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Various Voices: Prose, Poetry, Politicsby Harold Pinter
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Hailed by The New York Times as "one of the most important playwrights of our day," Harold Pinter is the author of The Birthday Party, The Homecoming, and The Caretaker--just a few of his plays that have become seminal works in our literary canon. In Various Voices, Pinter presents his own selections from over fifty years of prose, poetry, and political writings,
Hailed by The New York Times as "one of the most important playwrights of our day," Harold Pinter is the author of The Birthday Party, The Homecoming, and The Caretaker--just a few of his plays that have become seminal works in our literary canon. In Various Voices, Pinter presents his own selections from over fifty years of prose, poetry, and political writings, offering insight into the man and his oeuvre. Now in paperback, this edition includes recently written new poems and prose. His nonfiction selections span "A Note on Shakespeare" (1950) to "An Interview with Mireia Aragay" (1996); the short stories begin with "Kullus" (1949) and end with "Tess" (2000); and the poetry ranges from "School Life" (1948) to "They All Rang" (1999). The political writings illustrate the lucidity of Pinter's views on human-rights issues.
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Product Details
- 9780802138248
- Publisher:
- Grove/Atlantic, Inc.
- Publication date:
- 06/28/2001
- Edition description:
- Reprint
- Pages:
- 246
- Product dimensions:
- 5.75(w) x 8.50(h) x (d)
Read an Excerpt
A Note on Shakespeare 5
On The Birthday Party I 8
On The Birthday Party II 13
Writing for the Theatre 16
Mac 21
Hutton and the Past 28
On Being Awarded the 1970 German Shakespeare Prize 31
On the screenplay of A la recherche du temps perdu 35
Arthur Wellard 37
`Jimmy' 43
Samuel Beckett 45
Speech of Thanks for the David Cohen
British Literature Prize for 1995 46
Harold Pinter and Michael Billington
in Conversation at the National Film Theatre 50
Writing, Politics and Ashes to Ashes 58
A Note on Shakespeare
The mistake they make, most of them, is to attempt to determine and calculate, with the finest instruments, the source of the wound.
They seek out the gaps between the apparent and the void that hinges upon it with all due tautness. They turn to the wound with deference, a lance, and a needle and thread.
At the entrance of the lance the gap widens. At the use of needle and thread the wound coagulates and atrophies in their hands.
Shakespeare writes of the open wound and, through him, we know it open and know it closed. We tell when it ceases to beat and tell it at its highest peak of fever.
In attempting to approach Shakespeare's work in its entirety, you are called upon to grapple with a perspective in which the horizon alternately collapses and re-forms behind you, in which the mind is subject to an intense diversity of atmospheric.
Once the investigation has begun, however, there is no other way but to him.
One discovers a long corridor of postures; fluid and hardened at the quick; gross and godlike; putrescent and copulative; raddled; attentive; crippled and gargantuan; crumbling with the dropsy; heavy with elephantiasis; broody with government; severe; fanatical; paralytic; voluptuous; impassive; musclebound; lissom; virginal; unwashed; bewildered; humpbacked; icy and statuesque. All are contained in the wound which Shakespeare does not attempt to sew up or re-shape, whose pain he does not attempt to eradicate. He amputates, deadens, aggravates at will, within the limits of a particular piece, but he will not pronounce judgement or cure. Such comment as there is is so variously split up between characters and so contradictory in itself that no central point of opinion or inclining can be determined.
He himself is trapped in his own particular order, and is unable to go out at a distance to regulate and forestall abortion or lapses in vraisemblance. He can only rely on a `few well chosen words' to bring him through any doubtful patch.
He belongs, of course, ultimately, to a secret society, a conspiracy, of which there is only one member: himself. In that sense, and in a number of others too, he is a malefactor; a lunatic; a deserter, a conscientious objector; a guttersnipe; a social menace and an Anti-Christ.
He is also a beggar; a road-sweeper; a tinker; a hashish-drinker; a leper; a chicken-fancier; a paper-seller; a male nurse; a sun-worshipper and a gibbering idiot.
He is no less a traffic policeman; a rowing blue; a rear-gunner; a chartered accountant; a best man; a bus-conductor; a paid guide; a marriage-guidance counsellor; a church-goer; a stage carpenter; an umpire; an acrobat and a clerk of the court.
His tongue is guttural, Arabic, pepperish, composed, parsimonious, voluminous, rabid, diarrhoeic, transparent, laundered, dainty, mellifluous, consonantal, stammering, scabrous, naked, blade-edged, one-legged, piercing, hushed, clinical, dumb, convulsed, lewd, vicious, voracious, inane, Tibetan, monosyllabic, epileptic, raucous, ministerial, sudden, Sudanese, palpitating, thunderous, earthy, whimsical, acrimonious, wintry, malicious, fearsome, blighted, blistered, mouldy, tantalizing, juicy, innocent, lordly, gluttonous, irreverent, blasphemous, avaricious, autumnal, blasted, ecstatic, necromantic, gentle, venomous, somnambulistic, monotonous, uproarious, feverish, austere, demented, deathly, fractious, obsessed, ironic, palsied, morbid, sanctimonious, sacrilegious, calm, cunning, cannibalistic and authoritative.
He moves through all with a vehement and flexible control. He turns and bites his own tail. He defecates on his own carpet. He repeats the Bible sideways. He disdains the communication cord and the life-belt. He scratches his head with an iceberg. But the fabric never breaks. The tightrope is never at less than an even stretch. He aborts, he meanders, he loses his track, he overshoots his mark, he drops his glasses, he meets himself coming back, he digresses, he calumniates, he alters direction, he sinks in at the knees, he rolls over like a log, he forgets the drift, he drops someone flat, he exaggerates, oversimplifies, disrupts, falsifies, evades the issue, is carried home drunk; he dawdles, he dwindles, he trips over his own feet, he runs away with himself, he implicates others, he misses the point, he ends up at the same place, he falls back on geometry, he cheats, he squanders, he leaves it at that; he gets in his own way, he burns his fingers, he turns turtle, he stews in his own juice, he loses all hands; suffers fire, arsony, rape, loot, ravage, fraud, bondage, murder, interference, snobbery, lice, jealousy, snakebites, damp beds, falling arches, jugglery, quackery, mastoids, bunions, hailstones, bladder trouble, fainting fits, eye-strain, morning sickness, heat, dirt, riot, plague, suicide. He suffers, commits and survives them all.
The fabric never breaks. The wound is open. The wound is peopled.
On The Birthday Party I
Letter to Peter Wood, director of The Birthday Party, written just before rehearsals started for the first production of the play in April 1958.
Dear Peter,
The first image of this play, the first thing that about a year ago was put on paper, was a kitchen, Meg, Stanley, corn flakes and sour milk. There they were, they sat, they stood, they bent, they turned, they were incontravertable, or perhaps I should say incontrovertible. Not long before Goldberg and McCann turned up. They had come with a purpose, a job in hand to take Stanley away. This they did, Meg unknowing, Petey helpless, Stanley sucked in. Play over. That was the pure line and I couldn't get away from it. I had no idea at the time what or why. The thing germinated and bred itself. It proceeded according to its own logic. What did I do? I followed the indications, I kept a sharp eye on the clues I found myself dropping. The writing arranged itself with no trouble into dramatic terms. The characters sounded in my ears it was apparent to me what one would say and what would be the other's response, at any given point. It was apparent to me what they would not, could not, ever, say, whatever one might wish. I interfered with them only on the technical level. My task was not to damage their consistency at any time through any external notion of my own.
When the thing was well cooked I began to form certain conclusions. The point is, however, that by that time the play was now its own world. It was determined by its own original engendering image. My conclusions were only useful in that they were informed by the growth of the work itself. When I began to think analytically about it (as far as I can manage to do that, which isn't very far) I did so by keeping in step with what was being suggested, by judging the whole caper through an accurate assessment of the happenings described, or what I concluded was an accurate assessment. I never held up the work in hand to another mirror I related it to nothing outside itself. Certainly to no other work of literature or to any consideration of public approbation should it reach a stage.
The play is itself. It is no other. It has its own life (whatever its merit in dramatic terms or accomplishment may be and despite the dissatisfaction others may experience with regard to it). I take it you would like me to insert a clarification or moral judgement or author's angle on it, straight from the horse's mouth. I appreciate your desire for this but I can't do it.
I confused the issue by talking of what `I thought' of the characters. Who I would invite to tea, etc. That's irrelevant. The play exists now apart from me, you or anybody. I believe that what happens on this stage will possess a potent dramatic image and a great deal of this will be visual I mean one will see the people, which will be a great aid to the expression of the thing, the getting across. The curtain goes up and comes down. Something has happened. Right? Cockeyed, brutish, absurd, with no comment. Where is the comment, the slant, the explanatory note? In the play. Everything to do with the play is in the play.
All right. You know what I think about Stanley. I think he has the right, whatever he does and is, to do and be just that and fuck the expense. That's what I think. But that is not the point of the play. It is a conclusion I draw from it. Is that a point expressed in the play? Only by implication, agreed. I conclude what I conclude upon that implication. Stanley fights for his life, he doesn't want to be drowned. Who does? But he is not articulate. The play in fact merely states that two men come down to take away another man and do so. Will the audience absorb the implications or will they not? Ask the barber.
Audience reaction, it seems to me, might be one of three (a) They should have left him alone. (b) The silly bugger deserved it. (c) It's all a load of crap. There is also, of course, (d) How fascinating, but what does it mean? To which I reply Meaning begins in the words, in the action, continues in your head and ends nowhere. There is no end to meaning. Meaning which is resolved, parcelled, labelled and ready for export is dead, impertinent and meaningless. I examine my own play and ask, what's going on here? I note this seems to lead from that, I would conclude this, but the characters themselves do nothing but move through an occurrence, a morning, a night, a morning. This occurrence has, admittedly, any number of implications. Anyone is entitled to see the show. The dramatic progression and the implications implicit in it will either find a home in some part of their nut or not.
To put such words as we discussed into Stanley's mouth would be an inexcusable imposition and falsity on my part. Stanley cannot perceive his only valid justification which is, he is what he is therefore he certainly can never be articulate about it. He knows only to attempt to justify himself by dream, by pretence and by bluff, through fright. If he had cottoned on to the fact that he need only admit to himself what he actually is and is not then Goldberg and McCann would not have paid their visit, or if they had, the same course of events would have been by no means assured. Stanley would have been another man. The play would have been another play. A play with a `sensitive intellectual' articulate hero in its centre, able to examine himself in any way clearly, would also have been another play.
Stanley is the king of his castle and loses his kingdom because he assessed it and himself inaccurately. We all have to be very careful. The boot is itching to squash and very efficient.
Goldberg and McCann? Dying, rotting, scabrous, the decayed spiders, the flower of our society. They know their way around. Our mentors. Our ancestry. Them. Fuck 'em.
What would you, as they say? In the third act Stanley can do nothing but make a noise. What else? What else has he discovered? He has been reduced to the fact that he is nothing but a gerk in the throat. But does this sound signify anything? It might very well. I think it does. He is trying to go further. He is on the edge of utterance. But it's a long, impossible edge and utterance, were he to succeed in falling into it, might very well prove to be only one cataclysmic, profound fart. You think I'm joking? Test me. In the rattle in his throat Stanley approximates nearer to the true nature of himself than ever before and certainly ever after. But it is late. Late in the day. He can go no further.
At that juncture, you will appreciate, he cannot be expected to suddenly recover the old gift of the gab and speak a set piece of self-analysis or self-realization, to point a tiny little moral. Nor could he earlier in the play for it would never occur to him to justify himself in that manner. Nor, for instance, could Petey in his last chat with Goldberg and McCann deliver the thought for today or the what we learn from these nasty experiences homily since, apart from anything else, we are not dealing with an articulate household and there is no Chorus in this play. In other words, I am afraid I do not find myself disposed to add a programme note to this piece.
None of what I have said means that I disclaim responsibility for my characters. On the contrary, I am responsible both for them and to them. The play dictated itself but I confess that I wrote it with intent, maliciously, purposefully, in command of its growth. Does this appear to contradict all I said earlier? Splendid. You may suggest that this `command' was not strict enough and not lucid enough but who supposes I'm striving for lucidity? I think the house is in pretty good order. We've agreed; the hierarchy, the Establishment, the arbiters, the socio-religious monsters arrive to effect alteration and censure upon a member of the club who has discarded responsibility (that word again) towards himself and others. (What is your opinion, by the way, of the act of suicide?) He does possess, however, for my money, a certain fibre he fights for his life. It doesn't last long, this fight. His core being a quagmire of delusion, his mind a tenuous fusebox, he collapses under the weight of their accusation an accusation compounded of the shitstained strictures of centuries of `tradition'. Though nonconformist, he is neither hero nor exemplar of revolt. Nothing salutary for the audience to identify itself with. And yet, at the same time, I believe that a greater degree of identification will take place than might seem likely. A great deal, it seems to me, will depend on the actor. If he copes with Stanley's loss of himself successfully, I believe a certain amount of poignancy will emanate. Couldn't we all find ourselves in Stanley's position at any given moment?
As for the practical question of the end of Act Two, where's the difficulty? Stanley behaves strangely. Why? Because his alteration-diminution has set in, he is rendered offcock (not off cock), he has lost any adult comprehension and reverts to a childhood malice and mischief, as his first shelter. This is the beginning of his change, his fall. In the third act we see the next phase.
The play is a comedy because the whole state of affairs is absurd and inglorious. It is, however, as you know, a very serious piece of work.
A simple matter, don't you think?
Harold Pinter
Note by Martin Esslin, editor of the Kenyon Review
The Birthday Party was Harold Pinter's first full-length play. It opened its out-of-town try-out run at the Arts Theatre in Cambridge on 28 April 1958, came to the Lyric Theatre, Hammersmith, in London on 19 May and closed on 24 May, having, in that fairly large house, taken only a grand total of two hundred and sixty pounds, eleven shillings and eight pence for the whole week's run.
Like all truly original and innovative works of art, the play bewildered and disconcerted its audience and as we can see from Harold Pinter's letter to the director printed here its director and actors as well. The Birthday Party seemed to many members of its first audiences to start off as a thriller, a mystery play; but, then, it failed to keep its promise: it provided no solution to the mystery. What had Stanley, that amiable but weak young man, done to make him hide away in a sleazy seaside boarding-house, where he was being mothered by a possessive elderly landlady; and what brought the two sinister agents to seek him out: the archetypal Jewish swindler Goldberg and the equally archetypal Irish terrorist McCann? And why were these two arranging what they termed a birthday party for Stanley, during which they brainwashed and tormented him? And where did they take him away, having broken his glasses and thus having blinded him and reduced him to speechlessness, in a big black car?
All this was puzzling. It was clear that a major talent was at work: the brilliance and wit of the dialogue, the sharpness of its clinical observation of the quirks and idiocies of real speech, the subtle syncopation of its rhythms and the transition from its realism to wilder and wilder regions of surrealist free association clearly marked the author as a virtuoso of stage language. But what was he trying to say in the play?
Pinter himself, at the time, steadfastly and rightly refused to be tempted into self-explanation and commentary on himself. It is not for an artist to provide a critical child's guide to his intentions. A work of art must speak for itself.
And, of course, some critics gradually succeeded in providing approaches to explanations, avenues towards an understanding of the play's meaning: that it was an image of a mood rather than an attempt to tell a story; that it combined a number of equally viable allegorical meanings that worked precisely because they were all equally true; that the very lack of explanation was the main image of the play: a metaphor for the inexplicable uncertainties and mysteries of the human condition itself, with its transitions from one stage of existence to another, youth to age, life to death.
Now, almost a quarter of a century after The Birthday Party startled its audience, Harold Pinter has agreed to the publication of the letter he wrote to the director of its first production. It is an important document. It is also a very fine piece of expository prose.
Martin Esslin, 1981
On The Birthday Party II
Letter to the Editor of The Play's the Thing,
October 1958
Thank you for your invitation to make a few observations in your magazine about writing for the stage, with reference to the rise and fall of my play, The Birthday Party. Your columns are more congenial to me than most since yours is an inter-university paper and the response given to The Birthday Party in Oxford and in Cambridge was most stimulating, involving a high degree of participation on the part of both audiences. My contact with universities in this field has in fact always proved worthwhile. The Room, my first play, was originally produced by Henry Woolf at the Bristol University Drama Department. Not only the integrity and clarity of Mr Woolf's production but the enthusiasm of the whole group and the reception given the play there was highly encouraging and directly responsible for my further efforts in this medium. I have never been to a university myself. It would appear, however, that some communication takes place between my work and a university public. That is enough for me to recommend university life to others.
The remarkable difference in reaction to The Birthday Party on the part of the London daily paper critics and the audiences in Oxford and Cambridge constitutes for me one of the most interesting features of the progress of the play. (There was, of course, no audience in London; the abstention counselled by nine or eleven critics was heeded sufficiently to bring about the abrupt closure.) There is no glib deduction to be made from this wide divergence in reception. I tend to believe, however, that even where unfavourable, the response of the public in Oxford and Cambridge gave evidence of an active and willing intelligence brought into the theatre, not merely, as is usual, that brought by isolated individuals, but that of an audience alive. The weeks in these towns were exciting for the actors, the producer, the management, and for me. The week in London, following these, was a most curious kind of a week altogether. The simple answer to this state of affairs might be too simple. Perhaps it has something to do with the subtleties and distinctions of climate obtaining in different areas of the country? Impossible to say.
You have asked me if I acknowledge or refute the influence of Ionesco. At the time of writing The Birthday Party I knew only The New Tenant of Ionesco, and so can hardly consider myself working under his influence. It is, I suggest, legitimate to hold that a writer writing in Southend and a writer writing in Inverness may be found to have something in common without their having had an intimate knowledge of each other's work. This occurs, I think, more often than those obsessed by that most facile of things, the category, would care to recognize.
You have asked me to discuss the lines I myself am working on. I think I proceed from one or two simple assumptions in writing for the stage. Given a man in a room and he will sooner or later receive a visitor. A visitor entering the room will enter with intent. If two people inhabit the room the visitor will not be the same man for both. A man in a room who receives a visit is likely to be illuminated or horrified by it. The visitor himself might as easily be horrified or illuminated. The man may leave with the visitor or he may leave alone. The visitor may leave alone or stay in the room alone when the man is gone. Or they may both stay together in the room. Whatever the outcome in terms of movement, the original condition, in which a man sat alone in a room, will have been subjected to alteration. A man in a room and no one entering lives in expectation of a visit. He will be illuminated or horrified by the absence of a visitor. But however much it is expected, the entrance, when it comes, is unexpected and almost always unwelcome. (He himself, of course, might go out of the door, knock and come in and be his own visitor. It has happened before.)
Not by any means everyone can be moved from his delusion. Where this is going to occur it will occur shockingly. It may induce paralysis. From paralysis to paralysis. Or from delusion to delusion. For if the intention of the visitor is to strip the man of his delusion, and if this is successful, he may then clothe the man in one of his own, on the principle that delusions are adjustable and can be worn by anybody. You can wear mine. I can wear yours. All you have to do is give me time for a fitting. On the other hand, given these ingredients of man and visitor, something quite different might take place; what could be called a liberation. A great deal will depend, of course, on what kind of man the visitor is, on his personality, so to speak. What is certain is that an adjustment of some magnitude will be necessary, either to a condition beneficial to the mind and disposition of the person concerned, or to one detrimental.
When I speak of a visitor I do not mean `A Visitor', an avenging angel, a messenger of Death, Doom, heaven or the milky way. A character will certainly reflect inherited attitudes and attributes. By inference or implication his allegiances may be located. This does not necessarily mean that he is a direct representation of any particular `force'. When a character cannot be comfortably defined or understood in terms of the familiar the tendency is to perch him on a symbolic shelf, out of harm's way. Once there, he can be talked about but need not be lived with. To postulate that what is unfamiliar bears no direct relation to experience is to forget that what is unfamiliar is not necessarily unrecognizable. While much of what is recognizable certainly remains unrecognized, this does not make it any the less recognizable at a given time and under certain given conditions.
We all have our function. The visitor will have his. There is no guarantee, however, that he will possess a visiting card, with detailed information as to his last place of residence, last job, next job, number of dependants, etc. Nor, for the comfort of all, an identity card, nor a label on his chest. The desire for verification is understandable but cannot always be satisfied. There are no hard distinctions between what is real and what is unreal, nor between what is true and what is false. A thing is not necessarily either true or false; it can be both true and false. The assumption that to verify what has happened and what is happening presents few problems I take to be inaccurate. A character on the stage who can present no convincing argument or information as to his past experience, his present behaviour or his aspirations, nor give a comprehensive analysis of his motives is as legitimate and as worthy of attention as one who, alarmingly, can do all these things. The more acute the experience the less articulate its expression.
I am sure that readers of your magazine fully acknowledge the double, treble, quadruple life lived under the term life. A play is not an essay, nor can a playwright under any exhortation damage the consistency of his characters by injecting a remedy or apology for their actions into the third act, simply because we have been brought up to expect, rain or sunshine, the third act `resolution'. To supply an explicit moral tag to an evolving and compulsive dramatic image seems to me facile, impertinent and dishonest. Where this takes place it is not theatre but a crossword puzzle. The audience holds the paper. The play fills in the blanks. Everyone's happy. There has been no conflict between audience and play, no participation, nothing has been exposed. We walk out as we went in. In Oxford and Cambridge with The Birthday Party I felt this was not the case. The audience was active and involved. This activity and involvement was to me most gratifying.
Writing for the Theatre
A speech made by Harold Pinter at the National Student Drama Festival in Bristol in 1962
I'm not a theorist. I'm not an authoritative or reliable commentator on the dramatic scene, the social scene, any scene. I write plays, when I can manage it, and that's all. That's the sum of it. So I'm speaking with some reluctance, knowing that there are at least twenty-four possible aspects of any single statement, depending on where you're standing at the time or on what the weather's like. A categorical statement, I find, will never stay where it is and be finite. It will immediately be subject to modification by the other twenty-three possibilities of it. No statement I make, therefore, should be interpreted as final and definitive. One or two of them may sound final and definitive, they may even be almost final and definitive, but I won't regard them as such tomorrow and I wouldn't like you to do so today.
I've had two full-length plays produced in London. The first ran a week and the second ran a year. Of course, there are differences between the two plays. In The Birthday Party I employed a certain amount of dashes in the text, between phrases. In The Caretaker I cut out the dashes and used dots instead. So that instead of, say: `Look, dash, who, dash, I, dash, dash, dash,' the text would read: `Look, dot, dot, dot, who, dot, dot, dot, I, dot, dot, dot, dot.' So it's possible to deduce from this that dots are more popular than dashes and that's why The Caretaker had a longer run than The Birthday Party. The fact that in neither case could you hear the dots and dashes in performance is beside the point. You can't fool the critics for long. They can tell a dot from a dash a mile off, even if they can hear neither.
It took me quite a while to grow used to the fact that critical and public response in the theatre follows a very erratic temperature chart. And the danger for a writer is where he becomes easy prey for the old bugs of apprehension and expectation in this connection. But I think Dusseldorf cleared the air for me. In Dusseldorf about two years ago I took, as is the Continental custom, a bow with a German cast of The Caretaker at the end of the play on the first night. I was at once booed violently by what must have been the finest collection of booers in the world. I thought they were using megaphones, but it was pure mouth. The cast was as dogged as the audience, however, and we took thirty-four curtain calls, all to boos. By the thirty-fourth there were only two people left in the house, still booing. I was strangely warmed by all this, and now, whenever I sense a tremor of the old apprehension or expectation, I remember Dusseldorf, and am cured.
The theatre is a large, energetic, public activity. Writing is, for me, a completely private activity, a poem or a play, no difference. These facts are not easy to reconcile. The professional theatre, whatever the virtues it undoubtedly possesses, is a world of false climaxes, calculated tensions, some hysteria, and a good deal of inefficiency. And the alarms of this world which I suppose I work in become steadily more widespread and intrusive. But basically my position has remained the same. What I write has no obligation to anything other than to itself. My responsibility is not to audiences, critics, producers, directors, actors or to my fellow men in general, but to the play in hand, simply. I warned you about definitive statements but it looks as though I've just made one.
I have usually begun a play in quite a simple manner; found a couple of characters in a particular context, thrown them together and listened to what they said, keeping my nose to the ground. The context has always been, for me, concrete and particular, and the characters concrete also. I've never started a play from any kind of abstract idea or theory ... Apart from any other consideration, we are faced with the immense difficulty, if not the impossibility, of verifying the past. I don't mean merely years ago, but yesterday, this morning. What took place, what was the nature of what took place, what happened? If one can speak of the difficulty of knowing what in fact took place yesterday, one can I think treat the present in the same way. What's happening now? We won't know until tomorrow or in six months' time, and we won't know then, we'll have forgotten, or our imagination will have attributed quite false characteristics to today. A moment is sucked away and distorted, often even at the time of its birth. We will all interpret a common experience quite differently, though we prefer to subscribe to the view that there's a shared common ground, a known ground. I think there's a shared common ground all right, but that it's more like a quicksand. Because `reality' is quite a strong firm word we tend to think, or to hope, that the state to which it refers is equally firm, settled and unequivocal. It doesn't seem to be, and in my opinion, it's no worse or better for that.
... There is a considerable body of people just now who are asking for some kind of clear and sensible engagement to be evidently disclosed in contemporary plays. They want the playwright to be a prophet. There is certainly a good deal of prophecy indulged in by playwrights these days, in their plays and out of them. Warnings, sermons, admonitions, ideological exhortations, moral judgements, defined problems with built-in solutions; all can camp under the banner of prophecy. The attitude behind this sort of thing might be summed up in one phrase: 'I'm telling you!'
It takes all sorts of playwrights to make a world, and as far as I'm concerned `X' can follow any course he chooses without my acting as his censor. To propagate a phoney war between hypothetical schools of playwrights doesn't seem to me a very productive pastime and it certainly isn't my intention. But I can't but feel that we have a marked tendency to stress, so glibly, our empty preferences. The preference for `Life' with a capital L, which is held up to be very different to life with a small l, I mean the life we in fact live. The preference for goodwill, for charity, for benevolence, how facile they've become, these deliverances.
If I were to state any moral precept it might be: beware of the writer who puts forward his concern for you to embrace, who leaves you in no doubt of his worthiness, his usefulness; his altruism, who declares that his heart is in the right place, and ensures that it can be seen in full view, a pulsating mass where his characters ought to be. What is presented, so much of the time, as a body of active and positive thought is in fact a body lost in a prison of empty definition and cliche.
This kind of writer clearly trusts words absolutely. I have mixed feelings about words myself. Moving among them, sorting them out, watching them appear on the page, from this I derive a considerable pleasure. But at the same time I have another strong feeling about words which amounts to nothing less than nausea. Such a weight of words confronts us day in, day out, words spoken in a context such as this, words written by me and by others, the bulk of it a stale dead terminology; ideas endlessly repeated and permutated, become platitudinous, trite, meaningless. Given this nausea, it's very easy to be overcome by it and step back into paralysis. I imagine most writers know something of this kind of paralysis. But if it is possible to confront this nausea, to follow it to its hilt, to move through it and out of it, then it is possible to say that something has occurred, that something has even been achieved.
Language, under these conditions, is a highly ambiguous business. So often, below the word spoken, is the thing known and unspoken. My characters tell me so much and no more, with reference to their experience, their aspirations, their motives, their history. Between my lack of biographical data about them and the ambiguity of what they say lies a territory which is not only worthy of exploration but which it is compulsory to explore. You and I, the characters which grow on a page, most of the time we're inexpressive, giving little away, unreliable, elusive, evasive, obstructive, unwilling. But it's out of these attributes that a language arises. A language, I repeat, where under what is said, another thing is being said.
Given characters who possess a momentum of their own, my job is not to impose upon them, not to subject them to a false articulation, by which I mean forcing a character to speak where he could not speak, making him speak in a way he could not speak, or making him speak of what he could never speak. The relationship between author and characters should be a highly respectful one, both ways. And if it's possible to talk of gaining a kind of freedom from writing, it doesn't come by leading one's characters into fixed and calculated postures, but by allowing them to carry their own can, by giving them legitimate elbowroom. This can be extremely painful. It's much easier, much less pain, not to let them live.
I'd like to make quite clear at the same time that I don't regard my own characters as uncontrolled or anarchic. They're not. The function of selection and arrangement is mine. I do all the donkeywork, in fact, and I think I can say I pay meticulous attention to the shape of things, from the shape of a sentence to the overall structure of the play. This shaping is of the first importance. But I think a double thing happens. You arrange and you listen, following the clues you leave for yourself, through the characters. And sometimes a balance is found, where image can freely engender image and where at the same time you are able to keep your sights on the place where the characters are silent and in hiding. It is in the silence that they are most evident to me.
There are two silences. One when no word is spoken. The other when perhaps a torrent of language is being employed. This speech is speaking of a language locked beneath it. That is its continual reference. The speech we hear is an indication of that which we don't hear. It is a necessary avoidance, a violent, sly, anguished or mocking smoke screen which keeps the other in its place. When true silence falls we are still left with echo but are nearer nakedness. One way of looking at speech is to say that it is a constant stratagem to cover nakedness.
We have heard many times that tired, grimy phrase: `failure of communication' ... and this phrase has been fixed to my work quite consistently. I believe the contrary. I think that we communicate only too well, in our silence, in what is unsaid, and that what takes place is a continual evasion, desperate rearguard attempts to keep ourselves to ourselves. Communication is too alarming. To enter into someone else's life is too frightening. To disclose to others the poverty within us is too fearsome a possibility.
I am not suggesting that no character in a play can ever say what he in fact means. Not at all. I have found that there invariably does come a moment when this happens, when he says something, perhaps, which he has never said before. And where this happens, what he says is irrevocable, and can never be taken back.
A blank page is both an exciting and a frightening thing. It's what you start from. There follow two further periods in the progress of a play. The rehearsal period and the performance. A dramatist will absorb a great many things of value from an active and intense experience in the theatre, throughout these two periods. But finally he is again left looking at the blank page. In that page is something or nothing. You don't know until you've cornered it. And there's no guarantee that you will know then. But it always remains a chance worth taking.
I've written nine plays, for various media, and at the moment I haven't the slightest idea how I've managed to do it. Each play was, for me, `a different kind of failure'. And that fact, I suppose, sent me on to write the next one.
And if I find writing plays an extremely difficult task, while still understanding it as a kind of celebration, how much more difficult it is to attempt to rationalize the process, and how much more abortive, as I think I've clearly demonstrated to you this morning.
Samuel Beckett says, at the beginning of his novel The Unnamable, `The fact would seem to be, if in my situation one may speak of facts, not only that I shall have to speak of things of which I cannot speak, but also, which is even more interesting, but also that I, which is if possible even more interesting, that I shall have to, I forget, no matter.'
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Pomelo07 Dec 2012 - 21:42I thought I was your best friend :'|
Pomelo07 Dec 2012 - 19:39Yeah man, never again :'|
P.S. You gonna share that In n Out, right?
Pomelo07 Dec 2012 - 16:42Don't make fun of my math problems, not cool
Pomelo06 Dec 2012 - 03:52Come talk to me when you're near 10,000 posts /z-snap
Pomelo05 Dec 2012 - 17:33HE looks like a regular dragon now
Congrats on moving on special cunt
Pomelo05 Dec 2012 - 02:00Holy shit ewhat did Special Cunt become
Pomelo03 Dec 2012 - 21:55congrats on selling your soul to this site btw
Pomelo03 Dec 2012 - 21:54YOOOOOooooooooOOOOOOOOOOOOOooooooooooooooooooooooooooooooooo
Pomelo03 Dec 2012 - 21:40yoooooooooooooo
Pomelo03 Dec 2012 - 21:11Best part is it doesn't even have a gender like the rest of your dragons do.
Reach of the sky, special snowflake.
I nominate we name it Special Cunt.
Pomelo03 Dec 2012 - 20:32btw do they have names?
Pomelo03 Dec 2012 - 20:31All of them except your special snowflake one.
Pomelo02 Dec 2012 - 04:32I ended up becoming a blue furry with like 600 boobs and 4 dicknipples on each of them omfg
Pomelo02 Dec 2012 - 04:20oh my god wtf am i playign this is hilarious
Pomelo02 Dec 2012 - 04:11"Shit ok do you remember that really shitty flash/text game where you mutate and end up with like 100cavernous dickcunts and maybe 70 boobs and lots of tentacles and its gross?
how bout we find a way to rp that?"
Fucking what NO I don't remember that but it sounds hella hilarious & amazing

subset: commoncrawl


text:
Cosy 3 bedrooms apartment by Plaza Espanya
Size60 m²
Floor No.2(with elevator)
- Air conditioning
- Internet/WiFi
- Balcony/terrace
- Towels
- Elevator in building
- Family/child friendly
- Kitchen
|Lleida, 08004 Barcelona, Spain
|Property type
|Property ID
|Acceptance rate
|Response time
|A few hours
|Calendar updated
|6 days ago
Living area with TV and table with 6 chairs.
Full equipped kitchen.
One bedroom with a double bed, second bedroom with two single beds, and a third bedroom with a single bed.
Nice balcony with a table and chairs.
The building has lift.
• You have to respect the peace and privacy of neighbours.
• Parties of course are not allowed in the apartment
• Take down the garbage when it is full to the waste container on the street
• Turn off the lights and A.C. whenever you leave the apartment.
• Wash the dishes the last day before leaving the apartment.
Extra Fees
A €200 refundable security deposit is required on check-in, or guests may leave a credit card imprint with the host.
A fee of €20 is required for check-in between 8pm and 10pm.
A fee of €30 is required for check-in between 10pm and midnight.
A fee of €50 is required for check-in between midnight and 2am.
Authorisation is required for check-in after 2am.
|Price for > 2 guests
|5 € per guest/night extra
|Check-in after
|Check-in before
|On arrangement
|Check-out before
|Cancellation Policy
The location is really convenient you can walk to almost all attractions from here. It is nicely decorated and it has everything you might need. Cynthia who greeted us was very friendly and helpful. Didn't give 5 stars for only 1 thing, the smell in the bathroom when showering and the hot water wasn't always there. But all in all really nice flat, great location and lovely host. I would definitely go back to the same place if in Barcelona again. It is best value for money you can find in such a central location!
excellent treatment from those who welcomed us, but a bad smell from the bathroom and a little carelessness in the
ottimo trattamento da parte di chi ci ha accolto, ma un brutto odore dal bagno e un po di trascuratezza nell'ambiente
Make sure if youre taking a cab that they know it's the Gracia district, we were dropped off at a similiar street name 30 minutes away. Cynthia was very nice, and drew us a map to tell us where we could find food, and also gave us the details on how to get back to the airport since we were not going to try a cabbie again. Very nice small apartment in the quiet and safe Gracia district. Perfect for 3 adults. Close to many restaurants, but not good for late night shopping(especially when you run out of toilet paper). Unfortunately, the blankets left for us were dirty(had a juice/wine stain and something else on it) and the bed in the smaller room is uncomfy. I figured out by the last night that if you sleep in the opposite direction it's more comfortable but other than that the place was great!
Great apartment :) Great location, 10 minutes by bus to Ramlas. 2 minutes to a huge shopping center. Really a nice apartment, everything new and space for 3 people. Always gladly again! :)
Super Wohnung :)
Top Lage, 10 Minuten mit dem Bus zur Ramlas.
2 Minuten zu einem riesigen einkaufscenter.
Echt eine Hübsche Wohnung, alles neu und platz für 3 Leute.
Immer gerne wieder! :)
Great location, next to the metro station, easy access to the rest of Barcelona. The apartment has everything you need, as well as Wi-Fi. With Fernando never met, on arrival we were met by a friendly girl Cynthia, who answered all our questions.
Отличное расположение, рядом со станцией метро, удобно добираться до любой точки Барселоны. В апартаментах есть все необходимое, а также Wi-Fi. С Фернандо не встречались, по приезду нас встретила дружелюбная девушка Синтия, которая ответила на все наши вопросы.
HIGHLY RECOMMENDED .. nice stay at the home of Fernando is a very nice apartment, comfortable and with all the comforts, is located very close to the metro to Placa de Catalunya, there are many shops and a shopping center within walking distance from the apartment, when we arrived she greeted Cintya a gentle girl who gave us all the information and also the phone is always available for any problem, we are an Italian family is recommend as a choice to stay in Barcelona ..
CONSIGLIATISSIMO..bellissimo soggiorno a casa di Fernando,è un appartamento molto bello,comodo e con tutti i confort,si trova vicinissimo alla metro per placa de Catalunya,ci sono tanti negozi e un centro commerciale a pochi passi dall'appartamento,quando siamo arrivati ci ha accolto Cintya una ragazza gentilissima che ci ha dato tutte le informazioni utili e inoltre al cellulare è sempre disponibile per qualsiasi problema,siamo una famiglia italiana è lo consigliamo come scelta di soggiorno a Barcellona..
Super organization. Beautiful apartment. I would and will book again
Super Organisation. Schöne Wohnung. Würde und werde ich wieder buchen
Very happy again, everything worked great. Contact very friendly and polite. The apartment was clean and for the price-performance ratio perfectly fine. Located in a quiet side street, supermarket, bakery and sight-seeing bus around the corner! We were there as a family very happy for the first time in Barcelona and were.
Sehr gerne wieder, hat alles super funktioniert. Kontakt sehr freundlich und höflich. Die Wohnung war sauber und für das Preis-Leistungs-Verhältnis völlig in Ordnung. Liegt in einer ruhigen Nebenstraße, Supermarkt, Bäcker und Sight-Seeing-Bus um die Ecke! Wir waren als Familie dort zum ersten Mal in Barcelona und waren sehr zufrieden.
Positive: quiet, clean apartment, a 8min of guenardo l4 metro hospital. Many grocery store in the neighborhood. Negative: wii fee which is very slow, but the dark apartment interior lighting allows dy remedy. We arrived late because we lost our 10th was charged, no information of this kind had been given prior to arrival.
Point positif: quartier calme, appartement propre, a 8min du métro hôpital guenardo l4. Beaucoup d épicerie dans le quartier.
Point négatif: wii fee qui est trés lente, appartement sombre mais l éclairage intérieur permet d y remédier.
Notre arrivée en retard car nous étions perdu nous a été facturé 10e, aucune informations de cette sorte n'avait été donné avant l arriver.
Quiet apartment, great location. Good for a few days. Complete inventory. Apartment could use some maintenance. Bedding was to be replaced.
Rustig appartement, prima ligging. Goed voor een paar dagen. Complete inventaris. Appartement kan wat onderhoud gebruiken. Beddengoed was aan vervanging toe.
- Quality assured accommodation
- Every host is verified by telephone
- Secure payment via SSL encryption


text:
We are seeking a Psychologist to provide mental health care services in a correctional facility. In this role, you will be responsible for the evaluation and treatment of inmates with mental, behavioral or emotional disorders.
Carle Physician Group in Mattoon, Illinois is seeking a fulltimeClinical Psychologist (PhD or PsyD) to join theBehavioral Health department.
Rehabilitation PsychologistSuburban Atlanta
Civilian opportunity for a Clinical Child Psychologist to provide full-time, early intervention care under the DoD's EDIS Program at the U.S. military treatment facility located in Okinawa, Japan.
NorthShore University HealthSystem (NorthShore), the principal academic affiliate of the University of Chicago Pritzker School of Medicine, seeks an outstanding Health Psychologist.
We are seeking a Psychologist to provide mental health care services in a correctional facility.
Position open for a School, Clinical or Neuro Psychologist at Rocky Mountain Youth Sports Medicine Institute.
This position conducts psychological evaluations and reports using standardized and approved testing materials
As a Psychologist, you will serve as an active member of a multidisciplinary treatment team and as part of that team you will provide inmates with a range of mental health services.
If you're looking for an opportunity with an award-winning health system that is dedicated to delivering sophisticated medicine with warmth and compassion, look at Lee Memorial Health System.
Sterling Medical is seeking a Child Psychologist to provide services overseas at Kadena Air Force Base in Okinawa, Japan.
Spectrum Healthcare Resources has an opportunity for a civilian Psychologist at Camp Lejeune in Jacksonville, North Carolina.
Civilian opportunity for a Clinical Psychologist to provide full-time, clinical adult care at the U.S. military treatment facility (48th Medical Group) located at RAF Lakenheath in Brandon, UK; about 65 miles North of London, UK.
Psychologists for Court Services and Offender Supervision Agency in Washington, D.C.
Quality of Life, Quality of Care. Practice medicine at Geisinger, our physicians do amazing things.
Spectrum Healthcare Resources has an opportunity for a civilian Psychologist at Langley Air Force Base in Hampton, Virginia.
Competitive salary and benefits among highly qualified, friendly colleagues foster networking opportunities. Relocation assistance, CME funds, Penn State University tuition discount for employees and dependents, LTD and Life insurance, & so much more!


text:
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This is an Open Access article distributed under the terms of the Creative Commons Attribution License (http://creativecommons.org/licenses/by/2.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited.
Although prokaryotes live in a variety of habitats and possess different metabolic and genomic complexity, they have several genomic architectural features in common. The overlapping genes are a common feature of the prokaryote genomes. The overlapping lengths tend to be short because as the overlaps become longer they have more risk of deleterious mutations. The spacers between genes tend to be short too because of the tendency to reduce the non coding DNA among prokaryotes. However they must be long enough to maintain essential regulatory signals such as the Shine-Dalgarno (SD) sequence, which is responsible of an efficient translation.
PairWise Neighbours is an interactive and intuitive database used for retrieving information about the spacers and overlapping genes among bacterial and archaeal genomes. It contains 1,956,294 gene pairs from 678 fully sequenced prokaryote genomes and is freely available at the URL http://genomes.urv.cat/pwneigh. This database provides information about the overlaps and their conservation across species. Furthermore, it allows the wide analysis of the intergenic regions providing useful information such as the location and strength of the SD sequence.
There are experiments and bioinformatic analysis that rely on correct annotations of the initiation site. Therefore, a database that studies the overlaps and spacers among prokaryotes appears to be desirable. PairWise Neighbours database permits the reliability analysis of the overlapping structures and the study of the SD presence and location among the adjacent genes, which may help to check the annotation of the initiation sites.
The availability of fully sequenced genomes has grown exponentially over the past few years. There is a huge variety of environments for the prokaryote species, as well as different metabolic and genomic complexities. However, prokaryote genomes have common architectural principles [1]. The prokaryote genomes contain protein-coding genes, structural RNAs and spacers between genes which are thought to typically contain regulatory signals [2] and the origin of replication sequence [3]. These spacers tend to be short because of the selective pressure to minimize the non-functional DNA in prokaryotes [2,4]. It is a consistent feature of these genomes that the genes often overlap their coding sequences [5]. Under this scenario of genomic compactness due to their physically small environments, the overlapping genes follow the rules that impose the structure of the genetic code and the spacers between genes must adapt their lengths to the requirements of the regulatory signals [2].
One of the regulatory signals that we can find between genes is the Shine-Dalgarno (SD) sequence [6]. The SD sequence is a motif, 5'-GGAGG-3', located at the 5' of the initiation codons and is complementary to the sequence, 5'-CCUCC-3', located at the end of the 16S rRNAs [6]. The ribosome does not need a perfect distance between the SD sequence and the start codon for the initiation of translation. However, it has been studied that when the SD resides within the 4 nucleotides from the initiation codon or when it is located as far as 13 nucleotides from the initiation codon, gene expression is decreased drastically [7-9]. The prokaryote species seem to have preferred distances between the SD and the start codon and these distances vary among the species [10], although this sequence has been found mostly from the 7th to the 12th base upstream from the start codon [10-12]. The location of the SD can help to correct the gene annotations [13] and could influence the spacing length and the stop codon usage [14].
Among the prokaryote genomes there is a huge amount of examples of overlapping genes [15-19]. The overlapping lengths tend to be short because of the selective pressure against long overlaps, as the existence of long overlapping reading frames increases the risk of deleterious mutations. The co-directional overlaps are the most common overlaps, which reflect that this is the most common orientation for a gene pair due to the tendency to be grouped in operons in prokaryote genomes [20-22]. Among the co-directional overlaps the 4 bps overlap is extremely common [5,15,23,24], which permits the upstream stop codon and the downstream start codon overlap and the gene pair is thought to be translationally coupled [25]. The co-directional and divergent overlapping genes can arise by 5'-end elongations when the downstream gene adopts a new start codon within the upstream coding sequence [23], while the co-directional and the convergent overlapping genes can arise by 3'-end extensions after a loss codon event [16]. Overlaps in prokaryotes have been hypothesized to be involved in reducing the genome size in order to increase the density of genetic information [17,24,26-28], and in regulating gene expression through translational coupling of functionally related polypeptides [5,24,26,29,30]. In addition, other authors have used the overlapping pairs as genetic markers for phylogenetic inferences due to its high conservation [31,32]. Overlapping genes are better conserved across the species than non-overlapping genes [19]. The extent of conservation of the overlapping pairs correlates with the evolutionary distances between the pairs of species [15].
The overlapping genes, as a common structure of the prokaryote genomes, and the spacers between genes are structural features worth studying in prokaryotes. However, the analysis of both the overlapping genes and the spacers between genes is often affected by genome annotation errors [33-35]. An accurate annotation would facilitate the experiments as well as the bioinformatic analysis of gene regulation and gene structure [36]. In this interactive database is stored all the overlapping genes and the spacers of 678 fully sequenced prokaryote genomes. The aim of this database is to provide the users with useful information about the overlapping genes and the spacing lengths between adjacent genes. The conservation of the overlaps across the species and the SD presence and location within the intergenic regions or the overlapping sequences can be analysed. Obviously, the quality of the information given depends on the quality of the genome annotations. In fact, this database can be used to analyse suspicious cases of genome annotation errors such as wrong initiation sites or false gene predictions.
The complete genome sequences of 678 prokaryote genomes were downloaded from the NCBI ftp site ftp://ftp.ncbi.nlm.nih.gov/genomes/. Scripts implemented in Perl language were performed to extract and analyse the spacers and the overlaps between adjacent genes and all the information related (spacing & overlapping lengths, spacing & overlapping sequences, gene orientations, phases, protein functions, gene COGS and stop & start codons of the genes). The internal gene ids in this database have been formed by joining the GenBank Accession Number with the gene name. For instance, the gene id for the HI0038 gene from Haemophilus influenzae Rd KW20 is NC_000907.HI0038. Furthermore, each overlap and spacer between adjacent genes has an internal id. The spacing lengths and the overlapping genes have been classified into three types according to their transcriptional direction [2,16,26]: i) unidirectional (genes in the same strand overlapping the 3'-end of an upstream gene and the 5'-end of a downstream gene), ii) convergent (genes in opposite strand overlapping the 3'-ends) and iii) divergent (genes in opposite strand overlapping the 5'-ends). In this database we use the term co-directional instead of the unidirectional term. In order to study the phases between adjacent genes, as other authors have previously done [5,19,23], we defined three overlapping phases: (i) phase 0 where the downstream gene is in frame with the upstream gene (lengths n = ..., -12, -9, -6, -3, 0, 3, 6, 9, 12, ...), (ii) phase 1 where the downstream gene is in the reading frame +1 relative to the upstream gene frame (lengths n = ..., -11, -8, -5, -2, 1, 4, 7, 10, ...) and (iii) phase 2 where the downstream gene is in the reading frame +2 relative to the upstream gene frame (lengths n = ..., -10, -7, -4, -1, 2, 5, 8, 11, ...).
We extracted the 16S rRNAs from the NCBI ftp site ftp://ftp.ncbi.nlm.nih.gov/genomes/. For each 16S rRNA sequence of each organism we looked at the 5' direction for the first instance of the three letter motif, 5'-GAU-3', which was found consistently on the 5' end tails of the 16S rRNAs with known structures. The location of this motif was used to define, up to the end of the 3' tail, the 16S rRNA tail of each organism. For species that have two or more copies of the 16S rRNA gene, we calculated the consensus sequence of all the tails. If the different tails observed did not follow a consensus, then we used the majority of the 16S rRNA gene tails. All the 16S rRNA tails of the 678 organisms were examined manually. The SD sequences for 678 prokaryote genomes have been predicted using computer calculations of the base pairing free energy between translation initiation regions and the 16S rRNA 3' tail. The method used was developed by Starmer and co-workers [12]; and the scripts to calculate the free energies were downloaded from http://sourceforge.net/projects/free2bind/ and were included in our Perl scripts. We located the SD sequence by the position of the lowest ΔG° value calculated from 35 bps upstream to the initiation codon to 35 bps downstream from the initiation codon. The gene was assumed not to have the SD sequence if ΔG° > -3.4535 Kcal/mol and to have SD sequence if ΔG° ≤ -3.4535 Kcal/mol. The threshold used is based on the work of Ma and co-workers [10]. The gene was assumed to have a strong SD sequence if ΔG° ≤ -8.4 Kcal/mol, which is the value obtained from the optimal base pairing between the 16S rRNA and the original SD sequence 5'-GGAGGU-3' [13]. In order to point the exact SD position we used the relative spacing parameter [13], that means that we calculated the distance between the first residue of the start codon and the 5' A of the rRNA sequence 5'-ACCUCC-3' in each position around the start codon. If the SD motif is located before the start codon the relative spacing will be negative, while if the SD motif is located after the start codon the relative spacing will be given as a positive number. Regardless the gene pair orientation, the SD information and the graph of the ΔG° values is given for the upstream and the downstream gene.
The huge amount of data generated required a data model to make it possible to work with this data efficiently. The Entity-relationship model, showed in Figure Figure1,1, was designed and transformed in a MySQL database. A web application was developed using the framework web TurboGears. This Python framework MVC (Model-View-Controller) is an advanced tool to create data consulting systems quickly, efficiently and consistently. The BLAST search tool [37] was installed in our server and is used to study the conservation of the gene overlaps. All the graphs are generated at the user side by a Java Script library named PlotKit.
We have developed an interactive and intuitive database that currently contains 1,956,294 gene pairs from 678 fully sequenced microbial genomes. The database is freely available at the URL http://genomes.urv.cat/pwneigh. Basically, this database provides information about the overlapping genes and the spacers between genes among the prokaryote genomes. Users can access to the information through three browsers and an advanced search engine, which are described below. In addition, this database offers the possibility of downloading the raw data and a Database Schema (Figure (Figure1)1) in the Downloads section. They can find information about the overlaps and the spacers with the species name or the GenBank Accession Number, with the gene id (they can use the gene name, the short gene name or the PID) or with the internal gene id (described above in the Construction and Content section). While the users are typing the species name or any gene id the search engine helps to complete the name or the id. Interestingly, by clicking on the "TagClouds", the user can get a list of the species contained in the database, which can be sorted by the number of overlaps in a genome or by genome length in order to check at a glance the genomes with more overlaps or longer genomes. Furthermore, the database is able to provide the users with reports in TSV format at every step of their consultation just on clicking the Download TSV Data buttons.
With this browser, users can find general information about the genomes and connect to the overlapping genes or the spacers between genes contained in the genome. They can access this information by typing the name of the species (by tax name) or the GenBank Accession Number (by genbank). If they do not remember the species name or the GenBank Accession Number by clicking on "Genome (List)" the users can consult an exhaustive list of the species contained in this database and their GenBank Accession Numbers. Once the user has made a genome search, the first page obtained gives basic features of the genome including the Species name, the GenBank Accession Number, the TaxID, the genome length, the number of ORFs in the chromosome, the number of overlaps and spacers in the genome, the overlaps between ORFs ratio in the chromosome and the number of co-directional, convergent and divergent overlaps tabulated and represented graphically. By clicking the number of overlaps a list of the overlaps contained in the genome is displayed on a new page, while on clicking the number of spacers a list of the spacers contained in the genome is displayed on another new page.
The users can analyse the overlapping genes in a genome or a particular overlap of interest (by gene or by internal id). Once the user has made a genome search, the first page obtained has a list of the overlaps with the overlapping genes and their orientations as well as the distribution of the overlapping lengths represented graphically. The representation of the overlapping length distribution gives a general idea about the most common overlaps and the most common overlapping phases in the genome. Each overlap id leads to a detailed new page of the overlap including five labels that provide: overlap information, upstream gene information, upstream gene sequence, downstream gene information and downstream gene sequence. The overlap information label (General Info label) provides the internal id, chromosome name, the orientation, the overlapping phase, the overlapping length and the overlapping sequence. The upstream and downstream gene information labels (Upstream Gene and Downstream Gene label respectively) show the gene name, the gene function, the gene COG, the stop codon and the start codon. Also, on these labels is given information related to the SD location (position of the minimal ΔG° value and minimal ΔG° value) and the ΔG° values in the translation initiation region is represented graphically. The SD related information will be given in the upstream or in the downstream label depending on the gene pair orientation. The labels Fasta Up and Fasta Down contain the upstream and the downstream gene sequence in fasta format. Above the sequences there is a BLAST button. By clicking on it, the gene sequence is directly pasted in the BLAST local search engine and the conservation of one overlap across the species can be analysed. Interestingly, in the PairWise Neighbours database, the user can define the Expected threshold of the BLAST search engine among other features. Therefore the user can decide the threshold used to study the similarity among orthologous genes in order to analyse the overlapping pair conservation. In the BLAST results, by clicking on any hit, the information of the overlap is displayed on a new page.
The users can analyse the spacers between adjacent genes in a genome or a particular spacer of interest (by gene or by internal id). If the user makes a genome search, a bar chart of the spacing lengths of the genome is shown and the user can have a first view of the most common spacers in the genome. Below a list of all the spacers in the genome is displayed, providing the internal id, the genes separated by the spacer and their orientation. By clicking any internal id all the information about the spacer is displayed on a new page. On this page there are three labels that give information about: the spacer, the upstream gene and the downstream gene. Basically the information given in the fields on a general information label (General Info label) is the same as the fields on a General Info label of an overlap. However, the user can find the Spacing length instead of the Overlapping length and Spacer sequence instead of Overlapping sequence. The information provided on the Upstream and Downstream Gene labels is the same as that on the overlap labels and the SD related information is also given depending on the gene pair orientation.
In this Advanced Search it is possible to study the functionality of the genes more widely. The user can make correlations between the COG classes and the gene orientations or between the COG classes and the overlapping or spacing lengths among the prokaryote genomes. Furthermore, the user can retrieve the gene set of each organism without SD sequence, with SD sequence and with a strong SD sequence by just selecting the organism and the corresponding energy threshold (the energy thresholds are explained above in the Construction and Content section).
In this Discussion section we give a few examples that we find interesting to illustrate the uses that can be attributed to the PairWise Neighbours database.
The first one is about the gene couple NC_000913.b0043 and NC_000913.b0044 of E. coli K12, which code for two proteins 4Fe-4S ferredoxin-type and have the COG ids COG0644C and COG2440C respectively (Figure (Figure2).2). These genes are overlapping 4 bps. From the upstream and downstream sequence labels it is easy to study the conservation of the gene pair, using the BLAST button. The BLAST results show 24 genes with high similarity (E Value < 2e-7) to the NC_000913.b0043 gene and 33 genes with high similarity (E Value < 4e-5) to the NC_000913.b0044 gene (Figure (Figure2).2). By clicking on a gene id in the BLAST results, information about the overlap that involves the gene is displayed on a new page. Most of the genes similar to the NC_000913.b0043 gene have their adjacent gene in the group of similar genes to the NC_000913.b0044 gene and the majority of these gene pairs are overlapping 4 bps. Therefore it is a conserved overlap, particularly across the Enterobacteria species. Interestingly, we also find high conservation in the location of the SD sequence. Analysing the SD information for the NC_000913.b0044 gene (Downstream Gene label in Figure Figure2)2) we observe a drop in ΔG° value at 9 nucleotides to the start codon. This SD position is conserved among Enterobacteria species. Figure Figure22 shows the information for the NC_003197.STM0078 gene of Salmonella typhimurium LT2, which overlaps 4 bps with the NC_003197.STM0077 gene. These genes are similar to the E. coli K12 gene pair analysed. The NC_003197.STM0078 gene shows a drop in ΔG° value at 9 nucleotides to the start codon, as it happens in the NC_000913.b0044 gene of E. coli K12. This indicates that the SD sequence is located along the 3'-end of a previous coding sequence and it might suggest that the SD locations of conserved gene pairs can also be highly conserved.
The second example is about the gene couple NC_002947.PP_2780 and NC_002947.PP_2781 of Pseudomonas putida KT2440 that overlap 130 bps. This overlap is the product of a misprediction of the start codon of the gene NC_002947.PP_2781 causing a 5'-end extension of the gene [35]. If we use the sequence of this gene as a query for the BLAST, we obtain as a first hit the orthologous gene NC_009512.Pput_2974, which is 127 bps shorter (compared with NC_002947.PP_2781) at the 5'-end and it is adjacent to the NC_009512.Pput_2975 gene (Figure (Figure3).3). This gene pair (NC_009512.Pput_2974 and NC_009512.Pput_2975) belongs to P. putida F1 and overlaps only 4 bps, which is more reliable than the overlap of 130 bps. This is an example of a mispredicted overlap (NC_002947.PP_2780 and NC_002947.PP_2781) that could be corrected by just analyzing the BLAST results that we obtain automatically in this database, assuming that the orthologous gene has a correct prediction of the start site. In this case, the SD sequence prediction indicates that the NC_002947.PP_2781 gene has no SD sequence, while its orthologous gene (NC_009512.Pput_2974) has a strong SD sequence at 7 nucleotides to the start codon (Figure (Figure3).3). Therefore, SD sequence location may help to expose wrong start codon predictions [13], as in the case of the NC_002947.PP_2781 gene, and to reinforce start codon predictions [38], as in the case of the orthologous gene (NC_009512.Pput_2974).
The third example is about the genes NC_000913.b2644 and NC_000913.b4548 of E. coli K12. These genes are separated by 8 bps (Figure (Figure4),4), which is a short intergenic distance for a co-directional gene pair. The NC_000913.b4548 label shows that there is a drop in ΔG° value at 6 bps to the start codon (Figure (Figure4).4). This means that the SD sequence of this gene is overlapping the upstream stop codon (TGA). If we join the upstream stop codon, the intergenic sequence and the downstream start codon we have the sequence TGAGGTATTACATG (Figure (Figure4).4). The upstream stop codon is overlapping the SD motif resulting in the pattern TGAGGT that can bind with the SD sequence 3'-CCUCCA-5'. Therefore here we have detected a co-directional gene pair of E. coli K12 whose SD sequence for the downstream gene overlaps the upstream stop codon.
Other uses of the PairWise Neighbours database are to find out SD information of gene sets of interest, which have been labelled in other databases. For instance, the gene NC_000913.b3297 of E. coli K12 has been labelled as a highly expressed gene (HEG) in the HEG database [39]. This gene codifies for the 30S ribosomal protein S11 and has a strong SD sequence (the drop of ΔG° value is -11.44 Kcal/mol) at 10 nucleotides upstream to the start codon. If we analyse the SD presence in the E. coli K12 genes predicted as HEG in the HEG database (Table (Table1)1) [39], we find that the 81.03% of these genes have the SD sequence. This percentage is significantly higher compared with all the E. coli K12 genes (69.66%) and with the mean and standard deviation of the SD presence in 100 sets of 300 E. coli K12 genes randomly selected (69.04% ± 2.58%) (Table (Table1).1). Therefore, as other authors have already found [10], the HEGs appear to have more SD presence. Another interesting gene set that can be analysed in this database is the horizontally transferred genes (HGTs). We studied the SD presence among the E. coli K12 genes predicted as HGTs in the HGT database [40]. The percentage of HGTs that have SD sequence (68.39%) is close to the percentage of SD presence found in all the E. coli K12 genes. This percentage falls within the range of the mean and the standard deviation of 100 sets of 300 genes randomly selected from E. coli K12 (Table (Table1).1). Therefore, it seems that the HGTs have an equal SD presence to the original genes of the species.
The studies of the translation initiation mechanism, gene regulation and gene structure (such operon predictions) rely on correct annotations. With the growing number of fully sequenced prokaryote genomes, the databases that help the annotation processes are very desirable. PairWise Neighbours is an interactive and intuitive database for retrieving information about the spacers and overlapping genes among bacterial and archaeal genomes. With this information, on the one hand, it is possible to study the reliability of an overlap as well as its conservation across the species with a BLAST local system, which permits the user to study the conservation of an overlap applying their desired Expect threshold. On the other hand, with the information related to the SD sequence and the ΔG° values along the translation initiation region, the users can analyse the intergenic regions widely. They can check the reliability of the initiation site prediction, the SD location and the SD strength or the relationship between SD location and the spacing lengths. In addition, it is possible to analyse the gene functions using the COG classes and the SD predictions.
Project name: pwneigh
Project home page: http://genomes.urv.cat/pwneigh/
Operating systems: Platform independent
Programming language: Python and SQL
Other requirements: Python 2.5, mySQL 5.0, Apache 2.0 and TurboGears 1.0.7
Licence: Content by Creative commons and source code by GNU GPL
Any restrictions to use by non-academicians: None
AP performed the necessary Perl Scripts to obtain the raw data. TR built the MySQL database and designed the web application. AP, SGV and AR participated in the analysis and interpretation of the data. AP drafted the manuscripts and SGV and AR revised it critically. Finally, all the authors read and approved the version to be published.
This work has also been supported by projects BIO02003-07672 and AGL2007-65678/ALI of the Spanish Ministry of Education and Science. Also we would like to thank Richard Tuby for his help in writing the manuscript. Thanks also to the anonymous reviewers for their useful suggestions. Finally, we would like to thank Joshua Starmer and co-workers for making available their programs for detecting Shine-Dalgarno motifs, and especially thanks to Joshua Starmer for his kind assistance.
PubMed Central Canada is a service of the Canadian Institutes of Health Research (CIHR) working in partnership with the National Research Council's national science library in cooperation with the National Center for Biotechnology Information at the U.S. National Library of Medicine(NCBI/NLM). It includes content provided to the PubMed Central International archive by participating publishers.


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I personally sold. Will recoup when I file law suite. Not worried, win win, If the stock went down win because of selling. If the Article false. Wow win on law suit. No one can print an Article with such 100% conviction if it is false. Yes you can say the Company is no good etc. But to post pictures and finger prints of ( maybe not the correct individuals ) Lets see what happens. Calling in my legal help.
icmag makes the same allegations..icmag dated 2/4.
Sentiment: Strong Sell
Attention all idiots. MJNA is a fraud!! Worthless... Do not try to rationalize how you got beat out of your money. Just sell and be thankful you did not lose more, like the people who hold onto their shares will. Market cap of $250 million plus bahaha... Come on people
And I thought FB was overvalued at $60 Billion
I still cant believe I sold the greatest investment opportunity of my llife for a fraction of what I could have made
better save that article for proof before SA removes it.
Sentiment: Strong Buy
Saved thanks for the advice. Now I just sit back and watch.
thanks..please keep us posted..
Liz...I weighed this out and so far I held....this was terribly suspecious and if indeed the COO did respond as stated , it appears it will be strongly addressed. I am already almost back to even as I set 12 noon cdt to make my decision. I think I will hold pat and study sunday night....if it held this well and took the beating to 29 then I lkike it's chances into next week. Nothing but rebuttle now as I see it , which is a good thing.
no chance of class action ...... if that is not her - buy if it is - sell period can ANYONE validate for certain that she is not one and the same!!!
Do your own research Jack. We already told you guys that she was born 4-4-69. Her real picture is on Linkedin She has NO criminal record .
I have it from a very reliable source that I spoke to that is very close to the company that that mugshot IS NOT HER!!! Take that to the bank!
Sentiment: Hold
You may want to make this a class action suit and include Yahoo posters claiming knowledge of fraudulent activities. Some of these posters crossed the line in defaming the company and Senior Management.
Sentiment: Strong Buy
You will never see a penny from a lawsuit! Don't be naive!
According to the IHUB post one of the ones mentioned in the article has stated not them. Also said they have contacted there attorney to file. So if the Company can file why do you believe I will get no where. Sorry you do not know how persistent I am. Just siting back now and watching the stock if it goes up them I and my legal team will prevail.
I agree with you if the article was posted on the regular message board. But this article was posted where Companys post there articles. No one has the right to post a bogus article ( not saying it was, until the dust settles ) accusing some as what was said. Many celebrity's have pursued law suits on this same agenda.
Disclosure ... I held strong.
Unfortunately, you will find out that your lawsuit (or, a class action suit) will not pay off ... rarely does. These Alpha shorts usually have themselves very well protected financially .... and, well, the SEC just doesn't care enough to go after them. However, if MJNA does something more than a refute, you'll get some satisfaction and maybe a few "samples" to help you feel better.
Sentiment: Hold
It's because you need to due your own DD, and so does everyone, according to me, the SEC, and according to everyone else. So therefore, only by considering "the masses" to be an individual entity which is your friend, only through this delusion, can you start to blame anything but your own DD for your decisions.


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Hydro-Mechanical Modelling of Infiltration Test for a Bentonite-Sand Mixture: Model Verification and Parameter Identification
M. Hasal[1], R. Hrtus[1], Z. Michalec[1], R. Blaheta[1]
[1]Institute of Geonics AS CR, Ostrava, Czech Republic
The first aim of our work is to create a hydro-mechanical model (HM) of unsaturated fluid flow in bentonite-sand mixture (BSM) MX-80. The second aim is to validate and calibrate the developed model by using the data from a laboratory infiltration test of BSM. The used multi-physics model combines Richards type unsaturated flow with diffusive vapour flow and (nonlinear) elastic response of the ...
Numerical Study of the Self-ignition of Tetrafluoroethylene in a 100-dm3-reactor
F. Ferrero[1], M. Kluge[1], R. Zeps[1], T. Spoormaker[2]
[1]BAM Federal Institute for Materials Research and Testing, Berlin, Germany
[2]Chairman PlasticsEurope Fluoropolymers TFE Safety Task Force, Du Pont De Nemours, Dordrecht, The Netherlands
The self-ignition of tetrafluoroethylene (TFE) caused by contact with hot surfaces has been analyzed with the help of simulations performed with COMSOL Multiphysics®. The current study focuses on large-scale heated reactors for the industrial production of polytetrafluoroethylene (PTFE) from TFE at high pressures. Simulations of the self-heating and consequent self-ignition of TFE in a 100-dm3 ...
Numerical Modeling of Sampling Airborne Radioactive Particles Methods from the Stacks of Nuclear Facilities in Compliance with ISO 2889 - new
P. Geraldini[1]
[1]Sogin Spa, Rome, Italy
The main objective of this study is to verify the compliance of an ongoing nuclear facilities stack design with the ISO 2889 requirements, during normal and off-normal conditions. In particular, with the numerical simulations, they have been identify well-mixed sample locations along the chimney and the compliance with the International Standard requirements as result of stack flow rate and ...
Evaluation of the Shutdown Time of Subsea Pipeline for Oil Transportation - new
D. Maciel[1], N. Bouchonneau[1]
[1]Universidade Federal de Pernambuco, Recife, Pernambuco, Brazil
The maintenance plan or rush-to-repair of a subsea pipeline for oil transport may result in the shutdown of the line, in other words, may stop the flow of fluid. During the shutdown, the temperature of the oil tends to decrease continuously, and the heavy molecules tend to crystallize and suspend in the oil, which increase the viscosity of the oil, and even form a paraffinic compound or freeze ...
Study of AC Electrothermal Phenomena Models
S. Loire, and P. Kauffmann
University of California
Santa Barbara, CA
Recently, electrokinetic flows have raised the interest of the scientific community. Driving flow with an electric field leads to promising applications for mixing, concentration, pumping application in lab on chips. However, current models are still inaccurate and don\'t fit the measures. The simple decoupled model developed by Ramos et al does not predict velocities for all parameters. ...
Design Optimization of an Electronic Component with an Evolutionary Algorithm Using a MATLAB-COMSOL Based Model
E. Pelster, and D. Wenger
Wenger Engineering GmbH
Ulm, Deutschland
Electric construction components exposed to alternating high voltage have to withstand a significant amount of thermal loads and, resulting from the changes in Temperature , structural stresses. In order to achieve minimization of these loads, optimizing the geometry can be a helpful tool in the design process. In this study COMSOL is used to predict thermal and mechanical loads on a high ...
Simulating Wear in Disc Brakes - new
N. H. Elabbasi[1], M. J. Hancock[1], S. B. Brown[1]
[1]Veryst Engineering, LLC., Needham, MA, USA
Wear is a complex phenomenon relevant to many problems involving frictional contact, such as mechanical brakes, seals, metal forming, and orthopedic implants. The rate of wear depends on the properties of the contacting materials and operating conditions. One widely used model of wear is Archard's law, which relates the rate of material removal due to wear to the contact pressure, sliding ...
Hydrodynamics and Mass Transfer in Taylor Flow
F. L. Durán Martínez [1], A. M. Billet [1], C. Julcour-Lebigue [1], F. Larachi [2],
[1] Toulouse University, Toulouse, France
[2] Laval University, Quebec, Canada
In the present work, numerical simulations of a Monolith Reactor (MR) are carried out in order to develop a pre-design tool for industrial-scale reactors applied to highly exothermal reactions. The reacting circular channels (2-4 mm internal diameter) are coated with a few micron thick catalytic layer (washcoat), and host a gas-liquid segmented flow (the so-called Taylor flow) known to enhance ...
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The versatility of COMSOL Multiphysics® software has positioned it at competitive levels against other considered industrial-standard engineering software tools. This contribution is directed towards emphasizing the need of further developing the basic concepts of this versatile tool in order to enable the implementation of complex physics modeling techniques in rapid, flexible and customized ...
Fluid-Structure Interaction Modeling for an Optimized Design of a Piezoelectric Energy Harvesting MEMS Generator
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text:
On that past papers of intermediate part 2 day very clearly. To explain why you are practicing critical reading, the film turned out to be you or your main point of this School.
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The pioneering British jazz-rock group formed in 1969 was built around the talents of poll winning saxophone star Dick Morrissey, together with fellow sax man Dave Quincy and guitarist Terry Smith. Seen as rivals to Blood, Sweat & Tears & Chicago, they were a successful touring attraction and also released a series of critically acclaimed albums. Original vinyl artwork in square CD digi- sleeve format (card wallet - no plastic) plus inserted fold-out poster. Two rare bonus tracks! Booklet with authoritative and extensive liner notes by respected author and journalist Chris Welch. Expertly remastered - superb sound.
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Of course, If 1 is the best, with every song a unique arrangement, that no one has ever duplicated. They really were reaching out on all sides. Unless you have one hundred bucks to shell out, buy Forgotten Roads, their Best of, and Live in Europe '72. The latter lost in the vaults, and was released way after the sixties/seventies cusp of truly progressive rock, with Soft Machine, Family, Coryell, Genesis, Crimson, etc. yet to stagnate. If was not a jazz-rock group, they were THE jazz-rock group, with most other group just main stream rock with horn riff enriched stuff. If, on the other hand, wrote solid numbers that could stand on their own without vocals, and the singer is one more powerful sax voicing. Who can describe If? Buy it to appreciate it, and play it LOUD. Also, only half of their album Waterfall contains the original inspired lineup
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RBS debuts trading of electronic inflation swaps
Royal Bank of Scotland has launched electronic inflation swap trading within its single-dealer portal on Bloomberg. The RBS inflation trading engine provides a real-time tradable market to be streamed to customers' desktops for the first time. The engine covers the main European indices: the Eurozone consumer price index (Eurozone CPI), the UK retail price index (UK RPI) and French consumer price index excluding tobacco (French CPIxt). RBS is offering zero-coupon inflation swaps, which accounts...
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Definition of Essene in English:
A member of an ancient Jewish ascetic sect of the 2nd century bc-2nd century ad in Palestine, who lived in highly organized groups and held property in common. The Essenes are widely regarded as the authors of the Dead Sea Scrolls.
Example sentences
- In the first century BCE, the Jewish sect called the Essenes finally finished transforming Satan into the devil we're familiar with today.
- After the dispersion of the Jews by the Romans following the failure of the Bar Kochba Revolt, the Jewish followers of Jesus disappeared along with the Essenes, the Sadducees and the Zealots.
- He sees parallels between the Essenes, the Jewish splinter group most likely responsible for hiding the scrolls more than 2,200 years ago, and the 21st-century business community.
From Latin Esseni (plural), from Greek Essēnoi, perhaps from Aramaic.
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Syllabification: Es·sene
Definition of Essene in:
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