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Margaret Eleanor Atwood
Adult Fiction ATWOOD
Summary: Margaret Atwood isacknowledged as one of the foremost writers of our time. In Moral Disorder, she has created a series of interconnected stories that trace the course of a life and also the lives intertwined with it--those of parents, of siblings, of children, of friends, of enemies, of teachers, and even of animals. As in a photograph album, time is measured in sharp, clearly observed moments. The '30s, the '40s, the '50s, the '60s, the '70s, the '80s, the '90s, and the present --all are here. The settings vary: large cities, suburbs, farms, northern forests. "The Bad News" is set in the present, as a couple no longer young situate themselves in a larger world no longer safe. The narrative then switches time as the central character moves through childhood and adolescence in "The Art of Cooking and Serving," "The Headless Horseman," and "My Last Duchess." We follow her into young adulthood in "The Other Place" and then through a complex relationship, traced in four of the stories: "Monopoly," "Moral Disorder," "White Horse," and "The Entities." The last two stories, "The Labrador Fiasco" and "The Boys at the Lab," deal with the heartbreaking old age of parents but circle back again to childhood, to complete the cycle. By turns funny, lyrical, incisive, tragic, earthy, shocking, and deeply personal, Moral Disorder displays Atwood's celebrated storytelling gifts and unmistakable style to their best advantage. As the New York Times has said: "The reader has the sense that Atwood has complete access to her people's emotional histories, complete understanding of their hearts and imaginations."
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Nell's husband.
Tig's wife; rebelled as a teenager; returned home at 28 to take care of her sister who has schizophrenia; took care of her aging parents later on in life.


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subset: commoncrawl


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o.k. then, on to tjc #273
March 18, 2006 / More →
As i mentioned a few days ago, i thought the blog would be a great venue for me to spill some thoughts on the second most recent Comics Journal; the one with the Eddie Campbell cover feature, #273. (They are releasing these way too fast for me to keep up.)
First, let me just say up front that i LOVE the Comics Journal. I think it's fair to call the Comics Journal, since the time that Gary Groth bought the Nostalgia Journal about a hundred years ago, was and is the single most important journalistic magazine about the comics medium and business that we've ever seen in North America. It's been coming out consistently for much longer than i've been reading (i started reading in earnest in about 1990 or so), and even when it was suffering its weakest and meanest incarnation (under Milo George, IMHO), with lame interviews, untimely news, and vitriolic reviews, there was still enough going for it to make it downright vital. And now, under the helm of Dirk Deppey, it's reaching towards heights i haven't seen since the Groth years. (Gushing done.)
Issue #273 starts with the ever-lovin' Blood & Thunder, the letters section. Tom Spurgeon (editor of the Comics Reporter), given a chance at the "last word" on a series of critical "report-card" overviews of various comics websites (by news editor Michael Dean) later on in the magazine, shows class by posting his "last word" up front in B&T so that in fact, Michael Dean can have the last "last word" in his own defense. An honorable decision by The Spurg, and indeed his response is very pointed.
(Just for some context; this series of articles were across the board absolutely brutal, accusing each of the websites [including Newsarama, the Pulse, the Comics Reporter, the Beat, and Lying in the Gutters, to name a few] as not living up to Dean's expectations of journalistic integrity as investigative news organs.)
Spurgeon comes out swingin' and in a nutshell blew a gaping hole in Dean's entire conceit (and one to which Dean himself freely admits); which is that not a single of the targets in his reports has ever laid claim to be "investigative" news sources in the first place. Dean then spins large amounts of fuzzy logic (isn't that called Bullshit?) in his defense, and as a result, his wrap up of the entire series has been entirely deflated and rendered all but meaningless.
And THEN, in his introduction to the final segment of "Online Comics Journalism: Does it Exist?," wherein he gives right to the "last word" to the website editors themselves, Dean has the temerity to take that "last word" away from them, by preemptively responding to their responses before the reader even has a chance to read them.
And THIS, in a nutshell, has been my big beef with the Comics Journal since the first issue i ever sat down to; no matter how long an issue may have been been debated (many debates lasting for several issues), and how absolutely wrong or misguided they have been proven to be, they ALWAYS throw in the last word, and NEVER admit to guilt. (It sounds like the Bush Administration, doesn't it? But that's an unfair comparison, since the Comics Journal has never been responsible for so much fuckery and death.)
Every single editor and/or story-writer (who's been the subject of debate) has done it, as far as i can remember. This bias has always left a bad taste in my all these years, beyond journalistic prerogative and leaning towards belligerent.
So anyway, my report card on this series of articles? C-
But then, on the flipside, Michael Dean's first article in the Newswatch section (a self-explanatory piece called "Comics and Corporations: Creativity Under Contract") is superb. A well-researched and well-considered examination of some recently leaked creator contracts, and a bit of reaching back in time to provide context. This is is why i do so love TCJ, in spit of my previous protestations.
And -- oh my!, it's past 2:00 a.m. So tired. Next, i'll start with discussing the Journal Datebook.
See you then.
just got back last night
March 15, 2006 / More →
Spent a long crazy weekend in Phoenix, visiting Aunt and cousin and family. Left cold and raining Portland on a 6:30 a.m. flight, looking forward to a pleasant 70 - 75 degrees in the desert, only to arrive, and it's unseasonably f*cking COLD & WET!! (The entire suburb i was in, called Gilbert, was flooding in the margins.) What gives?!
Then to make matters worse, in the middle of the weekend, seven out of ten of us got either a freakishly-timed 24-hour flu, or a nasty case of food poisoning; up all-night for a fun puke-fest, and/or, well, purging while NOT puking, if you get my drift.
And to top off the trip, a handful of outreach calls to the local comics shops (where i surreptitiously first ask if they have BLANKETS in stock), turned out horribly. Absolute bust. Makes me realize the continuous uphill battle small publishers face in reaching direct-market retailers. (To date, by far the best store that i've been to in the Phoenix area is Ash Ave. Comics [Tempe]. If anyone has information on any other really stellar comics shops in and around Phoenix, PLEASE let me know. I'll post it to the blog, and get in for a visit next time i'm down.)
On the plus side of our descent into March Madness in the Desert, i got to watch a couple Suns games (the second of which was a rare win by my hometown Trailblazers, the best underachievers in the league), AND i got to read the second most recent Comics Journal, #273: The Eddie Campbell interview issue.
I'll write about my thoughts on this issue over the next few days. (As my headline said a few weeks ago, I Love the Comics Journal, i Hate the Comics Journal... but mostly i LOVE it!!)
Lastly, GREAT post over at The Hurting about how much Marvel & DC play a sucka's game vying for direct-market market share with their big d*cks, er... i mean "events," but in so doing still manage to keep a boot heel on the neck of the fringes, and diminishing the reach of far too many intelligent, sophisticated, illuminating and beautiful works.
astute reader response
March 9, 2006 / More →
My hat is off to reader Chris Rice, who wrote in to inform me exactly who it was that published that fabulous Metropol hardcover i was gushing over while crashing Philip Simon's housewarming party a couple weeks ago. Many thanks, Chris.
Chris writes:
I read on your blog about the Metropol HC you saw, thought you might like a little more info. It was published by a small company called Blue Eyed Dog in the mid-nineties, a company founded by English journalists Cathi Unsworth and David O'Sullivan. Igor Goldkind was involved as well (as he seemed to be in everything in London between the mid 80s-90s). They didn't last long, although they put out several issues of a wonderful magazine called Purr, a combination of words and comics, which had writing by Harry Crews, Hubert Selby, Henry Rollins, Iggy Pop and others, plus articles about McKeever, Dame Darcy, Edward Gorey, Crews, HR Giger...the list goes on. They put out records too, mainly a series of split 10" editions which included bands like Tindersticks and Gallon Drunk.
Metropol was their first colletion, with a Richard Kern book scheduled to follow, but something went wrong almost immediately after Metropol came out, and it was the last thing they ever published.
Brett writes:
Damn, i'd love to stumble across an issue or two of this Purr magazine. Looked pretty groovy.
i love it i hate it...
March 4, 2006 / More →
...i love the Comics Journal, i hate the Comics Journal. But really, i do love the Comics Journal.
I've been more strapped for time than any person should be lately, but found some time in the last few days to read a couple issues of "TCJ," starting with issue # 271, featuring a fabulous interview with our own Renee French; including shop talk about her forthcoming Top Shelf graphic novel, The Ticking.
(And speaking of. Holy shit, people, i just got a handful of copies of The Ticking airmailed in from China -- the rest are literally on the slow boat coming across the Pacific Ocean -- and i must say, this is possibly the single most beautiful book we've ever published. The highest props possible go out to Jordan Crane, designer and cartoonist supreme. Seriously, you have to see this luscious, chocolate colored cloth cover hardback, with gold leaf ornament and an embossed central image, to believe it. And it's hands down Renee's magnum opus. Kudos to both Renee and Jordan. The book will be available in maybe a month or five weeks? Depending on when that ship comes in.
But getting back to the Comics Journal. First, let me preface this by saying that what has made TCJ essential again, is the stewardship of the relatively new editor-in-chief, Dirk Deppey. Yes, there is still an occasional starky tone, and loads of biased, self-righteous reviews, but the meat is back on the bone, and the magazine is vital again. Excellent!
The real reason i was compelled to write this though, is the absolutely delightful, 2-part interview (conducted in two issues, #271 and #272) Gary Groth conducted with Jerry Robinson, known mostly for his (uncredited) work with Bob Kane on the early Batman material. (Alongside the also uncredited Bill Finger.) Sure this is interesting stuff, but i had no idea what a Renaissance Man this dude really was. His illustration work; teaching with Hogarth at SVA; starting his own newspaper comics syndicate; drawing a long-running, six-days-a-week, syndicated comic strip; and, most presciently, as the President of the National Cartoonists Society, his challenging work to free a jailed political cartoonist from prison, for challenging his government in Uruguay.
What a freaking stud, I had NO IDEA!! Many many thanks to Gary and the Comics Journal for this MOST entertaining, enlightening, and inspirational interview.
Oh, and the most recent edition of TCJ has a spirited Blood & Thunder section (letters pages), like i haven't seen since i started reading this most important of industry publications almost 17 years ago.
Viva la Comics Journal!!
art spiegelman lecture
March 1, 2006 / More →
Drove a couple hours south to Eugene yesterday (with a dislocated rib burning in my back, no less), to see a lecture by Art Spiegelman, for the University of Oregon's Comparative Lit program, and needless to say, i was blown away. This Standing in the Shadow of No Towers / Comics History gig isn't anything people haven't been reading about for years, and i'm presuming this was a variation on the lecture he's given maybe a hundred times … considering the ease and wit with which he spoke … but the timing couldn't have been better, since he included as well a slideshow of, and a fabulous context for, the current and raging Danish cartoons controversy.
As he pointed out, there's been NOTHING reprinted here in the American (print) media, although it's not too hard to find them surfing around the web a bit. Heretofore i'd seen not a single of these twelve incendiary images. Art filled in so much background into this stunning development (right-leaning editors wanting to intentionally incite a negative response by the nation's Islamic population), that i now have a much greater appreciation for this whole affair, and its developing implications. It sure would suck to have a price on one's head by some angry fundamentalists.
I just checked out Tom Spurgeon's Comics Reporter, and he does indeed have a link to these cartoons.
(As an aside, he also described a similar controversy which happened in the U.S. about a hundred years ago, in which a dispute about political caricatures resulted in proposed …Â and failed …Â legislation that would BAN all political cartoons which casted a bad light on the politico in question, punishable by a year or two in prison, and a $1,000 fine. Wow. And the really crazy thing is how much the climate is tilting that direction again now.)
Art also showcased three cartoons which he banged out last week, just in time to appear in the current issue of the New Yorker* (Feb 27, 2002, cover title "Watch Your Back Mountain" starring Dick & W.). Said cartoons being Art's impulsive response to Iran's "Anti-Semitic Cartoon Contest." (All three using different technique and tones.) This is not a joke. But cooler still, he showed us an as-yet unpublished cartoon that he'd drawn less than a day later (but past the deadline), which responds to what he'd been told was an even more restricting edict for the contest; that the cartoon needed ALSO to refute the existence of the Holocaust.
This sublime full-page piece viewed from a perspective from inside one of the infamous concentration camps, piles of bodies everywhere, shows and a single man amongst many downtrodden prisoners lining up to the gas-chamber, a smile beaming from his happy face, saying something to the effect that, he's not worried, since this isn't "really" happening. Brutal freaking image. I think Art said this will be running in the Nation perhaps? (But don't hold me to it.)
Lastly, peppered throughout the presentation were snippets of Art's autobiographical, comics-form introduction to a forthcoming collection of his long out-of-print Breakdowns material. Can't wait for this!!
I've had so much respect for what he's done over the years (going WAAY back to my love of Wacky Packages), and while i knew that he was a respected comics historian, i was not prepared for such a truly dazzling intellect, nor did i suspect he'd be a real, charming, laid back guy. (I'll admit i was expecting more of the neurotic New York persona he can make himself out to be in his cartoons.)
* (This new issue of the New Yorker also has a gorgeous full-page cartoon by none other than the revered Dutch cartoonist Joost Swarte.)
And on a totally different note, the new issue of Mass Appeal i recently picked up, has a tastefully laid out interview with the legendary Dan Clowes. Always nice to see comics bridging over into the mainstream.
Lastly, sad to see another one bite the dust. R.I.P. Speakeasy Comics. There's not much more i can add to this post-mortem, really, so i won't.
top shelf does new york, and new orleans... sort of
February 25, 2006 / More →
Well, not me, but Staros is in NYC right now. As soon as i hear back from him i'll post a brief report. I see mention of this New York show on the newsites already, with lots of the "buzz" announcements that Marvel & DC are fond of doing at established big shows. You know, "This guy goes exclusive...," and "The fifteenth relaunch of that [franchise super-hero] debuts by such & such creative team." Clearly it seems they're hoping to make their home turf work to this advantage as well. While i certainly value using conventions for their publicity value, i'd like to see the Big Two (and the larger mid-size companies) do something a little more creative at these shows. Follow the European vibe and create exhibits which celebrate what we have, in the moment. Ah well... it's late, and i'm rambling nonsense. Must... finish.. blog.
At any rate, tonight was also fun me too, as i got out of the house and met my sister Nicky at Biddy's Irish pub for happy hour, and enjoyed some tasty music by local legends (in the hillybilly/folk/roots scene), Billy Kennedy and Lyne Conover. Haven't seen these folks for a long spell, and it sure was nice to do a little dancin'. These cats can really get down.
Then it was off to Dark Horse editor Philip Simon's pad (along with his girly Kate), for a smallish housewarming party. One of my favorite things about visiting friends in comics is checking out their bookshelves, anticipating the chance of finding some beautiful treasure i've never seen. Tonight was no exception... the first thing i laid my eyes upon was a fabulous 10-year old hardcover edition (in b&w) of Ted McKeever's Metropol. I never even knew this existed, and didn't catch who published it. He also had a luscious hardcover edition of DeMatteis & Muth's Moonshadow, which … based on the stellar production …Â had to be an older Graphitti Designs edition.
(* Side note, right next to that was an older softcover edition of Frank Miller's Ronin. I Freaking LOVED that book when it came out [and still do, of course], but it got me wondering if DC, or anyone else ever did a hardcover version of that. Anybody ever heard of this?)
Anyway, present at the shindig were a few folks i know, including Mark, the ex-proprietor of the old Dr. Tongue's toy store; Shannon Stewart, current proprietor of the new toy store Missing Link (over on Belmont, across from the old dairy); Craig Thompson and his new gal Julie; and Andy, owner of the portland comic shop Cosmic Monkey.
Philip is from New Orleans, and in honor of his bruised & battered hometown, the hoedown was a full-on cajun affair. He made a homemade gumbo that kicked my ass!! I had already eaten dinner, but it was all i could do to not eat more than the two bowls i harveled down.
Philip is one cool cucumber, and was recently promoted at Dark Horse. Well deserved, i might add. He's been working on the Joe Kubert Tarzan archival books as of late, and for some reason had a spare copy (which he graciously gave to me) of a French edition, oversized hardcover of the first eight issues of Tarzan, John Buscema drew for Marvel, back in the early 80s. I wouldn't say it was his most enthusiastically drawn comics overall, but the first two issues, which he inked himself are absolutely inspired …Â especially in b&w. Really gorgeous material, rooted in the Milt Canniff / Hugo Pratt school of expressive realism. I did a quick search and found a website that had a couple preliminary sketches John did on this run. Buscema is vastly underrated, i believe. Perhaps he gets flack for How to Draw Comics the Marvel Way. Myself, i love this book.
That this book is in French is even better. I cracked it open, to read (in a chest-beating pose), "Je Suis Tarzan!!"
aaron renier sketches
February 22, 2006 / More →
Too freaking busy to write a real post right now. At any rate, let me at least post a few more sketches that Aaron Renier whipped up for two different postcards. One is a general promotional image for his graphic novel Spiral-Bound, and the other is for our Christmas card, due out in 10 months. These are the final round choices, but i'm not telling which ones are the actual final images.
Thanks, Aaron! I hope you don't mind me showing your work-in-progress: )
wondercon part 2, and so much more
February 18, 2006 / More →
Wow. I have been so pummeled since returning home from San Francisco. (Last of the WonderCon notes to follow.) I thought maybe folks might be interested in knowing exactly what the hell i actually do here at Top Shelf, so i'll make a laundry list of stuff i've done since i woke up Tuesday morning (in addition to being a full-time stay-at-home Dad with a sick kid), or things i am currently wrapping up.
•Â Assembled and emailed out all of Craig Thompson's book covers for the 2007 editions of Novel & Short Story Writer's Market and Artist's & Graphic Designer's Market.
•Â Formatted and emailed Jeffrey Brown's new cover (Every Girl is the End of the World for Me) to Wizard, for inclusion in an upcoming installment of the "Secret Stash" column.
•Â Sent art and cover for Max Estes' Coffee & Donuts to Neil Figuracion, for a review over at Broken Frontier.
• Worked back & forth several times with Rob Venditti, Brett Weldele, and (designer) Jim Titus on finalizing the cover for the trade paperback edition of The Surrogates. (It's gonna be sweet!)
•Â Responded to interview questions from Mark Nevins, for the outstanding Swiss comics magazine, Strapazin.
•Â Formatted and emailed out 10 pages from Alex Robinson's Tricked, for inclusion in the Anne Elizabeth Moore edited Best American Comics anthology.
•Â Finalizing details for a big pre-APE signing at Joe Ferrara's Atlantis Fantasy World in Santa Cruz, including Renee French, Alex Robinson, and Jeffrey Brown.
•Â Reviewing and responding to Aaron Renier's preliminary designs for two postcards. One general postcard promoting his book Spiral Bound, and the other, our Christmas card for 2007.
• Brokered a little swap with Arts Editor Natalie Nichols from L.A. City Beat, for a couple copies of their recent all-comics issue.
• Formatted and emailed the inside covers of Derek Kirk Kim's Same Difference and Other Stories to his Italian editor Laureanno Dominguez, at publisher Astiberri.
• Putting final touches, writing printers notes, and getting Jeffrey Brown's Every Girl is the End of the World for Me, and Jeremy Tinder's Cry Yourself to Sleep off to our printer Lebonfon in Quebec.
•Â Was invited to Eugene (2 hours south) for a conference featuring art spiegelman at the University of Oregon (my alma mater), and planned for this overnight trip. (Have to clear stuff like this with the wife, after all.)
•Â Cried in my beer upon hearing that the Senate Intelligence Committee is trampling our Constitution by rejecting a probe on the "wiretapping" scandal, at the same time that the full Senate voted to re-up the Patriot Act, with it's Orwellian language allowing innocent Americans to be spied on, records searched and the like, for no probable cause.
•Â But then laughed my ass off when i read that Harry Whittington APOLOGIZED to Dick Cheney for the trouble he caused the VP. For, you know, getting shot in the chest, neck and face.
• Working to assemble the new edition of From Hell (AND a new hardcover edition!), and get that sucker back in print.
• Working with my intern Alan on production for Nate Powell's comic Please Release.
• Watched last night's stellar Smallville episode, with the debut of Cyborg. (Which more than made up for last week's super-stinker.)
* Much discussion with Jeffrey Brown and Chris (Staros) on specs for Jeffrey's forthcoming, expanded edition of I Am Going to be Small.
•Â Did several loads of laundry and two shopping trips.
•Â Received and responded to several submissions.
•Â Sending a galley of Jeffrey Brown's Every Girl is the End of the World for Me to Byron Kerman at Playback.
Wrapping up the WonderCon notes:
Have i mentioned how freaking much i LOVE San Francisco? Well, it's true. That city kicks ass, plain and simple. Better yet, this was the first trip i've ever taken to SF where i didn't use my map once. At the con itself, i was set-up across from Brett at Alias comics. We're two very different publishers, but it was fun comparing notes. Real nice guy. Met new CBLDF hire Greg Thompson on the same night i hung out with a bunch of the cool peeps from Image. Had a REALLY swank dinner, courtesy of my pals Patrick and Jean Guy from Lebonfon. Stayed at my pal Wayne (I'm Totally Helpless) Shellabarger's pad, across the street from Golden Gate Park. (Man, we geeked out big-time on comics. Spent lots of hazy time pouring over that incredible, oversized edition of Windsor McKay's Little Nemo in Slumberland.) Had an amazing BBQ brunch on lower Haight (across from The Toronado.) Met and talked with Swamp Thing scribe Josh Dysart. I can't afford Marvel or DC Comics, so the only issues i have of this run (two of which are written by Will Feiffer) are the ones drawn by Richard Corben. Good stuff.
Speaking of not being able to afford Marvel and DC comics, a copy of the deluxe signed & numbered LOST GIRLS by Alan Moore and Melinda Gebbie (as well as comps for ALL our books), to the DC editor who steps up and gets me on their comp list. Schreck? Cavalieri? Dunbier? Any of you guys reading this?
desperately needing a laptop...
February 16, 2006 / More →
... so i can post while i'm away from home. I've certainly lost any momentum i had going on this blog gig. Sorry for the delay, friends.
Back from WonderCon a couple nights ago, only to arrive home to find wee little Carter sicker than a dog, throwing up and, well... that other thing one might encounter when battling a stomach virus.... Yeesh. Poor little guy. Few things are more sad than helplessly watching a 14-month old in this much pain.
So yeah, WonderCon.
The show was certainly well attended. So much so that on Saturday, the Fire Marshall was keeping people from entering at one point. (Rumor was too, that same Fire Marshall was monitoring CO2 levels? What the...? I know comics fans can be geeky as hell, but this wasn't a porn convention!)
That said, for Top Shelf, sales were just o.k. sale. For a company that really relies on convention sales to pay some bills, Friday was a near-disaster. This seemed to be similar for other exhibitors as well. (Of course, the back-issue bin dealers seemed immune to this.)
Saturday was a good day, but it was also a grueling nine hours long. Ouch.
Sunday was looking grim, until i scored some wholesale sales with Last Gasp, Lee's, and Isotope. Love ya!
Theories abound as to why San Francisco comics shows don't seem to generate the kind of sales we see elsewhere. (Even APE -- which you might think would rock for Top Shelf -- is teeming with locals low on the cash flow.) And the truth is, they all have a point to be made. WonderCon in particular though, like San Diego, is as much a multi-media event as it is a consumer comics show. We had Bryan Singer and Brandon (Superman) Routh commanding long lines. (So i heard.) Kevin Smith was on hand, signing... hmmm, i'm not sure what he was signing, but that line sure was long. And on the comics front, the big guns really stole the show, including Grant Morrison, Frank Miller, and Jim Lee. The DC news-machine also seems big at WonderCon.
Another posited explanation for mediocre sales is that San Francisco is still reeling from the post dot.bomb bust a few years back. There's no doubt it hit the local economy square in the jaw, but would it still be this damaging? Any locals have any thoughts on this?
The best theory as i see it, is that the Bay area in general is serviced by no fewer than close to a dozen exceptional comics shops. (Heck, even the book stores kick ass in San Fran. I NEVER make a trip to SF without a visit to Green Apple Books in the Richmond District. Second only to Powell's here in Portland for the selection of new AND used graphic novels.) And so the line goes, that given the availability of not just Top Shelf books, but a wide array of comics overall, any fan of our books will most likely have already picked them up.
This makes sense. It also makes sense when you consider that (oddly) in San Diego, to my knowledge (sorry if i'm mistaken), there's not one single marquee, destination comics shop in the whole of San Diego.
I've got more WonderCon report stuff to cover.... but holy mama i'm so tired. 3:00 a.m... must go... to bed... more on the... flipside.
bloggedy blog off to san francisco
February 8, 2006 / More →
Haven't posted in a few days. My bad. Slammed getting ready for WonderCon (leaving in the morning), down in San Francisco. And unless i find a computer to borror, i might not be able to post yet again for another week or so. We'll see.
Meanwhile, just put three new books to bed... Jeffrey Brown's epilogue to the Girlfriend Trilogy, called Every Girl is the End of the World for Me. Cry Yourself to Sleep, by Jeremy Tinder. And the long-awaited Tony Consiglio graphic novel, 110Per¢. Damn fine comics, all, if i do say so myself.
Also, finally finished reading the controversial House of M, and i have to say, i really enjoyed the hell out of this book. I think Bendis "gets it" in a big way. As a LONG-time Marvel Zombie, i think that everything flowed very logically, and as always, his characters were spot on. I can't attest to how this read as a serialized comic, because i don't play that game; but it reads great in trade format.
I hear a lot of displeasure in the bloggosphere about this book (and Bendis' New Avengers as well) because he kills characters. Well my friends, in spite of the fact that you don't see it on CNN, people actually die in battle. And with capes like this (Scarlet Witch) who have massively cosmic powers, well... shit happens. That's life. Deal.
Anyway, after reading this, and reading some of the ideas behind Civil War (HATE that name), i might give that a look see.
angouleme e tres chic
February 4, 2006 / More →
Super-Spy and Pistolwhip cartoonist Matt Kindt attended Angouleme this year, and has graciously blessed us with a full report, complete with pics. Angoueme (the name of the festival AND the city that hosts it, in the south of France) is the largest and most important comics festival of any sort, in the western world. (I've heard tales of conventions in Japan where the exhibitors alone number in the hundreds of thousands, so i don't think even Angouleme holds a candle to this.) Many thanks to Matt for letting us run his report here at Hey, Bartender.
First, just so y'all know, i have been officially forbidden from writing about politics on this blog. C'est la vie. I'll refrain from rambling on about my loathing at the loss of civic duty in our country, and instead i'll provide a few links to some excellent news-sites and policy-wonk blogs. All i can say is this; stay informed people, contact your congress-person, and vote…it's The People and our very country at stake here.
Oh, and for a little insight into the pre-meditated War in Iraq (going back to the mid-nineties), check out the actual website of the neo-con think tank that created it.
And now on with the show.
Fun in Angouleme. By Matt Kindt.
It was a 2 hour train ride form Paris to Angouleme. A very cozy small medieval town on a hilltop (untouched by World War II "" I checked the history before we left in case there were any Super Spy ideas waiting to be discovered).
Already, the festival was unlike anything in the US. There wasn't a super-hero t-shirt to be seen and you couldn't tell the comic book fan from the normal citizen. Instead of one big convention hall or center, the publisher and exhibits were spread out in large temporary tents throughout the town. This helped to disperse the crowds a little bit and made it more interesting to walk from tent to tent instead of being stuck in a big smelly convention center all day.
One of the many street paintings in Angouleme.
Still a little groggy from the travel and time change I woke up at noon (after dinner till 3am and several episodes of the Indy Spinner Rack podcast to pass the time as I laid there trying to get to sleep).
The first thing on the itinerary for the day was a TV interview with the French art channel. The publisher warned me of this ahead of time and I thought, "˜okay, there will be whatever version of a public access channel over there doing interviews'. But is was a legitimate TV station "" Channel 5 which had been on at the hotel earlier and covers all the arts. The journalist (thankfully) spoke English (which isn't always a given) and told me she'd just come from an interview with Jim Lee. This is the first inkling i got that I'd stepped into a bizarro world where comics (and Indy comics) were actually somewhat respected as an art form and of general interest to the public. Strange. The journalist from Channel 5 wasn't just covering a story. She'd been reading (and liked) most of the books she was covering at the festival. She wasn't covering a story about comics "not being just for kids anymore". She was covering adult graphic novels that just happened to be in comics form. After the interview the journalist asked for a sketch (another first). They supplied me with a nice piece of watercolor paper and I sat to draw and the cameraman filmed the entire thing. It was starting to become clear that they loved their comics here.
After the interview it was off to a press conference, which was in a big room in the old historical Hotel DeVille building at the center of town. It was a large ballroom area with tables and chairs. The creators would sit down with their publisher and then wait for interested journalists to sit down as well. Four journalists and a photographer ended up sitting at my table and firing questions at me (in French). Luckily my publisher was there and fielded the questions and translated them for me and then my answers back to them. They sat around the table chain smoking and writing everything down in little dime notepads just like in the old days. They weren't interested in my age or my background or how I got published. They wanted to know my influences. Why was I telling espionage stories? Why were my stories disjointed and told out of sequence. Why weren't there any captions? I mentioned Joseph Heller's Catch 22 as a major influence and I could hear the crickets. Mentioning Tin Tin seemed to make them happy though and I was suddenly happy to have put a few homages to Herge in the Pistolwhip books.
Everyone I talked to and was questioned by really knew comics and what made them work and what didn't. I'd have taken this any day over sitting at a booth across from the Toxic Avenger shouting into a microphone with a crowd gathering around him.
Once I got some free time I started walking around the festival to see what was there. What there wasn't was super-heroes. Anywhere. The large mainstream booths were all the large oversized hardcover full color albums with talking cats, pirates, mysteries, Agatha Christie adaptations, World War II adventure and fantasy. No super-heroes. I guess I knew that going in but seeing a giant booth with thousands of these books made it reality. My publisher would explain to me later that most of those books were crap (like most of everything) but in French you just couldn't tell. All of the artwork and color looked fantastic.
The Indy books were in another long tent that was just packed. On Saturday (the busiest day) you could barely walk through the Indy section. As I walked around there were huge lines as creators sat at tables signing and sketching for fans. I stopped to watch Blutch, a French artist that a friend had recommended. He was doing sketches but these weren't quick doodles and a signature. He had broken out his pastels and his watercolors and his brushes and was doing full-blown illustrations in the front page of his book for everyone in line. We watched for a few minutes and came back at the end of the day and he was still working. Now I understood why my publisher had asked if I minded doing sketches during my signing. I had said "˜sure' since I usually do a little doodle and sign the books anyway, no problem. What they expect from creators in France was a little different.
Okay, this could have just as easily been at Wizard World.
I went out to the art store and bought some nice water color paper and at the signing I did in Paris (a store ironically called Super Heros which carried nothing but Indy books) I spent three hours doing full blown inked and water colored illustrations for the people that came up with books to sign. I was drawing and inking and water coloring faster than I ever had before and I was having a great time. The people expected it but they were just so excited to stand there and watch you draw that it didn't matter. There weren't excited about the toys or movies. They were excited about the comics.
Art from the kids exhibit in Angouleme. The artist that did this page was 10 years old.
We ended our trip in Angouleme with a trip to the Comic Book Art Museum. It alone is worth a trip to the city. In addition to the rotating exhibits they had a huge archive of original art from the 1800's to the present day. It was amazing. To see the line and brushwork of Charles Burns and Hugo Pratt in person makes all the difference.
Charles Burns Original Art. No mistakes.
And then walking up to a Hal Foster original Prince Valiant which you've seen forever taking up a few inches of space in the paper since you were a kid. You see page framed on the wall and realize that the original art for those few inches is over three feet long.
so much going on
February 2, 2006 / More →
Lot's going on in comics right now. First, my condolences to the family of exquisite cartoonist Seth Fisher. This guy's work was simply astounding; a cross between Moebius and Geof Darrow. Besides the tragic loss for his loved ones, his work will be sorely missed in comics. Read more at Comics Reporter.
One of my very favorite comics columnists is Steven Grant over at Comic Book Resources. I've mentioned him before already, but i don't mind... the good stuff is worth repeating. I'm not sure what else Steven does for a living, but his Permanent Damage columns are so lengthy, and more importantly, well considered, they are what i would call vital and indispensable comics blogging, and make my blog look like so much luke warm dishwater in comparison. He covers comics, television, film AND politics, all with equal aplomb.
At any rate, this week he talks at length about economic models for comics companies, and comes to a unique conclusion … that growth per se (in the publicly-owned scale, adding gobs of employees sense) is secondary to maintaining a stable sustainability in the long term, especially as it pertains to a unique economic environment like the comics industry. Recommended reading if this sort of business stuff interests you.
Would that Top Shelf had this problem. As i mentioned in a soon-to-be posted interview at the Pulse, for the first several years of Top Shelf, we DOUBLED our gross income every year. This is incredible. Now however, almost ten years later, it seems that we've somewhat grown into what the market can return for us, given our own limitations, and this is where Steven's "long-haul" theory more closely mirrors our own state.
Barring a minor miracle (on par with another Blankets or From Hell, the type of books that come along once in a decade), we're at the point where we've established relationships with the 100-200 stores that reliably stock not just Top Shelf, but a solid range of products in general, and are now making the store-by-store relationships with the rest of the retail market. Those 2,000 - 3,000 rest of the stores, who don't generally buy non-spandex comics, but will if and when we get to know them. Yes, this is crucial, but it's not what you would call a real growth market.
All of which is to say, that perhaps Steven is putting the cart before the horse. Before you can even think about real growth, just surviving in the market is a son-of-a-bitch endeavor that any new publisher needs to consider, before dropping their life's savings into it.
As for the Hollywood dream... i won't lie … we certainly dream about getting a piece of this pie as much as anybody else. (But ALWAYS we think of the comics as an entity unto themselves, as the first priority.) But unless someone has a very large trust fund, and/or other fat stashes of cash in the bank, i'd hardly hold out for movie money as a way to fund your start-up publishing company. The dream would otherwise become a nightmare. Hollywood is a bitch. Ask anyone who's been there.
On a different note, a lot of talk is being made about a venture by some pals of mine, called ACT-I-VATE. A new online comics site by some of the best talent in the biz, including my buddies Dino Hapiel, Josh Neufeld, Nick Bertozzi, and Leland Purvis. I'm not generally a big comics-on-the-web guy (i really MUCH prefer reading a comic in my hands), but this is great stuff.
Lastly, from The Washington Post, here's some news that will certainly further endear Herr Bush to The People. Headline says it all. Budget Cuts Pass By a Slim Margin: Poor, Elderly and Students to Feel Pinch. (God knows that a gazillion dollar defense budget is more important that the health and welfare of the citizens.)
it's a dumb-ass, and ...it's a girl?
February 1, 2006 / More →
• Yeah, State of the Union tonight!! Whoo hoo! Go Team America, Fuck Yeah! Uh... yeah. Well, i won't bore anyone with my thoughts, but if anyone wants a nice run-down of the bullshit contained therein, just check out the smack-downs at Think Progress. (Not sure how long these will stay up, though.)
•Â Meanwhile, Fanboy Alert!! "Indy-only" comics fans pass this up.
So what gives with the recent revelation that the mysterious Ronin character, in Brian Michael Bendis' New Avengers, turns out to be Echo … last seen slappin' around Matt Murdock in Bendis' Daredevil. Echo, the svelte, graceful deaf girl who can mimic any physical movement or fighting style, and had the body-type of a sleek but tough female dancer in that title. Now along comes Ronin, and all of a sudden, in costume she looks like a freaking NFL linebacker. On all of the covers and in the promotional pieces i've seen of Ronin, she/he has buff, Schwartzenegger quads, Shaq shoulders and Popeye forearms. Wha huh?! Isn't this somewhat unlikely?
Granted, i haven't read these "reveal" issues yet, but how could he possibly explain this? Fake shoulder pads in the costume, and muscle implants, just to throw people off? I'm a little disappointed.
Be that as it may though, i'm still a HUGE Bendis fan … i've read probably 3/4's of his career output … and i'm willing to give him the benefit of the doubt. Avengers Disassembled was a full-on ass-kickin' super-hero yarn, and i really enjoyed his killer first tpb on New Avengers as well... don't let me down, Brian.
If there are any "indy" comics fans out there who like what's good, not what's just hip; who don't write off super-hero comics as evil by default, but haven't read his work, i highly recommend my two favorite books by Bendis. Read first Daredevil, his already-classic four-year run of which he is now wrapping up, and the ongoing Powers, both from Marvel. Bendis is a master of dialog, and his stories work even having had no familiarity with any company continuity. (They're even better, however, if you are or ever have been a Marvel Zombie.) He makes "spandex" comics human, and infuses all of his work with elements of crime pulp drama, attention to detail, tight characterization and naturalistic dialog.
If you get through those two books and want more, check out Alias, which has very little spandex at all. Excellent material.
(Here's hoping The Brube will be able to keep the flame going when he takes over for Bendis on Daredevil. Rock on, Ed!)
alex robinson update
January 31, 2006 / More →
Alex Robinson's wife Kristen sent a link to me this morning, to an interview with Alex over at Legion of Doom. It's a fun interview, in which Alex tells that he is indeed at work on his next project. I'd yet to hear this yet myself, so i fired back to see what he was up to.
Alex wrote back, "... it's a diary strip about my life as a naive owl … or at least that's what my robot body looks like. I travel in a series of underground tubes with my talking animal friends as we try to discover if Elvis is still alive."
And now we know. Sounds, uhhh... interesting, Alex.
You read it here first.
dylan horrocks sighting
January 28, 2006 / More →
I realize this isn't exactly breaking news, but in case you didn't hear, Dylan Horrocks been appointed a Literary Fellow at the University of Auckland, in New Zealand.
From the media release:
"Dylan Horrocks, award-winning graphic novelist and comic artist, has been appointed University of Auckland / Creative New Zealand Literary Fellow 2006.
"Mr Horrocks is the author of "Hicksville, an award-winning graphic novel, and many shorter works in comic form that have been published around the world. He has lectured on writing, art and the history of comics, has presented papers at academic conferences around the world, and has written extensively on graphic novels, comics, art and literature for magazines and journals in New Zealand the US."
What this means is that Dylan will be freed up financially to spend a year just drawing comics!! And in case you weren't aware, we've had an original graphic novel by Dylan, Venus: the Secret Comics of Arthur Holly, on the Top Shelf docket of future books in our publishing schedule for over five years.
If by chance you're not familiar with Dylan's work, i highly recommend you RUN out and buy his graphic novel, Hicksville. Originally published by Black Eye, and now with Drawn & Quarterly, this graphic novel is widely (and justifiably) regarded as one of the shining stars in the canon of graphic novel greats.
We suggest you support your local retailer and buy this there, but Hicksville is in fact available on this very website, in case said retailer doesn't stock it. http://www.topshelfcomix.com/catalog.php?title=128
As a huge fan of Dylan's brilliant comics, i cannot tell you how fabulous this news is to hear. Welcome back to the fold, Mr. Horrocks. We've missed you.


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Microsoft announced on its blog recently that Seattle City Light will be the first utility to offer customers the ability to monitor their energy consumption with the Hohm application. Customers who sign up for the look there cheap cialis online service will receive automatic data feeds on their energy use through the online software. All other users of the software can still enter their energy information manually.
Hohm's major competitor, Google's PowerMeter, has been partnered with a handful of utilities for a few months now, but recently, Google made their software available to users of the TED 3000 devices, allowing customers to skip their utility and click here viagra info get their energy use information directly.
As this is Microsoft's first full-fledged partnership for the application, it will be interesting to see if they answer Google's move and come out with their own gadget venture.
Hohm, from first impressions, appears to be a much slicker and comprehensive software than PowerMeter. I'm excited to viagra discounts see how it performs when linked with its first utility.
via Microsoft Environment Blog
written by Amy Thomson, October 21, 2009
written by Fred, October 21, 2009
Folks - it is best to wait for the release of Apple's iPower. It has a cool touch screen interface and uses cooler electrons.
written by Patrick, October 22, 2009
written by Green Ninja, October 22, 2009
Somebody put a tick in the positive column for capitalism.
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Code Description
MAESTRO: Low Mach Number Flow With AMR
General Description
MAESTRO is a low mach number astrophysics code used to simulate the evolution leading up to a type 1a supernova explosion. The NERSC6 MAESTRO simulation examines convection in a white dwarf and includes both explicit and implicit timestepping schemes.
Although adaptive mesh refinement (AMR) is a powerful technique with the potential to reduce resources necessary to solve otherwise intractable problems in a variety of computational science fields, it brings with it a variety of additional performance challenges that are worthy of testing in a workload-driven evaluation environment. In particular, they have the potential to add non-uniform memory access and irregular inter-processor communication to what might have otherwise been relatively regular and uniform access and patterns. MAESTRO is capable of decomposing a uniform grid of constant resolution into a specified number of non-overlapping grid patches but in the NERSC-6 benchmark does not refine the grid.
MAESTRO is also used as an IO benchmark and the NERSC-6 tests will be run in two different ways, one with IO turned on and the other with IO turned off. The runs without IO are used to calculate the SSP while the runs with IO are intended to show the expansion factor from including IO in the calculation as well as the percentage of time the application spends doing IO.
MAESTRO contains a new algorithm specifically designed to neglect acoustic waves in the modeling of low Mach number convective fluids but retain compressibility effects due to nuclear reactions and background stratification that takes place in the centuries-long period prior to explosion. MAESTRO allows for large time steps, finite-amplitude density and temperature perturbations, and the hydrostatic evolution of the base state of the star.
The basic discretization in MAESTRO combines a symmetric operator-split treatment of chemistry and transport with a density-weighted approximate projection method to impose the evolution constraint. The resulting integration proceeds on the time scale of the relatively slow advective transport. Faster diffusion and chemistry processes are treated implicitly in time. This integration scheme is embedded in an adaptive mesh refinement algorithm based on a hierarchical system of rectangular non-overlapping grid patches at multiple levels with different resolution; however, in the NERSC-6 benchmark the grid does not adapt. A multigrid solver is used.
MAESTRO uses BoxLib, a foundation library of Fortran90 modules from LBNL that facilitates development of block-structured finite difference algorithms with rich data structures for describing operations that take place on data defined in regions of index space that are unions of non-intersecting rectangles. It is particularly useful in unsteady problems where the regions of interest may change in response to an evolving solution.
The code consists of TBD lines of Fortran90 source and uses MPI.
MAESTRO is brought to you by Ann Almgren and John Bell of CCSE/LBL and Mike Zingale of SUNYSB.
Relationship to NERSC Workload
MAESTRO is used at NERSC in supernovae ignition studies with both SciDAC, INCITE and base allocations.
Parallelization in MAESTRO is via a 3-D domain decomposition in which data and work are apportioned using a coarse-grained distribution strategy to balance the load and minimize communication costs. Options for data distribution include a knapsack algorithm, with an additional step to balance communications, and Morton-ordering space-filling curves. Studies have shown that the time-to-solution for the low Mach number algorithm is roughly two orders of magnitude faster than a more traditional compressible reacting flow solver.
The MAESTRO communication topology pattern is quite unusual.
Obtaining the Code
The NERSC-6 procurement web site is no longer available. Two forms must be filled out to access this code. Contact the NERSC consultants (address on the NERSC home page) for access.
Building the Code
Edit the compiler/architectures section of the file fParallel_new/MAESTRO/wdconvect/GNUmakefile with the appropriate settings. A number of architecture definitions already exist. No other changes to this file are necessary.
Next edit fParallel_new/mk/GMakedefs.mak with the compiler flags for the given architecture.
cd to fParallel_new/MAESTRO/wdconvect and type 'gmake'. If all goes smoothly an executable called main...mpi.exe will be created and copied to the top level 'run' directory.
Within the build directory fParallel_new/MAESTRO/wdconvect, a directory 't' is created to hold the .o files. Typing 'gmake clean' will remove the executable and .o files.
Build-Related Files in this distribution
The MAESTRO benchmark contains 4 top level directories: < fParallel_new - Contains source code run - Example batch scripts, input files, executable copied to this directory sample_outputs - Output files verify - Verification tool
Directory or File
Top-level directory with README
Source code
Sample output files
a verification script
Running the Code
Run MAESTRO from the top level 'run' directory after building the code. All necessary input files are containted in this directory. Each MAESTRO simulation must be passed an input file as a argument and that input file points to a certain 'grid' file. For example, a small test case which runs on one or a few processors can be run as:
mpirun -np 1 executableName inputs_3d_64cubed
If you examine the inputs file 'inputs_3d_64cubed', the first parameter listed is 'test_set = "grid_3d_64cubed"'. This file describes the grid layout for a given problem and must be available in the same directory as the executable. The model_file, 'model_6.e8.hse' needs to be available too as well as the file helm_table.dat.
Run the medium case as
mpirun -np 512 executableName inputs_medium
Run the large case as
mpirun -np 2048 executableName inputs_large
Timing Issues
The code will write a file to standard out and also produce a file called "results_.txt" (eg. results_inputs_medium.txt) will be used to verify results. The standard out file will report the run time of various routines. The time labeled "NERSC_TIME" is the total run time minus initialization time and should be reported in the Application Benchmark table.
Possible Optimization
You can experiment with the following setting on your platform. The code developers have reported on some platforms the code may see a performance improvement if the following line in the code is changed from 'false' to 'true' in the file fParallel_new/boxlib/mulitfab.f90
logical, parameter, private :: Do_AllToAllV = .false.
This parameter controls whether the code uses send/recvs or alltoall for some MPI communcations.
Storage Issues
The following table may give you a rough idea of how to fit the MAESTRO code on a system. The memory footprint will vary some from machine to machine. input_file total memory notes inputs_3d_64cubed ~400 MB inputs_3d_128cubed ~3200 MB The 'base case' runs are weak scaling and are setup to use 16 32^3 'boxes' per processor which corresponds to roughly 800 MB/core.
Memory Required By The Sample Problems:
x GB
y GB
z GB
z' GB
Required Runs
For the official benchmarks, the medium and large cases, the simulation must run for 10 steps and is controlled by the 'max_step' parameter in the input file. For testing memory requirements, the Offeror could set the max_step parameter to something smaller to shorten the duration of the run.
The 'base case' runs are weak scaling and are setup to use 16 32^3 'boxes' per processor which corresponds to roughly 800 MB/core.
The MAESTRO medium benchmark is run on a 512x512x1024 grid. The memory footprint should scale up with total number of grid points from the 64cubed and 128cubed small cases. This case is targeted to run at 512 processors.
The MAESTRO large case uses a 1024cubed grid and is targeted to run on 2048 processors.
IO Runs
IO in MAESTRO can be turned on or off with a parameter in the inputs file called 'chk_int'. When 'chk_int' is set to -1, no checkpoint files are written. When 'chk_int' is set to a number x (greater than 0), it writes a checkpoint dump at the beginning of the run and every x timesteps. Two, additional input files for the IO runs are provided in the 'run' directory called, 'inputs_medium_io' and 'inputs_large_io' where the parameter 'chk_int' is set to 5. This will produce 3 checkpoint dumps for each run, one at step 0, 5 and 10 in directories chk0000/ chk0005/ and chk0010 respectively. MAESTRO uses a one file per processor approach per variable approach to IO.
A medium case checkpoint dump run on 512 processors will produce 39 GB of data in ~2560 files. Apart from a few header files, each file is ~10s MBs.
A large case checkpoint dump run on 2048 processors will produce 153 GB of data in ~10240 files again with most files ~10s MBs.
IO Tests should be run with a command like the following
mpirun -np 512 executableName inputs_medium_io and mpirun -np 2048
executableName inputs_large_io
Verifying Results
In the verify/ directory a python script called verify.py is used to compare results to an accepted results set. The script examines the values of a few variables over the entire grid and finds the maximum difference beween the accepted results and a given run's results. The difference should be less than ~10^-2.
The verification test is run as:
>> python verify.py accepted_results_medium.txt results.txt
where "accepted_results_medium" is a reference file in the verify directory generated on Franklin at NERSC. If results do not verify, you should try a lower optimization level. If results do not verify at any optimization level you can try using one of the other sample result files from bgp, ranger or bassi (Only a few sizes are available).
Modification Record
This is Version 1.0 of the NERSC MAESTRO benchmark, released on September 4, 2008.
Record of Formal Questions and Answers
No entries as yet.
- http://www.astro.sunysb.edu/mzingale/Maestro/
- J. B. Bell, A. J. Aspden, M. S. Day, M. J. Lijewski, "Numerical simulation of low Mach number reacting flows," Journal of Physics: Conference Series 78 (2007) 012004.
- A. S. Almgren, J. B. Bell, M. Zingale, "MAESTRO: A Low Mach Number Stellar Hydrodynamics Code," Journal of Physics: Conference Series 78 (2007) 012085.


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For information about Residential, Assessment or Short-Term Intervention Referrals, please call Intake Services at 231-832-7298 or to email click here.
Changing Lives
At Eagle Village, we know that every teenager is different. Some have experienced difficult relationships with family and others have been neglected or have no family. We offer a residential treatment program that is customized to meet each special need. Eagle Village works to develop the emotional, academic, and social areas in the lives of teenagers who have been held back by struggles at home or within themselves.
The programs at Eagle Village combine intense family weekend sessions, excellent clinical expertise, spiritual strengthening and self-worth actualization as well as experience-based activities (learn by doing). As a result, many residents who would otherwise need two or three program placements can move through their entire healing process – from treatment to their transition back home or to a foster or adoptive home – all at Eagle Village, quickly and effectively.
Eagle Village works with teenagers between the ages of 11 and 17 who are struggling with any number of emotional and behavioral issues following an abuse or neglect situation. We work to help each of them discover the great potential within themselves. Residents generally stay at Eagle Village for 9 to 12 months and by combining outstanding therapeutic care, spiritual guidance and leadership training as well as on-campus family weekends called Legacy, we are able to give hurting teenagers and families hope for a better future.
Eagle Village's Assessment Program is designed to serve youth at-risk who are in need of a comprehensive individual and/or family psychological assessment with the goal of providing treatment recommendations. This comprehensive assessment is designed to identify strengths and needs of the child and those serious issues that are beginning to develop within the child, the family system, and community.
Service Components consist of:
- Respite
- Comprehensive Assessment
Additional Services not included in the per diem
Family Support
Family support is an integral part of the program. Families are able to talk and interact with other families in the program and gain support and understanding from those who are experiencing similar circumstances. Together they can experience a sense of hope. Families learn that they are not alone and change is possible.
During the family L.E.G.A.C.E weekends, residents and either their immediate family, guardian, foster or adoptive family or other family friend work through interpersonnal issues, feelings for one another, how to effectively communicate and begin developing respect for one another.
Experiential Components
The Experiential Learning Model is a key component of residents' success at Eagle Village. Experiential learning is a hands-on treatment approach whereby the family and child can demonstrate the existing family relationship styles through the use of metaphors. Exploring family dynamics through physical or situational metaphors provides a safe, non-threatening environment for dealing with tough issues.
The Experiential Learning Model is an innovative approach to treatment. The result is a dramatically accelerated rate of change and healing demonstrated by both the resident and their family.
Other Programming
- Individual/Group/Family Counseling
- 12-day wilderness program, weekend wilderness and community programs
- Substance abuse counseling groups (when necessary)
- Psychiatric evaluation (when necessary)
- Psychological testing (when necessary)
- Life Skills and Pre-Vocational programming and Pre-Vocational training
- Education (on-site, provided by Mecosta-Osceola ISD)
- Home visits
- Voluntary chapel programming including chapel services, youth groups and spiritual counseling


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Veteran broadcast journalist Laurie Dhue provides current events commentary on Fox News Channel, HLN, TruTV and WPIX in NYC and hosts broadcasts for major pharmaceutical companies.
Dhue is the only anchor to have hosted shows on the three primary cable news networks: CNN, MSNBC and Fox News Channel. Most recently, Dhue spent nearly eight years as an anchor on Fox News. She hosted the highly-rated "Fox Report" weekend edition and appeared weekly on the number-one cable program, "The O'Reilly Factor." She also reported for "Geraldo at Large," "On the Record with Greta Van Susteren," and "The Fox Report with Shepard Smith."
During her tenure at Fox News, Dhue reported extensively from the Middle East, including Jordan, Israel, the West Bank and the Gaza Strip. Dhue also served as the voice of the official Fox News Radio launch in 2004 and anchored evening news updates for several years.
Before joining Fox News Channel, Dhue hosted several shows on MSNBC and served as substitute news anchor on NBC's "Weekend Today Show." Dhue began her broadcasting career at CNN, working her way from entry-level to anchor in just six years, becoming one of the youngest full-time anchors in the network's history. Her shows included "CNN Saturday" and "CNN Sunday."
In her 20-year career, Dhue has interviewed countless international leaders, from former Secretaries of State Henry Kissinger and James Baker to former UN Secretary-General Kofi Annan, as well as politicians, celebrities and newsmakers, from Vice President Joe Biden and Senator John McCain to Martha Stewart and Donald Trump.
Dhue has moderated discussions on a wide variety of topics, both foreign and domestic, including a panel at the United Nations. She has given speeches at numerous symposia and universities, including The University of North Carolina at Chapel Hill and The University of Michigan. During her television career, Dhue represented networks at media and promotional events, serving as the face of Fox News, MSNBC and CNN.
Dhue is a proud board member of the National Youth Recovery Foundation, a nonprofit dedicated to helping troubled teens and their families address alcohol and drug addiction issues and SLAM, Sober Learning and Motivation, a nonprofit whose goal is to establish a sober high school in New York City.
Dhue hails from Atlanta. She received her bachelor's degree in Political Science from the University of North Carolina at Chapel Hill. She was an Academic All-American, a member of the Varsity Swimming team and a member of The Loreleis, an a capella singing group.


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Mashpee/Falmouth Gymnasts Takes Aim At State's Best
By: Rich Maclone, February 21, 2014
Tomorrow the Falmouth/Mashpee High School gymnastics team looks to continue to make history. In just their first year of existence, the fledgling program has burst onto the statewide scene and pronounced themselves contenders at the highest levels. Tomorrow they will compete for the first time in the MIAA sectional championships.
The Flippers are ranked ninth in the south region, out of 12 teams that have qualified. Local rivals Barnstable, the only team to have defeated F/M during the regular season, has the top seed as they look for their second straight championship. There are 50 teams that compete in the south region.
Falmouth/Mashpee is seeded ninth, based on their qualifying score of 138.125. Barnstable's No. 1 seed is based on a qualifying score of 146.538. FHS was just percentage points out of being seeded as high as sixth, which is where Medfield is with a score of 138.575.
The team will send 11 representatives to the meet under head coach Shailey Pires. Six will compete. The traveling group includes Taylor Dimond, Sydney Pinsonneault, Julia Ferreira, Mackenzie West, Molly Ives, Emma Dimond, Allison Kondracki, Ian Irving, Maddi Andrade and Sam Theroux.
Coach Pires said that coaches across the state have commented about how impressive the feat of qualifying in their first year is for the squad. "It's amazing, I'm really happy about it," she said.
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Pires said that ultimately her team's goal is to finish higher than it is seeded and to see how close they can come to the top. "We should do pretty well, I'd think," she said. "I'd like to see us do better than ninth."
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Me and Ed's Music Machine
- When: Saturday, December 14, 2013, 9 p.m.
- Where: Hahn's Peak Roadhouse, Hahn's Peak
- Cost: Free
- Age limit: 21+
- Categories: Rock
Dec. 14: Me and Ed's Music Machine - Hahn's Peak Roadhouse, 9 p.m.
Eric Delaney, Eric Barry and friends play jammed-out rock 'n' roll. FREE. 60880 County Road 129
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Medications and Drugs
Brand Names: Embeda
Generic Name: morphine and naltrexone (Pronunciation: MOR feen and nal TREX one)
What is morphine and naltrexone (Embeda)?
Morphine is in a group of drugs called narcotic pain relievers.
Naltrexone is a special narcotic drug that blocks the effects of other narcotic medicines and alcohol.
The combination of morphine and naltrexone is used to treat moderate to severe pain when around-the-clock pain relief is needed for a long time period.
Morphine and naltrexone is not for treating pain just after surgery unless you were already taking morphine and naltrexone before the surgery.
Morphine and naltrexone may also be used for other purposes not listed in this medication guide.
What are the possible side effects of morphine and naltrexone (Embeda)?
Get emergency medical help if you have any of these signs of an allergic reaction: hives; fast or pounding heartbeats, chest pain, difficulty breathing; dizziness, extreme fear; swelling of your face, lips, tongue, or throat.
Call your doctor at once if you have any of these serious side effects:
Less serious side effects may include:
This is not a complete list of side effects and others may occur. Call your doctor for medical advice about side effects. You may report side effects to FDA at 1-800-FDA-1088.
What is the most important information I should know about morphine and naltrexone (Embeda)?
Do not use morphine and naltrexone if you have ever had an allergic reaction to a narcotic medicine, if you are having an asthma attack or if you have a bowel obstruction called paralytic ileus.
Before taking morphine and naltrexone, tell your doctor if you have a breathing disorder, liver or kidney disease, underactive thyroid, curvature of the spine, a history of head injury or brain tumor, gallbladder or pancreas disorders, a blockage in your stomach or intestines, Addison's disease, enlarged prostate, urination problems, a seizure disorder, a debilitating condition, mental illness, or a history of drug or alcohol addiction.
Do not drink alcohol while you are using morphine and naltrexone. Dangerous side effects or death can occur.
Never take more than your prescribed dose of morphine and naltrexone. Tell your doctor if the medicine seems to stop working as well in relieving your pain.
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You are encouraged to report negative side effects of prescription drugs to the FDA. Visit the FDA MedWatch website or call 1-800-FDA-1088.
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What are you supposed to do from this Homepage?
You are supposed to purchase some pottery by Thea & Lele; go to your local Farmer's Market or farm stand; buy some fresh LOCAL produce; cook a wonderful meal at home and serve it up on your new Italian flavored pottery. Any questions?
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- Sam Ash Gift Guides
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This case from Fender fits their models such as Jaguar, Jazzmaster, Toronado, and Jagmaster. Fender has been using the same cases since the early days of the company. Each Fender Hardshell case is made with the same specifications and the same materials from the good old days. Be safe and secure in that classic style with a Fender Deluxe Case. Features a gold plush interior and brown Tolex vinyl covering with keyed latches. Strat version shown.
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|Deluxe Brown Electric Guitar Case (for Jaguar/Jazzmaster/Toronado/Jagmaster)


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Please browse our guestbook, and add an entry of your own!
Name: Bryan C.
Location: Bismarck, MO
Date: Nov. 13, 2009
I had a wonderful time here, I truely don't think I could have stayed at a more pleasurable hotel. The location, the ambiance, the decor, just the whole thing. I walked everywhere from here with ease of knowing where I was. The person that checked us in was great, very nice, and helpful. Thank you for your hospitality.


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Dozens of botanical wallcharts found covered in dust and hidden in storage in Martin Science Building have been given new life, thanks to a Randolph College pre-med major's recently discovered passion for art.
Through an internship with the Maier Museum of Art at Randolph College, Lydia Kirchner '11 used the wallcharts to curate a new exhibition, Nature Perfected: The Art of Botanical Illustration, which opened in January and runs through July 31. "Some people don't get the chance to do something like this, even in grad school," Kirchner said. "It is a phenomenal opportunity."
Kirchner decided to become a doctor when she was a child. Studying biology at Randolph was a natural fit. On a whim, she added an introductory art class during her first year because it fit into her schedule. That class sparked an interest that grew slowly during her college career. She has added an art history minor and plans to apply to graduate school for museum studies before entering medical school. "I never thought that an Art 101 class would lead me in this direction," Kirchner said. "The interdisciplinary aspect of classes here is powerful. It's helped me look at science and art through different perspectives. You start to see connections."
The internship provided Kirchner with the chance to be in charge of her own exhibit—and merge her passions for biology and art. The wallcharts and prints featured in her exhibit were once used as teaching aids by science professors. The collection found in Martin Science Building was developed by Jung-Koch-Quentell in the 19th century and features nearly 40 beautifully illustrated botanical charts that are fabric-backed with wooden scroll endings. With the help of professors and staff members, Kirchner worked to clean and prepare the charts for exhibition. She also conducted research on the wallcharts and decided how the collection would be displayed.
While she was developing her skills and knowledge, Kirchner was also learning about herself, said Andrea Campbell, a Randolph art history professor. "Lydia is realizing that she not only loves art, science, and museum work, but I believe she has discovered a passion for research that leads to sharing new information with the public," Campbell said. "Finding their passion and discovering how it relates to museum work is exactly the kind of outcome we hope the museum internships will have for our students."
The experience has opened a whole new world to Kirchner, who is exploring ways she can use an art background in the medical field. "I had always looked at art as having this magical aspect to it, and science was more proven and theoretical," she said. "I thought they were opposites. These wallcharts are examples of why that's not true. Now, I understand that artists and scientists have a lot in common. You are looking at the same thing, but from a different perspective."


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I'd start with plotting mountains and then give this link a look. you can determine lots of things based on those climate zones.
I'd start with plotting mountains and then give this link a look. you can determine lots of things based on those climate zones.
Basic process I would look at for determining climate is well... complicated. if you are going for pseudo-real that is. First, it is great to know your basic tectonics, this will place a great many of your mountains and some additional island chains. Then you plot out your basic wind directions and your rain shadows, with lee side of mountains drier. And note your high pressure desert zone and likely locations for deserts. Oh, and ocean currents, east coasts typically have warm water, more evaporation and hence more rain while west coasts tend to be cool waters and less rain. Note your equator, tropics lines and arctic lines, those are always good to have in mind. Also look into the Intertropical Convergence Zone (ITCZ) which is a major driver of weather/rainfall on Earth. The ITCZ carries storms east to west, good to recall that. Tracking your ITCZ seasonally can also give you good ideas of where moisture is going, with the ITCZ basically following heat, and large land masses collect heat and pull the ITCZ further north and south from the equator seasonally. That's a good start anyhow.
How about that for a rambling partial answer, LOL.
Upon the Creation of the World the First Dragons cast their seed in the light of a Sun and a Thousand Suns, beneath the Moon and a Thousand Moons, on a World and a Thousand Worlds.
This might be helpful. It doesn't directly consider mountains and such, but should give you a basic idea of fundamental weather patterns, most all of which will eventually have to be adjusted for the presence of mountains and so on.
When nothing is going right and you can't find someone else to blame, start beating your head against the wall, 'cause it'll feel so much better when you stop.


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Six years and two months ago I was in Lima, aged 18 and enjoying the tail end of a very good gap year. I posted on my blog (which was called Eloquencias, despite being nothing of the sort) something about a fruit I had bought which resembled, now that I've seen more exotic fruit, a passion fruit of epic proportions. However the other day while I was working in Queen Elizabeth National Park I found something which truly was alien. I asked everybody its name and only one old man was able to give me an answer, a string of Runyankole words which nobody could translate. It reminded me of the scene in Lost in Translation when the creative director is giving long instructions to Bill Murray in Japanese, which the translator relays as "He says, more intensity!".
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Map It
Map City Services
Metro Newsroom
LouisvilleKY.gov Links
Tuesday August 7, 2007
The Mayor's Toyota Hike & Bike cycling route features a challenging new trek. Participants will start at Waterfront Park and ride over the Second Street Bridge to Jeffersonville, Ind. Vehicle traffic on the Second Street Bridge will be temporarily restricted for cyclists.
After returning to Louisville, cyclists will ride to Frankfort Avenue, past the new location for the Heigold House façade, and then on to Cherokee Park. The return route will take cyclists through the Butchertown neighborhood before circling back to Waterfront Park.
The complete bicycle route is approximately 15 miles, with several turnarounds available providing alternate routes as short as two miles. Toyota will be out in full force with vehicles to assist in delivering water to several rest stations.
The Louisville Bicycle Club will provide Bike Captains to help cyclists obey the rules of the road, as well as Bike Doctors to assist participants who might encounter equipment problems.
Louisville Metro Police will offer traffic assistance at key intersections and the Louisville Metro EMS bicycle team will patrol the route.
For walkers, a 2.5-mile "Mayor's Mile" loop will be marked in Waterfront Park. A local chapter of the national "Stroller Striders" group will participate in the walk. This is a group of new moms who stroll with their babies in several city parks.
A healthy marketplace with nutritional snacks, music, free children's activities and several informational booths will begin at 9 a.m. at Waterfront Park. The first 2,500 people will receive a free T-shirt. The Brain Injury Association will distribute 500 bike helmets to riders who don't have one.
Subway Restaurants continues its sponsorship of the series and will once again give away seven Trek bikes. To register, visit www.LouisvilleKy.gov/CommunityRelations. Subway will promote the event in its television advertising during the weeks leading up to Labor Day. Hikers and bikers who wear the Subway T-shirt they received at the Memorial Day Hike and Bike to the upcoming Labor Day event will receive a $5 Subway gift card.
This is the third year for the popular Hike & Bikes, which are held twice a year. Thousands of cyclists and walkers have joined the mayor on Memorial Day and Labor to explore the city's downtown, historic neighborhoods and scenic parks. The series has grown into the largest non-competitive community bike ride in the United States, according to the League of American Bicyclists of Washington, D.C.
If You Go:Mayor's Healthy Hometown Toyota Hike and Bike
Sept. 3 at Waterfront Park
10 a.m. for experienced riders. A second flight will follow for casual riders and families.
Booths with cycling information, bicycle assistance and healthy snacks available. On-street parking is available near Waterfront Park. All TARC buses are equipped with bicycle racks for cyclists who want to leave the car at home.