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Modern technology has made many classic films of Shakespeare plays readily available on video cassette, DVD, YouTube, and streaming by commercial companies such as Films for the Humanities and TMW Media. From the late nineteenth century attempts have been made to transpose stage performances to cinematic forms now accessible on video, with varied success. Some fragments of the very earliest trials survive, such as Beerbohm Tree's King John, but the first systematic illustrations available are the surviving Vitagraph series.
On the whole, mere transpositions of stage productions have not done well, but there are some masterpieces from the early talkies era, including such spectacular films as Reinhardt's A Midsummer Night's Dream. Early star vehicles include As You Like It with Laurence Olivier. As a director Olivier established the full potentialities of genuinely filmic rendering of classic Shakespeare plays by his versions of Henry V, Hamlet, and Richard III, which have led to many analogues, such as Kenneth Branagh's contrastingly pacifist version of Henry V, or the McKellen interpretation of Richard III in a fascist takeover of thirties Britain. Branagh's Hamlet had more glitter, but often foreign directors did better, as with the dynamic Hamlet of Kozintsev—and his King Lear was more photogenic than Peter Brook's nihilistic rendering, despite the latter's excellent performance by Paul Schofield as Lear. The Macbeth of Kurosawa: The Throne of Blood, achieved a memorable cultural transmission from Scotland to the world of the samurai. Roman Polanski's Macbeth achieved a refreshing vividness with attractive youthful leads. Indeed, all the tragedies have been particularly well favored, such as the Romeo and Juliet, Macbeth, and Hamlet of Zeffirelli. However, his Romeo and Juliet has been superseded in popular youthful taste by Baz Lurhmann's modernization.
The best later film of a history play is probably Welles's Falstaff (or Chimes at Midnight), which is a synthesis of Henry IV and Henry V. However, Welles's cinematic renderings of Macbeth and Othello have received mixed reviews, as has Olivier's version of his staging of the latter. As for the comedies the rather splashy version of The Taming of the Shrew by Zeffirelli is one of the most conspicuous, rivaled by The Merchant of Venice by Michael Radford with Al Pacino as Shylock. One surprising critical success is Joss Whedon's 2012 freshly modern-dress take on Much Ado About Nothing, which achieved a subtler impact than Branagh's glossier version. A similar low-keyed success was Trevor Nun's Twelfth Night.
There are many hundreds of recorded filmic versions of Shakespeare with a vast bibliography, of which a select version follows. However, these films can best be explored initially via two essential guides to this range of material, both by Kenneth Rothwell: A History of Shakespeare on Screen: A Century of Film and Television (Cambridge, U.K: Cambridge University Press, 1999), and his Shakespeare on Screen: An International Filmography and Videography (New York, NY: Neal-Schuman, 1990).
Alexander, Peter, et al., eds. The BBC TV Shakespeare. London: BBC, Mayflower Books, 1978-86. [Series with introductions by John Wilders, on productions by Henry Fenwick, with scripts edited for production.]
Anderegg, Michael. Cinematic Shakespeare. Lanham, MD; Oxford: Rowan & Littlefield, 2004.
Anderegg, Michael. Orson Welles, Shakespeare, and Popular Culture. New York: Columbia University Press, 1999.
Anon. "Does Shakespeare Write Better for Television?" In Is Shakespeare Still Our Contemporary? edited by John Elsom, 114-39. 1989.
Ball, Robert H. Shakespeare on Silent Film: A Strange and Eventful History. New York: Theatre Arts, 1968.
Barton, John. Playing Shakespeare. VHS. Princeton: Films for the Humanities, 1984. [Printed text: London: Methuen, 1984.]
Bauer, Erik, ed. Special issue, "Adapting Shakespeare." Creative Screenwriting 5, no. 2 (1998).
Béchervaise, Neil E., et al., eds. Shakespeare on Celluloid. Rozelle, 1999.
Bennett, S. Performing Nostalgia: Shifting Shakespeare and the Contemporary Past. New York: Routledge, 1996.
Best, Michael, Lisa Hopkins, and R. G. Siemens, eds. Shakespeare on Screen: Special Issue 5. Early Modern Literary Studies 6, no. 1 (May 2000).
Boose, Linda E. and Richard Burt, eds. Shakespeare, the Movie: Popularizing the Plays on Film, TV, and Video. New York: Routledge, 1997.
Brebach, Emily. "From Olivier to Kozintsev: Visual Technique in Transforming Hamlet in Film." PCLS 12 (1981): 67-81.
Brode, Douglas. Shakespeare in the Movies: From the Silent Era to "Shakespeare in Love." New York: Oxford University Press, 2000.
Brusberg-Kiermeir, S. and J. Helbig, eds. Shakespeare in the Media. Frankfurt and New York: Peter Lang, 2005.
Buchman, Lome M. Still in Movement: Shakespeare on Screen. Oxford: Oxford University Press, 1991.
Buhler, Stephen. Shakespeare in the Cinema: Ocular Proof. Cultural Studies in Cinema/Video. Albany, NY: State University of New York Press, 2002.
Bulman, J. C., and H. R. Coursen, eds. Shakespeare on Television: An Anthology of Essays and Reviews. Hanover, NH: University Press of New England, 1988.
Burnett, Mark Thornton and Ramona Wray, eds. Shakespeare, Film, Fin de Siécle. New York: St. Martin's Press, 2000.
Burnett, Mark Thornton. Filming Shakespeare in the Global Marketplace. Basingstoke, UK: Palgrave Macmillan, 2007.
Burt, Richard, and Lynda E. Boose, eds. Shakespeare, the Movie II: Popularizing the Plays on Film, TV, Video, and DVD. London and New York: Routledge, 2003.
Cartmell, Deborah. Interpreting Shakespeare on Screen. New York: St. Martin's Press, 2000.
Champion, Larry S. "Stage, Stage History, Film." The Essential Shakespeare: An Annotated Bibliography of Major Modern Studies, 2nd ed., 51-65. G. K. Hall, Maxwell Macmillan, 1993.
Cohen, Robert. Acting in Shakespeare. Mountain View, CA: Mayfield, 1991.
Collick, John. Shakespeare, Cinema and Society. Manchester: Manchester University Press, 1989.
Cook, Hardy M. "Shakespeare on Television: Recognizing What We See." CEA Magazine 4, no. 1 (1991): 5-10.
Coursen, H. R. Shakespeare in Production: Whose History? Athens: Ohio University Press, 1996.
Coursen, H. R. Shakespeare Performance as Interpretation. Newark: Associated University Presses, 1992.
Coursen, H. R. Shakespeare in Space: Recent Shakespeare Productions on Screen. New York: Peter Lang, 2002.
Coursen, Herbert. Shakespeare: The Two Traditions . Madison NJ: Fairleigh Dickenson UP, 1999.
Coursen, H. R. Teaching Shakespeare with Film and Television: A Guide. Greenwood Press, 1997.
Coursen, H. R. Watching Shakespeare on Television. Rutherford: Fairleigh Dickinson University Press, Associated University Presses, 1993.
Cross, Brenda, ed. The Film Hamlet: A Record of Its Production. Saturn, 1948.
Crowl, Samuel. Shakespeare Observed: Studies in Performance on Stage and Screen. Athens: Ohio University Press, 1992.
Davies, Anthony. Filming Shakespeare's Plays: The Adaptations of Laurence Olivier, Orson Welles, Peter Brook and Akira Kurosawa. Cambridge: Cambridge University Press, 1988.
Davies, Antony, and Stanley Wells, eds. Shakespeare and the Moving Image: The Plays on Film and Television. New York: Cambridge University Press, 1994.
Dawson, Anthony B. Hamlet. Manchester: Manchester University Press, 1995. [Includes chapters on the films directed by Laurence Olivier, Grigori Kozintsev and Franco Zeffirelli, as well as the BBC-TV adaptation.]
Dawson, Anthony. Watching Shakespeare: A Playgoers' Guide. London: MacMillan, 1988.
Dent, Alan, ed. Hamlet: The Film and the Play. World Film Publishers, 1948.
Deutsche Shakespeare-Gesellschaft West: Jahrbuch 1993. Special issue, "Shakespeare and the Media."
Díaz-Fernandez, José Ramón. "Shakespeare on Television: A Bibliography of Criticism." Early Modern Literary Studies 6, no. 1 (May 2000): 4.
Díaz-Fernández, José Ramón. "Shakespeare and Film-Derivatives: A Bibliography." Post Script 17, no. 2 (Winter/Spring 1998): 109-20.
Díaz Fernandez, José Ramón. "Orson Welles's Shakespeare Films: An Annotated Checklist." Shakespeare Bulletin 23 (2005): 113-36.
Díaz Fernandez, José Ramón. "Teen Shakespeare Films: An annotated Survey of Criticism." In Shakespeare Screen Adaptations for the Teen Market, edited by Michael D. Friedman; a special edition of Shakespeare Bulletin 26, no. 2 (2008): 89-133.
Donaldson, Peter S. Shakespearean Films/Shakespearean Directors. Boston: Unwin Hyman, 1990.
Dorval, Patricia. "Shakespeare on Video." Cahiers Élisabéthains 53 (January 1998): 53-75.
Dudley, Andrew. Film in the Aura of Art. Princeton: Princeton University Press, 1984.
Eckert Charles W. Focus on Shakespearean Films. Englewood Cliffs, NJ: Prentice Hall, 1972.
Everson, William K. American Silent Film. Oxford: Oxford University Press, 1978.
France, Richard, ed. Orson Welles on Shakespeare: The W. P. A. and Mercury Theatre Playscripts. New York: Greenwood Press, 1990.
Friedman, Michael D. Shakespeare Screen Adaptations for the Teen Market, a special edition of Shakespeare Bulletin, vol. 26, no. 2 (2008).
Gaertner, Johannes A. "Notes on Costume Design—BBC Teleplays." Shakespeare on Film Newsletter 4, no. 2 (1980): 4.
Grant, Cathy, ed. As You Like It: Audiovisual Shakespeare. London: British Universities Film and Video Council, 1992.
Guntner, J. Lawrence. "Hamlet, Macbeth, and King Lear on Film." In Cambridge Companion to Shakespeare on Film, edited by Russell Jackson, 117-34. Cambridge: Cambridge University Press, 2000.
Hallinan, Tim. "Interview: Jonathan Miller on the [BBC] Shakespeare Plays." Shakespeare Quarterly 32 (1981): 134-45.
Hapgood, Robert. Shakespeare the Theater Poet. Oxford: Clarendon Press, 1988.
Hardison, O. B. "Shakespeare on Film: The Developing Canon." PCLS 12 (1981): 131-35.
Hatchuel, Sarah. A Companion to the Shakespeare Films of Kenneth Branagh. Winnipeg, Niagra Falls: Blizzard Publishing, 2000.
Henderson, Diana, ed. A Concise Companion to Shakespeare On Screen. Oxford: Blackwell, 2006.
Hodgdon, Barbara. The Shakespeare Trade: Performances and Appropriations. University of Pennsylvania Press, 1998.
Holderness, Graham. "Radical Potentiality and Institutional Closure: Shakespeare on Finn and Television." In Political Shakespeare, edited by Alan Sinfield and Jonathan Dollimore, 182-201. Manchester: Manchester University Press, 1985.
Holderness, Graham, with Christopher McCullough. "Shakespeare: a Selective Filmography." In Shakespeare and the Moving Image: the Plays on Film and Television, edited by Stanley Wells and Tony Davies, 18-49. Cambridge: Cambridge University Press, 1994.
Holderness, Graham. Visual Shakespeares: Essays in Film and Television. Hatfield: University of Hertfordshire Press, 2002.
Howard, Tony. "Shakespeare on Film and Video." In Shakespeare: An Oxford Guide, edited by Stanley Wells and Lena Cowen Orlin, 2003.
Howlett, Kathy M. Framing Shakespeare on Film. Athens: Ohio University Press, 2000.
Huang, Alexander C. Y., and Charles Ross, eds. Shakespeare in Hollywood, Asia and Cyberspace. West Lafayette, IN: Purdue University Press, 2009.
Ivory, James. Shakespeare Wallah: A Film by James Ivory from a Screenplay by R. Prawer Jhabvala and James Ivory. New York: Grove Press, 1973.
Jackson, Russell. The Cambridge Companion to Shakespeare on Film. Cambridge: Cambridge University Press, 2000.
Jackson, Russell. Shakespeare Film in the Making: Vision, Production and Reception. Cambridge: Cambridge University Press, 2007.
Jorgens, Jack J. Shakespeare on Film. Bloomington: Indiana University Press, 1977.
Klein, Holger, and Dimiter Daphinoff, eds. Hamlet on Screen. Special edition, Shakespeare Yearbook 8 (1997).
Kliman, Bernice. Hamlet: Film, Television and Audio Performance. Rutherford: Fairleigh Dickenson University Press, 1988.
Kliman, Bernice. Macbeth. Manchester: Manchester University Press.
Kozintsev, Grigori. King Lear: The Space of Tragedy; The Diary of a Film Drama. 1973, translated byMary MacKintosh. Heinemann; University of California Press, 1977.
Kozintsev, Grigori. Shakespeare: Time and Conscience, translated by Joyce Vining. New York: Hill and Wang, 1966; London: Dennis Dobson, 1967.
Lehmann, Courtney. Shakespeare Remains: Theatre to Film, Early Modern to Postmodern. Ithaca, NY: Cornell University Press, 2002.
Literary Review 22 (1979). Special issue on Mankiewicz's Julius Caesar, Grigori Kozintsev's Hamlet and King Lear, and Akira Kurosawa's Throne of Blood.
Literature/Film Quarterly (Salisbury State University). 1973- , Shakespeare on film issues: 1.4 (1973), 4.2 (1976), 5.4 (1977), 8.4 (1980), 11.3 (1983), 14.4 (1986), 20.4 (1992), 25.2 (1997), and 28.2 (2000).
Loehlin, James N. Henry V. Manchester: Manchester University Press, 1996.
MacLiammóir, Micheál. Put Money in Thy Purse: The Filming of Orson Welles's Othello. London: Methuen, 1952. 2nd rev. ed. Methuen, 1976. Rpt. Virgin, 1994.
Manvell, Roger. Shakespeare and the Film. New York: Praeger, 1971.
Manvell, Roger. Theater and Film: A Comparative Study of the Two Dramatic Forms of Dramatic Art, and of the Problems of Adaptations of Stage Plays into Films. Fairleigh Dickinson University Press; Associated University Presses, 1979.
Manvell, Roger, ed. Journal of the Society of Film and Television Arts 37 (Autumn 1969). Special Shakespeare on film and television issue.
Marowitz, Charles. "Cinematizing Shakespeare." Shakespeare Bulletin 22, no. 2 (2004): 67-78.
McLean, Andew M. Shakespeare: Annotated Bibliography and Media Guide for Teachers. Urbana: NCTE, 1980.
McKernan, Luke, and Olwen Terris, eds. Walking Shadows: Shakespeare in the National Film and Television Archive. London: British Film Institute, 1994.
McMurtry, Jo. Shakespeare Films in the Classroom: A Descriptive Guide. Hamden: Archon-Shoe String, 1994.
Melnikoff, Kirk, ed. "Orson Welles and Shakespeare in Film." Special Issue of Shakespeare Bulletin 23, no. 1 (Spring, 2005): 5-112.
Miller, Jonathan. Subsequent Performances. Faber and Faber; Elisabeth Sifton/Viking, 1986.
Morris, Peter, ed. Shakespeare on Film. Ottowa: Canadian Film Institute, 1972.
Mullin, Michael. "Tony Richardson's Hamlet: Script and Screen." Literature/Film Quarterly 4, no. 2 (1976): 123-33.
Naremore, James. The Magic World of Orson Welles. Oxford University Press, 1978. Revised edition, Dallas: Southern Methodist University Press, 1989.
Nowell-Smith, Geoffrey, ed. Oxford History of World Cinema. Oxford: Oxford University Press, 1996.
Nunn, Trevor. William Shakespeare's Twelfth Night: A Screenplay. London: Methuen, 1996.
Olivier, Laurence. "Shakespeare on Film." In On Acting, 267-310. Weidenfeld and Nicolson; Simon and Schuster, 1986.
Parker, Barry M. The Folger Shakespeare Filmography: A Directory of Feature Films Based on the Works of Shakespeare. Washington: Folger Books, 1979.
Pilkington, Ace G. Screening Shakespeare From "Richard II" to "Henry V." Newark: University of Delaware Press, 1991.
Quinn, Edward, ed. The Shakespeare Hour: A Companion to the PBS-TV Series. New American Library, 1986.
Richmond, Hugh M., producer. Shakespeare and the Globe. Video Documentary by Media Services, UCB. Princeton: Films for the Humanities, 1986.
Richmond, Hugh M., producer. Shakespeare's Globe Restored: Teaching by Performance. Media Services, UCB. Distributor: TMW Media, 1998.
Richmond, Hugh M. Shakespeare: the Spanish Connection. Video Documentary, by Media Services, UCB. Distributor: TMW Media, 2007.
Richmond, Hugh Macrae. "Shakespeare on Film. Angles of Vision: Recording Much Ado at the Restored Globe Theatre." Shakespeare Bulletin 15 (1997): 31-33.
Ross, Harris. Film as Literature, Literature as Film: An Introduction to and Bibliography of Film's Relationship to Literature. Bibliographies and Indexes in World Literature 10. New York: Greenwood Press, 1987.
Rothwell, Kenneth S. Shakespeare on Screen: A Century of Film and Television, second edition. Cambridge: Cambridge University Press, 2004.
Rothwell, Kenneth S., and Annabelle Henkin Melzer. Shakespeare on Screen: An International Filmography and Videography. New York: Neal-Schuman, 1990.
Rothwell, Kenneth S. Early Shakespeare Movies: How the Spurned Spawned Art. International Shakespeare Association Occasional Paper no. 8. Clouds Hill Printers, 2000.
Sales, Roger, ed. Shakespeare in Perspective, 2 vols. London: Ariel Books (BBC), 1982 and 1985.
Sammons, Eddie. Shakespeare: A Century of Film. London: Shepheard Walwyn, 2000.
The Shakespeare Plays. New York: Mayflower Books (BBC/Time-Life), 1979.
Shakespeare Bulletin (journal)
Shakespeare in the Classroom, (journal)
Shakespeare Quarterly, (journal)
Shakespeare on Film Newsletter (journal)
Shakespeare Survey (journal)
Shaughnessy, Robert, ed. Shakespeare on Film: A Casebook. New York: St Martin's Press, 1998.
Silviria, Dale. Laurence Olivier and the Art of Film Making. Cranbury, N. J.: Associated Univ. Presses, 1985.
Skovmand, Michael, ed., Screen Shakespeare, Aarhus; Aahrus University Press, 1994.
Sinyard, Neil. "'In My Mind's Eye': Shakespeare on the Screen." In Filming Literature: The Art of Screen Adaptation, 1-24. Croom Helm, 1986.
Skovmand, Michael, ed. Screen Shakespeare. David Brown Book Co., 1994.
Starks, Lisa S., ed. Special Issue: Shakespeare and Film – Adaptations. Post Script: Essays in Film and the Humanities 17, no. 1 (Fall 1997).
Starks, Lisa S., ed. Special Issue: Shakespeare and Film – Derivatives and Variations. Post Script: Essays in Film and the Humanities 17, no. 2 (Winter/Spring 1997).
Thomson, David. Rosebud: the Story Orson Welles. New York: Alfred Knopf, 1996.
UCB Library. "Shakespeare on Film and Video: Books and Articles in the UC Berkeley Library".
Uricchio, William and Roberta E. Pearson. Reframing Culture: The Case of the Vitagraph Quality Films. Princeton: Princeton University Press, 1993.
Vardac, A. Nicholas. Stage to Screen: Theatrical Method from Garrick to Griffith. New York: Benjamin Blom, 1968.
Weiss, Tanja. Shakespeare on the Screen: Kenneth Branagh's Adaptations of "Henry V," "Much Ado about Nothing" and "Hamlet." Peter Lang, 1999.
Wells, Stanley, ed. Shakespeare Survey 39 (1987). Special volume on Shakespeare on film, television, and radio.
Willis, Susan. The BBC Shakespeare Plays: Making the Televised Canon. Chapel Hill: University of North Carolina Press, 1991.
Willson, Robert F., Jr. Shakespeare in Hollywood, 1929-1956. Madison: Fairleigh Dickinson University Press, 2000.
Yutkevitch, Sergei. Othello, (with Sergei Bondarchuk as Othello; 1955/108m) distributed by The Picture Palace, PO Box 281, Caldwell, NJ 07006.
Zeffirelli, Franco. The Autobiography of Franco Zeffirelli. New York: Weidefeld and Nicholson, 1986.
Zeffirelli, Franco. "Filming Shakespeare." In Staging Shakespeare: Seminars on Production Problems, edited by Glenn Loney, 239-70. New York: Garland, 1990.
For more discussion of media treatment of individual plays check bibliographies for each title in the next section of Performance Bibliographies.
Except where otherwise specified, all written commentary is © 2016, Hugh Macrae Richmond.


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Order "The Unremembered" HERE
Read Excerpts HERE + HERE
Read the "Sacrifice of the First Sheason" Short Story HERE
Read "The Great Defense of Layosah" Short Story HERE
AUTHOR INFORMATION: Peter Orullian is a graduate of the University of Utah with a BA in English. He has worked in marketing at Xbox for nearly a decade, most recently leading the Music and Entertainment marketing strategy for Xbox LIVE. His musical endeavors include performing on the Keep It True tour for both Heir Apparent and Fifth Angel, and creating albums with Inner Resonance and Continuum. As a writer, Peter has published several short stories including "Sacrifice of the First Sheason" and "The Great Defense of Layosah" on Tor.com. The Unremembered is his first novel.
PLOT SUMMARY: Rumors have beset the eastlands of Aeshau Vaal. Some people flee toward the cities for refuge. One regent, to answer these unseen threats, is set to recall the Convocation of Seats—something that hasn't been done for ages. But one man doesn't believe, and would use the fear of nations to advance the power of his dangerous League of Civility.
For Braethen, an author's son, it will mean the sudden chance to turn his lifelong desire of entering the Sodality into a reality. But being a Sodalist is not the romantic dream he's read about in his long years of study. As a sworn protector to the feared Order of Sheason, he must be prepared to give more than his life, and to take up a mythical weapon before his hands are even accustomed to steel.
For Wendra, raped and now heavy with child, it will mean learning the reality of a trade that travels the highways across the nations of man, even a trade in human lives. She'll take responsibility for a pageant-wagon boy, whose street-theater is considered seditious; and find through protecting him that her ability to make song with her voice carries a great power, but one that may flow darkly.
For Tahn, it will mean finding answers to a lost childhood. Words he feels compelled to speak every time he draws his bow may finally be understood, but the revelation it brings may be better left unremembered. And though it will also introduce him to a beautiful woman of the legendary Far, the nature of their separate and very different lives will force dreadful choices upon them.
These three, and others—including an exile, whose sentence is to care for orphans and foundlings in the middle of a wasteland, and a Sheason whose uncompromising, yet best intentions are destroying his own order—will fight the past even as they face a dark future.
Because the threats are more than rumor...
FORMAT/INFO: The Unremembered is 672 pages long divided over a Prologue and eighty titled chapters. Also includes a detailed map, which is available online HERE. Narration is in the third person via Tahn Junell; his sister Wendra; Tahn's friend Sutter Te Polis; Braethen Posian; Helaina Storalaith, the regent of Recityv; the Sheason Vendanj; the Far Mira; a highwayman; and the sun-worn outcast. The Unremembered is the first volume in The Vault of Heaven fantasy series. April 12, 2011 marks the North American Hardcover publication of The Unremembered via Tor. Cover art is provided by Kekai Kotaki.
ANALYSIS: Tor is one of my favorite publishers, especially when it comes to fantasy. Because of Tor, I've been introduced to a number of my favorite authors in the genre including Robert Jordan, Jacqueline Carey, Glen Cook, L.E. Modesitt, Jr., David Farland, Elizabeth Haydon and newcomers in Brandon Sanderson, Daniel Abraham and Ken Scholes. As a result, Tor has my full attention whenever the publisher introduces a new fantasy author. Their latest discovery is Peter Orullian.
Peter Orullian is the author of The Unremembered, a traditional epic fantasy novel that immediately brought to mind Robert Jordan's The Wheel of Time and Tolkien's The Lord of the Rings because of the familiar quest storyline and the book's classic battle between good and evil. Because of philosophical musings, thought-provoking moral complexity, and the overall serious tone of the book, I was also reminded of The Sword of Truth by Terry Goodkind and Stephen R. Donaldson's Thomas Covenant Chronicles. Unfortunately, thoughts of inferior fantasy works like The Wanderer's Tale by David Bilsborough, Russell Kirkpatrick's Across the Face of the World and Goodkind's more recent novels also popped into my head as I was reading The Unremembered. This disparity in comparisons represents the novel as a whole, since nearly every aspect of The Unremembered is marked by elements both positive and negative.
Take for example Peter Orullian's writing which is confident and skilled, led by the author's facility for descriptive prose and heroic storytelling:
"Before our fires, before the sun, the Great Fathers held their Council of Creation at the Tabernacle of the Sky. They called forth the light, the land, and filled both with life. Every living thing was intended to grow in stature and harmony with the elements around it.
And this all was done for the good of everyone. But in their wisdom, the First Ones knew there must be counterbalance, a way for their creation to be tested and challenged. Else no learning or change could occur, and their council would bring to naught their intention: that we should become great ourselves. So, one of the fathers was given the charge to create all that would be ill to the land and its life. To one was given the task of creating sorrow and strife.
For a time, the council served with great joy. Sound and song filled the land with vibrance, attending the creation of every living thing. But the One grew delighted in his charge to test men by affliction. He set upon the lands pricks and briars of every sort, creatures without conscience, to harrow the creations of light. Thousands of years did the council serve, the One becoming dark in his soul, consumed with his task.
The Great Fathers knew the One must be bound, else men were lost. So, together they sealed him to the earth that he so wanted to destroy, creating for him a sepulchre in the farthest corner of the world to live an eternity in his rancor. And thus the High Season came to an end; the time of creation, of newness at the hands of the Noble Ones, passed from memory.
But by the time the One had been bound, balance had been undone. The land had gone awry of the Great Father's plan from the foundation, and they could not hope to salvage their vision. So they abandoned their work, sealing those given to the Quiet within the Bourne and leaving the unfinished world to mete out its own fate. And many scornful races there were who had, indeed, given their very souls to Quietus's hateful designs. So, into the land the First Ones introduced the Sheason, an order ordained to establishing peace and equanimity, set apart to guide the other races throughout the rest of Aeshau Vaal."
At the same time though, Peter Orullian's writing is marred by dialogue that occasionally feels forced and the author's penchant for verbosity, especially when describing architecture or the landscape, or when expressing the thoughts and reflections of a character.
World-building meanwhile, is rich and immersive, highlighted by the obvious amount of time and love that was put into creating Aeshau Vaal. Sadly, while the world of The Unremembered may be full of detailed history, mythology, culture and geography, it is sorely lacking in the creativity department. The magical Veil which imprisons the evil Quietus and his followers in the Bourne; Sheason who render the Will at the cost of their own Forda I'Forza—energy and matter, or body and soul; Sodalists, sworn protectors of the Sheason; Bar'dyn, Velle and the Draethemorte; the League of Civility, an order dedicated to rooting out "arcane beliefs and practices"; the Sedagin warrior race; the magical Eternal Grove which stands at the edge of creation; songs used to both create and destroy . . . these and many other concepts introduced in The Unremembered could be replaced by ideas found in other fantasy novels—The Forbidding, Shai'tan, Trollocs, Myrddraal/Nazgûl, Warders, Singers/Spellsongs, etc.—and readers would hardly be able to tell the difference. That's how unoriginal Aeshau Vaal is. Granted, there are exceptions like the Far—people "blessed with quickness in the body", but whose lives end naturally at the end of eighteen cycles, the age of accountability—the Lesher Roon race, and the Undying Vow: "to bind husband and wife together for all time, to eternally sanction their union and ensure their happiness beyond the dust." I also found the idea of a world abandoned by its creators intriguing, but for the most part, Aeshau Vaal is a fantasy world that will be instantly recognizable to anyone remotely familiar with the genre.
The same can also be said for the story, which is basically a very long and familiar quest, with the novel starting off in a small and unassuming town called the Hollows, and eventually ending at their destination at the Heights of Restoration. During this journey, the party travels to many interesting places—Widow's Village, Qum'rahm'se Library, Stonemount, Recityv, the Scarred Lands, Naltus Far, Saeculorum Mountains, Rudierd Tillinghast—and end up dealing with numerous problems like the party becoming separated and overcoming obstacles that test their resolve, all while being constantly pursued by Quietgiven. There are a few subplots that help break up the story's familiarity including Recityv politics, a highwayman who specializes in slave trade, and the sun-worn exile sentenced to care for orphans, but only a few short chapters are dedicated to the regent of Recityv, the highwayman disappears altogether about two-thirds of the way through the novel, and the outcast becomes less interesting once he joins the rest of the party. To make matters worse, the story's pacing is hindered by frequent info-dumping, bloated descriptions, and a large amount of philosophizing/thoughtful ruminations on the part of the characters. As a result, not only is the plot in The Unremembered unoriginal and predictable, it's also lengthy, slow-moving, and downright boring at times. It's not all negative though. There are some truly exciting moments in the book, especially when the party gets separated and embark on different adventures, while compelling reading can be found in the subplot involving Tahn and the Court of Judicature, and the re-enactment of the outcast's crime.
Like the plot, the characters in The Unremembered are stereotypical of the genre, with Tahn Junell a prime example. Tahn is essentially the 'chosen one', a youth not yet fully come of age, haunted by mysteries like his forgotten past—cannot remember anything before his tenth cycle—the hammer-shaped scar on his hand, his dreams of a faceless man, the voice he sometimes hears when viewing the sunrise, and the words he is compelled to speak every time he draws his bow: "I pull with the strength of my arms, but release as the Will allows." The other main characters do not fare much better. Sutter is a root-digger who yearns for adventure, while providing comic relief; Braethen Posian is a lifelong scholar who finally gets to pursue his dream of Sodality—a life he has only read about in books; Tahn's sister Wendra is haunted by the recent loss of her child and possesses a hidden gift; Vendanj is the hardened warrior/sorcerer, full of secrets and regrets; and Mira is Tahn's romantic interest, although she also faces a terrible dilemma because of her Far heritage. Apart from being archetypal, Peter Orullian's characters also suffer from paper-thin personalities which makes them difficult to care about, shallow character development, and unconvincing relationships—Tahn and Wendra, Tahn and Mira, Mira and Vendanj, Vendanj and Braethen, Sutter's feelings for Wendra, etc.—which dampens some of the novel's more interesting drama. On the plus side, the internal conflicts and themes—morality, rape, loss, abandonment, guilt, anger, disappointment, friendship, accountability—Peter Orullian's characters have to deal with in the book are deep, thought-provoking and compelling.
Minor narratives include Helaina Storalaith, the highwayman Jastail J'Vache, and Grant, the sun-weathered exile, while the supporting cast features some interesting characters I hope return for the sequels like the ten-year-old boy Penit; Col'Wrent, the Lul'Masi Inveterae—the unredeemed; Edholm Restultan, the scrivener of Qum'rahm'se Library; the Ta'Opin Seanbea; the prisoner Rolen; and Belamae, the Maesteri of Descant Cathedral. Out of all of the characters in the book, Wendra is surprisingly the most fascinating. Because of her damaged relationship with Tahn and the unique ability she possesses, Wendra is a key factor in determining mankind's success or failure in future volumes. Other characters to watch include Sutter with his unwanted ability to see the untabernacled, and Mira because of the consequences she faces due to the choices she made in The Unremembered.
CONCLUSION: Many of the authors Tor has introduced over the years have gone on to become mainstays of the genre, while others are exciting new voices. Unfortunately, the verdict on Peter Orullian is still pending. While the author shows tremendous potential in The Unremembered—specifically a confident writing style highlighted by rich prose, comprehensive world-building, characters who realistically struggle internally, and an obvious passion for the genre—the novel's overwhelming use of fantasy tropes and conventions is a major drawback. As a result, much of the book's positive moments are canceled out by negative ones, culminating in a debut that is neither great nor terrible, but instead falls somewhere in between. Still, if Peter Orullian can build on his strengths, while tightening up his writing and making a more concerted effort at forging his own identity, then the author could eventually become a force to reckon with...
11 comments:
I am going to post my review for this one sometime this week, but I agree with your analysis of it. There wasn't enough "new" here, and that disappointed me.
- April 4, 2011 at 12:37 AM
- Robert said...
Thanks for the heads up Sarah! I look forward to reading your review of the book. I'm also curious to see what other people think of the novel...
- April 4, 2011 at 12:19 PM
@ Sarah
what "new" were u expecting?in fantasy ? LOL
i have this on pre-order,thanks for the review. - April 4, 2011 at 2:06 PM
Did I miss is or did you not specify if this is a stand-alone or the beginning of a series?
- April 4, 2011 at 7:10 PM
- The Reader said...
Hi Richard
The Unremembered is the first volume of the Vault of Heaven series. The series currently is slated to be at 3 books but I think if it is well received there could be more to follow.
Mihir - April 4, 2011 at 9:38 PM
- Robert said...
Malazan, I think you might see what Sarah is talking about after you read the book...
Richard, I usually specify whether a novel is self-contained or part of a series in the 'FORMAT/INFO' section of the review... - April 4, 2011 at 9:45 PM
- Bushleague Critic said...
"Richard, I usually specify whether a novel is self-contained or part of a series in the 'FORMAT/INFO' section of the review..."
But books can be both self-contained AND part of a series. Your information isn't enough. I think what many readers want to know is; "Does this book have an ending?" Or does it just stop at a rather inopportune time? Is there any closure at all? Or is it just a 672 page introduction?
Especially in this genre, these are details that more and more readers want to know--and bloggers need to be supplying them... since publishers won't. Are we being sold a story--or teased into helping create a new franchise?
Help a reader out. ;) - April 5, 2011 at 7:28 AM
- Robert said...
You're right Doug about whether a book can be both self-contained AND part of a series. The Long Price Quartet immediately comes to mind. And honestly, I usually do specifiy whether the book has any closure, ends on a cliffhanger, etc. However, in this case, I did not do that and I apologize.
So to answer your and Richard's question, there is a little closure at the end of the novel pertaining to the quest that comprises most of the book, but like many titles that kick off an epic fantasy series, a lot of stuff is left unresolved... - April 5, 2011 at 10:13 AM
- Bushleague Critic said...
Perfect! Thanks for the info.
Now that you mention it, you are usually pretty good about including those details. So you get a pass for missing one. ;)
It's especially important on Book one of's...
In the case of this book: mediocre review + "a little resolution" = wait until the series is closer to completion. :) - April 5, 2011 at 10:46 AM
- Robert said...
You're welcome for the info Doug :) I think in this case, I was so caught up in other details (characterization, world-building, etc.) of the book, that I simply forgot how the novel ended.
As you said, it's important to include that information, especially for new series, and I'll try and do a better job of it in the future :D - April 5, 2011 at 12:24 PM
- M. R. Mathias said...
To the author... Your map links are awesome. I had to do mine myself by hand because of my indie budget ( $00 ) :-)
I would love to have that cool of a zooming layout and terrain texture for either of my series. - April 9, 2011 at 5:36 PM


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"Fillable" 5 Team
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FRAUD ALERT! Targeting Veterans
November 2013
The Department of Veterans Affairs has issued a fraud alert about a marketing scam that is targeting veterans who misdial the VA National Call Center (800-827-1000) or the GI Bill Call Center (888-442-4551) phone numbers. A marketing company created two phone numbers that differ from the real VA numbers by one digit. If a veteran misdials and calls the bogus number, the answering party will offer a gift card and try to obtain sensitive personal data, to include credit card information. Please note that the VA will never ask for credit card or banking information over the phone.
The two bogus numbers are 800-872-1000 and 888-442-4511. Please forward this information to all your members, Posts and friends, and share it on your websites. The bottom line is make sure you know who you are talking to before providing personal information over the phone. The VA has notified law enforcement authorities.
For a list of toll-free VA phone numbers, go to the VA's Inquiry Routing & Information System webpage.


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HMRC has warned that businesses must declare any coronavirus (COVID-19) support grants or payments on their company tax returns and stated that the grants and payments are taxable.
The deadline for filing company tax returns is 12 months after the end of the accounting period it covers.
The deadline for taxpayers or agents filing company tax returns (CT600) is 12 months after the end of the accounting period it covers. The deadline to pay corporation tax will depend on any taxable profits and when the end of the accounting period occurs.
Taxable grants include:
test and trace or self-isolation payments in England, Scotland and Wales
Coronavirus Statutory Sick Pay Rebate
Coronavirus Business Support Grants (also known as local authority grants or business rate grants).
If a company received a Coronavirus Job Retention Scheme (CJRS) grant or an Eat Out to Help Out payment, they will need to do both of the following on their CT600 tax return:
include it as income when calculating their taxable profits in line with the relevant accounting standards
report it separately on their company tax return using the CJRS and Eat Out to Help Out boxes.
Myrtle Lloyd, HMRC's Director General for Customer Services, said: 'We want to make sure companies are getting their tax returns right, first time, including any COVID-19 support payment declarations. Support and guidance is available on GOV.UK.'


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Monday, September 24, 2012
Orange is not my colour
As this is a great honour in the geneablogging world I RSVP'd without haste. Having booked my aeroplane ride to the US and a post Rootstech recovery cruise several months ago I have been committed to attend for some time. Actually I was committed when Mr Geniaus (a supportive non-genealogist) who travelled with me to Rootstech this year commented just after the Conference "We'll do ...... when we come next year".
You see Mr Geniaus, who has no interest in research but loves family stories, was able to appreciate the value of this conference to a little old Australian Granny who loves technology and genealogy. Although research is not his thing he was infused with the excitement that is part of this event. He enjoyed meeting some of my online geneapals like Thomas MacEntee, Footnote Maven, Audrey Collins, Amy Coffin, Banai Feldstein, James Tanner, Randy Seaver, Dear Myrtle and Lisa Alzo and was able to see why I enjoyed meeting up with them in person. He realised that they are not a bunch of weirdos but a passionate and intelligent group of enthusiasts with a shared interest. In other words he approved.
I am excited, as the Antipodean Official Blogger, that a couple of my Australian Genimates will be travelling to Rootstech for the first time next year and I know of two others who have applied for financial support to attend. I look forward to introducing members of the Aussie contingent to my mates in Salt Lake City. I will try to report on the conference happenings for those who can't make the journey although, once the proceedings get underway, these posts may just consist of photos snapped along the way.
I believe that there will be a big update to the Rootstech site in the next day or so (I am timezone challenged so am not sure exactly when this will occur) and that earlybird registrations will then open. So please watch the Rootstech site. As it is already the 24th September in Australia (when I am allowed to share the news) I will schedule this post for early morning Salt Lake City time.
Thanks also to the Rootstech organisers for offering Official Blogger Badges in a range of colours other than Orange.
5 comments:
- Cassmob (Pauleen) said...
Congratulations Jill! A well deserved honour, and I'm glad you don't have to go with orange ;-) We're all looking forward to your updates as in previous years.
- September 24, 2012 at 7:46 PM
- GeniAus said...
Thanks Pauleen. I am rather chuffed - love having an opportunity to highlight Australia to the world.
- September 24, 2012 at 9:11 PM
- Sharon said...
Congratulations! Would love to see you there in person. Perhaps I'll get there one day.
- September 25, 2012 at 6:07 AM
- Amy Coffin, MLIS said...
1. Congratulations on the Official Blogger designation. A very fine choice on their part.
2. I also love the color choices! I was so excited to see blue, bit I think green goes well on my blog, too.
3. Thank you for the mention in your post. I enjoyed meeting Mr. Geniaus, too. He's good company!
4. I'm so glad some of your fellow Auusie Genimates are coming. New friends! - September 25, 2012 at 7:17 AM
- Kerryn Taylor said...
Congratulations Jill! I look forward to reading about it all
- September 25, 2012 at 12:24 PM


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Statements By President Obama French President Sarkozy And British Prime Minister Brown On Iranian Nuclear Facility
Office of the Press Secretary
For Immediate Release September 25, 2009
For Immediate Release September 25, 2009
Pittsburgh Convention Center
Pittsburgh, Pennsylvania
Pittsburgh, Pennsylvania
PRESIDENT OBAMA: Good morning. We are here to announce that yesterday in Vienna, the United States, the United Kingdom, and France presented detailed evidence to the IAEA demonstrating that the Islamic Republic of Iran has been building a covert uranium enrichment facility near Qom for several years.
Earlier this week, the Iranian government presented a letter to the IAEA that made reference to a new enrichment facility, years after they had started its construction. The existence of this facility underscores Iran's continuing unwillingness to meet its obligations under U.N. Security Council resolutions and IAEA requirements. We expect the IAEA to immediately investigate this disturbing information, and to report to the IAEA Board of Governors.
Now, Iran's decision to build yet another nuclear facility without notifying the IAEA represents a direct challenge to the basic compact at the center of the non-proliferation regime. These rules are clear: All nations have the right to peaceful nuclear energy; those nations with nuclear weapons must move towards disarmament; those nations without nuclear weapons must forsake them. That compact has largely held for decades, keeping the world far safer and more secure. And that compact depends on all nations living up to their responsibilities.
This site deepens a growing concern that Iran is refusing to live up to those international responsibilities, including specifically revealing all nuclear-related activities. As the international community knows, this is not the first time that Iran has concealed information about its nuclear program. Iran has a right to peaceful nuclear power that meets the energy needs of its people. But the size and configuration of this facility is inconsistent with a peaceful program. Iran is breaking rules that all nations must follow -- endangering the global non-proliferation regime, denying its own people access to the opportunity they deserve, and threatening the stability and security of the region and the world.
It is time for Iran to act immediately to restore the confidence of the international community by fulfilling its international obligations. We remain committed to serious, meaningful engagement with Iran to address the nuclear issue through the P5-plus-1 negotiations. Through this dialogue, we are committed to demonstrating that international law is not an empty promise; that obligations must be kept; and that treaties will be enforced.
And that's why there's a sense of urgency about the upcoming meeting on October 1st between Iran, the permanent members of the U.N. Security Council, and Germany. At that meeting, Iran must be prepared to cooperate fully and comprehensively with the IAEA to take concrete steps to create confidence and transparency in its nuclear program and to demonstrate that it is committed to establishing its peaceful intentions through meaningful dialogue and concrete actions.
To put it simply: Iran must comply with U.N. Security Council resolutions and make clear it is willing to meet its responsibilities as a member of the community of nations. We have offered Iran a clear path toward greater international integration if it lives up to its obligations, and that offer stands. But the Iranian government must now demonstrate through deeds its peaceful intentions or be held accountable to international standards and international law.
I should point out that although the United Kingdom, France, and the United States made the presentation to Vienna, that Germany, a member of the P5-plus-1, and Chancellor Merkel in particular, who could not be here this morning, wished to associate herself with these remarks.
I would now like to turn to President Sarkozy of France for a brief statement.
PRESIDENT SARKOZY: (As translated.) Ladies and gentlemen, we have met yesterday for a meeting -- a summit meeting of the Security Council on disarmament and nuclear disarmament. I repeated my conviction that Iran was taking the international community on a dangerous path. I have recalled all the attempts that we have made to offer a negotiated solution to the Iranian leaders without any success, which what has been revealed today is exceptional. Following the enriching plant of Natanz in 2002, it is now the Qom one which is revealed. It was designed and built over the past several years in direct violation of resolutions from the Security Council and from the IAEA. I am expecting from the IAEA an exhaustive, strict, and rigorous investigation, as President Obama just said.
We were already in a very severe confidence crisis. We are now faced with a challenge, a challenge made to the entire international communities. The six will meet with the Iranian representatives in Geneva. Everything -- everything must be put on the table now.
We cannot let the Iranian leaders gain time while the motors are running. If by December there is not an in-depth change by the Iranian leaders, sanctions will have to be taken. This is for the peace and stability. Thank you.
PRIME MINISTER BROWN: America, the United Kingdom, and France are at one. Iran's nuclear program is the most urgent proliferation challenge that the world faces today.
As President Obama and President Sarkozy have just said, the level of deception by the Iranian government, and the scale of what we believe is the breach of international commitments, will shock and anger the whole international community, and it will harden our resolve.
Confronted by the serial deception of many years, the international community has no choice today but to draw a line in the sand. On October the 1st, Iran must now engage with the international community and join the international community as a partner. If it does not do so, it will be further isolated.
And I say on behalf of the United Kingdom today, we will not let this matter rest. And we are prepared to implement further and more stringent sanctions.
Let the message that goes out to the world be absolutely clear: that Iran must abandon any military ambitions for its nuclear program. Thank you.
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Hand-painted in Lithuania, these candles stand out in their simplicity. The flatter design is a unique approach to candles that has a minimal (and eye-catching) feel. The twin wicks burn evenly and self-extinguish as they near the steel base, without any dripping wax or smoke. Materials: Paraffin wax, steel, wick Includes one handmade flat candle and steel stand Twin wicks ensure candle burns evenly and self-extinguishes as it nears the base Steel stand helps make candle attractive display piece and doubles as a snuffer Non-dripping, evaporates as it burns Unscented and smoke-free Every candle is hand painted Creative gift and great stocking stuffer Burning time: 3-4 hours Warning: Not for use by children Made in Lithuania Dimensions: 2.4" x 0.4" x 5.9" Weight: 0.22 lb.
Paraffin wax, steel, wick
2.4" x 0.4" x 5.9"


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Oven Pulled Pork
Dining date: 5/1/11
I've been wanting to make some type of pulled pork for a little while. I wish I had an outdoor smoker – I would totally have smoked a pork shoulder by now. Alas I do not, but I stumbled upon some recipes for oven pulled pork that promised good results.
Combine this with the fact that I stumbled upon these two items from Thomas Keller's line of Ad Hoc goods, and my idea was set.
I've had very good results with some of TK's at-home products (see: Ad Hoc Fried Chicken), and this would be an opportune time to try some more of them.
Preparing and cooking the pork required lots of time, though with minimal effort. I started by applying the rub all over the pork the night prior, planning to let it sit and marinade in the refrigerator overnight. I also added some fennel seed, as well as fresh garlic and rosemary into some of the cavities.
Early in the morning, I set my oven to 225 degrees. I roasted the pork low and slow for about 10 hours until the internal temperature was 195 degrees. It really seemed to take forever; I had my thermometer in the whole time and I could see the increase in temperature become exponentially slower….I remembered something about this in my high school science class. Resisting the urge to turn up the oven temperature, the gentle cooking ensured the connective tissue had a chance to break down and let the meat become nice and tender.
The exterior of the pork developed a crisp "bark," and I could easily tell the interior was full of tender meat. However I stayed patient and let it rest for a little while, then separated the large chunks of fat from the meat, and broke apart the meat with two forks.
Voila! I ate some of this right away – the pork was tender, flavorful and moist. But I knew it could be better – I tossed some of the meat in the barbecue sauce and created a sandwich.
I paired the sandwich with some simple potato chips. These were actually pretty good in the sandwich too, adding some saltiness and texture to the sweet, tender meat. I was pretty happy with the way this turned out, and it's a very cost-efficient way to feed a crowd (pork shoulder/butt is usually less than $2/lb). Though in this case, the Ad Hoc ingredients were quite expensive. One could create a similar rub and BBQ sauce at home for much cheaper, but it was fun to try.


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When Geopolitical Conditions And Moral Values Converge
The geopolitical developments in the Middle East over the past fifteen years have created new political and security dynamics engendered by the violent turmoil and profound concerns over the Iranian threat, shared by Israel and the Arab states. Israel is now facing a new critical juncture: continue with its oppressive occupation and creeping annexation of Palestinian land, which stands in total contrast to its moral responsibility and Jewish values; or seek a peace agreement with the Palestinians in the context of an Arab-Israeli comprehensive peace, which the Arab states seek now more than any time before because of their domestic and foreign security concerns.
The current government, led by Netanyahu with the support of three radical ministers, Lieberman, Bennett, and Shaked—who hold the key ministries of Defense, Education, and Justice respectively—relishes the new geopolitical environment. They complement each other by developing a defense posture, biased educational curriculum, and skewed public narrative while weakening the judiciary, with Netanyahu orchestrating the long-term strategy that denies the Palestinians a state of their own.
Blinded by the euphoria created by Trump's recognition of Jerusalem as Israel's capital, and the near-unimpeded expansion of settlements and annexation of Palestinian land, the ministers feel confident that the occupation is no longer a major concern to the Arab states. And with the unwavering backing of Trump, they are assuming a free hand to do what they choose with impunity. They are tragically wrong.
Israel must now seize the momentous, time-sensitive opportunity provided by the changing geopolitical regional dynamic precipitated by the common Iranian threat against Israel and the Arab states. The leading Arab states, especially Saudi Arabia, Egypt, Jordan, and the Gulf states, view Israel today as a strategic ally rather than an enemy, which presents Israel with two options:
The first is to make further territorial gains by building new, expanding existing, and legalizing illegal settlements, which will basically foreclose any prospect of reaching an Israeli-Palestinian peace agreement based on two states. This will not stop the Arab states from cooperating with Israel because of their preoccupation with domestic and foreign threats, which assumes priority over the Palestinians' aspiration for statehood.
The relatively mute reaction to Trump's recognition of Jerusalem as Israel's capital only reinforces the view that the Arab states' anxieties about the Iranian threat takes precedence, even over such a sensitive issue as the future status of Jerusalem.
That said, although the Arab states want to normalize relations with Israel, they will not do so because that would be seen as a blatant betrayal of the Palestinian cause which they have championed for decades. Instead, they would (continue to) maintain tacit strategic cooperation with Israel against Iran, which they need, but deprive Israel of a comprehensive peace which the Israelis greatly seek.
The second option for Israel is to capitalize on its current state of relations with the Arab countries by reaching out to the Palestinians to resume serious peace talks. This may well be a historic opportunity because the Arab states, who want to maintain their strategic cooperation with Israel, are now predisposed to pressure the Palestinians to make important concessions to Israel, especially on national security, refugees, and land swaps.
The current conditions provide a rare opportunity to reach a peace agreement that can be implemented over a long period of time (ten years or more), during which both sides can develop trust (which is sorely lacking) through joint socio-economic projects while cementing security arrangements and cooperation.
By establishing a Palestinian state, Israel will end its human rights violations and stop the continuing moral erosion precipitated by the occupation, which has infected the country for five decades and severely undermined Jewish values and humanitarianism. These values were the very secret behind Jewish survival throughout the millennia, even though they were subjected to discrimination, persecution, expulsion, and death.
As Rabbi Daniel Polish eloquently stated in his writing "Judaism and Human Rights", "The system of values and ideas [on which human rights are based] are among the beliefs which constitute the very core of Jewish sacred scripture and the tradition of ideas and practices which flows from it…"
At their core, Netanyahu and his company are dedicated to the idea that God bequeathed the "Land of Israel" exclusively to the Jews, which justifies taking any measure, however wrong and humanly abusive, to secure the land in perpetuity in the name of God. They have become oblivious to the fact that "Human rights are an integral part of the faith and tradition of Judaism."
The right-wing segment of the Israeli population views the development of events between Israel and its Arab neighbors, and the US' recognition of Jerusalem as Israel's capital, as proof of the unassailability of the Netanyahu government's judgment and policies. But there is nothing further from the truth.
If these policies could, in fact, lead to a comprehensive peace, I'd say, stay the course. But given the volatility of the Middle East, today's friends may well become the foes of tomorrow. This is a prospect that the Netanyahu government cannot ignore.
At the present, the Saudis and other Gulf states need strategic cooperation with Israel, as it serves their interests as long as Iran is seen as a threat to their national security. This could change in many ways, including the mitigation of the Saudi-Iranian conflict, once Syria and Iraq stabilize, in which case strategic cooperation with Israel becomes irrelevant.
Without striking a peace agreement with the Palestinians and the rest of the Arab states, Israel will leave itself vulnerable to the changing geopolitical environment. Can Netanyahu, Lieberman, Bennett, and Shaked guarantee they can indefinitely frame the development of events in the region to Israel's advantage?
There is no real adversary today that can potentially destroy Israel. Israel's greatest enemy comes from within—its misguided leaders, whose blind messianic mission will be behind the destruction of Israel as a Jewish and democratic state.


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Vending Services in Ruston, WA
Vending machine service companies can be hired quickly in Ruston, WA using EpikVending.com's hassle free quote form above. There are over 843 potential users across more than 0 square miles in Ruston, WA. On average across the US, the revenue generated by a vending machine is around 27 dollars per capita annually. The likely cashflow of a combination vending machine at a busy store in Ruston, WA is estimated to be $335 per month. There are around 15 currently operating in Ruston, WA, so adding an additional vending machine service could be easy money.
The vending machine business continues to increase at an exponential rate, and business potential in Ruston, WA is no exception. Areas with population growth vs population reduction can greatly improve profits or slash them, respectively. Some of the more lucrative locations to place a vending machine include business break rooms, high traffic areas like schools or retail stores, apartment complexes with gyms, parks, or laundry facilities, and hospitals.
Other Cities Nearby Ruston, WA
What's included in the service?
Vending machine service companies will manage the stocking of products and maintenance of your vending machines, so it's practically a zero time investment revenue source for you.


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Sephora at Kohl's Plymouth
Store HoursOpen until 09:00 PM today
Mon - Sat09:00 AM - 09:00 PM
Sun09:00 AM - 08:00 PM
Sephora promotions and rewards may not apply at Kohl's stores.
Services and Events at Sephora
Explore our beauty services and free events at your store today.
Explore Services and Events


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Come As You Are: The Story of NirvanaCrown, 1. ruj 1993. - Broj stranica: 336 The definitive biography of the revolutionary band Nirvana and its star-crossed frontman Kurt Cobain, hailed by Rolling Stone as "the first [book] to comprehensively tell the band's tale from Aberdeen, Wash., to world domination" "Amazingly raw and candid . . . an unsparing and extremely honest depiction of the group's highly tumultuous history . . . Come As You Are is as good as rock bios get."—Billboard "Just tell the truth. That'll be better than anything else that's been written about me."—Kurt Cobain Nirvana came out of nowhere in 1991 to sell nearly five million copies of their landmark album Nevermind, whose thunderous sound and indelible melodies embodied all the confusion, frustration, and passion of the emerging Generation X. Come As You Are is the close-up, intimate story of Nirvana—the only book with exclusive in-depth interviews with bandmembers Kurt Cobain, Krist Noveselic, and Dave Grohl, as well as friends, relatives, former bandmembers, and associates—now updated to include a final chapter detailing the last year of Kurt Cobain's life, before his tragic suicide in April 1994. Vivid, evocative, and thought-provoking, Come As You Are is an essential document not just for Nirvana fans but for anyone interested in the cultural legacy of the 1990s. |
Odjeljak 1 | 67 |
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Odjeljak 3 | 93 |
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Broj ostalih dijelova koji nisu prikazani: 16
Ostala izdanja - Prikaľi sve
Uobičajeni izrazi i fraze
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This month KOSC is reading a Valentine's Day book, one specifically dedicated to self-love. Join book club on February 16th for a discussion of Brené Brown's book, Daring Greatly: How the Courage to Be Vulnerable Transforms the Way We Live, Love, Parent, and Lead.
Details regarding and a possible carpool from base will be coordinated with registered attendees closer to the event.
See below for a brief description of the book.
Researcher and thought leader Dr. Brené Brown offers a powerful new vision that encourages us to dare greatly: to embrace vulnerability and imperfection, to live wholeheartedly, and to courageously engage in our lives. "It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; . . . who at best knows in the end the triumph of high achievement, and who at worst, if he fails, at least fails while daring greatly." —Theodore Roosevelt Every day we experience the uncertainty, risks, and emotional exposure that define what it means to be vulnerable, or to dare greatly. Whether the arena is a new relationship, an important meeting, our creative process, or a difficult family conversation, we must find the courage to walk into vulnerability and engage with our whole hearts. In Daring Greatly, Dr. Brown challenges everything we think we know about vulnerability. Based on twelve years of research, she argues that vulnerability is not weakness, but rather our clearest path to courage, engagement, and meaningful connection. The book that Dr. Brown's many fans have been waiting for, Daring Greatly will spark a new spirit of truth—and trust—in our organizations, families, schools, and communities.


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Tuesday, February 2, 2010
Blanche Lincoln Poll
Lincoln's approval rating has sunk to just 27%, with 62% of voters in the state disapproving of her. She's at a middling 51% even within her own party and just 17% of independents and 9% of Republicans are happy with how she's doing.
A look inside the health care issue gives a good indication of how Lincoln has managed now to get it from all sides. 61% of voters in the state oppose the President's plan, and among those folks Lincoln's approval rating is just 8% with 79% of them expressing the belief that she's too liberal. But she's managed to antagonize a lot of the people who support the Democratic health care plan as well- 36% of them think she's too conservative and her approval with them is just 57%. Barack Obama's at 95% with that same group of voters.
What it all adds up to is Boozman winning 89% of the Republican vote while Lincoln's at just 68% with Democrats. And Boozman has a 66-20 lead with independents as well.
Boozman is not all that well known- a 43% plurality of the state's voters have no opinion about him one way or the other. Among those who do 32% view him favorably to 25% unfavorably.
Because of Lincoln's precarious position we tested some other potential Democratic candidates against Boozman as well, and while most of them do better the numbers are still an indication that it will be hard for anyone to keep the seat in the party's hands. Lieutenant Governor Bill Halter basically polls the same as Lincoln, trailing 53-30. General Wesley Clark trails 51-36. Congressman Mike Ross is at a 48-37 disadvantage. And perhaps most surprising, highly popular and even more highly unlikely to run for the Senate Mike Beebe trails 44-43 in a hypothetical contest despite a 59/22 approval rating that rates among the best for any politician we've polled across the country this year.
That's an indication Arkansas just doesn't want to send another Democrat to Washington this year, at least at this point nine months before the election. Obama's at a 38/58 negative approval rating in the state, its voters are opposed to his health care plan by a 30/61 margin, and only 27% approve of the job Congressional Democrats are doing to 63% who disapprove. The Congressional GOP is not a whole lot more popular at a 29/55 approval spread, but continuing a trend we're finding everywhere we poll more than a quarter of voters in the state disapprove of both parties and they're going for Boozman over Lincoln by a 67-18 margin. If you hate everyone, you tend to 'throw the bums out' at least in hopes that things will change.
It's going to be a tough year for Democrats in Arkansas. Marion Berry and Vic Snyder already saw the writing on the wall and got out of there. Many would like to see Lincoln do the same, but it's clear that Lincoln or no Lincoln this is going to be a very tough hold for Democrats.
And finally a word on sampling since I know these poll results will be a little shocking. Those polled reported voting for John McCain by a 17 point margin- he actually won the state by 20 points so that's even a little charitable for Democrats. And the party breakdown of 36% Democrats, 32% Republicans, and 32% independents matches the 2008 electorate perfectly (even though we don't weight for party.) So as surprising as these results may be we're pretty confident they're an accurate representation of current public opinion in the state.
Full results here
11 comments:
So much for the whole "Draft Halter" movement stirred up by the Netroots huh?
- February 2, 2010 at 11:09 AM
The mask has fallen off the "moderate" democrats. Nice knowin' ya, Blanche. I think West Virginia will be the next state to fully convert to red. :-)
- February 2, 2010 at 11:45 AM
- Christian Liberty said...
So, Blue Dog Mike Ross (who has no statewide base and has never won a statewide election) has more chance of holding the senate seat than progressive LtGov Halter (who has a statewide base and has run a statewide election). Ross voted against the government-run plan and voted against the overall bill. And the general election matchup shows that these positions are much more in tune with Arkansas voters.
- February 2, 2010 at 12:48 PM
- d.eris said...
How are the third party and independent candidates polling in this race?
- February 2, 2010 at 12:50 PM
FINALLY! The people have recognized that Blanche is simply a slave to Democratic leadership. She only votes against the party on bills they know they can pass without her.
- February 2, 2010 at 4:07 PM
- livfreeordi said...
Doesn't look too good for Democrats ANYWHERE in the US this year.
Even in my overwhelmingly Democratic state of New York, Chuck Schumer is polling at or just below 50% approval.
If Larry Kudlow decides to run against him, Schumer is in real trouble.
Because of all the liberal wish list legislation being forced thru this year, particularly the healthcare reform legislation, independents, who generally lean conservative even in New york , are mad as hell at the Democratic Party this year and they want to take some scalps.
If this continues and grows, the GOP may very well take back control of Congress...even the Senate. - February 2, 2010 at 6:37 PM
"Lincoln's approval rating has sunk to just 27%, with 62% of voters in the state disapproving of her."
Can I ask a dumb question? If the voters are so disenchanted with her, why can't they recall her and replace her with someone more responsive and effective? Is it really that hard to recall an incumbent? Or are congressmen and senators immune from recall? (If the latter, maybe the Tea Parties can work to fix that) - February 2, 2010 at 8:21 PM
- Mark Moore (Moderator) said...
Why do you proclaim Boozman the "frontrunner" when you don't poll her against any of the other Republican candidates in the race?
Jim Holt for example, should poll just as well against her as Boozman. - February 2, 2010 at 11:17 PM
If nothing else, you would know Blanche was in trouble by watching today's visit by Obama to the Democratic caucus. Harry Reid, himself in deep trouble, had Democrats facing defeat in November asking the questions to give them camera time. Blanche asked a question, Barbara Boxer, the appointee who replaced Hillary, Snarlin' Arlen Spector . . . it was like looking at a lineup of the doomed.
- February 3, 2010 at 11:45 AM
I am always amazed at the connection between states that have the worst health care in the country and their strong support of no health care reform.
It bamboozles me upside the head. - March 8, 2010 at 12:25 PM
It will be nice to see, after the November election, both Blanche Lincoln and Bill Halter out of a job!!!
- April 6, 2010 at 8:31 AM


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July 20, 2024
Doors: 7:00 PM / Show: 7:30 PM
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Buy Tickets$45
In 1967, a little-known vocal group called the 5th Dimension recorded the song "Up, Up and Away" which catapulted the group to instant stardom. Countless magazine covers, world tours and several Grammys later, the 5th Dimension is recognized as one of the most prolific soul, R&B groups in musical history.
The 5th Dimension has made over 25 million in sales with 22 Top 40 hits and five No.1 songs, including "Up, Up and Away," "Wedding Bell Blues," "One Less Bell to Answer," "Last Night I Didn't Get to Sleep At All," and the iconic "Aquarius/ Let the Sunshine In". They have performed on the world's most famous stages, including Radio City Music Hall alongside Frank Sinatra and the Hollywood Bowl, and delivered unforgettable television performances on the Ed Sullivan Show, Soul Train and The Tonight Show with Johnny Carson. The 5th Dimension has secured its position in the Grammy Hall of Fame, with 14 gold records, six platinum records and six Grammy Awards.
In 2015, The 5th Dimension celebrated 50 years of extraordinary entertainment. Original member Florence LaRue and company continue to deliver dynamic performances that stand the test of time and captivate audiences from Las Vegas to Manila, Philippines.
While remaining true to their original, five-part harmonic sound, The 5th Dimension remains versatile, attracting audiences of all ages and nationalities. Within the last decade, The 5th Dimension has taken the stage with several prestigious symphony orchestras, entertained at the White House and performed for families at Disneyland in California and Disney World in Florida, demonstrating the groups diverse appeal. The iconic group continues to sell out venues across the United States, Europe and Asia.
According to a recent review by White Plains Citizens, "[The 5th Dimensions'] voices and harmony are stronger, more emotional and as meaningful, perhaps more meaningful than when they first became hits in the 1965-1975 era. Today's Dimensions deliver a tight, personal show, as crisp as old top 40 Radio."


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NEW YORK (CNNMoney) -- Apple's value on the stock market briefly rose to $400 billion on Thursday, a record high for what was already the world's most valuable technology company.
The company's market cap slipped below the $400 billion mark by midday as Apple's (AAPL, Fortune 500) stock fell back from the all-time high of $431.37 it set earlier in the morning. Shares ended the day slightly down, leaving Apple with a $398 billion market value.
Still, that puts Apple in some pretty exclusive territory. Only Exxon Mobil (XOM, Fortune 500) has a higher valuation, at about $420 billion. PetroChina (PTR) is Apple's closest competitor, at $270 billion, and Microsoft (MSFT, Fortune 500) follows at $235 billion.
Apple's market cap is higher than the gross domestic product of Greece, Austria, Argentina, or South Africa. (For more comparisons, check out this excellent blog: Things Apple is Worth More Than.)
Despite its size, Apple is still one of the fastest growing technology companies. The company will report its finances for the past quarter next week, and analysts expect Apple to announce that its sales grew by 45% compared to last year, according to a survey conducted by Thomson Reuters.
Unsurprisingly, Apple topped CNNMoney's survey of technology analysts about the best tech company to invest in for the future. Choosing Apple for the prestigious spot as one of the Four Horsemen of Tech, respondents noted that Apple is a frontrunner in the smartphone revolution. Its iPad created a new category of mobile computing, and Apple has embraced cloud computing with its high-profile iCloud.
Apple's growth is a stunning achievement for a 35-year old company that had a market cap of just $10 billion a decade ago.
The company's turnaround began with the launch of the iPod, and growth really skyrocketed after the iPhone's release in 2007. Apple is forecast to have sold a record 30 million iPhones last quarter, following the launch of the iPhone 4S in October.
Apple on Thursday announced three new initiatives to reinvent the textbook, including the ability to create and publish searchable, updatable and interactive e-textbooks for the iPad. The company also released a publishing tool for secondary school curriculums and instituted a $15 price cap for e-textbooks on the iBookstore.


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Product Description
This racerback tank is soft, lightweight, and form-fitting with a flattering cut and raw edge seams for an edgy touch. • 50% polyester/25% combed ring-spun cotton/25% rayon • Fabric weight: 4.2 oz (142 g/m2) • Raw edge seams • Fabric is laundered to reduce shrinkage
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"Bixby" Giclee
On sale
Giclee print scanned from my original painting "Bixby" and professionally printed with archival inks on thick, smooth fine art paper from Hahnemuhle.
8" x 8" includes white border, signed with year and title - it is ready to frame and hang!
Ships in a protective clear bag with a backing board.


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Customs Brokerage
Global trade is more of a challenge today than ever before. Businesses must navigate complex trade agreements and maintain compliance with a host of international regulations. Add to that the heightened importance of national and international security. With these challenges, it's critical to have a knowledgeable guide to help you navigate international commerce.
Customs Clearance With over 80 years of experience and customs brokerage services offered in more than 60 countries worldwide, UPS Supply Chain Solutions can provide you with global coverage and reliable service.
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Trade Management Outsource all or part of the daily management of your international trade activities. With our Managed Services offering, we can develop a customized program that provides complete outsourcing services for import and export or manage specific functions based on your needs.*
* Provided by UPS Trade Management Services, Inc.


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By Mark Winteringham
The Software Testing Clinic is a safe environment for those who are interested in software testing to learn and enhance their testing skills. It also enables more experienced testers to learn and enhance their mentoring skills. At Software Testing Clinic events, we get asked a lot of good questions and not all of them we can answer in detail. This series explores some of the more common questions attendees ask.
Recently the question of what makes a test good or bad has come up, not only at Software Testing Clinic but at some of my own personal workshops that I've run. Personally, I don't believe there is such thing as a good test or a bad test. Even if I run the most simple and shallow of tests, if it reveals a bug, helps me come up with a new test idea, or reveals some information that is new or useful to me, then it's a good test. This doesn't mean that I can solely rely on simple or shallow tests.
There are many different types of tests and all of them can be of value to a tester; I want to ensure that each one I decide to employ is of the highest quality I can muster. The quality of a test will determine the value of the test. A poor quality test tells me very little, something I already knew or worse, nothing at all. A quality test will help me continue testing, and share new and interesting information with the team. So let's explore how to make a quality test.
The Role Of Testing
Before looking at how to create a quality test, it's important to ask "why is there testing in the first place?" "What is the role of testing?" These can be slightly contentious topics (and ones for another article) but my view is that my role as a tester should be to learn as much about the product and project as possible. I want to discover as much useful information as possible to share with my team to help them be awesome. This information can tell me:
- How a stakeholder(s) wants the product to work.
- How it actually works.
- How to come up with new test ideas.
- Are there any bugs within the product.
As a tester, it's my responsibility to go forth and find that information; something that the very excellent EvilTester promotes regularly in his books and talks. This responsibility means that I have the freedom to create any type of test I want, but I need to ensure that what I create is revealing information that my team can use to succeed.
Working With Risk
We need to determine what information we want and see how that information can inform our testing. Our products are subject to many different risks. For example, there are risks that could break the product, damage the reputation of your company, or cause injury to someone! As testers, the most important information we want to discover is information about those risks. A quality test is therefore focused on revealing information related to a risk because it is allowing you to be open all kinds of details. Whereas, if you are testing simply to find bugs, then you may miss information to assist in new test ideas, whether the product is meeting business expectations or even bugs that we don't know are bugs until we share what we've learnt with others.
Before we create our test, we need to identify and discuss potential risks we are concerned about, as a team. As a product or business analyst shares their vision and requirements we can attempt to understand those ideas by discussing them and asking questions. These activities will help us to form ideas about the risks we want to learn about.
Forming Test Ideas
Once you understand the risks your testing is focused toward, and you have something in front of you to test, then it's time to start thinking about your test ideas. Remember, a quality test is one that will reveal valuable information to you related to specific risks. Try to think of something specific you want to learn about your product. Creating questions in your head, or noting them down, is a valuable contribution towards coming up with ideas. For example, you could try using the five W's H technique which allows you to ask questions such as:
- What if I was to add bad data in?
- How does this form send data to a service?
- When I click on this button twelve times what happens?
Take your test ideas and think about how you are going to execute them against your systems under test. Let's say you are testing for a risk that exists in the backend system when it is populating data in a database. What would happen and what would you learn by executing a test for that backend via the Graphical User Interface versus an HTTP interface? Each of these approaches will behave differently and return different information.
Think about the things you might be gaining or missing from testing with a GUI or a HTTP interface. For example, working on the HTTP interface might tell you that any bugs found are specifically coming from the backend, whereas if you did it via GUI, the bug could look like it was from a GUI technology such as JavaScript. If you were testing via the GUI, you might discover that certain values being returned from the backend were breaking the layout of the product.
Conduct The Test
It's important to remember that when you execute a test, it is only as good as your observational skills. Crafting a quality test to reveal information is worthless if you don't learn from it. If you are focused on specific behaviour, actions or pieces of information, you may miss other important details. This is a common error humans make in the form of a cognitive bias, which is also known as inattentional blindness, where an individual fails to notice unexpected events that are appearing in plain view. However, if you try to broadly take in lots of details at the same time, the information can become overwhelming and have you scrambling to take down notes or think of ideas for your next test. You need to strike a balance with how much information you want to be looking for or receiving.
Closing The Loop
We've looked at some key points to create a quality test, but how can you judge something that is subjective? This simple heuristic can tell you if your test is good quality:
"if you feel you are learning more about what you are testing, then it's probably a good test."
It should help you think of new ideas, new risks, and inform you of important details which you want to share with your team (both good and bad).
If you find that what you've learnt from your tests isn't useful, it may be for a number of reasons:
- The test itself was poor or wasn't executed correctly. It may be you need to re-evaluate it or run it again.
- You are repeating yourself to a degree and learning nothing new about what you're testing.
- You've simply run out of ideas. This may be due to fatigue or exhausting all the test ideas you have.
What you learn from your test should determine your next activity. Take time to step back from what you have tested, examine what you have done and question it:
- Are your tests at a level of quality that you are happy with?
- How can they be improved?
- What information could be missing?
Wrap Up
Good tests and bad tests do not really exist. It's up to us as testers to create quality tests and determine what are the most suitable tests to discover information about specific risks. We can do this by questioning and discussing ideas with our teams. Additionally by discovering risks, forming test ideas around those risks, and being observant when executing them. Not every test will be of the same quality, or be structured in the same way, so you need to remain vigilant. It's up to us, as we test, to question what we have done and what we have learned, to see if assumptions were made or if details were missed. We can always learn and improve to deliver better testing.
Author Bio:
Mark Winteringham is a tester, coach, mentor, teacher and international speaker, presenting workshops and talks on technical testing techniques. He has worked on award-winning projects across a wide variety of technology sectors ranging from broadcast, digital, financial and public sector working with various Web, mobile and desktop technologies. Mark is an expert in technical testing and test automation and is a passionate advocate of risk-based automation and automation in testing practises which he regularly blogs about at mwtestconsultancy.co.uk he is also the co-founder of the Software Testing Clinic in London, a regular workshop for new and junior testers to receive free mentoring and lessons in software testing. Mark also has a keen interest in various technologies, developing new apps and Internet of things devices regularly. You can get in touch with Mark on Twitter: @2bittester


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Approaching a register to pay for a morning coffee, for many, probably feels routine. The transaction likely takes no more than a few seconds: Reach into your wallet, pull out a debit or credit card and pay. Done.
But for customers who are visually impaired, the process of paying can be more difficult.
With credit, debit and prepaid cards moving toward flat designs without embossed names and numbers, bank cards all feel the same and cause confusion for people who rely on touch to discern differences.
One major financial institution is hoping that freshly designed bank cards, made especially for blind and sight-impaired customers, will make life easier.
Mastercard will distribute its new Touch Card — a bank card that has notches cut into the sides to help locate the right card by touch alone — to U.S. customers next year.
"The Touch Card will provide a greater sense of security, inclusivity and independence to the 2.2 billion people around the world with visual impairments," Raja Rajamannar, chief marketing and communications officer, said in a statement. "For the visually impaired, identifying their payment cards is a real struggle. This tactile solution allows consumers to correctly orient the card and know which payment card they are using."
Credit cards have a round notch; debit cards have a broad, square notch; and prepaid cards have a triangular notch, the company said.
Virginia Jacko, who is blind and president and chief executive of Miami Lighthouse for the Blind and Visually Impaired Inc., told The Wall Street Journal that feature also addresses an important safety concern for people with vision problems.
People with vision problems would no longer have to ask strangers for help identifying which card they need to use, Jacko said.
The new feature was developed with the Royal National Institute of Blind People in the U.K. and VISIONS/Services for the Blind and Visually Impaired in the U.S., according to both organizations.
Copyright 2021 NPR. To see more, visit https://www.npr.org.


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Camping Bib
Regular price
Lolosmithian full bibs are wonderful baby gifts through drooling and feeding times!
These sweet absorbent boutique style bibs are made with colorful, whimsical one-of-a-kind fabrics!
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Bib measures 13.5 x 10 All fabrics have been pre-washed to avoid shrinkage.
Thank you for stopping by!