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Gowa's Olympic dream on hold
A national champion in 2008, you won't see Otis Gowa sprinting at the London Olympics and he's okay with that.
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Late last year Otis Gowa decided to stop running. He jumped in a truck and started working for a tiling company, embracing a 'normal 9-to-5' that felt so foreign to him, it made it a little exciting.
He'd spoken to other sprinters like Patrick Johnson and Nova Peris-Kneebone and they all seemed to tell him the same thing. He was still going to be fast even if he stepped away for a while but his sanity might be tested if he didn't.
So he quietly retired, less than four years on from winning the national 100-metre championships.
The string of injuries that had hampered him since then, had exacted a cruel toll on his body and mind.
There was the eight centimetre tear across his achilles that never really felt quite right after he tore it. The bursitis in his heels still stung, the stress fractures that hobbled him as he strived to get back on track just another in a long list of injuries.
It wasn't enough that he'd overcome Hodgkin's lymphoma just two years before the 2008 national championships to emerge as the fastest man in Australia.
Question about how fast he could go have never really been answered because he's struggled to stay on the track.
Today though Gowa says he's happily removed from the pressures of running.
"Getting back on my feet after having all those injuries, it's taken a lot of time. I think just mentally it's going to take a good while to sort of get my head straight," he says.
"I still want people to know that I was a great athlete that came from Cairns and strived to be the best that I can. Sometimes it's not always [about] the outcome you get."
"With our sport there's a process and things take time. To run sub-10 [seconds] there's a process that goes into it ... so I don't really know how fast I could've gone but it would've been good to get down there."
One of Gowa's mentors, hurdler, Kyle Vander-Kuyp, first met him on a trip to Samoa in 2006. They chatted while waiting to check-in at Sydney airport and quickly bonded.
"Meeting Otis, I was blown away straight off because he was about to meet his dad for the first time in his life that day," Vander-Kuyp says. "He took that pretty casually. He said, 'Oh, yeah. I've come to meet my my dad, I've never met him before but I'm going to see him in the next few minutes'."
Gowa had grown up with his mother, a Torres Strait Islander in far north Queensland. His story endeared him to Vander-Kuyp who'd dealt with his own issues of identity.
"I thought, 'Wow! This guy has just dropped this on me at the start of the trip'," he says. "We went through that together. Being adopted and going through that journey myself it was nice to be able to walk through that with him.
"Then when we got stuck into the athletics he was pretty driven. He had a good spark about him. He'd beaten some of these guys he was competing against before but then he'd gotten Hodgkin's lymphoma.
"He'd just come out of chemo recently and was still getting the colour back in his skin. His fingernails were still recovering from the radiation but he's like, 'These guys are beating me. Why am I running eleven seconds?'.
"I had to put it into context and said, 'Mate, great that you're hungry but you've got to build yourself back'. That was the beginning of our relationship."
Gowa moved from Cairns to Brisbane soon after. By 2007 he'd run 10.52 seconds in Singapore and was emerging as a leading light in track and field.
He won the Cathy Freeman encouragement award at the Queensland Indigenous Sports Awards and was a member of the Jump Start to London programme.
The programme gave him a scholarship which aimed to help young indigenous athletes get to the 2012 games.
But after winning the national championships setbacks started to come. His times were too slow to qualify for the Beijing Games and Australia chose not to send a 4 x 100-metre relay team.
Gowa moved to Melbourne and the injuries soon followed. In 2010 Athletics Australia scrapped the Jump Start programme.
A fallout with his coach made things worse and his body still wasn't responding the way he'd like it to.
"It got to the point where I was pretty much running by myself. That's a senior athlete to fall down to that level," Gowa says.
A former AFL Queensland employee, senior Aussie Rules figures reached out to him, including the AFL's multicultural officer, Jason Mifsud.
"Jason said to me 'Don't leave Melbourne. We'll keep you here. We'll talk to one of the football clubs to get you right'. By that stage I just said to Jason, 'Look I've had enough'."
Gowa moved to the Gold Coast and slowly started training again. His body was improving but the challenge of getting back to where he was without much help seemed too much.
Now effectively 'retired' he says he hopes other athletes are better supported in the future.
"With track and field there's not a lot of assistance around you when you're at the top. It all goes by performance. It's different to a team sport like AFL or rugby league where there are good coaches and facilities around you," he says.
"I needed to get away from the sport a little bit. I was doing part-time work when I needed full-time work. When I lost the scholarship I was paying the medical bills myself.
"I think there definitely should be some sort of support structure around you. In saying that there's not a lot of finances in athletics these days so it goes both ways.
As for a return to the sport, he's unwilling to rule it out.
"Definitely a come back's in the back of my mind but at this stage I'm not thinking about it too heavily, maybe in a year or so when the mental issues are all stable and I'm back on my feet, I think there'll be a come back in there for me," he says.
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London, Sept 3 : If you're feeling angry, irritable and aggressive, and suffering from a bad headache to boot, the chance is that you are experiencing a new malady - coffee rage.
Coffee's main active ingredient caffeine may help you get awake in the morning, but a new study has found that one in 20 people have an intolerance to it.
This means that they not only feel itchy, depressed and tired, but also get joint pains and migraines usually within an hour of drinking a cup.
These symptoms, experts say, are leading to the new phenomena they call coffee rage.
A spokesman for YorkTest, who carry out food and drink intolerance tests, said that with coffee shops booming in the UK, as well as the fact that there are coffee machines at every home nowadays, this problem is only going to grow.
"The High Street is full of coffee shops and people have machines at home producing stronger coffee than they used to drink. There appears to be a tipping of the scales in terms of what the body can take," the Sun quoted him, as saying.
Among the more famous people who suffer from coffee rage is actor Hugh Grant who admits: "I get coffee rage. It comes after drinking Nescafe. It's the world's most delicious coffee but I get foul - really foul - an hour later."
Singer Robbie Williams is another celebrity with a similar problems. He checked into rehab in February when his habit reached 36 espressos a day.
He was also drinking caffeine-rich Red Bull as well.
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subset: commoncrawl


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... fantastic, really interactive and informative. When we went back to the main museum, we disembarked the bus and had a mosey in the gift shops. This was definitely for the more hard core of fans, with one of the suits for say retailing for $3,500! But we did stretch to a postcard! Back to the other King. We decided to visit the Civil Rights museum, the actually museum was set inside the Lorraine hotel, where ML King was shot which was rather ...
Day 4 Natchez to Memphis
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The house of rock n roll
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Table Of Contents
Life can get hectic, and busy. Come stay and relax a few days in the country with us. We offer a Tiny Cottage Bunkhouse Cabin with an amazing private screened in porch area. Have moments of peace and solitude while relaxing around the campfire, or taking a lazy walk to fish the stocked pond. Listen for the coyote howl or spot the nearby nesting Barred owls. Try out the New Outhouse that brings back days at Gramma's House. Ready yourself for a hearty country breakfast with fresh eggs from our chickens. Go Ahead ! Start your Coffee Pot ! Breakfast Served to your Cabin Door at 8:30 am.
We are located just minutes away from Bixby, Glenpool, and HWY 75.
Turkey Mnt. Hiking trails ~ 15 miles
Carmichel Local Produce ~ 5 miles
Bixby Lake ~ 7 miles
Amazing Antique Shopping nearby in Bixby
The Bunkhouse Cabin is a rustic one room cabin suited for only 2 people. Kitchenette amenities include:
Microwave, coffee pot, fridge, queen bed, bathroom with Shower , TV, AC & Heat.
Large seasonal square bale garden. Underground storm shelter.
The Bunkhouse Cabin is a NON-SMOKING IN CABIN, Christian Based establishment.
$115 cancellation fee( 2 week advance strictly required )
Breakfast served to the Bunkhouse Cabin at 8:30 AM
(Large portion of fresh Eggs,potatoes, with toast and seasonal fruit )
Insider's Info
Travelers are always looking for memorable and relaxing experiences. Let's discover more through the words of our innkeepers. Many thanks to Becky Zavilla for sharing her own secrets with BBOnline.com! Why do most travelers stay at your inn?
Peaceful and away from the city with a country breakfast.
What are you best known for?
We are best known for having horses.
Our area is known for Fresh Produce; Biking Trails along Arkansas River that connect to the Old "Banana" Bridge for a great ride or beautiful walk into Washington Irving Park. Bixby is known as the "Garden Spot".
What makes your inn unique?
It is a tiny house with total privacy decorated in the old western bunkhouse flair.
What do you love most about your inn?
Hearing the coyotes and being in the country, being in touch with nature and seeing all the animals.
If someone has never been to your city, what is the #1 reason to come visit?
Fresh produce. Bixby has Been known for years for being the "Garden Spot".
What's the best compliment you have ever received about the inn?
We Love the Tiny House feel and Being on the Farm.
What's the best kept secret about the area?
Turkey Mountain Hiking Trails. Fresh Pecans Grown local. Carmichels Produce Grown local.
If a traveler is staying at your inn for 4 nights, what should he/she do in the area?
Tulsa Hills, the newest shopping attraction, Turkey Mountain Hiking is amazing, Bixby Lake is private and secluded, Antique Village in Jenks, and local antique markets in Bixby, just minutes away.
Is there anything within walking distance of your inn?
Horses at the facility are begging for apples and carrots.
What is your favorite restaurant/food in the area?
Johnsons Diner.... Boasting the best home cooked food ever ! Chicken Fried Steak is Crazy Delicious.
Any good area guides/websites that travelers could reference?
No Comment.
How many rooms does your inn have?
We have a 1 room Bunkhouse Cabin.
Do you accept pets?
The Bunkhouse does not house pets/or animals ; however, there is a pet boarding facility 1 mile away.


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Very annoying and irritating character.
He's a cheater and thinks that he can do everything.
The smug on his face is really pissing me off!
Serve's him right in the final episode and the episode where he was almost defeated not until he was healed by Lime Bell.
To be frank I fast-fowarded on some of his long rants bc I couldn't stand his FACE BEING ON THE SCREEN SJCNKJDCNKJCFNKD
This guy is f**king annoying that I want to punch in his face every time I see his face. >:(
Probably the #2 hated character personally, right after School Days's Makoto Itou.
No character in any game, movie, or show has made me want to punch in the face so bad.


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ad age
November 14th, 2016
We have yet another award to add to our growing list! Acceleration Partners has been named one of Ad Age's 2016 Best Places to Work list! Ad Age's prestigious Best Places to Work list represents the cream of the crop in marketing, advertising, media and ad technology. The 50 companies who made the list stand out for their best-in-class benefits, salaries and hiring practices, but also for creating a culture in which employees are engaged, encouraged and valued. For AP, it means...
Categories: Company NewsRead More >>
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JPMorgan Is Fighting 43 Lawsuits That Could Cost It Almost $7 Billion
While the London Whale and Chinese bribery allegations against JPMorgan get most of the attention, there are no fewer than 41 other pending major lawsuits against the bank.
Once renowned as one of the most reputable firms on Wall Street, JPMorgan has lately been spending more time dealing with legal rather than financial matters.
According to its most recent quarterly earnings report filing with the U.S. Securities and Exchange Commission, no fewer than 43 major cases classified as "material" litigation are currently open against JPMorgan. They range from the bank's involvement in the Bernie Maddoff case, to its role trading mortgage-backed securities, which ultimately contributed heavily to the financial crisis of 2008.
Of course, the so-called "London Whale" case that resulted in $6 billion in losses for the bank is getting most of the attention, with news this week that the financial powerhouse may settle with U.S. and UK regulators for about $600 million. And there's also last week's headline grabbing story that there is an inquiry into potential bribery charges stemming from hiring practices in its Chinese offices.
But other allegations against the bank span from fraud to breaching both its contracts and its fiduciary duty, among many other charges. According to SEC documents, JPMorgan estimates its combined legal losses could be as much as $6.8 billion — possibly more if unforeseen damages are brought this year. What's more, the firm's annual legal costs over the last two years have been about $4.9 billion each year.
So, why aren't investors outraged? Well, maybe it has to do with the fact that last quarter — the same one in which all these lawsuits were detailed — JPMorgan posted a profit of nearly $6.5 billion in the first six months of the year. What's a little (or a lot of) legal trouble when you are minting that kind of money for investors, right?
Still, outlined below are 12 of the major cases pending against JPMorgan that could end up eating into its bottom line. Maybe then investors will take notice.
1. "Bear Stearns Hedge Fund Matters"
When JPMorgan bought the failing Bear Stearns in 2008, it inherited legal troubles — and created some anew — that continue even today. Among them: mismanagement of various credit funds and an action brought by Bank of America seeking $540 million that alleges breach of contract, fraud, and breach of fiduciary duty regarding collateralized debt obligations with holdings purchased by BofA from the funds.
2. Other Bear Stearns Matters
More Bear Stearns troubles, this time in the form of various shareholder class action lawsuits regarding purchases of subprime loans and repurchases of stock, as well as insider trading.
3. Mismanagement of its Chief Investment Office
JPMorgan is facing various class action lawsuits regarding alleged mismanagement of its Chief Investment Office, which resulted in losses in both its retirement plans and among shareholders. One lawsuit claims the firm made false or misleading statements about the CIO's role, risk management practices, and financial results, including the disclosure of losses to shareholders.
4. The City of Milan
In 2009, JPMorgan and other financial institutions faced a lawsuit from Milan, Italy, that alleged "fraudulent and deceitful acts" pertaining to a bond swap that was restructured several times. Two JPMorgan employees were found guilty and received prison sentences. The firm was found liable and was fined roughly $1.3 million, as well as ordered to return profits from the swap, which totaled about $32 million. The bank is appealing the verdict.
5. Credit Default Swaps
Another probe stemming from the financial crisis. This one includes four class action lawsuits, as well as an investigation by the Department of Justice brought against JPMorgan into its role in conspiring with other financial institutions to shutout exchanges in the trading of its CDOs to protect the banks' revenues.
6. Enron Relationships
Currently, two lawsuits seek damages stemming from the firm's banking relationships with Enron and its bankruptcy.
7. Intercharge Litigation
JPMorgan is also involved in a major lawsuit brought by a group of retail organizations. The plaintiffs accuse the bank of conspiring with Visa and other credit card companies to set fees and trying to secure an exclusive deal.
8. Bernie Madoff Ties
The bank is named as a defendant in a lawsuit seeking $19 billion in damages and accusing it of "aiding and abetting fraud, aiding and abetting breach of fiduciary duty, conversion, contribution and unjust enrichment in connection with Madoff's Ponzi scheme."
9. MF Global
Again, JPMorgan is alleged to have aided and abetted, this time in MF Global's "alleged misuse of customer money and breaches of fiduciary duty," as well as being "unjustly enriched by the transfer of certain customer segregated funds by MF Global."
10. Mortgage-backed Securities
Several lawsuits are exploring JPMorgan's various roles, including issuer, originator, and underwriter of mortgage-backed securities offerings, which led to the housing and larger economic crisis of 2008.
11. The Jefferson County, Ala. Bankruptcy
As part of a Chapter 9 filing by the county for bankruptcy, JPMorgan is listed as a defendant in the case alleging it made payments to third parties in exchange for being chosen to underwrite $3 billion in warrants issued to the county, and to act as a counterparty for certain derivative swaps.
12. Debt Collection and California
In May of 2013, the California Attorney General filed a civil suit against JPMorgan regarding the bank's debt collection processes, including credit cards, mortgages, default motions, and judgment sales.
- The Trump administration is rolling back an Obama-era policy aimed at protecting transgender students in public schools.
- North Dakota police have begun clearing out Standing Rock protester camps at the Dakota Access Pipeline site.
- Seven Earth-sized planets that could have water and possibly sustain life have been discovered orbiting a dwarf star, NASA announced today.
- Facebook is in negotiations with the Major League Baseball League to possibly stream one game per week during the 2017 season.


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Town Square
Summer Spare the Air season begins
Original post made on May 2, 2012
Read the full story here Web Link posted Wednesday, May 2, 2012, 8:47 AM
Comments (8)
a resident of Downtown North
on May 2, 2012 at 10:29 am
Please take this seriously. Air pollution causes health problems for all types of people, but especially children and the elderly.
a resident of Another Palo Alto neighborhood
on May 2, 2012 at 10:37 am
Air pollution can do to you what it has done to the Acropolis.
You don't want to be like the Acropolis, do you?
Please, let's all be as thoughtful, careful and restrained as we can possibly be this summer (and always).
a resident of another community
on May 2, 2012 at 11:13 am
When driving on any day, if a car/truck is polluting you should report the automobile, truck of motorcycle to 1 800 Exhaust. In the past, whenever I see someone polluting I report. I've even reported Palo Alto city automobiles that have been poluting. You would expect the city to know better.
a resident of East Palo Alto
on May 2, 2012 at 12:09 pm
member - what do you mean by "polluting"? All of our vehicles pollute, so how do you determine which ones to call in? I've never been clear on the criteria, so thank you in advance!
a resident of Downtown North
on May 2, 2012 at 12:22 pm
Report vehicles with visible smoke continuously pouring from their exhaust pipe: Web Link
a resident of East Palo Alto
on May 2, 2012 at 12:25 pm
Thank you!
It seems that a hotline should also be set up to report morons driving since there are upcoming traffic enforcement cuts.
a resident of Downtown North
on May 2, 2012 at 12:36 pm
Call 911 to report reckless drivers who are a clear and present danger to innocent road users. That includes drunk drivers, texting drivers, etc.
a resident of Mountain View
on May 2, 2012 at 5:25 pm
When I get to be as old as the Acropolis, I will be happy to look like that.
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Last month the Colorado Oil & Gas Conservation Commission ("COGCC") held three days of public hearings on a series of proposed updates to its rules governing oil and gas wells. Among other things, the COGCC adopted new rules requiring drillers of hydraulically fractured wells to test nearby groundwater both before and after drilling — making Colorado the first state to require drillers to sample groundwater after hydraulic fracturing activities occur. At yesterday's meeting, the COGCC voted 8-1 to raise the minimum distance between oil and gas wells and buildings, including homes, to at least 500 feet statewide. The new rules go into effect August 1, 2013.
Under the COGCC's new rules, wells drilled in Colorado must be at least 500 feet from buildings. The rules also require mitigation efforts to reduce noise, as well as other restrictions on the use of pits and requirements for closed loop drilling systems in certain areas. The rules, however, do allow for operators to seek permission to locate wells closer than 500 feet.
Under the old rules, the minimum setback distance in rural areas was 150 feet with a minimum of 350 feet in urban areas. Industry groups had argued for a minimum of 350 feet for all wells, while environmental groups pushed for 1,000 feet setbacks for homes, and 1,500 feet from schools. There are a number of exceptions in the rules, and operators may request variances from them, so it remains to be seen how the new rules will actually be implemented.
Our prior coverage of these rules can be found here. We will continue to monitor develops in Colorado that will impact shale development.
DISCLAIMER: Because of the generality of this update, the information provided herein may not be applicable in all situations and should not be acted upon without specific legal advice based on particular situations.
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When it comes to greasy pans, sometimes an overnight soak seems like the only option, but there is a quicker way to get them clean.
Could Relaxing Make You More Productive?
By: Real Simple on February 14, 2013 in * Homepage Cover Module, Health
Maybe you can really do more by doing less.


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The only reason that Han Solo is such a strong character is because he represents the rogue male archetype so well. Basically, he exemplifies masculine traits that many men aspire to and he represents a man that many women are attracted to. That archetype is best represented by a male actor who is in his late 20s or early 30s at the oldest. Harrison Ford is now 70, so he physically cannot fulfill what that role requires anymore.
Of course, Crystal Skull was a horrible movie for many reasons that had nothing to do with Harrison Ford, but his age didn't help at all. Having a septagenarian Han Solo running around pretending that he is an action movie star is just going to destroy the credibility and dignity of his character.
You guys, and the writer of the article have it all wrong.
Harrison Ford will be the next actor to play JarJar:
"Meso nowa belieb in bombad religions and wizard weapons. Alza neeto is a good boom-ba by de zide! Und YOWZA!!!"
This will be said in a deep masculine voice that make men wish they were Harrison (with giant floppy ears) that make all the the ladies swoon.
Sorry to post a spoiler. My bad.
Which would be worse:
- they pull a Young Indiana Jones and the Mystery of the Blues where he's not really in the story at all, just framing it;
- they pull an Indiana Jones and the Kingdom of the Crystal Skull where he's in the story but they give him a horribly-written part and direct him like he's a lump of crap and then use the worse possible takes?
Oh, how about they just DON'T MESS THIS UP?!? Oh, right... Hollywood.
I still haven't watched that because of the knowledge that Spock bangs Uhura. To me, that's like changing the Bible so that Jesus is a stripper.
I dunno. I'd like to see time travel just so Han Solo can kick Cade Skywalker's arse.
The name of Thrawn's Star Destroyer? Chimera! He fights, too! The intrigue with he and Kallus was great! One of the best episodes without amazing lookingBel-Cam Jos 5 Hours Ago
To finish out Black History Month, I read a book I've had on my "to read" list for some time: Toni Morrison's Song of Solomon. It was cool withBel-Cam Jos 1 Day Ago
And the "winner" is...Bel-Cam Jos 1 Day Ago
I wanted to try the Taco Bell Naked Chicken Chalupa, so I got their $5 meal (that, plus a regular taco and Doritos Locos Taco, with med. drink - pinkBel-Cam Jos 2 Days Ago
Recycling, grading (at home and at school to drop off some items to beat the rain), lunch out, watched TV. Still dealing with the more-than-just-inconvenienceBel-Cam Jos 2 Days Ago
Stadium Series was good for the Penguins, beating in-state rival Philly at Heinz Field on a cold, windy, snow flurry game.Bel-Cam Jos 2 Days Ago
Rogue One wins no Oscars. But that may've been since two presenters for a category were from the film (Jones and Ahmed), and disturbed the Force.Bel-Cam Jos 2 Days Ago
I told you a season ago or more that in this thread that Kallus would be a good guy. Awesome continuing portrayal of Thrawn. He lives up to how he isTycho 2 Days Ago
Bill Paxton dead at 61. Apparently complications from surgery.Snowtrooper 3 Days Ago
I've heard two "blue" songs that I like today, that I rarely hear over the airwaves: "Midnight Blue" by Lou Graham and "ElectricBel-Cam Jos 3 Days Ago


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Situated within a cul de sac location in this popular village to the northern side of Banbury, an enlarged semi detached home that offers open plan living accommodation and three good size bedrooms. To the ground floor the property is accessed via steps from the driveway into an entrance hall. To one side there is a living room with window to the front. To the rear of the property the accommodation has been opened up and now offers a light and spacious open plan kitchen, dining and family room with additional roof lights added. The kitchen area offers a range of kitchen units with wooden worksurface, 4 ring Rangemaster & hot plate with extractor canopy above, integrated dishwasher and one and a half bowl sink. In addition there is a separate utility room and access to the side. To the first floor there are three good size bedrooms and a family bathroom which has a roll top bath and a separate fully tiled shower cubicle, low level wc and handwash basin incorporating a vanity unit below.
Great Bourton is located to the north of Banbury just off the A423 Southam Road. The property is situated within walking distance to the local primary school, childrens playground and local pub. The village is also on a bus route to state secondary schools aswell as Warwickshire Independent schools. In the nearby market town of Banbury there is a range of facilities including superstore, shopping centre, mainline railway station providing access to London Marylebone, Oxford and the north, together with Junction 11 of the M40 motorway.
To the front of the property the garden is laid to lawn with driveway parking to the side. Gated side access to the rear garden with a bin storage area and the property's oil tank. The rear garden is larger than normal and is tiered; it is divided by carefully planned railway sleepers and is lawned with deep filled flower borders, fruit trees and a large sun terrace. To the top corner of the garden there is a summerhouse which overlooks the garden.
Additional Information
Offered for sale with no onward chain, the property has oil fired central heating & is double glazed.
3 Bedrooms
Entrance Hall
Open Plan Kitchen/Dining & Family Room
Living Room
Utility Room
Family Bathroom
Driveway Parking
Good Size Rear Garden With Terrace
Contact branch for relevant Energy Performance Certificate


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Two Beirut-based writers and activists have been awarded the 2006 Pax Christi International Peace Prize for their efforts to promote justice and reconciliation in the Middle East and around the world - reports the Daily Star newspaper in Beirut, Lebanon.
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Hotel Capital
VIALE DOMENICO PIVA 10, Rovigo 45100, Italy
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Hotel Capital Hotel Details
Check-in: 14:00
Check-out: 12:00
VIALE DOMENICO PIVA 10 Rovigo 45100, Italy


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text: The Best Clips and Trailers from This Year's Comic-ConMeredith Woerner7/25/11 6:40pmFiled to: Comic-conSdccRise of the planet of the apeswalking deaddoctor whoTrue BloodsupernaturalAvatar: The Legend of KorraSpider-manMoviesTelevisionComic BooksSuperheroesKnights of BadassdomBeing HumanWarehouse 13Alphasfright nightIn timeTorchwood: miracle daythundercatsTop601EditPromoteShare to KinjaToggle Conversation toolsGo to permalink This year Comic-Con buried the fans under a mountain of new footage! Walking Dead, True Blood, Supernatural, Knights Of Badassdom — everyone released some amazing footage to the masses! Advertisement Here's our round-up of the best videos that debuted at Comic-Con. Up top, you've got one hell of a clip of David Tennant, being generally amazing as the douchey magician in Fright Night. We've got tons more Fright Night clips and panel coverage in our past Comic-Con reporting. Breaking DawnFor much more detailed descriptions of Breaking Dawn, check out our Twilight Comic-Con coverage. Star Wars Deleted Scene Sizzle Reel Advertisement And now we want to buy yet ANOTHER Star Wars DVD. Sigh. Spider-ManNow watch Andrew Garfield surprise the hell out of Hall H by showing up in Spidey costume! Knights Of Badassdom Advertisement Possibly the biggest surprised of the entire Con, could the Knights of Badassdom bring back the beloved hor-com? Watch a few more clips and make up your own mind about it. In TimeRead more about Andrew Niccol's latest dystopian mind-frak at our Comic-Con panel recap. Planet Of The Apes Advertisement Very spoilery Rise of the Planet of the Apes trailer, which shows the actual ape war. Why doesn't anyone just take out a gun? Walking DeadNot a single frame from the book. Just sayin'. Doctor WhoRead our Doctor Who panel recap and watch more clips here! True Blood Advertisement True Blood goes from fizzle to vampire-sex-sizzle in this trailer for the rest of the season, let's just hope these cool clips aren't spaced out too far. SupernaturalFor more information on the new season of Wincest, read our Supernatural panel recap. http://io9.com/5824254/first-supernatural-season-7-clip-features-fireflys-jewel-staite Avatar: The Legend of Korra Trailer Torchwood: Miracle DayCheck out our full report on the Torchwood panel here. ThunderCatsTo see more amazing ThunderCats footage, check out our previous coverage. Being Human Warehouse 13 The Vampire Diaries AlphasReply60 repliesLeave a reply


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Rates in SGD (taxes & fees included), shown as:
Nightly Average
S$193 - S$671 Avg. price/night
Villa Markezinis
Perivolos, Perissa, Santorini 84703, Greece
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Villa Markezinis Hotel Details
Check-in: 14:00
Check-out: 12:00
Located in Perivolos, this bed & breakfast is within 1 mi (2 km) of Waterpark Santorini, Perivolos Beach, and Perissa Beach. Museum of Minerals and Fossils and Vlychada Beach are also within 3 mi (5 km).
Perivolos Perissa, Santorini 84703, Greece


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- Details
- Reviews
- Lunch included
- Free drinks included
- All taxes, fuel surcharges and service fees included
- Family friendly
- Travel by boat and see the sights from the water
- All necessary equipment included
This shore excursion is a fantastic way to live up the warm, clear water of Key West and have some fun while you're in port. For more adventure, upgrade and add on the parasailing option!
Worry-free Shore Excursion:
We will ensure your excursion ends with ample time for you to return to Key West for your ship's departure. In the rare event your ship has departed, we will arrange for transportation to the next port-of-call. See our terms and conditions for full details.
Schedule details
Select a month to view a calendar of availability and departure details.
Pricing information
Click the link below to check pricing & availability on your preferred travel date. Our pricing is constantly updated to ensure you always receive the lowest price possible.
Watersports Partyboat
Code: WPB
Watersports Partyboat
USD $116.99Pricing details
Watersports with Parasailing
Code: WWP
Watersports and Parasailing included
USD $138.69Pricing details
Pricing information
Watersports Partyboat
- 6-hour cruise
- Use of all watersports equipment
- BBQ lunch and snacks
- Soft drinks and draft beer
- Parasailing (if selected at time of booking)
- 7.5% Florida State Sales Tax
- Gratuities (optional)
- Confirmation will be received at time of booking
- Please Note: Draft beer is only served on the trip back into Key West, after all watersports have finished
Please make your way to the departure point, and you will then be taken to the partyboat
Cancellation Policy
If you cancel between 3 and 6 day(s) in advance of the scheduled departure, there is a 50 percent cancellation fee.
If you cancel within 2 day(s) of the scheduled departure, there is a 100 percent cancellation fee.
Traveler Reviews
Reviewed by: Lucy A, March 2015
A true Party Boat! A fantastic day out on the water.


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Château de Maligny Chablis Premiere Cru Fourchaume 2009
Member Review by KeLuke:
The perfect wine for a hot summer day. Not that we've had very many of them...This wine is like taking a deep breath of salty sea air while standing on a cliff that has tangerine trees growing on it. Ahhhhh.....Add winemaker's notes
Member Reviews for Château de Maligny Chablis Premiere Cru FourchaumeAdd your review
The perfect wine for a hot summer day. Not that we've had very many of them...This wine is like taking a deep breath of salty sea air while standing on a cliff that has tangerine trees growing on it. Ahhhhh.....
Very nice color and texture on this wine. I got the bottle as a gift, and it was most certainly a pleasant one! Jens Espen
Very dry, yet very fruity palate, with citrus flavours. It is refreshing in any situation, and goes well with seafood or simply vegetable apetizers.
Fruity nose or quinte, pear, toasted bread. Concentrated in mooth, still some acidity to provide balance with some apple marmelade and candied apricot.
External Reviews for Château de Maligny Chablis Premiere Cru Fourchaume
From our favorite Chablis producer the Fourchame is the next step up for fans of the Maligny AOC or Petite Chablis. With amazing structure and complexity this is a wine built to last and yet it drinks so beautifully already! Bold tropical fruit is cut by bracing minerality and fresh acidity. After a few hours the wine begins to soften and the intense aromatics really start to show. Try this with seafood gumbo poached halibut or avocado-based vegetarian dishes.
This outstanding premier cru Chablis exemplifies the style that made their Chardonnays so popular. Bracing, crisp, clean acidity perfectly supports the more opulent, ripe apple and hazelnut flavors, while an undercurrent of mineral flintiness extends to the finish. A better companion to oysters simply does not exist.
After the phylloxera infestation destroyed much of the wine world, this was one of the last areas to be replanted, in 1978. The lively, vibrant youth shows in the glass. Rich, earthy tones on the nose resemble the ancient limestone soils of this Burgundy region. With notes of apricots and lemons and a pure, silky-smooth finish, this Chablis creates lip-smacking freshness from beginning to end! It will pair excellently with your favorite seafood and poultry dishes.
Consistently producing affordable, traditionally-styled Chablis, Malignyrsquo;s Premier Cru Vau de Vey strikes me as an excellent match for soft, slightly earthy triple cream brie. There is an earthiness to the wine amidst the apple skin, lemon custard flavors that lends this white a chewy, complex texture. Concentrated, with slow legs on the side of the glass mdash; a lipsmacking, mineral-rich Chardonnay.
An honest Chardonnay from France's renowned Chablis appellation. Elegantly structured, with citrus notes and a classic mineral element naturally designed for seafood.
Lovely and fresh, this wine is chock full of brisk, flowery acidity and lovely fresh picked apple flavors. There is a pronounced mineral dimension to this wine, which sets the stage nicely for its autumn-fresh fruit flavors and aromas.
This delightful Chablis is golden in color, smooth rather than tangy, with hints of lemon, apples and just a bit of nuts. This is an andrsquo;06 that has shed the tropical notes of its youth and has taken on a texture of a somewhat polished, rounded exterior, all the while giving off pure Chablis nuances. Fairly opulent and ripe, this seduces with its supple texture and clean flavors. Medium-bodied, it kicks in with mineral, chalk and flint notes on the lingering finish. Pair this with Oysters Rockefeller or pan seared scallops.
Food Pairings for Château de Maligny Chablis Premiere Cru Fourchaume
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He cherished everyday of his life.
He was a casual man with five kids and a wife.
Sadly his wife died and left him on his own.
He then raised his kids and he did it all alone.
He was eighty-seven when he passed away.
He lived his life to the fullest every single day.
He was at the hospital the day I was born.
When he died, his friends and family mourned.
My Grandpa was a great man from the past.
My memories of him are so very vast.
He lived in the mountains of Tennessee.
He was important to others as well as he was to me.
© Copyright 2017 RJohnson. All rights reserved.
Status: Finished
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Real Wealth/Living Wealth
Real wealth has intrinsic value, as contrasted to exchange value. Life, not money, is the measure of real-wealth value. Examples include land, labor, knowledge, and physical infrastructure.
The most important forms of real wealth are beyond price and are unavailable for market purchase. These include healthy, happy children, loving families, caring communities, and a beautiful, healthy, natural environment.
Real wealth also includes all the many things of intrinsic artistic, spiritual, or utilitarian value essential to maintaining the various forms of living wealth. These may or may not have a market price. They include healthful food, fertile land, pure water, clean air, caring relationships and loving parents, education, health care, fulfilling opportunities for service, and time for meditation and spiritual reflection. For most purposes, real wealth is living wealth, and living wealth is real wealth. Money is neither.
Because of the essential role of caring relationships, the monetization and commodification of real wealth, which generally translates into the monetization and commodification of relationships, tends to diminish their real value. The monetization and commodification of relationships, however, does translate into growth in the gross domestic product (GDP) and new opportunities for corporate profits. Replacing parental caregivers with paid child care workers is an example.
In contrast to a phantom-wealth economy, money in a real-wealth or living economy is not used as a measure or a storehouse of value, but solely as a convenient medium of exchange. A phantom-wealth economy seeks to monetize and commodify relationships to increase dependence on money; a real-wealth economy favors strengthening relationships based on mutual caring that reduce dependence on money.
From Agenda for a New Economy, pp. 18-19.
The New Economy
- A Living Earth System Model
- Earth Balance
- Shared Prosperity
- Living Democracy
- A Living Wealth Money System
- A New Story for a New Economy
- Life as Teacher
- Emergence & Displacement
- Ten Truths
- 8 Point Policy Agenda
- Healthy Markets
- Naming the New Economy
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Publisher's Description+
From Rodiola Studios: ************** Now it's free **************Find and destroy all green monsters to save the planet in #1 arcade game Stay Alight! Use your tactic skills to complete more than 80 unique levels in fascinating artwork!Please note we have a special version for iPad Stay Alight HD .5/5 "Incredibly sharp graphics, imaginative storyline, fun gameplay. I love this app, highly recommended."5/5 "Great gameAmazing graphicsAmazing music"5/5 "It's a great game with amazing graphics and even better atmosphere!!! The gameplay is like angry birds but 1000000000 times better. it's the very best game in the App Store!!!"*************FEATURES************** REALISTIC PHYSICS OF THE GAME CAPTIVATING GRAPHICS UNIQUE SETTINGS (MICRO WORLD) INTERACTIVE ENVIRONMENTS HUGE NUMBER OF UNIQUE LEVELS STAY ALIGHT'S SIDE-KICK Become our fan on Facebook: http://www.facebook.com/WyseGamesFollow us on Twitter:https://twitter.com/wysegamesWatch us on YouTube:http://www.youtube.com/watch?v=V5dxn6Sbkvw
What's new in this version:
- New levels- New gameplay features- Minor bug fixes
read more +


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Butterfly Protector Lottie
FREE SHIPPING on orders over €50.00
Lottie and her friends love to volunteer their time in helping Margaret, the gardener at the English Country Garden. Margaret is always full of interesting facts, such as how plants need water and light to grow. It was from Margaret that Lottie learnt about the lifecycle of the butterfly, how it changes from egg to caterpillar to chrysalis into a beautiful butterfly which then plays a very important part in the pollination of Margaret's flowers.
- Polka dotted green and white caterpillar boots
- Orange striped socks
- Pink and purple jacket
- Orange corduroy shorts
- Pink t-shirt with a removable butterfly patch
- Cap with butterfly motif
- Butterfly net
- 4 butterflies
- A pair of binoculars
- Butterfly life cycle collector cards
Butterfly Life Cycle
Butterfly Protector Lottie introduces science in a fun and engaging way as the doll box contains collector cards detailing the stages of the butterfly life cycle; a basic science unit taught at Key Stage 1 primary school science in the UK, as well as Common Core Standards in the USA.
Butterfly Protector Awards Winner:
- (UK) Independent Toy Awards 2013 – Gold Medal for "Best Doll"
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We really love having you listen to RN but we need to let you know that we'll be closing our subject based podcasts (don't worry—we aren't cancelling any shows). To keep hearing stories and interviews from RN, search for your favourite shows in theABC Radio App or subscribe in your preferred podcasting app. If you're looking for something new to wrap your ears around, visit the RN websitewhere there's plenty for you to discover.
June 9th, 2016
Episode 1092 of 1214 episodes
Historian James Nott takes us back to the dance halls of Britain and examines how they reflected the cultural changes of the 20th Century.
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All seasoned professionals demand the best tools of their trade. Tailors seek the sharpest scissors, while carpenters desire the most robust chisels. You seek a top-notch notebook that maximizes your productivity at work? meet the TravelMate P6 serie ...Read More
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text:
Praline Pecan Cake
|Yellow cake mix
|18 1⁄4 Ounce (1 package)
|Instant vanilla pudding and pie filling mix
|3 1⁄2 Ounce (1 package)
|4 Large, beaten (at room temperature)
|Cooking oil
|1⁄2 Cup (8 tbs)
|Liquid brown sugar
|1⁄4 Cup (4 tbs)
|3⁄4 Cup (12 tbs)
|1⁄2 Cup (8 tbs), chopped
|For glaze
|Confectioners' sugar
|1 1⁄4 Cup (20 tbs), sifted
|2 Tablespoon, melted
|6 Tablespoon
|2 Tablespoon, chopped (for garnish)
1) Grease the 13 by 9 by 2 inch of baking pan with butter and dust with 1 tablespoon of flour.
2) Preheat oven to 350°F.
3) In a bowl, mix together cake mix and pudding and pie mix.
4) In another bowl, blend eggs, oil, brown sugar and liqueur until well mixed.
5) Beat the cake mixture and egg mixture, using an electric beater at low speed for 3 to 4 minutes.
6) Fold the pecans in the egg mixture and pour into baking pan.
7) Bake in the oven for 50 minutes or until a toothpick inserted in the middle of the cake comes out clean.
8) Allow the cake to cool in the pan for 15 minutes.
9) In a bowl, mix together sugar and butter.
10) Using an electric mixer, beat the sugar mixture.
11) While beating, slowly stream the liqueur in the butter mixture, until soft peak consistency.
12) Spread the butter mixture over the cake.
13) Place in the refrigerator until chilled.
14) Garnish with chopped pecan, slice and serve cold
Recipe Summary
Rate It
Nutrition Rank
Nutrition Facts
Serving size
Calories 1525 Calories from Fat 598
% Daily Value*
Total Fat 69 g105.6%
Saturated Fat 15.5 g77.5%
Trans Fat 0 g
Cholesterol 227.6 mg75.9%
Sodium 1238.3 mg51.6%
Total Carbohydrates 212 g70.7%
Dietary Fiber 5.3 g21.1%
Sugars 160.3 g
Protein 15 g29.1%
Vitamin A 8.9% Vitamin C 0.44%
Calcium 4.8% Iron 8.4%
*Based on a 2000 Calorie diet


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Mocha Morning Drink
Quick look
- prep 15 min
- serves 6
- 6 cups hot brewed coffee
- 3/4 cup half-and-half cream
- 6 tablespoons chocolate syrup
- 7 teaspoons sugar
- 6 cinnamon sticks (3 inches)
- Whipped cream in a can, optional
- 1
In a saucepan, combine the coffee, cream, chocolate syrup and sugar. Cook and stir over medium heat until sugar is dissolved and mixture is heated through.
- 2
Ladle into six large mugs. Stir with a cinnamon stick. Garnish with whipped cream if desired.
How to make it 15 minutes
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Some people like to travel by train because it combines the slowness of a car with the cramped public exposure of an airplane.
Dennis Miller
I think my pilot was a little inexperienced. We were sitting on the runway, and he said, "OK, folks, we're gonna be taking off in a just few—whoa! Here we go."
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My cat just walked up to the paper shredder and said, "Teach me everything you know."
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Q: What do you call an Amish guy with his hand in a horse's mouth?
A: A mechanic.


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Dad and Kid Math Morning at Merrifield Elementary
Dad and Kid Science Night at Smith Elementary
Dad and Kid Science Night at Hastings Elementary
Dad and Kid Reading Night at Hyman Elementary
Bilhartz Elementary Joins the Strong Fathers Family
Bilhartz Elementary has a new principal who is not new to us at Strong Fathers. Ms. Ebonye McGee is a great instructional leader and she understands the power of involved families and involved fathers. Bilhartz is a great school with a great principal, great teachers, and a great group of fathers and families. We are looking forward to building stronger kids by strengthening fathers and families with Bilhartz.
Hastings Host Another Successful Strong Father Event
Hastings Science Night ends in a Blast! (or at least a pop!)
Another big crowd at Hastings Elementary
The Huskies brought out the dads for another great program at Hastings Elementary. Over 240 dads showed up to support their kids and visit the classrooms. I took pictures in most of the classes and there are great things happening in the classrooms at Hastings Elementary. Looking forward to our upcoming math, science, and reading nights.
Strong Fathers Partners with Schools for Kids and Communities
We had a great year in over 85 schools this past year and are looking forward to working even more partners in the coming school year. If you want to know more about what we do just ask Hastings Elementary in Duncanville ISD. Thanks to Duncanville ISD for partnering with us and helping us tell our story.


text:
The Wah in water
On a reading by Fred Wah
In this video, Fred Wah reads three poems from his recent selected, The False Laws of Narrative, edited by Louis Cabri, followed by six poems from Is a Door (2009), followed by an unpublished piece for Omar Khadr and, finally, a joint reading with Nicole Brossard of "If Yes Seismal," his transcreation of Brossard's "Si sismal."
For me, these poems, and generally much of Wah's poetry, spiral into and out from the third piece in the reading, "The Poem Called Syntax" (published in So Far, 1991). Just the mention of poetry and syntax in the same breath brings to mind Robin Blaser's Syntax (1983), and his deliberate adoption of a paratactic collage of quotations, memories, reflections, and patternings of sound and sense which Charles Olson famously found lacking: "I'd trust you / anywhere with image, but / you've got no syntax."
No controlling syntax is exactly the point. For Wah, like Blaser, how poems combine words, sounds and perceptions — the gathering or syntax of them — is crucial: poetry is not about imposing the narrow thinking of the standard complete sentence, or of the egotist's diary, or of religious and political dogma. Poetry is about tapping in to a realm of sound and sense much larger than narrow frames of reference limited by individual or cultural experience; it's about affirming the possibilities of knowledge outside and beyond what we know, and extending our knowledge through "ungrammatical" patterning.
When Wah says "We live on the edge of a lake called Echo," several lakes come to mind; indeed, the poem refers to "all lakes." One lake is Kootenay Lake, the 100-mile long lake in the interior of British Columbia where both Wah and I grew up, and where he has, since the 1970s, had a summer cottage. The geography of southern British Columbia is marked by several similarly long lakes in parallel valleys by which locals navigate their mental and physical treks in the province. Every spring runoff, these lakes flood.
Another lake is Blaser's "lake of souls" (via Dante), which he said "is / probably the secret of syntax itself." Quoting this line in "Music at the Heart of Thinking 114," Wah comments "That's the drawer of poetry, closed to keep the lake from flooding." Wah envisions poetry working in a clutter of phonemes and morphemes, a chaos of linguistic signaling, waiting for connections in a "quilt of meaning." "Just throw it into / the drawer," Wah writes, "mess is poetry's mass." This does not mean poems are left uncrafted — on the contrary, Wah's poems are full of formal patterning — they are as adroitly composed as improvised jazz from which he derives much of his poetic method — especially evident in the first two pieces in this reading, selected from his serial poem "Music at the Heart of Thinking."
Another lake that comes to mind is the one in Michael Palmer's serial poem "Notes for Echo Lake" (1981) — a long meditation on "micro-syntax below the order of the sentence and even … the word," and on the relations between sign, self, names, speech, text and "a music or music beneath the hill, an 'order of feeling.'" Palmer notes Plato's warning against "shadows of … words cast against the wall" and his warning against song, and Wah too explores a connection to Plato's cave allegory, imagining a "geometry of sound" high above all lakes, "something like Plato's cave of noise."
"The poem," the big poem of everything, then, is a lake of sound, where we swim around, mindful of our own narrow habits of reference echoing back our limited vision. The depths of this lake where poetry works "are not a / privilege," Blaser said, "but everybody's."
The lake is also syntax, the way we gather sounds and threads. Crucial to syntax, Wah shows us in the six poems from Is a Door, is that we open doors to other possibilities in sense-making, breaking down the readymade Western capitalist conclusions that deluge us, including, for Wah, stereotypic closures of race and class. At the level of phoneme, morpheme and rhythm, Wah tells us we must kick open our desires to find doors we haven't tried. His dedicatory poem "to the dogs," like Peter Culley's book of that title, invokes an ongoing thread in his work (signaled by earlier titles like Loki Is Buried at Smoky Creek) — dogs as a lens for twenty-first-century human conditions. What are we barking at? How do we get ideas from barking?
The Xenotext Experiment and the gift of death
'Eunoia' patanoia patadox patadise
When I write, I face my own death. This is the message the writer sends from the edge of the grave. Only days before stepping over the threshold, in Learning to Live Finally, Jacques Derrida, the specter of différence writes back to us as though from the other side:
The trace I leave signifies to me at once my death, either to come or already come upon me, and the hope that this trace survives me. This is not striving for immortality; it's something structural. I leave a piece of paper behind, I go away, I die: it is impossible to escape this structure, it is the unchanging form of my life. Each time I let something go, each time some trace leaves me, 'proceeds' from me, unable to be reappropriated, I live my death in writing. It's the ultimate test: one expropriates oneself without knowing exactly who is being entrusted with what is left behind. Who is going to inherit, and how? Will there even be any heirs?
Faced with the exponential increase in data, and the rapid passage into obsolescence of hard and virtual archival alternatives, the question of the Überleben, afterlife or survival, of one's work becomes all the more acute. The structure of the trace that requires me to live my death is inescapable. There is no way to ensure my inheritance. In fact, in a kind of Heisenbergian gesture, when I read a text, as I am now misreading the Xenotext project, I have already done it irreparable damage, if one considers transformation as damage. That is the very nature of the Überleben.
It may be, as we shall see, that the archival obsession is an impossible desire for immortality in the face of death. All life, even the afterlife, is ephemeral. Here, as wherever we are faced with an irreducible contradiction, is the ideal place to propose a pataphysical solution.
The pataphysical solution simultaneously subverts the grand narratives of science as progress, and art as genius. By offering solutions to problems that are either insoluble or imaginary in the first place, pataphysics reveals the aporia and lets it stand. Pataphysics points to the paradox of the problem it seeks to resolve. It compels us to turn elsewhere, to think otherwise. To confront our responsibility.
The Xenotext, if we read it as pataphysics, demonstrates that even when we abandon the unreliable paper and virtual substrates, to encode our text instead in the hardiest of living cells, the problem of its survival remains.
Undeniably, as Pak Wong and Eduardo Kac have already demonstrated, it is absolutely possible to encode text as DNA strands in minute organisms such as bacteria. In this way human data can be attached to organisms with proven track records for longevity, and thus hitch a ride into the distant future, to be retrieved either by future humanoid generations or, if that unfortunate species has destroyed itself by then, by alien anthropologists and art lovers from distant planets.
The genius of the Xenotext Experiment is that it not only stores information, but that the encoded poem generates a response from the host organism in the form of another poem. The bacteria itself becomes a machine for writing poems. There appears to be a dialogue between the geneticist-poet and the organism, even if that binary is conceived stereotypically as male human/female bacterium.
And yet we know that, in fact, the genetic nucleotide is already a poem. With endless permutations. Its own secret language. A language that human science has only begun, not to decipher (because that would assume some original signified prior to language, and attribute some teleological purpose to the genome's language), but to translate in what might be described as a radical translational process. Radical because there is no way to translate in a literal sense the genome's language into any human language. The geneticist produces a translation that she can understand or that can be useful to her human needs, for medical purposes, for example, or to store data. But the poem is already there. If "the word is now a virus," the virus has always been the word.
The biogeneticist then is a reader. Her relationship to the text is that of a translator, seeking to give the original an Überleben, which is the task of the translator. The translation emerges from the original text, it lends itself, offers itself to the original text, as an Überleben, an "afterlife" or, in Derrida's translation of Benjamin, a form of "survival," of living on. To speak of translation — and writing is always already translation — is to speak of death and responsibility.
But the Xenotext Experiment is not listening; it imagines it is initiating a conversation, when the other has already been speaking. When the geneticist-poet penetrates the organism to encode new information into the nucleotide, he in a sense interrupts the other's speech, the nucleotide's own poem. What if the aliens were not somewhere out there in heaven or in the World-to-come, but instead had always been here, reading the poetry of nucleotides? Or more potentially radical: what if these tiny organisms are in fact the aliens, the xenos who have always been here reciting long strings of generative poems to each other while humans are busy murdering each other?
We sometimes imagine ourselves reaching out to alien civilizations the way our ancestors reached out to the angels. Or like Paul Davies we speculate that they are already here, speaking in codes implanted in the tiniest organisms among us. Aliens standing in for God: superior in intelligence and yet harboring some sort of inexplicably benevolent interest in our planet.
But xenos, the foreigner, the unknown, can be guest or host, stranger or friend. The word lies at the root of the Greek policy of xenia (comparable to the ancient Hebrew practice of akhsania of which Levinas speaks): hospitality toward the guest, the foreigner, the other, who might turn out to be a god disguised as a beggar (xenia was also extended to the poet or traveling bard, in the form of bed and board).
The aliens are not out there, but already here; they are both guest and host, and they have been writing poems long before we chipped a stone. As I am compelled to turn back, to face my death, and the irretrievable future of the trace, what remains is my responsibility. When I write, faced with my death, I am faced with my responsibility. Like Socrates, I am compelled to take responsibility for my death, to give it meaning.
The pataphysical solution to the extinction of the earth and its inhabitants compels me to reflect on my responsibility to that biosphere. The Xenotext calls upon us to turn our face away from the heavens and back to the smallest living being on this our planet. What is my responsibility toward that nucleotide, and toward the bacteria which I encode with my message? I am compelled to reflect, not only on the attribution of value to different organisms, based on criteria like size and closeness to my own species, but also on my attitude towards the other in general. Towards writing. What is my responsibility toward the living biosphere in which my death awaits me? What is my message which I seek to encode in another living organism?
"This concern for death, this awakening that keeps vigil over death, this conscience that looks death in the face is another name for freedom." — Jacques Derrida, The Gift of Death
Proc[edur]ession, a cross
Steve Collis emphasizes the point that elements of practice that conceptualist writers identify as their own are not "new." Ron Silliman makes the same observations in his reception of Notes on Conceptualisms, remarking that "constraint-based practices are as old as time itself"; that Vanessa Place's 50,000-word feat of syntactical suspension in Dies has, if one thinks of its concept in procedural terms (say as a kind of biggering and bettering of the Joycean long sentence) been done before; and suggesting that the kinds of conceptual disruptions achievable through strategies of appropriation were long ago realized in the logic of the readymade.
12.6 "It's been done before"
3.14 hardly being a reason not to do a thing again, especially
9,11 an art thing,
Collis is particularly resistant to a Goldsmithian conceptualism that got trend-conscious folks all busy-beed about the Boring, boasted of an ethic of plagiarism, and took a tone that propped up "creativity" as the new overearnest-kid-with-the-bad-haircut that we were all going to laugh at. But it's not the mean-girls manner of the making of the conceptualist club's code that raises the stakes/hackles, it's the code-making itself. Collis's urging toward:
x/y a dialectic poetics is a warning against (re)
#.# codifying practice that has such deep roots in avant-garde
REF tradition ["as new"?]
Making it new has always been about setting trend by introducing [ ]* into recognizable modes. Recognizing that we think and write within a communication of poetics, where participation involves a consistent production of and through recognizable poetic terms, Collis cannot fathom imaging this "distribution-oriented sign system" (as Jeff Derksen flashes it in his talk) outside the material systems in which poets' bodies find themselves. So when the pitch of certain conversations around conceptualism, open-source ethics and empty signification hit notes of claiming that poetry circulates within the "non-economics" of a closed system of poetic readers, that the ineffability of this poetic commerce to the logic of capitalism is the same as being "freed from the market constraints of the art world or the commercial constraints of the computing and science worlds," and that this "non-economics of poetry creates a perfectly valueless space in which these valueless works can flourish," Collis understandably reacts.
Interestingly, the stance toward appropriation one sees in a poem like Vanessa Place's "Miss Scarlett" suggests that at least some conceptualisms share Collis's perspective on language as a mimetic instrument of belonging-ing, and his perspective on the archive, which Collis insists on calling "The Commons." Collis follows a post-Derridiean conceptualization of the archive, where the book, the library, or even the concept of "all digital trace in the material of global information systems" are organizings of accumulated masses of information, the readings of which have been streamed and controlled by disciplinary or professionalization systems of affect-cum-capital.
1.1 i.e., This toning of veritas belongs in a museum or a legality.
Collis envisions language as belonging to everyone, as a commons, yet understands the full network of lines of code, the material wealth of information, as having been enclosed, under strategies of capitalist ownership, into intellectual properties and documental forms. As such, the wealth of language is variously accessible to poets as material to re-insert to the frame of poetry, or — more pointedly — variously accessible to people to lay eyes on in the first place, who might from there to learn strategies of expression, critique, or the luxury of ironic appropriation — in the first place.
Place excises lines of text mimetic of African American speech from a canonical screenplay: "She sadness cyan't be expressd in no pretty essay, neida" (Globe and Mail, 23 Feb. 2002). She places them on a page charged by the historicizing and genre-fying enclosure-frame of the placiest of places in American poetry, a page of Poetry magazine. Place's un/respect of codes of copyright and ownership is a challenge to the lines of text that enact legal framings of the "source" text but also is a branche of the excised lines to from one set of historico-structural lines of mimetic gesture (Hollywood screenwriting) to another that enforces/expects the genre of poetry, planting cuttings from one estate into another. See how they thrive?
Edmond Jabès: "The book breaks off from the book only to rejoin it farther on. So the empty space between two pages or two works is the place and non-place where our limits of ink and screams are set up and broken down" (381).
Both Place and Collis see the entire field of textuality as undifferentiated in its presence. Both ask what of the material language is in fact the poet's to "own" under the banner of her "authorship?" Place asks from a place of thinking the guerilla snapshot and the crop; Collis asks from a place of thinking an anarchy of lineages and this moment's history of leftist anti-homage investments of avant-gardes. If Collis, Kootenay Old School style, might support a manifesto of poetic:ethic:poetic:ethic, is that the same as aesthetic:ethical:aesthetic:ethical?
In Place's poem, at least, the tones of its dissonances are dependent on the contiguities and discontiguities of discourses from which the "appropriated" language is taken with frames of poetry. The enclosures matter. The thicker the thicket of tonal and proprietary lines "crossed" to be brought to a centre of framed [poeticized] attention, the stronger the offensive charge. Dear reader, I ask:
what work
this poem would do
appropriated by a Black
[ ]*
on a page of Callaloo
Collis wonders.
Enclosures matter.
One. Point. Too.
* you are here and now
M. NourbeSe Philip's unrecoverable subjects
I watch M. NourbeSe Philip's performance of "Zong! #1" a mere two weeks after attending my sister's labor, and the experiences pull at each other. In both cases there are human sounds exceeding vocabulary and in both cases I am honored to witness a brave and generous and necessary act. But in Philip's case, this is not a delivery that ends in joy and relief. Instead, she performs just two pages of a 182-page work whose engines of composition and unrecoverable subject suggest movements beyond those we get in Zong! In this book, one of the most important of our time, Philip delivers the story that can never fully emerge.
Such a paradox propels much of Philip's writing. Throughout her career she has laid bare the wounds inflicted by the colonizing language of English — its embedded biases, its silencings — revealing it as "expressive of the non-being of the African."[1] At the same time, however, she deploys that very language in order to enact those exposures and break silence. In Zong! this seemingly untenable tension is carried to its limit, as the English she is constrained by is the particularly fraught "rational" discourse of law.
Zong! was written using only the language of the 1783 legal decision Gregson v. Gilbert, a case in which the owners of a slave ship filed for insurance settlement in compensation for the lost "property" of 150 slaves thrown overboard when resources grew scarce thanks to navigational error. While Philip considers the later movements of her book as more vigorously breaking up the source text's language, it is in "Zong #1" that she subjects Gregson v. Gilbert to the most radical fragmentation, idiom falling into pure phonic material. It takes me a while to figure out some of what I am hearing. Habitual strategies of literary comprehension are inadequate here, where, to borrow a phrase Philip uses in describing an earlier work, there is "an eruption of the body into the text."[2] The author herself asks in the journal accompanying Zong!, "What am I doing? Giving voice — crying out?"[3] In Philip's powerful performance I hear the sound of physical and emotional agony, the empathetic reach across centuries, the sound of water, the sound of our loss for the loss, the sound of language failing, the sound of impossibility, the sound of possibility too, hope in a telling of the untellable being performed by a "long-memoried woman."[4]
An integral feature of the soundscape is silence, something that is palpable here in various ways, as Kate Eichhorn explores in her essay articulating Zong!'s "multiple registers of silence."[5] Fittingly, Philip begins her reading by performing sections from her 1991 poetic novel Looking for Livingstone, a moving and often comical treatise on colonial silences and silencings. In that book we find that silence is a body, a way of being, a "hard kernel," a possession, a language, a weapon, an artifact under plexiglass, Eden, "legion / wedged / In the between of words."[6]
The oceanic scope of Zong! manifests that legion, page after page shot through with silences that function in myriad ways. In her journal, Philip details her techniques, beginning, "I white out and black out words (is there a difference?)" (193). Many of the pages in Zong! suggest this erasure effect, featuring spaces/silences that are far from lacks or gaps, that are replete with intent bespeaking sculptural acumen. As we saw in her well-known poem "Discourse on the Logic of Language" from She Tries Her Tongue, Philip is keenly attuned to the noise that can erupt in the spaces opened up in collage. In Sal, the second movement of Zong!, other languages emerge, contributing to the gathering resonance. Here, too, the spaces between juxtaposed "nig" and "doge" (Ital. duke, 64); "to trap a fat pig / a fat nig" and "a lace cap for my queen" (67); "bile cum pus" and "jam and bread" (70) sound a critique of the systems of exaltation and abjection ensconced in and sanctioned by language. The silences in the book reflect, contest, and rupture the profound silencing effected by the legal document which would refer to Africans as "goods" (211).
In the discussion following the reading, Philip takes up the question of her innovative constraint-based compositional method, making it clear that while she "meets" contemporary movements like conceptual poetics, her process evolves out of a different place — her own personal history growing up in the Caribbean, and the brutal truth that the documentation of the Zong's history is confined to legal papers. Reading her book puts me in mind of an earlier era of Canadian experimental poetics as well. In the movement Ferrum, the reader is confronted with word fragments and single characters, letteral widows and orphans:
n gon the op
era over we d rop her o
ver we eat e gg drop so
up fish ro e & h
am scene nev
This kind of fragmentation recalls the paragrammatic methods practiced by bpNichol and theorized in Steve McCaffery's 1985 essay "The Martyrology as Paragram." McCaffery succinctly defines the upshot of the paragram as "meaning's emergence out of a different meaning both of which share common graphic or acoustic components."[7] Here again, however, Philip engages a similar technique with very different motives and effects. While Nichol's paragrams search for the alternate, hidden logics in language, the undertaking is, as Frank Davey has put it, "exegetical":[8] Nichol is looking for the enlightening truths to be found there. Philip's paragrams are revelatory as well, but what they often display are the brutalities embedded in language, the historical residue of colonialism. There is also a listening for lost voices, however they might filter through. In addition, Philip's paragrams tend not to resolve themselves back into the rational, as part of her project is to rend, break the words. On the final page of Ferrum, over a funnelling list of Yoruba names, appears:
ver the o ba s
(Zong!, 173)
Competing readings remain in tension; among them are the refrain, "the oba sobs," "boss," "basso," "S.O.S." and "oss," the silent bones. This indeterminacy is heightened by the ample space surrounding the letters, precluding their resolute incorporation into sense. Of her poems Philip says, "The ones I like best are those where the poem escapes the net of complete understanding" (192). Thanks to Sarah Dowling checking her copy of Zong!, I know that the period I have after that final "s" is really just an ink dot, printer's flotsam, but that little error led me to realize that the book rejects all punctuation aside from the titular exclamation. Philip denies Gregson v. Gilbert the last word, but she also refuses to present her own work as such. The poem escapes the net of complete understanding and the net of closure, as the history of the Zong continues to defy full comprehension and a full telling.
1. M. Nourbese Philip, She Tries Her Tongue, Her Silence Softly Breaks (Charlottetown: Ragweed Press, 1989), 15.
3. Philip, Zong! (Middletown: Wesleyan University Press, 2008), 194.
4. Philip, "A Long-Memoried Woman," in Frontiers: Essays and Writings on Racism and Culture (Stratford, ON: Mercury Press, 1992), 55.
5. Kate Eichhorn, "Multiple Registers of Silence in M. Nourbese Philip's Zong!," forthcoming in XCP: Cross Cultural Poetics, 33–39.
6. Philip, Looking for Livingstone: An Odyssey of Silence (Stratford, ON: Mercury Press, 1991), 8, 56.
7. Steve McCaffery, "The Martyrology as Paragram," in North of Intention (New York: Roof Books, 1986), 58–76.
8. Frank Davey, "Exegesis/Eggs a Jesus: The Martyrology as a Text in Crisis," in Reading Canadian Reading (Winnipeg: Turnstone Press, 1988), 236.
Constant renewal
Nicole Brossard at Kelly Writers House
Fearlessly and enigmatically experimental, Nicole Brossard's work in French (and in English translation) embodies the writing life. Brossard, a radical Quebecois, lesbian, feminist poet presents us with a Poétique that is an invocation for anyone writing poetry now: "Whatever the sadness, the melancholy, the anger we carry around with us might be I doubt that it is possible to write poetry without an acquiescence to life, without enthusiasm, without zeal — these are needed to rip us out of reality and, paradoxically, to give us the intuitive comprehension required to understand the enigmas that comprise its complexity." Brossard points us toward that complexity, that rift between rising and falling, where poetry happens: "The poem is always an event of fervor that oscillates between the pleasure of words and a powerful and renewed intuition of life. […] I am in poetry (as much as I can be) faithful to myself in thought, in desire and in imagination. For me, poetry is a consent to life, to life which nourishes, modulates and renews my relation to reality." Brossard concludes by sharing a personal decree, one that should be at the heart of every writing life: "Language always incites me to take action."
It is this "action" of Brossard's that returns the reader to her body of work composed over 45 years. Brossard's awareness of her own writing is revelatory. She confirms that the very best poetry is a variable force, likening it to "the features of the same face [which] can vary depending on the lighting and the feeling …" Brossard, with utmost humility, asserts that, "The two recent anthologies of my poetry witness […] how I have traversed personal and collective space" thus allowing her to "take an overview of what I am calling — in contrast with biography — my bio-semiology as well as what makes up the nodes of fervor in a life of writing."
Brossard's "nodes of fervor" are ever appealing, even for the many who come to her work as Anglophones, as outsiders dependent on the translator's lie. And yet Brossard delights in the impossibility, describing our dependency on the translator "as a game of possible variations at the heart of meaning and value, but also as a subterranean current of strangeness when confronted with the elusive." It is in the course of this "confrontation," amid endless variation that we come to love Brossard's work, where a multiplicity of meanings override all hope of rest amid such a delightful groundlessness.
Brossard's contemporaneity is obvious as she accurately describes the present climate of post-postmodernism in poetry: "I also find this phenomenon of disfiguration and reconfiguration today in young poets at a moment in history when the real, the fictional, and the virtual are tied for […] first place as they are working to feed sense and nonsense simultaneously." Brossard further elaborates, sharing her thoughts on community and solidarity amid a climate of apathy: "It is a phenomenon we have gradually learned to use for ourselves in untangling the impossible concatenation of images and values that characterize the political and the ethical in today's essentially market-based society."
In Nicole Brossard: Selections, published by the University of California in 2010, Brossard expounds on her theory of writing (and translation), while simultaneously sharing her raison d'être: "I think a mothertongue is oral and that written language holds nothing maternal. In this sense, French is not my mothertongue. While a mothertongue and reality flow together, gasping, full of holes, stammering, with dangerous liaisons and surprising constructions, written language is initiation, lesson, mistake, and castigation, a taught language with its rules to obey and its exceptions, a deliberate and conformist language strong in gender discrimination and outlawed meanings, a language of great taboos and a selective memory. The vivacity and vitality of written language finally depends on the adventurous ones, the dreamers, the audacious, and the amazons who take the time to write a book or to live a lifetime in the form of a book."[1]
It is clear Brossard is one of the audacious ones, a dreamer providing "evidence for the unique energy that carves markers of meaning and hope in language." And here we have Brossard at her very best, reading from and discussing her body of work in English, renewing the work once again as it transmigrates from the corporal-textual into the virtual realm.
Unless noted, all quotations are from the PennSound video recording "Nicole Brossard Appearing at North of Invention: A Canadian Poetry Festival, Kelly Writers House, January 20–21, 2011."
1. Nicole Brossard: Selections (Poets for the Millennium) (University of California Press, 2010), 207.


text:
A Classic Tama Snare!
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