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Brian Conn's debut novel is called The Fixed Stars: Thirty-Seven Emblems for the Perilous Season. It is such a singular achievement that I would urge him to never publish another novel again – or at least to do so under a pseudonym – lest the idiosyncratic distinctiveness of his achievement be burdened by associations with and comparisons to his future – and in all likelihood, one would hope, quite distinct – output. I often think of how sullied Anthony Burgess' oeuvre has been by A Clockwork Orange – I don't particularly like the book; undoubtedly, many find that the pall of his most successful novel only heightens the appeal and effectiveness of his other works, imbuing them with unseemly potentials that might not otherwise therein exist – and I do not want this to happen to Conn.
I mentioned, just several clauses ago, that "one would hope" that Conn's future works be distinct from The Fixed Stars; this is not because the territory that he has explored here has been mined to its fruitfully-mineable extremes. Quite the opposite: he could continue with such similarly elusive works forever, and it would undoubtedly find him a place – a niche, at the very least – in the twenty-first century literary canon; he could very easily, I imagine, pursue the myriad narrative innovations he has made with his debut for the rest of his life. I say this merely because The Fixed Stars reads to me as so entirely distinct from anything currently being published that, for entirely selfish reasons, I would not want the uniqueness of the work to become part of a "club," so to speak, even if it were a club whose sole members were Conn's other publications. I imagine that, had I been a canny enough prepubescent to read CivilWarLand in Bad Decline when it was first released, I would have wished the same thing for George Saunders; had I had the wherewithal and unprecedentedly premature birth to speak to Don DeLillo after he published Americana, I would have told him to quit while he was ahead; had I been born before the release of Lydia Davis' first collection, The Thirteenth Woman and Other Stories, I likely would have urged her, too, to give up writing entirely. But, like Saunders, and like Davis, and like DeLillo, Conn is likely to only further develop and engage with his Weltanschauung, and The Fixed Stars will soon appear merely a spotty blueprint for the more considered and masterly work of his literary maturity. I look forward with immense impatience to this period, for it is his alone to pursue, and, unless he reins himself into less unique territory, whatever it yields will prove as exploratory and exciting and unforeseeable as Pastoralia and In Persuasion Nation, as Samuel Johnson Is Indignant and The End of the Story, as The Names and White Noise.
What has Conn done to deserve such anxious considerations of his future as a writer? He has written a remarkable, unique book. It exists in a largely timeless and placeless environment – references to time and place come not infrequently, but they render the world only more limitless and unfathomable – delineated in a prose style that reads as though in literal translation from some mock-Slavic language. The narrative – peppered with pronouncements and aphoristic statements that are absent, to the reader, of any easily relatable or fully comprehensible meaning or consequence – proceeds with a fascinating inscrutability comparable to a largely forgotten folk tale for which contemporary Americans can summon little immediate empathy. The prose is clear and concrete, and everything reads as solemn and forceful; yet the clarity and concreteness only make the world more foreign and incomprehensible, as the reader may find little correlation between the clarity and cohesion of the novel's world and his or her own.
The world is intensely insular and circumscribed, yet it is difficult to get a precise sense of it, so that, to the reader, it has an opaque expansiveness and breadth that feels entirely distinct from its characters' experiences of it; we are consistently at odds with the characters' understandings of the rules of their world, and yet we are able to gather a certain intuitive sense of what fits and what does not. Occasionally, the narrative ventures into areas and expands certain sections in ways that seem out of place with my intuitive understanding of his world; I would imagine that other readers' intuitive senses of the limitations of the novel's space are wider than mine, and that such allowances would seem entirely in order. Conn does not make any demands on the readers' understanding of this world; he merely makes inferences, which we can find fitting or out of place. Conn's responsibility to remain arduously attuned to his intuitive understanding of the world becomes all the more important, then, as does the meticulousness with which he expands it; there is an almost palpable sense that Conn restricts his narrative from his wilder impulses, so as to maintain the intuitive clarity of his structure.
The narrator's inability, unwillingness, or unconcern in expressing or articulating precisely what is happening and where it is happening, or to cogently convey a deeply involved image – the essential incompatibility between the clarity of the characters' comprehension of the world and the opacity of the reader's – ultimately works quite well, uncomfortable though it may be at times. The reader is invited into this world merely as an observer, albeit a somewhat blinded and deafened one; to gain any sense of this world means relying on senses not usually required – at least not foremost – while reading a novel: one feels as if one must touch and smell what is being given – merely reading it leaves one cold, unmoved, and exasperated, because any standard articulation and evocation – of how things and people interact, of the meaning of their interactions, of the sense of all of this – seem perennially just beyond the capacity of the descriptive passages.
There is much talk of love, particularly in extremes: characters often profess that they love something more than they do or have anything else; but what does this love mean? What is the sense of this love? We only get pronouncements; we rarely get articulated meaning. This creates an emotional divide between the characters and the reader, for we cannot quite empathize with their fears, loves, jealousies, and sadnesses; that two of the final sections are very moving is then entirely unexpected, and it is because, within this unempathic yarn, Conn has fashioned a sneakily subtle method of conveying feeling – it is quite unlikely that, were I to have read these sections earlier or separately from the novel, I would have done so with the same lump in my throat that Conn's slow, indoctrinatory storytelling method coerced me into having.
He seems to address the discrepancy between meaning to the reader and meaning to the novel's characters early on, speaking to the attempts of representing a road in mosaics: "no two mosaicists could agree what the new road looked like. Perhaps indeed it was many new roads, a different one for each of us." Conn makes the enlivening suggestion that his is merely one interpretation of this world. It is to me a novel proposition; usually, the worlds of writers of, for lack of a better signifier, speculative fiction are distinctly their own; no one understands the worlds of Philip K. Dick more than Philip K. Dick, and no one can represent the worlds of William Gibson more accurately than William Gibson. Conn is more inclusive: his representation, he seems to suggest, is merely one of an innumerable many; he has no more mastery over his allegorical world than any realist author does over those in which we all ostensibly live. It is an invigorating proposal.
There is a certainty not just to the prose but also to the way in which everyone approaches and understands their surroundings – this is a staple of fairy and folk tales: everything is governed by rules that, no matter how seemingly inscrutable or superstitious to the reader, are true and irrefutable within the tale. There is a fixity to everything that lends the novel a certain intractability. It is only the presumption that Conn's telling of this story is a mere one of many that saves it from become somewhat tiresome: this is a world more malleable than the one suggested by the rigidity of the prose.
The numerous stories told within the novel bear structural similarities to those specific to fairy tales, such as foreshadowing and resolution, but Conn refuses to strictly adhere to them, often leaving a tale largely unresolved, or resolving it in a manner not dependent upon any presumed foreshadowing. They read like last-minute dismissals of, or departures from, the styles to which they are otherwise indebted. Tropes are used for the purpose of abandoning them. While this may seem a tired postmodern trick, the progression of the novel, and the characters' seeming unconcern for any such fairy tale-esque resolution, serves only to further bolster the idea that this is a world comparable to but far from compatible with "ours": resolution is neither expected nor necessary. There is an effectively unnerving lack of clear consequence to anything, an unrelenting weightlessness to each part of the novel; even when events are endowed with a consequential flavor, the significance is supplied through a sheer exposition that beguiles far more than it informs. When the final two chapters of the novel build toward a resolution of sorts, it feels anticlimactic and unnecessary: we have long since abandoned the world of resolution.
It would be difficult to discuss this novel without at the very least addressing its postmodern elements. Conn takes a nearly Mannerist approach to his telling, but there is a sincerity to his tongue-in-cheek style – indeed, this sincerity is all that allows the work to sustain itself; otherwise its already considerable self-imposed limitations would only further encroach upon the connotative expansiveness of the work, and it would collapse under its own self-conscious cheekiness. This is not to say that the work is not cheeky: the syntax is of a kind of mongrel fairy talese, and references to "post-late-capitalism" abound. This latter term beckons the likes of Frederic Jameson and Francis Fukuyama, and in many ways these invocations are the weakest part of the novel: such allusions seem out of place to my increasingly intuitive understanding of it, even while it was precisely these allusions that initially allowed me to feel as though I had gained access to any such understanding. The term seems designed to create a framework for understanding the novel as a kind of post-postmodernist work, as a take on Robert Coover's take on fairy tales – a return to the source, in a way, but a return dependent upon discursive postmodern departures.
Is a description of the novel's plot necessary? I don't believe that it is; at the very least, my enjoyment of it was not dependent upon the plot – indeed, many of the more plot-oriented passages were for me the least engaging –, and many of the finest passages – most notably, a simply terrific short "historical" play, which details the events surrounding the marriage of the Commander of the starship Theseus, Duke of Athens to the daughter of the ambassador from Neptune – do little to advance the narrative. Suffice it to say that there is a plague, an annual celebration of great import to the society, considerable preparation for a pageant, kidnappings, messenger-delivered children, quarantines, efforts on the part of the society's children to accumulating knowledge about their society's history and culture, and a great much more: people get lost, people get in fights, people have sex in unusually pungent or asensual ways, people grow jealous and suspicious of each other. The events take place in some distant future, after all that we have taken for granted in some fashion or another leads to the destruction of contemporary civilization. Wonderfully bizarre aphorisms – "Let peace erupt within you" –, beautifully unexpected descriptions – "The binder of brooms leapt into the room and struck the boar-bristle woman behind the ear with a young pumpkin" – and hilariously stilted dialogue – "'I am only playing a haunting melody in this dell, in order to frighten the children'" – abound, but, after the abundant quirks and whimsies pass and fade into memory, what is left is a singular portrait of an obtuse, alien, and impossibly knowable society. There is a distinctly patriarchal quality to this largely collapsed society, despite certain efforts to place female characters at its forefront; but Conn does not use this to offer any analyses or interpretations of patriarchal societies, as perhaps he shouldn't – it would read entirely at odds with the style of the rest of the novel, even as it might make it a more comfortable or comforting read.
Conn's achievement is not so much in his fantastical and stoic fabrications as it is in the unexpected inclusiveness of his telling of them. The frame of the narrative is so tenuous and its contents so weightless that any story held solely within it seems to evade memory; those that extend beyond the narrative frame – the play, an early passage between two girls on a river, a later passage between two men and a corpse – are indelible in their alternately funny, sweet, and chilling singularity. The vagueness of this world is charted in concrete terms and phrases, but, between the limited and wonderfully awkward vocabulary and syntax and the incomprehensibly meaningful pomp of everything, Conn lets his readers in to roam and make of it what they will. This world isn't Conn's; he's just its messenger.
The image used for this post is a detail of the cover of The Fixed Stars. The cover design is by Lou Robinson and the photos are by Dreamstime.com.
The prose of Joanna Ruocco's remarkable debut novel The Mothering Coven is so exuberant and thoroughly enlivening in its contagious and cheeky love for the mutability of language's meanings that its plot often seemed to serve a subsidiary role to its stylistic rollicks; one could read for sound and linguistic play alone – its rhetorical approach to story seemed a narrative unto itself, and one could enjoy and take from this element of the novel as much – indeed, far more than – one could from practically any other published work out there, contemporary or otherwise. Since reading Ruocco's new collection of stories, Man's Companions, I've been tempted to return to The Mothering Coven and see whether these two facets – its style and its "substance," that is to say, perhaps erroneously, plot – are quite as easily extricable from each other as the ready fun of the prose alone made it seem to me. Man's Companions hews to a several few styles, none of them quite what one could call "Ruocco's own," if only in the sense that, unlike in The Mothering Coven, her method seems not so immediately and brazenly unique; where The Mothering Coven at times felt like something of a novel as tone poem, the stories in Man's Companions all seem a more cogent commingling of form and function, each narrative progressing, informing, and slyly abetting their respective needs. I now suspect I had missed a great deal of The Mothering Coven's virtuosity by believing it, in a sense, to be the singularized alloy of two separate products: a wonderful, funny tale, and an exhibit of stunningly confident and unusual writing. Man's Companions is something of a corrective to my reading of The Mothering Coven – an entirely unexpected one, as the novel is one of my favorites. But the short story collection commends Ruocco's abilities as not merely those of a stylistically inventive writer, but as of a thoroughly capable writer whose stylistic chops are no less honed than her narrative, structural, and emotional ones.
Where The Mothering Coven read to me as a kind of sui generis gem, Man's Companions offers its readers a considerable breadth of influences to apply to its various styles and subject matters. The early Lydia Davis seems not unfairly applicable, as does Amy Hempel, not merely for their separately singular abilities to convey a tremendous amount of information and a great emotional range with an economy of text, but also for the alternately insouciant and piercingly human wit with which they do so. It is this voice that informs the vast majority of the stories in the collection: they are told in the first person and relate the subtleties of its narrator's quotidian thought processes. Many conclude with minor profundities or alterations that render the preceding text in a new light, casting the lives of their narrators, with a quick and acute nuance, in entirely new emotional territory. This becomes something of a structural crutch for Ruocco, and, after a certain point, many of the stories constructed in this way bleed into each other; it took me some time to become convinced that the stories weren't connected in a less severely obscurantist manner similar to those of The Book of Disquiet or the untranslated Los cuentos de Juana. "Ugly Ducks," "Small Sharks," "Cat," and "Canary" are perhaps the finest stories within the collection to use this last-sentence-heavy technique, and it's likely not coincidental that they are also the first four stories of the collection: the style begins to wear after a point, and Ruocco's stylistic and diegetic expansion later in the collection becomes increasingly welcome, as fine-tuned, effective, and acutely perceptive as each story individually is.
I first read this collection about two months ago; before beginning to reconsider the work for review, I read it again, and found, not entirely unsurprisingly, that I had forgotten many of the stories that fall into this structural camp, or that I had conflated several. The stories prove themselves tremendously ripe for rereading: they are so unassumingly complete that new elements and possibilities emerge with each reading. They are also, particularly when read alone and out of order, great fun. I had largely forgotten ever having read "White Horses" come my second reading; and, upon my second reading – in which I read it separately from the others –, I wondered how forgetting such a funny and observant and subtly imaginative story was possible. The same goes for such marvels as "Flying Monkeys," "Hart," and, especially, "Unicorns."
The reason, I imagine, is that they come in such a quick flurry of other like-minded and stylistically similar – if uniformly perceptive and poignant – stories, and that this renders them artificially interchangeable. The brevity and unpretentious ease of each story makes one feel as though it is entirely possible to breeze through the collection; and it is, but doing so would ensure missing out on a lot. These last-sentence-heavy stories largely hew to the kind of first person narrative story released under a title with a profusion of personal pronouns. The collection is a slow progression, with several hiccups, from this style into other, singularly represented ones. "Represented" seems off-putting, as if these stories were mere pastiche; but each story manages to recall others stylistically while forging an unexpected emotional and narrative path of its own. This is what makes Man's Companion's such a revelation: one would imagine, after The Mothering Coven, that Ruocco's interests were predominantly in the purely verbal; the "corrective" quality of this collection is its proof that her interests are far more inclusive and wide-reaching, that she has a rare ability to fashion wholly believable characters quite quickly and that her understanding of their emotional states is paramount to her. As the collection progresses, the usage of the style of the first stories gradually wanes, reappearing only to upend the conventions initially laid down. And it is the stories that are not told in this style that have stayed with me most, and that I enjoyed most during both readings. "Endangered Species" and "White Buffalo" are to me the most effective stories in the collection; they are two of the best stories I have read in a long time. And they could hardly be more distinct from each other, the former a hilarious, obscured account of record-taking and naming, the latter a broad and painfully funny story of the numerous quotidian problems that beset, to varying degrees, a school and its teachers and administrators. I have read both countless times; I cannot tire of their quiet ingenuity and the fascinated receptiveness Ruocco grants her variously adumbrated and expansive worlds.
Because of the uneven stylistic mixture of the stories within Man's Companions, the collection feels somewhat cobbled together from the author's tremendous output; the stories are uniformly wonderful, but their order and form lends them a facility that ultimately does the collection more harm than good: each story demands to be read separately from the others, as a singular entity, but they are arranged with an informality that makes it easy to casually read one after a casual other. That so many focus on characters of varying degrees of obsessiveness, indecision, anxiety, self-consciousness, and idealizing wonder – it would seem important to note that they are largely female, particularly given the implications of the title of the collection, but this implication is as far as Ruocco's exploration of the relationship of women to men goes; furthermore, the female characters are not specifically feminine or primarily representative of notions of femininity; I could relate to many of them more than most male characters of any works in recent memory likely has only to do with the deftness with which Ruocco has created each person – only further lends the stories a conceptual cohesion that I believe just distracts from the collection's strongest qualities: the acuity of its prose, characterizations, and rendering of emotion. But it seems like senseless grousing to focus on such things: we are lucky to have a writer like Ruocco elucidating, examining, and celebrating so much for us, and we are quite fortunate to now have another book that attests to her wide abilities. I cannot wait to read The Mothering Coven again; I imagine it will be as if it were the first time.
The image used for this review is a detail of Birds, by Robert Hodgin. It is used for the cover of Man's Companions.
Kim Gek Lin Short has written a beguiling and entirely enthralling collection of related prose poems; it is so unusual and provocative in its subtle oddities that I wonder how aware she is of what she's done. This is always a good sign. It is what you think when you read a story by George Saunders, or see a film by David Lynch, or flip through a comic by R. Crumb: how did this person know he could do this? And how did he summon the courage, or merely the unconcern, to trust that others would not dismiss their work for whatever it first, and less interestingly, appears to be?
The collection, released by the exceptional Tarpaulin Sky, is entitled The Bugging Watch & Other Exhibits. It is composed of three distinct parts; the first, upon first reading, may seem the most conventional: it sets up the narrative, even as it watches it spin delirious circles around itself, upsetting its own logic; the second upends this somewhat as it allows the reader to delve into the mysteriously edited and footnoted datebook – a datebook that gives the collection the first half of its title – by one of the two protagonists, Harlan; and the third compiles "selections" from the datebook of the other protagonist, Toland. These component sections add up to nothing cohesive or in any rational sense coherent, although one should not be surprised to find one's heart aching with the progression of each: an internal logic – of the kind that makes distinct emotions seem urgently connected, of the kind that can make one feel manically persuaded without quite understanding why – makes the initially loose weave of these disparate parts increasingly tighten, and with each constriction, even as the relationships between its characters become more fluid and less comprehensible, a breathtaking sadness takes hold of the work.
This reaction came as an utter surprise to me. The first thing that struck me upon beginning The Bugging Watch & Other Exhibits was how bad the writing was; this is because I didn't yet know what Short was up to. I still don't, perhaps – but what is clear is that the essence of her writing exists far beyond the immediacy of her prose, so far beyond technique and style that to say that The Bugging Watch & Other Exhibits is more than the sum of its parts would be an utter trivialization – The Bugging Watch & Other Exhibits is something entirely different than the sum of its parts; the two don't seem to operate on the same planet as each other. The only problem with the work is its title, much in that it runs counter to the work's cumulative essence: The Bugging Watch refers to the second of its three sections, while Other Exhibits refers to the first, and perhaps the third; it is unusually literal for the work – the title is literally the sum of its parts, or at least two of them; the work is anything but, neither quite more nor less – and it creates an artificial disunion around a work that feels otherwise authentically disunified.
To return to the "badness" of the writing, as it initially struck me: the prose reads as if it were in literal translation from a syntactically erratic language, moving direct and indirect objects around their respective verbs with tireless and inconstant abandon. This initially read to me as the somewhat embarrassing result of an equation that marshaled poetry to a realm of willful obliqueness; each misplaced modifier and tangled predicate seemed to me only a result of this obscurantist approach. But as the emotional and ontological states of the characters withdrew from their initial state of clarity – beneath the obscured prose of the first section lay a perfectly comprehensible narrative; the characters seemed to live in a near-mythical place of folkloric invention and pure, ready emotions that, in all but their descriptive thrust, remained largely foreign to my comprehension; the reader is made plainly aware of how much and how often they feel great, consequential things, but I was unable, at this early point in the work, to quite feel anything with the characters: their ready emotions were not communicated through empathic prose; rather, the depth of these feelings, in response to encounters and realizations of obtuse and unarticulated meaning, is made apparent solely through the evident import the characters give them – this approach increasingly made sense; indeed, it is what makes the book so worthwhile and notable. It is also what makes it so brave: one could easily dismiss the work on the basis of its tiresome prose antics, but it is precisely through these that it expands into the unique, ethereal work that it is.
As the work proceeds, its world expands; soon we are introduced to a director, followed by Toland's father and then her mother. In its final pages, the words "smurflike" and "Superman" appear; nowhere previously in the collection did it seem that Smurfs or Superman had any room to exist. It is in Short's ingenious hands that these aberrations, rather than merely betraying the previously established – if amorphous – form and world of the collection, instead illuminate the profound incomprehensibility of human and emotional interactions. The first part of the work seemed to establish a place entirely distinct from what we may believe to be a world relatable to one's own; it seemed an affected fairy tale, something like Grimm Brothers fan fiction. As the collection progresses, it is not merely references to Denver and 1412 Humboldt Street – a GoogleMapable place; one wonders what significance it has to Short – that make this world more recognizable – Denver and 1412 Humboldt Street don't need any professed, observable "reality" in order to exist, after all – it is the increasing and increasingly incomprehensible expansiveness of the world. Even as we are dealing in rebirths and multiple existences, and even as its characters take on animal-, bug-, and doll-like characteristics, this becomes a most familiar place, one that is nonetheless immensely difficult to articulate: it is the world as we strive to understand it and make it understood; it is how we try to understand ourselves and those we love, and how we think we will be happy. With each new character, with each new unexpected word choice, the world becomes larger and infinitely more lonely; it becomes a world not of fairy tales but of people, and little is more incomprehensible and unknown, and full of love, yearning, and sadness, than the innermost thoughts and desires of people.
The image used for this post is a detail of the cover art for The Bugging Watch & Other Exhibits, by Daniel Rhodes.
It seems a fairly uncontroversial claim to make that, during the nigh-interminable four weeks between the announcement of this year's Pulitzer Prize winners and last week's second edition of the recipient of its award for Fiction, Tinkers was the most widely sought-after new book in the United States. Bookstores across New York were flooded by back orders for the first edition, which had mostly sold out before the Pulitzers were even announced; seventy holds had been placed on the novel in the Brooklyn Public Library, meaning that it would take me a little over four years to ever get hold of a library copy of it. There was also, with the excitement over such a small book by such a small publisher receiving such a grand prize, a deep puzzlement. The Pulitzers, like any major award, is largely defined by its relationship with the heavy-hitters in its respective fields: no matter how good any work may be, the thinking seems to go, a work must still be buffered by the prominence of its publisher in order to receive such a major notice. Why, then, and how, did the Pulitzer judges even notice this tiny little thing? The Pulitzers for Letters, Drama, and Music are typically an award about which those who work within the fields of its recipient categories love to grouse, comfortable in the knowledge that the philistines on its juries are merely incapable of making better informed, more artistically adventurous decisions; its juries, the thought goes, appeal to populist sentiments, and this is why so much smaller work goes unnoticed. When something that few have even heard of, like Tinkers, wins, it causes many to become uneasy.
Last week, the second edition was released, and I was one of a great many to pick up a copy. I have begun reading it, but haven't made it terribly far yet, certainly not far enough yet to form any concrete opinion of it. The prose is often wonderful, but occasionally it reads quite awkwardly; the dialogue meanders with clichés of how elderly people and their distracted grandchildren speak; and the whole thing seems lugubriously burdened by the pall of the death of its protagonist, George Washington Crosby, with the number of days before his death mentioned upon each new introduction to him. The intention, I imagine, is to give his remaining life added thrust, to add heft and urgency to the thoughts of a man whose proximity to death is so consistently referred to; instead, it obscures any of his ostensible sentience, it makes him doubly dead – in his proximity to death and in his existence so deeply cast in the shadow of his oncoming death. Paul Harding, the author of Tinkers, must then try all the more to bring this character to life: he must make Crosby live in spite of, or even in indifference to, his death, not because of it. Harding seems to take it for granted that his death makes any meaningfulness within his life all the more desirable; he doesn't pay much heed to enlivening Crosby beyond whatever the reader, in the urgent desire to lend this man life before he loses it, brings to him.
I am eager to have my opinion considerably changed the more I read it, and I would love to hear what others who have read the novel think of it.
Earlier this week, the wonderful Triple Canopy announced the recipients of its first round of commissions. As would be expected from such a curious and consistently invigorating enterprise as Triple Canopy, the projects all sound invariably fascinating; the full list of recipients may be found here.
From this early point – a point so early in the projects' developments that it is entirely unfair to begin making any such judgments –, several stand out as particularly intriguing, whether because of the projects themselves or the track histories of their respective creators. Anna Lundh's is emblematic of both. 2009 marked something of what must have been a banner year for the artist; at the very least, it was then that I found out about her, when her work proved consistently among the most memorable of the staggering five New York exhibitions that she participated in. The one sentence description on Triple Canopy's Commissions page sums up her proposal: "An investigation into a 'vision of a vision': Karl-Birger Blomdahl's unfinished computer opera, inspired by Hannes Alfvén's 1966 novel The Tale of the Big Computer." Much of Lundh's work is about uncovering or retracing nearly forgotten or effaced moments of the past: in last year's terrific exhibition, Avant-Guide to NYC – Rediscovering Absence, Lundh's contribution, Front-time Recordings, recreated the movements that Barbro Östlihn – like Blomdahl, a now deceased Swedish artist – made around New York, the city to which she immigrated in 1961. It was a uniquely compelling and touching portrait of the movements of an artist who lived just beneath the avant-garde radar of her time: it was not so much an effort, as one would expect, to recover the work of a forgotten artist as it was an effort to bring back to some palpable approximation of life the artist herself; the aching humanity and canny tribute to the cult of the artist that gave this project its power made it quite distinct from other work of similar pursuits. Her Triple Canopy commissioned project bears a superficially similar premise, but one can surely expect something utterly different from Lundh, whose curiosity, as it was on display in New York last year, never seems to allow her to retread previously explored territory.
Graham T. Beck has written many acutely funny and perceptive articles for such esteemed places as The New York Times, McSweeney's, The Believer, The Brooklyn Rail, frieze, and Art In America, among others. His summary of Christie's' recent record-breaking sale of Picasso's Nu au Plateau de Sculpteur (Nude, Green Leaves and Bust) was one of the most pungent to come out in its frenzied wake: the price is explicable, he explains, "for the same reason that my whiskey chocolate chili never wins the annual firehouse cook off: popularity, whether measured in US dollars or cayenne-smudged secret ballots, has everything to do with the lowest common denominator." His project for Triple Canopy, "a survey of FS-595, the official color palette of the United States," is such a forehead-slappingly obvious great idea that he now bears the burden of making his project live up to its extraordinary potential; fortunately, one has every reason to believe that he is capable of doing this.
Claire Barliant, whose art writing I am unfamiliar with but am now quite eager to read more of, has proposed another fascinating project. The Commissions page describes it thus: "Revisiting Mankato, which in 1862 was the site of the largest mass execution to occur in US history, and questioning the value of manufactured memory." Pivotal and largely forgotten moments of US history are always welcome for artistic and scholarly rediscovery, as are explorations of memory; and, judging at least from Barliant's observational skills as made apparent in her short, perceptive essay on Louise Bourgeois – she is an artist about whom one may often tire of reading, as rarely does anyone find anything strikingly novel and perceptive to discuss in her work; but Barliant's approach to her singular and largely un-dissected mystique feels entirely new; it is available here –, she seems well-suited to the task.
The two other projects that caught my eye fall on either end of premise vs. artist's track history spectrum. In the former camp is James Thomas and Megan O'Hara's proposal: "On its fortieth anniversary, revisiting NASA's Tektite project, the sci-fi-inspired underwater habitat that provided America with a fleeting vision of technologically oriented utopia." This sentence is grammatically incorrect in at least two ways, but no matter: the project sounds thrillingly fun. A quick Wikipedia search for the Tektite project provides a much abridged, notably less sexy account of the program, so I can't wait to see what their proposal unearths and how it incorporates the "technologically oriented utopia" angle. On the other end of the spectrum is Eve Sussman's proposal for whiteonwhite, described as "a dual-stream thriller randomized in real time; an experimental film noir." Sussman's work is reliable for the searching breadth of its thought and the enchantment of its aesthetic, and I very much look forward to following her into this new project.
The image is a permutation of Wrong Place, Right Time, a poster by José León Cerrillo, created for the Triple Canopy commissions.
Darlings - 8 NYC Bands You Need to He...
L Magazine's choice of Darlings as one of the "8 NYC Bands You Need to Hear" in 2009.
Donald Barthelme's Syllabus: A Non-Re...
An article in The Believer by Ken Moffett.
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What's New
Freshmen Pathway Charts
First-Time Students - 1996 to 2010Important note: The data for first-time students have changed. See Changes to First-Time Freshmen and College-Going Data for more details.
High School to San Diego Miramar CollegeThe numbers in this table include all students who started as first-time students at San Diego Miramar College during the fall term of the year and graduated from the high school identified below. Large pathways (50+ students enrolling per year on average over this period)
are indicated with a blue background. Medium pathways (10-49 students enrolling per year on average over this period)
are indicated with a green background. The distance given is the approximate, straight-line distance in statute miles.
If you prefer to have the distance in kilometers, click here. A zero (0) in a cell indicates that either there were no freshmen for that year/college/high school combination
or that the college or high school was not operating during that year. Only known, California high schools that supplied freshmen to this college or university are shown. To see all schools, including unknown, see the Custom Data Reports section of the website. Use one of the links below to remove the type of high school and reorder the list:
High School Name | City | Approximate Distance to School | Back to Default Order
A | B | C | D | E | F | G | H | I | J | K | L | M | N | O | P | Q | R | S | T | U | V | W |Freshmen Pathways main page.
Looking for other Commission data?Visit Where to Find Data for quick links sorted by the type of data.
Want to reproduce a pre-configured data report?Visit Reproduce Pre-Configured Report for available instructions.Instructions for the following report(s) on this page are available:
- Freshmen Pathway Charts - High School to [Postsecondary Education Institution] - View Instructions


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Starting Wednesday, Maryland's veterans will be able to have their military service noted on their driver's licenses, one of several new laws that took effect on New Year's Day.
While newly legal same-sex weddings in the state, which began Tuesday, may be drawing the most attention, the other laws cover topics ranging from Baltimore city elections to carcinogens in chicken feed.
Driver's license applications from the state Motor Vehicle Administration will now give veterans the option of having their veteran status marked on their license, a move that could help some ease back into civilian life after returning from combat, according to Sen. James N. Mathias Jr. (D-Dist. 38) of Ocean City, who sponsored the bill along with Del. Norman H. Conway (D-Dist. 38B) of Salisbury.
"There's the whole issue with returning troops of post-traumatic stress disorder," Mathias said. If veterans suffering from the condition get into trouble with law enforcement, police will immediately be able to take their military service into consideration, he said.
The notation also will allow the state to keep veterans apprised of benefits or programs for which they may be eligible, according to the Department of Legislative Services.
A prohibition on chicken feed that contains arsenic — a known carcinogen — also takes effect Wednesday, due to a law sponsored by Del. Tom Hucker (D-Dist. 20) of Silver Spring.
The law — the first of its kind in the nation — bans the use of roxarsone, a chemical added to chicken feed to protect the animals from parasites, and most other arsenic-containing additives.
Arsenic can build up in the chickens' bodies as well as in their manure, which the rain can wash into the Chesapeake Bay, Hucker said, adding that arsenic has been linked to diabetes, heart disease and cancer.
"This is a big win for Maryland residents," Hucker said.
Pfizer, which produces roxarsone, voluntarily suspended sales of the product in 2011, but the ban remains important in case the drug is sold again or another company markets a similar product, Hucker said.
And while roxarsone is no longer used by Maryland chicken farmers, the poultry industry has expressed concern that if the drug is put back on the market, the new law could stick Maryland chicken farmers with higher feed costs than those borne by their competitors in other states.
Another new law changes the year in which Baltimore city holds its municipal elections so they coincide with the presidential election cycle.
A pair of city charter amendments during the past 15 years put city law at odds with state law regarding when the city's elections should be held, and resulted in city elections being scheduled for the year after gubernatorial elections.
But the new law, sponsored by Sen. Nathaniel J. McFadden (D-Dist. 45) and Del. Nathaniel T. Oaks, both of Baltimore, changes the election year. The move is expected to save the state $270,000 and the city $3.7 million in costs associated with holding off-year municipal elections, according to Department of Legislative Services.
Another new law requires credit-reporting agencies to put a "security freeze" on a minor's credit report if requested by a parent. The law, sponsored by Sen. John C. Astle (D-Dist. 30) Annapolis and Del. Craig J. Zucker (D-Dist. 14) of Brookeville, is an effort to protect children from identity theft.


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One expert address the causes behind holiday-season migraines.
For Christmas tree decorations, homemade usually trumps store-bought.
Tips from moms on how to keep Dec. 31 from being just another night.
One expert address the causes behind holiday-season migraines.
[WARNING: The following story contains spoilers about Friday's season finale of The Amazing Race. Read at your own risk.] After logging in more than 26,000 miles in eight countries, wrestlers
When O.J. Simpson was on trial for the murder of his wife, he could really have used a best friend. And in Ryan Murphy's true-crime drama�
SpaceX and Tesla CEO Elon Musk's grand idea for an 800-mph above-ground transit system is taking it's first steps to become a reality.
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- Independent
- The Enterprise
- The Recorder
The proprietor of a Hollywood bar was charged Friday with unlawfully operating a slot machine at the business last year, in court papers stating law officers seized electronic gaming equipment there after twice visiting the business.
Patrick E. Dugan also was charged with illegally having the machine at Toot's Bar, off Mervell Dean Road in the Sandy Bottom community, for the purpose of gambling, through the investigation by detective Lt. John Payne of the St. Mary's sheriff's vice-narcotics division.
Machines at the bar operated as slot machines by allowing players to insert money and win or lose money depending on the size of their bet "combined with the random function of the machines," Payne wrote in a charges application.
Dugan admitted obtaining the machines about a year ago, the charging papers state, and he told police that he was donating a portion of the money to a local church.
A conviction for the misdemeanor slot-machine operating and gambling offenses each carry a maximum penalty of one year in jail and a $1,000 fine.


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September 06, 2011
Illinois Public Media News
In-depth reporting from WILL, NPR, the Associated Press, and other sources
Contact WILL News at email@example.com
Page 669 of 936 pages ‹ First < 667 668 669 670 671 > Last ›
WILL Newscast audio
NPR News
Thai Police Issue Arrest Warrants For 2 More Bombing Suspects
Kanye Is Running For President And One Other Must-Watch VMA Moment
EU Ministers Call Emergency Meeting To Discuss Migrant Crisis
Wes Craven, Master Horror Movie Director, Dies At 76
Obama To Rename Continent's Highest Peak From Mount McKinley To Denali
China Arrests Nearly 200 Over 'Online Rumors'
Jefferson Davis Statue Comes Down At University of Texas
Refugee Children Rescued In Austria Reportedly Disappear From Hospital
Motive Still Sought In Fatal Shooting Of Texas Sheriff's Deputy
Oliver Sacks, Renowned Neurologist And Author, Dies At 82
More NPR News
WILL Highlights
Vintage Vinyl is coming!
The Vintage Vinyl Sale to benefit Illinois Radio Reader returns on October 3. Click for the latest info.
WILL News wins PRNDI Award for "Unmet Needs" Radio Doc
The 2014 radio documentary, produced by former WILL staff and hosted by Scott Cameron, won second place in the Long Form Documentary category among medium-sized stations.
WILL Ag Director Dave Dickey retires
He carried on the farm broadcasting tradition, while innovating on the Internet.


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total items: 29


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Real news. Real funny.
Real news. Real funny.
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- Independent
- The Enterprise
- The Recorder
Preservation community rips commission
By ERICA MITRANO
Staff writer
Land preservationists blasted the Charles County Planning Commission on Wednesday for accepting, without revision, a "property rights" group's land use proposal instead of one suggested by county government staff. But other speakers lauded the Balanced Growth Initiative's map for saving land values by preserving the right to develop rural land.
Discussion of the countywide "septic bill" map dominated the monthly public forum before the Charles County commissioners in La Plata. The 2012 state law, formally the Sustainable Growth and Agricultural Preservation Act, directs county governments to divide their territories into four "tiers" for septic system and sewer use and to submit the plan to state government agencies by the end of the year.
The tiers comprise areas with sewer systems, areas where sewer systems are planned, areas where major subdivisions are permitted on septic systems and "preservation and conservation" areas where new major subdivisions will not be approved.
Wednesday's controversy stemmed from the planning commission's decision to allow major subdivisions to be built in swaths of the county's rural areas that planning staffers recommended be included in the map's conservation tier. The BGI proposal adopted by the planning commission removes about 65,000 acres of land from conservation, as suggested by county staff, and designates the areas for development with either sewer or septic systems.
The shifts endanger the health of the Mattawoman Creek, Mattawoman Watershed Society President Jim Long said. Runoff and pollution from developing farm and forest land would doom the struggling creek, where populations of smaller fish, like river herring, already are falling, he said.
"I hope you all know, the overall fish community in the Mattawoman is declining alarmingly. This includes especially the migratory fish. Fisheries scientists have sounded the alarm that the bass may follow. The Mattawoman is at a tipping point," Long said.
Long's comments were echoed by Dave Gardiner, director of the Port Tobacco River Conservancy, who said development threatens the survival of the Port Tobacco River, as well.
Chuck Jackson of Port Tobacco objected to the map on procedural, not environmental, grounds, saying the planning commission should have held a public hearing before approving BGI's map.
"We understand this map was prepared by an outside party and adopted by the planning commission with little or no review by staff or the public," or by the planning commission attorney, Jackson said. "Given these procedural flaws, we ask you to reject this map. In essence, we would like you to send this map back to the planning commission and ask them to do their homework before they send their work."
Farmer Dave Lines of La Plata dismissed these concerns as those of "a small but vocal segment of our county" that was overstating the harm development does to nature, especially compared to major pollution events like sewage treatment plant overflows.
"From a farmer's perspective, I can tell you any land placed in [conservation] tier 4 is too much because it devalues land without any compensation," he said.
Farmers should at least be allowed to build as many homes as they need to continue working the land, and the fate of the land should ultimately be the owners' to decide, said David Hancock Jr. of La Plata.
"I would like to, actually, from a farmer's point of view, ask you to accept BGI's proposal. The reason I say that [is] I've had people ask me, 'Why would a farmer support that?' We do support conservation, obviously; if a farmer is in the business of making a living off the land and all the land is developed, you're not going to be doing a lot of business that way," Hancock said.
Former state Del. Murray Levy, now a paid BGI lobbyist, defended the professionalism of the people who drafted the group's proposal.
"What the opponents of that map are doing is not fair. If it's the county government's belief that that land should be preserved, pay for it," he said.
Final approval for the tier maps will come from the county commissioners, and commissioners' President Candice Quinn Kelly (D) stressed that the drafting process is not over.
Maryland Department of Planning staffers are commenting informally on the map, and the board could opt to send it to MDP for a formal review before adopting it, she said.
"That lets everyone know that there will be some other eyes on this. There are other aspects of this we'll all have the opportunity to reconvene and reconsider," Kelly said.
In interviews Thursday, two members of the planning commission majority that adopted the BGI map defended the decision as best for property rights and criticized county staffers for, they said, not following the planning commission's instructions when drafting their proposal.
"Generally speaking, the staff failed to provide the planning commission with a map that reflected the intent of the planning commission. They failed miserably. ... I think the alternative [BGI] map that was recommended to the county commissioners, I think, better represents the interests of all the people in the county to include the farmers," said planning commission Vice Chairman Joe Richard.
The map can be changed later, Richard and member Lou Grasso noted.
Grasso said people concerned about the land should protect it themselves.
"What you have is a lot of people that have a dream for what they want Charles County to be, and they want to finance that on the backs of the people that own the land. So again, I'll go back to you, if they want to do that, they [should] pay for it themselves. Otherwise, let's just go to everyone in the development district, in St. Charles, and bulldoze half of their house. We're not going to pay them for it because we want more drainable area, more pervious area. See how they like it," Grasso said.
Staff writer Paul S. Warner contributed to this report.


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Animal Humane's Behavior Helpline is a free service available to all pet owners who are experiencing behavior concerns with their dogs or cats. Our trained behavior coaches provide recommendations on everything from housetraining to living with multiple pets in one home.
Call our Behavior Helpline for dog and cat behavior issues concerning:
If you do not reach a behavior coach via phone, please leave a message and your call will be returned within 24-48 hours. You may also email your questions to email@example.com.
ASPCA's Safety Assessment for Evaluating Rehoming (SAFER®) is a six-step aggression assessment test utilized by Animal Humane to evaluate the behavioral health of dogs entering our campus. All dogs six-months and older receive this basic testing. It is one tool along with relinquishment surveys, veterinary examinations and observations from our team and volunteers that help determine adoptability.
SAFER® was developed by Dr. Emily Weiss originally for the Kansas Humane Society of Wichita. Dr. Weiss' research focused specifically on developing a set of assessment items that would better predict service dog potential in dogs selected from shelters. The SAFER® assessment identifies dogs' comfort level with restraint and touch, reaction to new experiences including movement and sound stimuli, bite inhibition, behavior around food and toys and arousal level toward other dogs.Shelters that employ SAFER® or other research-based behavior assessments report fewer aggression complaints, more adoptions and better interactions with the public.
Will you help us save more lives?adoptable pets locations volunteer


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Show off your toned legs in a cool, comfortable pair of shorts for the warmer weather. From padded lycra to casual baggies,we've got shorts to suit every occasion – with or without the padded bits. If you're going for a serious ride, lycra shorts may offer the best performance. Many feature padding and antibacterial treatments and are available for men and women, while bib shorts do away with the potentially annoying waistband. Mountain bikers and even commuters or leisure cyclists may get more from the casual style of baggies. These still retain performance features – such as padding and technical materials – but are looser and more comfortable. If you just want to wear your regular shorts or trousers, you could also slip on a pair of padded undershorts for extra comfort. View bestselling Endura shorts and Castelli shorts.


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Men's Fila shoes are an excellent choice for tennis players of any skill level. Choose from Fila shoes for men that give tennis players support, flexibility and cushioning. James Blake dawns this brand out on the court. Remaining faithful to their Italian heritage, the makers of this authentic sports brand are still creating Fila tennis shoes with style, passion and loads of creativity. Men's Fila shoes are built to enhance a tennis player's game and spirit out on the court.
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Agriculture, Resources and Environment
Integration of agricultural systems at the farm/ranch and landscape levels
Initiatives and projects:
Energy and Climate Footprinting for Food Production and Supply Chains
Life Cycle Assessment
Sustainable Management of Nutrients and Water in Agricultural Landscapes
Responding to Climate Change
More information about projects related to drought, climate variability and other climate change adaptations and mitigations will be made available as they move forward.
Closing the Loop: Integrating Sustainable Waste Management in Agriculture
Information about research regarding recycling urban, rural and industrial waste into agricultural systems will be shared here as projects progress.
Harnessing Ecosystem Services to Increase Agricultural Sustainability
More information about research related to the conservation and expansion of on-farm biodiversity will be made available as they move forward.
Other on-going and past projects:
Alternatives to Methyl Bromide
Biologically Integrated Farming Systems (BIFS)
Organic Farming Research and Information
|The market for organic products is expanding rapidly. This section provides links to key resources for organic farmers and ranchers and for other agricultural professionals working in this area.


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Nb: infants must be under the age of 2 and
children must be under the age of 12 at the time of
Chalet Valerie offers the luxury of fully en suite rooms and a shared Jacuzzi, sauna and steam room on the lower level of the building (for the use of chalets Dominique and Francois as well). It is modern throughout with a comfortable living area and spectacular views over the Bollin piste and Grand Motte Glacier. Chalet Valerie is housed within the same building as sister chalets Valerie and Francois and is accessed via an internal lift and central staircase.Chalet Valerie offers an unbeatable location next door to the Tufs lift, the ski school meeting point and just across the piste from the lively centre of Val Claret. The chalet is also just a short ski down a blue run from the Bollin-Fresses lift and the Grand Motte Funicular.
Shared lower level:• sauna• steam room• hot tub• shower• separate WC• ski room
Ground floor: (main building entrance with separate entrance into Chalet Valerie)Rooms 1 & 2 = 2 twins with bath and WCRoom 3 = twin with shower and WC• dining area
First floor:Rooms 4 & 8 = 2 twins with bath, WC and balconyRoom 5 = twin with bath and WCRoom 7 = twin with shower, WC and balconyRoom 6 = large twin with shower (suitable for clients of limited mobility), WC and balcony• living area with decorative fireplace (not in use)
Some staff for all three chalets live in on the third floor of Chalet Dominique.
A hearty breakfast:Begin your ski day with fresh bread, a choice of preserves, cereals, porridge, yoghurts, eggs, fruitjuice and unlimited tea and coffee, plus a daily variety of hot options such as poached eggs, sausages, tomatoes and hash browns with croissants and pain au chocolat (or local breads, ham and cheese in Austria and Switzerland)
On your return from the slopes:A freshly baked cake or biscuits with tea and coffee awaits.
In the evening:Aperitifs and canapes followed by a delicious freshly cooked 4 course meal including a cheeseboard with a selection of superior regional wines unlimited until coffee and after-dinner chocolates are served.
There is also an optional welcome drink where you can meet the team and learn what is going on in the resort (and our après ski programme) during your stay.
Breakfast and dinner will be served on 6 out of 7 nights and a continental breakfast will be left out on 1 morning.
Iglu acts as a travel agent for disclosed principals/tour operators, further details
of which will be made available at the time of booking. Your holiday contract will
be bound by the tour operators terms and conditions.
Prices are shown for a basic room or unit, can be subject to change and are indicative
until time of booking. Please call on 020 8544 7114 for prices for other travel
and room options for this property.
The price shown includes 7 nights accommodation,
with flights from Gatwick.
Prices shown are per person per week based on maximum occupancy. Descriptions and
quality ratings are provided by the Tour Operator (or one of the Tour Operators
where similar holidays are offered by more than one supplier). We reserve the right
to make minor adjustments to the description or rating based on staff and customer
feedback. For payments by credit card, a 2.5% credit card charge (4% for AMEX) will
be added to your invoice. If you pay by a UK issued debit card, there is no charge.
All bookings are subject to a £5 per person Passenger Admin Fee charged by Iglu.com.
Please note: the above prices are not inclusive of tourist tax which in this instance
is payable in resort (approximately £3 - £10 per person per week in local currency).


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The fall high school season officially came to a close this weekend with the football state finals. So, Charles H. Flowers High School took the liberty of hosting the DMVElite Holiday Tip-off Classic to kick the winter sports season into full gear with a two-day, 20-team event that featured six county teams in Saturday's opener.
Saturday's schedule for Prince George's was:
12:30 p.m: Suitland vs. National Collegiate
2:00 p.m: Bowie vs. Arundel
3:30 p.m: Flowers vs. Battlefield
6:30 p.m: Clinton Christian vs. Prominence Academy
8:00 p.m: DuVal vs. DeMatha
It would be a bit hasty to label Darryl Smith as Suitland's answer to losing Roddy Peters — the first time in four years coach George McClure has fielded a team sans the University of Maryland freshman point guard for a full season — but it's not a bad first guess.
In the first quarter of the 12:30 p.m. matchup between Suitland and National Collegiate, Smith rang up 10 points on a blend of 3-pointers, pull-up jumpers, layups and free throws and finished with a team-high 28 points on 10-for-18 shooting. Even without 6-foot-4 forward Gerard Gray, arguably the team's top returner who sat out to rest after Saturday night's state final football game loss to Northwest, the Rams took a convincing 81-59 win over National in which they never trailed.
"I knew what we had coming," Smith said. "A lot of people didn't know what we had coming in and I just told people 'We don't have to say anything, we'll just play our game.'"
Suitland, in fact, may have an element this year that McClure had been devoid of throughout the Peters era: a true point guard. As the main ball handler in his four years, Peters often had to create for himself rather than being set up with screens and cuts off the ball. Now, with Donnell Graham operating as a full-time ball handler, Smith is free to work off the ball to set up scoring opportunities.
"That helps a lot," Smith said. "He'll pass me the ball and I'll pass him the ball and it just works great."
Ram top scorers: Darryl Smith 28, Donnell Graham 14, Nolen Dixon 14, Michael Turner 11.
Bowie and Charles H. Flowers, both considered contenders in the county 4A League race, will play each other Tuesday night, so which one is the more legitimate of the two will be decided then. But the Bulldogs made a rather convincing case on Saturday in a comfortable 71-39 win over Arundel despite an off day from Dejuan Smith (5-of-17, 12 points).
It took barely more than three minutes to build a 10-point lead and a little more than six to blow open an 18-2 cushion. Any fleeting hopes of an Arundel comeback were shut out in an 18-0 third quarter run that saw the Bulldogs push their lead to 28.
Point guard Jared Gray led the Bulldogs with 18 points on 5-of-12 shooting and 6-of-9 from the free throw line and 11 different players scored for Bowie.
"We're a young team," coach Cedric Holbrook said. "It's a new style of basketball but we still have to fine-tune it."
Bulldog top scorers: Jared Gray 18, Dejuan Smith 12, Christian Bryant 9, Everett Chambers 8.
During a scrimmage with DeMatha Catholic, Flowers center Clint Robinson, expected to be one of the top big men in the county this year, bumped knees with a Stag and sat out a few practices prior to Saturday's tournament. He began the 3:30 p.m. season-opener with Battlefield on the bench, and played relatively sparingly throughout, particularly in the first half.
What became of it was Edwards' squad proving it was more than just a few role players floating around the 6-foot-7 Robinson. Four players finished in double-figures for Flowers (1-0), with Patrick Johnson leading the way with 19 and Juwan Weldon (15), Devin Shuler (14) and Tyrik Campbell (10) following suit. Robinson finished with nine, seven of which came from the free throw line.
After the break, Flowers outscored Battlefield 43-30 and shot 14 percent better from the field (48) as compared to its first half rate of 34.
"The third quarter went really well, we made some adjustments defensively which helped us out a lot," Edwards said. "I think we took half as many three point shots in the second half and we cut our turnovers in half. That usually helps. That's usually a recipe for success."
Top Jaguar scorers: Patrick Johnson 19, Juwan Weldon 15, Devin Shuler 14, Tyrik Campbell 10, Clint Robinson 9.
The first sign that Clinton Christian is a completely remade program from the forgettable one of last year came before the ref even tossed the ball for the tipoff. Flowers was at full capacity for the penultimate game of the night, and the Eagles were playing Prominence of North Carolina.
The second sign came when Byron Hawkins, John Davis, Leroy Butts and crew jumped out to a 12-2 lead, extended it to 30-10 midway through the second quarter, and the game soon became a "which team can dunk harder or throw the best alley-oop" contest (the crowd won that one).
The Eagles would let up a bit towards the end of the game, allowing Prominence to get within single digits, but Clinton closed it out, 69-56, setting up what will likely be another sell-out game with Capitol Christian on Dec. 21.


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Science Live! Schedule
Our exhibits are designed to inspire curiosity and exploration, our Science Live! programs are designed to bring the exhibits to life. Whether it's a show in the Darden Adventure Theater or a one-to-one interaction with a volunteer at the Crosby Observatory, our live programs create the kind of impact that can last a lifetime.
Science Live! program schedules are subject to change based on staff availability.
Please call 407.514.2000 before you visit to confirm times and schedule.
Date: Friday, August 09, 2013 - 11:45 am
Take part on a fun science filled adventure in the Adventures with Clifford Exhibit. Children can discover why some things float and others sink, what makes an island an island and participate in other fun activities.


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Like most high school football teams, Poolesville High School likes to run the football — running back Charles Lyles has rushed for more than 1,500 yards and 13 touchdowns this fall. But when a team has a playmaking tight end like Cody Zinsser, getting the ball in his hands is a must.
Zinsser made the most of his four chances in Friday's 41-18 win at Rockville High that clinched the Falcons' (7-3) second straight postseason appearance. Poolesville will face two-time defending state champion Middletown in next week's Class 2A West Region semifinals.
In Friday's win, Zinsser caught three touchdown passes, all for more than 10 yards, and added a 64-yard play.
"We try to give Cody the ball as much as we can but we like to run the football as well, so he's not going to get eight or 10 throws, but when we throw to him, he makes plays," third-year Poolesville coach Will Gant said. "He made some phenomenal catches [Friday]."
Racking up points against Rockville (5-5) is one thing; the Rams have struggled defensively in 2013. But the Falcons did a tremendous job keeping what has been one of the county's most productive offenses to well below its 37 points-per-game average.
"Their defensive line did a [heck] of a job," Rockville quarterback Chuck Reese said. "We couldn't run the ball. We couldn't get a push off, so we basically just had to pass into a cloud zone all day and we just didn't have it."
Gant said it was important for the Falcons to accept that Reese, who had thrown for 36 touchdowns through Week 9, would throw for one or two scores Friday and that how Poolesville responded to those big plays would be vital. The Falcons shut down all three of the Rams' two-point conversion attempts.
"[Reese] is a good quarterback, he's thrown for a lot of yards so we tried to mix it up," Gant said. "He beat us a few times and we knew he would. We talked all week about being able to take it and he's going to complete passes and probably score on us and they'll score some points but it's how we respond that will be key. If we give up a touchdown, do we stop the conversation? Can we come back and put a drive together? I thought we did that very well [Friday]."
Four players scored at least one touchdown for Poolesville Friday, which is an amazing stat given that only 23 players dressed to play — a full roster would consist of only 26 players. There are teams with 60-person rosters that still only rely on one or two playmakers. While Gant said Poolesville does sometimes rely mostly on Lyles, the Falcons are also able to spread the ball around, which is vital given the team's small numbers.
Neither team took long to get on the board Friday. Rockville opened up the scoring when Reese connected with Spencer Brigman for a 70-yard touchdown reception on the third play of the game. Poolesville retaliated by scoring on its first play of the night, a six-yard touchdown run by Trey Willis that was set up by Lyles' punt return to the 6-yard line. Then Poolesville began to pull away.
The Falcons took a 13-6 lead on quarterback Steven Morningstar's 26-yard pass to Zinsser and then went up 20-6 early in the second quarter on Morningstar's 10-yard keeper. Zinsser's 64-yard reception late in the second quarter set up Lyles' 1-yard dive into the end zone to give Poolesville a 27-6 lead.
Reese's 40-yard pass to Louison Biama put Anthony Albert in position to score on a 6-yard run to keep Rockville within reach at halftime. But that didn't last long.
Despite Friday's disappointing end to 2013, Rockville took major strides this fall and won more games than in the previous two years combined. With players slated to return in all skill positions, Reese said the Rams look forward to a promising 2014.
Poolesville has quite a task ahead of it in next week's region semifinal but the Falcons seem to embrace the opportunity to play what could be the state's best team.
"To make the playoffs with a 26-person roster is unbelievable," Gant said. "We've just had to get the kids to believe in themselves, because we know they can be successful."
Poolesville 41, Rockville 18
Poolesville (7-3) 13 14 7 7 — 41
Rockville (5-5) 6 6 0 6 — 18
RV — Spencer Brigman 70 pass from Chuck Reese (run failed)
PV — Trey Willis 6 run (Kevin Rakow kick)
PV — Cody Zinsser 26 pass from Steven Morningstar (kick failed)
PV — Steven Morningstar 7 run (Kevin Rakow kick)
PV — Charles Lyles 1 run (Kevin Rakow kick)
RV — Anthony Albert 6 run (pass failed)
PV — Cody Zinsser 12 pass from Steven Morningstar (Kevin Rakow kick)
RV — Anthony Albert 9 run (run failed)
PV — Cody Zinsser 12 pass from Sean Parker (Kevin Rakow kick)
Poolesville — Trey Willis 18-128; Charles Lyles 19-52; Steven Morningsar 9-25.
Rockville— Anthony Albert 8-49; Kahan Louissaint 5-19.
Poolesville — Steven Morningstar 6-16-122-1; Sean Parker 1-1-12-0.
Rockville — Chuck Reese 13-30-233-2.
Poolesville— Cody Zinsser 4-114; Sean Parker 2-21.
Rockville — Louison Biama 4-81; Spencer Brigman 2-74; Anthony Albert 6-62.


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You'll never turn down a chance to show off your Ty Dillon pride! Add another gem to your Dillon collection with this autographed 1:24 scale die-cast. It features the same details as Ty Dillon's Yuengling Light car and has been hand-signed by your favorite driver. Your NASCAR spirit will be undeniable when you display this die-cast in your home or office!
- 1:24 Scale die-cast is 8 inches in length
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- Lionel Racing has randomly inserted more than 700 Golden Tickets in their 1:24 2014 die-cast! If you find one, you could win great prizes such as VIP race experiences, driver meet and greets, autographed race-used items, exclusive die-cast and much more!
- Officially licensed NASCAR product
Shop early for holidays and birthdays with our 365 Day No-Hassle Return Policy! Because we stand behind the quality of our products, you can return any item in original condition for up to a full year from the purchase date. We want you and your gift recipients to love what you ordered, but if not, we make returns easy for you.
Special event items are produced by manufacturers only after the outcome of a game or event. These are advanced sale items and will ship immediately after they are received in our warehouse.
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Customized items can be personalized with options such as your name, your favorite number, and/or designs. Some options may be limited by league rules.


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A look at the bookings int he Dec. 17, 2014, edition of the Siskiyou Daily News.
Almost all of the major American theater chains have announced that they will no longer be booking the controversial Sony comedy "The Interview" in the wake of threats of violence from an unknown hacker group earlier this week.
1.�FargoYou betcha we loved FX's sensational miniseries, inspired by the iconic...
New results from NASA's Curiosity rover are painting a curious picture of the planet's methane. The level of the gas found in the Gale Crater is less than expected, based on prediction models. But every once in a while, it spikes. NASA scientists...
Sony Pictures has canceled the Dec. 25 release of "The Interview" after hackers threatened terrorists attacks and the largest multiplex chains in North America pulled the film from its screens.
For cigar aficionados around the country, the warming of U.S.-Cuba relations might best be celebrated beside the smoky glow of a Cohiba. And yet stateside, that still won't be easy to do for some time.
The Los Angeles Police Department is buying 7,000 body-worn cameras for its officers, Mayor Eric Garcetti announced this week. The decision is not directly related to the protests in Ferguson or New York City in the past several weeks, as the...
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©2004-2013 Badge Magic. Boy Scouts of America®, the "Universal Emblem", Boy Scouts™, Boy Scout™, Cub Scouts®, Sea Scouts®, Venturing®, Webelos®, Awana®, Pioneer Clubs® and American Heritage Girls®, are either registered trademarks or trademarks in the United States and/or other countries. Used with permission. All rights reserved. The GIRL SCOUTS® name, mark, and all associated trademarks and logotypes, including the Trefoil Design, are owned by Girl Scouts of the USA
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- 6
- people in the U.S. have this name View Gary Pecka on Whitepages
Meaning & Origins
Transferred use of a surname, which is probably derived from a Norman personal name of Continental Germanic origin, a short form of any of the various compound names beginning with gar 'spear'. One bearer of this surname was the American industrialist Elbert Henry Gary (1846–1927), who gave his name to the steel town of Gary, Indiana (chartered in 1906). In this town was born the theatrical agent Nan Collins, who suggested Gary as a stage name for her client Frank J. Cooper, who thus became Gary Cooper (1901–61). His film career caused the name to become enormously popular from the 1930s to the present day. Its popularity has been maintained by the cricketer Gary Sobers (b. 1936; in his case it is in fact a pet form of Garfield) and the footballer Gary Lineker (b. 1960). It is now often taken as a pet form of Gareth.
|42nd in the U.S.
Czech: nickname for a hard man, from pecka 'cherry stone', 'plum stone'.
|49,556th in the U.S.


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- Independent
- The Enterprise
- The Recorder
A Hollywood man has been charged with theft offenses in court papers alleging he started a youth baseball league last fall, received $500 each from the families of five recruits and set up a pair of "spirit night" fundraisers — but held only a few practices.
Michael Shayne Erdolino, 38, was released last Thursday on $5,000 bond after his arrest on the charging papers also alleging that he promised there would be qualified instructors, uniforms and equipment provided through his Southern Maryland Athletics program, but no uniforms were issued.
One parent also agreed to put up $793 to buy doughnuts for a fundraiser, court papers state, and that money was never reimbursed, although the parent estimated the event's profit should have been about $2,600.
The parents' records indicate that the total in players' fees and fundraising profits exceeded $7,500, according to a charges application filed by St. Mary's detective Sarah Russell.
Erdolino told police last month that he maintained no records, charging papers state, and "he did not feel the need to explain how he managed 'his organization' to anyone." He told police that no team was formed, and he had thus far held only tryouts.


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10X15 Loglap Timber Workshop - with Assembly Service
This 10x15 workshop is perfect for use as an exterior workspace or simply as extra storage space. With assembly service.
- Loglap
- Fully Boarded Tongue & Groove Door
- Comes with - Roof felt & shed floor
- 10 years Manufacturers anti-rot guarantee applicable if care instructions have been followed
- Product supplied unpainted.
Read moreabout 10X15 Loglap Timber Workshop - with Assembly Service
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Product Details
Features and benefits
This workshop has been strongly constructed using 44 x 70mm framing. The two opening windows allow for fresh air and ventilation during the warmer months.
- This workshop will be professionally installed in your garden by an approved team; you'll be contacted soon after the delivery of your workshop to arrange a suitable time and date for fitting.
- We recommend that workshops are sited on pre-laid, level, solid and dry ground, with a foundation of either a wooden shed base, concrete or paving to give a stable and even footing for your workshop to sit on.
Technical specifications
|European Softwoods
|Dipped basecoat
|Number of doors
|Number of fixed windows
|Glazing type
|Roof Design
|Made In
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|Planed timber
|Fixings supplied
|Fixings supplied
|Timber approval
|FSC® approved
|Timber certificate
Health and safety information
Please note that this item comes with possible health and safety hazards. Refer to the container for full information and always follow the instructions.
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10X20 Loglap Timber Workshop - with Assembly Service
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Forest Friendly
All our wood is 100% Forest Friendly. This means using it in our products (from doors to wallpaper) does not damage ancient forests, harm wildlife or jeopardize communities who depend on forests now and in the future.
B&Q is proud of our industry-leading timber policy and 20 years of pioneering work on forests.
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