work to show their awareness that this was fiction and that nothing fictional could ever truly be real, that "realism" was ultimately impossible. And yet, while all of these efforts to find new relevance for fiction were going on, genre fiction simply became ever more specialized, emphasizing cheap thrills over anything and everything else, and literary fiction felt ever more removed from the cultural mainstream .
Critics like the reactionary James Wood think what we need to do is go back to modernism and start writing like Chekov and Flaubert again. ("Novelists should thank Flaubert like poets thank spring," wrote Wood in an article in the New York Times Book Review.) It won't surprise readers that I think this is a singularly terrible idea.
Another response, something that might already be termed a "movement," has been articulated by Michael Chabon. In his McSweeney's collection McSweeney's Mammoth Treasury of Thrilling Tales, Chabon championed a simple idea: in the past some of our greatest writers wrote thrilling, plot-driven stories. Why shouldn't the great writers of today be writing thrilling, plot-driven stories? Of course, in some ways this may sound as reactionary as Mr. Wood's position. But really, something has been quietly gathering since the mid-1980's or so that Chabon's collection is merely an outgrowth of. Work as diverse as William Gibson's Neuromancer, Alan Moore's Watchmen, the novels of James Ellroy and the films of Quentin Tarantino all point toward something new. An entertaining fiction imbued with the psychological and stylistic lessons of modernism and the movements that followed it. And this is the real lesson of a program like "Deadwood," the gauntlet thrown down by a writer as brilliant as Kelly Link. That genre fiction can be literature too.
But I propose that this movement is as much about reclamation as it is about invention. If one travels back to the earliest stories we have, what we find is ripping tales from one end of the world to the other. Consider The Odyssey or Gilgamesh or The Ramayana, consider the chivalric poetry of Li Bai (some of his best and least translated work), the Popol Vuh or the story of King David. Thrilling tales all, tales of heroes and adversaries, gods and men, magic and mayhem. This is the great literature of our past, a tradition that continues through The Aeneid, Beowulf, Le Morte d'Arthur, Outlaws of the Marsh and Hamlet. In some fundamental way it strikes me that this is what stories are supposed to be like. That is, great literature is supposed to be exiting and finely-crafted and artistically inspired, and somehow by dividing up work into "genre" and "literary" we have gone horribly astray, and now it is up to us to find our way back.
It is no coincidence that some of our greatest and most popular directors, television writers and novelists are people who intentionally dip their feet in both the genre and literary side of the pools. For example, Ang Lee is a man who can move comfortably from Eat Drink Man Woman to Crouching Tiger Hidden Dragon to The Hulk to Brokeback Mountain. Why is the new "Doctor Who" series so much better than the old? Could it have something to do with the fact that its show runner and head writer, Russell T. Davies, is someone also able to create the critically acclaimed "Queer as Folk?" Could Alan Moore owe his greatness to both his appreciation of Thomas Pynchon and the Superman comics of Mort Weisinger?
And yet there are still so many hurdles to overcome, obstacles in a writer's way, especially in the world of publishing. Kelly Link, for instance, had to self-publish her first book because publishers didn't understand how to market her, fitting as she does between literature and genre fiction. Indeed, books on writing and publishing written by "experts" are filled with advice that seems jerry-rigged to impede creativity and progress. They tell you "don't switch genres," "adhere to formulas," "follow trends," "don't write long novels," I've even seen such astoundingly obtuse advice as "don't write in the first person." It is exactly this kind of thinking that has made Hollywood, with a few notable exceptions, into such a dead thing, pumping out formulaic nonsense written and rewritten by script doctors until it satisfies some producer who thinks Robert McKee is a god. So much genre fiction seems to be caught in a self-cannibalising loop in which each generation of writers is more derivative, more formulaic than the last, each new crop taking lessons from their predecessors and from publishers and agents and marketers about 'what readers of this genre want' based on what they bought before, as if what they want is more of the same. As if their readers are, well, stupid. And this is exactly why we need to take the lessons of literary fiction with us when we move forward in fiction. Because literary fiction taught us that stories don't always make sense, that heroes can't always take control, that reality isn't always trustworthy, that people sometimes do things and don't even know why, and most importantly, that readers are sometimes even smarter than authors. The first and most important decision Joyce made while writing "Ulysses" was to assume that his readers were smart enough to understand him. While I certainly don't want to suggest that anyone must use genre conventions or genre ideas to create interesting and thrilling and intelligent works (to the contrary, many of the best works of the kind I'm talking about defy genre labels altogether, or create their own genre), I contend that the best and potentially most popular work that does play with genre conventions will also use literary techniques to buck or reinvent those conventions.
Part of the reason I wanted to do this website is that I knew that writing about literature on a regular basis would help me solidify many of the ideas that have been percolating in my head for some time. Articles like the one about my favorite television shows, or the one about Dante (which I later felt was so inadequate that I had to qualify it) have been failures, but they forced me to look closer at why I was saying the things I was saying. This essay clarifies both for me and hopefully for you many of the things Quackenbush and I first proposed in What is Wet Asphalt? Consider this an aesthetic, and a way forward.
The Role of Publishers
In their symbiosis, publishers are like Big Media (I guess they are a part of it now, I don't know why I resist it)... it's exceedingly difficult to distinguish where they are dictating and creating demand and where they are just reacting to demands placed upon them. The degeneration of the news-- which was never particularly complex to begin with-- is always justified as a function of giving people what they want.
But as is made so amazingly clear in our ad-soaked culture, media is a producer and instiller of desire. Publishers are a lot more guilty than the public at the horrible proliferation of poor writing (genre and not-- after all, isn't this the same fight staged in miniature within lit fiction and poetry circles about good and bad examples of their own kind) even if they were largely blindsided and scooped by their visual brethren.
Reading-- art in general-- is supposed to be about desire and beauty (limping or not) and excitement. It should be obvious what is good and there should be room for more complexity as one grows older. Instead, writers seem to mistake the part that changes (the complexity, the subtlety, the subtext) for the whole and before you know it we have these wide, barren, sterile fields of dead words of all kinds disguised in bright packaging, tied-into television shows, and consumed like fast food by people that haven't been exposed to anything better...


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