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While your cat might love hiding in boxes and ripping up packing supplies, the actual move itself is a different story. After all, a cat's home is their castle, so being picked up and carted off to destinations unknown can be stressful for felines. While there will always be an adjustment period, the tips below will make the move as easy as possible.
A Guide to Moving With a Cat
1. Get Them Used to Their Carrier
Many cats view their carrier with suspicion, especially if you only use it for vet visits. Several weeks before the move, get them comfortable with their carrier by setting it out and putting some of their favorite treats inside. After a few days, start feeding them inside the carrier so they'll develop a positive association with their personal moving box.
2. Have Fun With Packing Supplies
Get your cat acclimated to the presence of cardboard and other packing supplies. Your feline friends may not like the smell at first, but you can quickly build up a positive association by playing around the boxes with one of their favorite toys.
3. Keep up Their Routine
Cats love a regular routine, and some might get stressed out by even minor changes. While you're packing up, getting rid of stuff, and getting ready to move, keep up your pet's regular meal and play times as much as possible.
4. Make the New Home as Familiar as Possible
As soon as you arrive at your new home, put them in a room with their favorite toys, scratching posts, and food dishes. Keep the door closed until the movers have left, then let them out to explore. If they prefer to stay with their familiar belongings for some time, don't force them out into the house. Eventually, they'll come out and start poking around on their own terms.
Moving in New York City can be difficult, with or without a pet. Fortunately, the skilled team at Piece of Cake Moving & Storage has the packing supplies, commitment, and experience to make getting to your new place in Manhattan as easy as possible. Check out their services online today, or call (212) 651-7273 to request a quote.

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Tap Tap Shots is an awesome online basketball game where you try to get a high score! Swish the basket for bonus points as you shoot the basket left and right. When the timer is low the game will slow down so you can achieve a perfect 90s sports movie moment.
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by Sha S. __ I am a beneficiary. I am a spurned sceptic. I am a perpetrator. I am an advocate. In the context of Singapore, where meritocracy and individual hard work are lauded as the twin rudders of social mobility, my parents are the textbook case of good parenting, having raised all of their…Read More
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Dua Kalimah Syahadah
by Irie _ i have been crying about dying and not-dying, all at the same time, keenly aware my consciousness will not be liberated: left to float in space. left to float in the void. left to float on and on, long after this mortal body and the mortal body after that and the mortal…Read More
Fear of the Afterlife & Panic Attacks
By Naj __ I always feared the afterlife. So when I experienced my first onset of hard-hitting panic attacks, I thought that I was going to die and be thrown into that world I feared the most. My first panic attack struck when I was 16. I was spacing out in Malay class when I…Read More
'Siapa nak jaga mak?' A Narrative on The Mental Health Toll of Caregiving
by Raudah Abdul Rashid __ 'Siapa nak jaga mak?' When Mak fell down again at night and had to be rushed to the hospital. I stayed overnight to take care of Mak and to make sure she was comfortable. No one asked me to. It was implied that I, as the only daughter should take care…Read More
When the Lost get Found
by A When I was 11, I remember coming up to my mother one day and telling her that something was wrong with me. To this day, I can still recall the exact words I said: "I think I'm missing a few wires in my brain." Growing up, I was a very eccentric child. I…Read More
What NOT to Say to a Muslim Struggling with Their Mental Health
by Nurul Afiqah __ It's ironic how difficult it can be to find comfort among religious people when religion itself is supposed to be a source of comfort. Mentally ill people seeking support from among their friends and family in the Muslim community are often met with ignorance wrapped in well-meaning, faith-inspired advice. I reached…Read More
Editor's Letter: Mental Health
by Diana Rahim It's hard being a person. Nobody truly tells you this, nor are we really encouraged to look into this fact deeply. As a society, we are uncomfortable with confronting sadness and despair, and would rather concentrate on a superficial, easy-to-understand pursuit of happiness. We are taught to meet our basic material needs,…Read More


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2019 is many things. Like starting new stories. Writing poems in Tagalog. Listening to a lot of local music instead of deciphering another's tongue. Not writing the things I should have, which I regret (coughcoughNOLIcough). Hitting the brakes on querying and deciding that I am NOT ready yet. Dreaming and writing and more revising. There's no end in writing. It's a curse. Either I die or lose my fingers, and I hope I don't lose mine.
2019 is teaching three boys how to play instruments when in reality, I don't even know how. 2019 is starting a cell group. 2019 is closing the door to old clients. 2019 is shaking hands with new ones who are excited to work with me. 2019 is seeing my cousins who came home abroad. 2019 is getting my phone completely unusable for a month. 2019 is watching late night shows and laughing at how the world is coming to an end, which isn't funny, because my poor kids. This is the world we give you. 2019 is choosing better things. Giving better things.
2019 is washing the family's laundry when Aling Che didn't come. 2019 is cooking bangus. 2019 is thinking of others and working for others. It's waking up early to see my family off at 5 am because that's what we're supposed to be. Family. And even though we mostly stay within our small circle, I find that circle stretching bigger. Always. Every time. And the people in the jeep, the children whose name we don't know, we realize they're family too.
That's who we are. Family.
We've had earthquakes, an extensive drought, storms, annoying road constructions, malls sprouting like plants, news about the Aetas getting displaced, the Lumads being threatened, people dying of diseases we thought we're done with, dangerous lambanog, a seriously expensive cauldron, and we're not running out of bad news. But the good news will remain outside the walls. Outside the skin.
In you. You're the good news. Be one.
When I was a kid, I used to play with a small book (it was actually a tax manual) and I'd always ask my parents, "What is a royalty?" which actually translates to, "Do we get to be royalties?" and inwardly, "I want to be one." Growing up, I wasn't really sure of being anything except of being 1.) a mom (not to my own kids necessarily, because I am Jo) and 2.) a writer, because it's the only thing I am consistently good at. So I have no doubt that this route is THE route I'm supposed to take. But whether I'll flourish in it and get my name in big neon lights, it remains to be seen. It started to not matter now. One long ride in a bus, I looked out of the window and whispered to myself, it's okay if I'd be a ladder. If I'd be lifting someone up.I just want to live with enough.
And that's what I get. Enough. God never held His hand back.
This year began, went through, and ends with me on my desk, writing on my old laptop, spilling those words away. Lately, I have decided to cut those words off. I have always been inside my head, and more writing leads to more discoveries, more introspection, more staying there, in my imagination. In the coming days, I wish to be more outside my head. This decade has done its duty, and I have learned well.
This 2020, I'll learn to pace myself. I won't be afraid to take on big things. Finish them slowly, steadily, surely. I'll write better. Work better. Save more money. Be more intentionally healthy. Help people far who are more in need. Look far beyond my circle. To just be completely there, in a world bigger than mine. Bigger than what's inside.
2019 has been wonderful. And 2019 has burned its last fire. x


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Aston Villa 2-1 Watford
- Goals: Douglas Luiz (£4.4m), Tyrone Mings (£4.5m) | Troy Deeney (£6.2m)
- Assists: Matt Targett (£4.4m), Ezri Konsa (£4.3m) | Gerard Deulofeu (£6.1m)
- Bonus: Deeney x3, Mings x2, Konsa, Luiz x1
A late, and lucky, goal from Tyrone Mings (£4.5m) took Aston Villa out of the bottom three as Watford replaced them in the relegation zone.
Ezri Konsa's (£4.3m) shot hit his fellow centre-half as he lay on the ground, with the deflection taking the ball past helpless Hornets keeper Ben Foster (£4.9m).
Villa boss Dean Smith cared little for how the ball ended up in the back of the net:
I'm not sure what part of his anatomy it came off, but he's certainly claiming it. As an ex-centre-half I'd have claimed it as well, so unlucky Ezri.
And, in truth, the goal was a fair reflection of Villa's attacking intent – the home side had twice the attempts of Watford, more than double the number of shots on target and created a chance every six minutes to the Hornets' 12.
There was, however, a strong case for Mings not even being on the pitch by then. Booked in the first half, the defender escaped a second caution for a handball in the second.
The player himself admitted he was expecting the worst, while Watford manager Nigel Pearson reacted to the decision with almost heroic levels of tongue-biting:
Everyone has an opinion on whether Mings should have been sent off – it doesn't matter what I think. You could see how incensed our players were, but we're in the hands of the officials to get these decisions right on the field. It's happened and we can't change it.
What could have changed matters was more clinical finishing by the visitors, who had much the better of the first half.
Troy Deeney (£6.2m) opened the scoring when he headed home Gerard Deulofeu's (£6.1m) cross for his third haul in five Gameweeks – and he would have had a fourth had he not missed a penalty last time out.
The Watford skipper was then denied by a fine save from Villa keeper Pepe Reina (£4.5m) and Deulofeu also missed a good chance when one-on-one with the Spaniard.
Dean Smith's side were a different proposition after the break.
Konsa, Kortney Hause (£4.4m), Trezeguet (£5.2m) and Matt Targett (£4.4m) all fluffed decent chances before the latter's shot was saved by Foster and substitute Douglas Luiz (£4.4m) equalised from the rebound.
Villa piled on the pressure as they went for the winner, which came in the fifth minute of time added on.
The defeat halted Watford's unbeaten run at six matches and might well dampen Fantasy enthusiasm in their key players ahead of a tricky schedule over the next six Gameweeks.
A visit from Everton and a trip to Brighton are promising enough, but they'll have to travel to Manchester United and entertain both Liverpool and Leicester after that.
How they react to this setback will be of major interest to Fantasy managers as the side still have defensive solidity – four clean sheets from the last seven matches – and in-form attackers to recommend them.
Villa, meanwhile, are showing plenty of appetite for their relegation fight, with three wins and a draw over the last six games.
They'll certainly need it over the next six as they'll be facing Spurs, Leicester and Chelsea as well as travelling to both Bournemouth and Southampton and entertaining away-day specialists Sheffield United.
The team's most popular, and productive, player, Jack Grealish (£6.6m), was relatively quiet against Watford, although he did lead the way for chances created and remains the best bet for consistent returns.
New striker Mbwana Samatta was not signed in time to make his debut on Tuesday, but his arrival should finally end midfielder Anwar El Ghazi's (£5.5m) brief stint up front, meaning other possible points outlets are likely to come from the back.
Targett, now fully fit after a hamstring issue, boosted his credentials with a third assist of the season and Smith made one post-match comment that could tempt investment in either of the side's full-backs:
We're still working on a system that we're getting used to and tactically the players are getting better. We just need a bit more ambition in the final third and what I mean by that is if Matt Targett's crossing, I want Freddy Guilbert arriving at the far post.
Aston Villa XI (3-4-3): Reina, Konsa, Mings, Hause, Guilbert, Drinkwater (Luiz 56′), Nakamba, Targett, Trézéguet (Vassilev 77′), El Ghazi, Grealish.
Watford XI (4-2-3-1): Foster, Mariappa, Dawson, Cathcart, Masina, Chalobah (Pussetto 75′), Capoue, Pereyra (Gray 81′), Doucouré, Deulofeu (Kabasele 90′), Deeney.
Members Analysis
Bournemouth 3-1 Brighton
- Goals: Harry Wilson (£5.8m), Pascal Gross (£6.3m) own goal, Callum Wilson (£7.4m) | Aaron Mooy (£4.8m)
- Assists: Dominic Solanke (£5.2m) x2, Diego Rico (£4.3m) | None
- Bonus: Mooy x3, C. Wilson, H. Wilson x2
Bournemouth won for only the second time since Gameweek 11 thanks to a rediscovered ruthlessness in front of goal and a superb performance from keeper Aaron Ramsdale (£4.7m).
The Cherries scored twice from just three shots on target, with their other goal coming when Diego Rico's (£4.3m) corner was flicked into his own net by Brighton midfielder Pascal Gross (£6.3m).
The contrast with the fortunes of the visitors could not have been more pronounced. The Seagulls had 21 attempts to Bournemouth's 11 and saw seven of their eight shots on target saved by Ramsdale.
Despite his heroics, and two save points, the young English keeper earned no bonus points, with extras instead being handed out to the game's goalscorers.
Ramsdale pulled off what proved to be a vital save from a Neil Maupay (£5.9m) effort and it had a galvanising effect on the home side, who then visibly grew in confidence and threat before Harry Wilson (£5.8m) opened the scoring from a Dominic Solanke (£5.2m) assist.
Coach Eddie Howe was in no doubt as to the importance of the strike:
Once we scored the first goal, I don't think we really looked back between then and half-time. For me, it rubber-stamped again that this is just a confidence issue for the group. It's not a technical issue, it's not the fact that the team isn't good enough.
The Cherries were clearly good enough to be two to the good before the end of the first half courtesy of Gross's unfortunate intervention.
Callum Wilson (£7.4m) then sealed the win after the interval with his first goal since Gameweek 7 as he took Solanke's pass, rounded Mathew Ryan (£4.9m) and finished with an authority so long absent from his game over the last few months.
The striker has cultivated a reputation of being something of a Fantasy troll, and the team as a whole has previous for such things, which should keep this much-needed win in perspective.
Bournemouth have a patchy medium-term schedule as the next eight Gameweeks involve a mix of relegation dogfights and clashes with the likes of Liverpool, Chelsea and Wolves.
That should temper interest in their assets, particularly as Ramsdale can't keep bailing them out and not every opponent will be as wasteful as Brighton.
Maupay's night summed up the Seagulls' experience.
The 2.6%-owned striker hasn't scored for seven matches, but boy did he have opportunities at the Vitality Stadium.
He had a match-leading eight attempts – double the total of anyone else – and contrived to spurn two big chances along the way.
Brighton players filled six of the top seven places for attempts on goal, with goalscorer Aaron Mooy (£4.8m) converting one of the four he was handed to make it two goals from his last four starts. The midfielder also led the way for chances created, which helped secure him the maximum bonus point award.
Boss Graham Potter was left to rue his side's lack of a killer instinct:
The first 30 minutes was really good, to a point where the crowd were about to turn on the home team because we were that much in control. Their keeper made a few saves but if you don't defend your box or get that bit of luck the scoreline goes against you.
Brighton have, on the face of it, enough decent upcoming fixtures to turn things around – and possibly attract Fantasy investment.
But trips to West Ham, Sheffield United and Wolves and home matches with Watford and Crystal Palace are actually not that straightforward, and their schedule turns ugly after that.
Potter's tendency to rotate on a regular basis also leaves FPL bosses on tenterhooks as to when the next benching will occur, with the in-form Leandro Trossard (£5.8m) having to make do with a 30-minute cameo as a substitute last night.
Add in the fact that they've won just once in nine league games and have kept only one clean sheet since Gameweek 11 and Fantasy managers will be forgiven for looking anywhere else but Brighton.
Bournemouth XI (4-4-2): Ramsdale, Smith, Francis, Ake, Rico, Harry Wilson (Lewis Cook 89′), Lerma, Billing, Fraser, Solanke (Gosling 85′), Callum Wilson.
Brighton and Hove Albion XI (4-2-3-1): Ryan, Alzate, Webster, Dunk, Bernardo (March 60′), Stephens, Propper, Jahanbakhsh (Connolly 60′), Mooy, Gross (Trossard 60′), Maupay.
Members Analysis
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- Use our powerful comparison tool to analyse players head-to-head.


text: everyseason 10 Report post Posted September 13, 2006 Here is a weird question.We are in a lawsuit that involves us as the Plaintiffs. The summons and complaint have been served to the defendants we listed. The defendants are now trying to get another person named as a defendant in the suit. We had the right to name the person under the lawsuit, however, he did do things that could be considered obstruction of Justice (maybe) but didn't break the law that we are suing the defendants for. How can they do that if we didn't name this person? Share this post Link to post Share on other sites


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The head of the Revolutionary Guards, Gen. Mohammad Ali Jafari, with the Supreme Leader (File)
Iran's Revolutionary Guards commanders have struck more poses over the Trump Administration's designation of the military organization as a "foreign terrorist group".
In separate messages to Iranian authorities and people on Tuesday, Guards commander Maj. Gen. Mohammad Ali Jafari asserted that the designation was from "vengeance and outrage" because of "back-to-back defeats" for the US in the region.
On April 8, the US Government issued the designation, the first time that Washington has labelled an entity of a foreign government as terrorist. American officials say consequent sanctions affect 11 million people connected with the Guards.
Jafari warned, just before the designation: "If the Americans make such a silly move and endanger our national security, we will implement and put reciprocal measures on our agenda based on the policies of Iran's Islamic establishment."
See also Iran Daily, April 9: Currency Falls After US Sanctions Revolutionary Guards
Iran Daily: Commander Threatens US — Don't Designate Revolutionary Guards as "Terrorist"
So far, there have been no substantive measures by the Guards. Iran's Parliament has designated US military forces as "terrorist", formally reasserting the declaration on Tuesday.
Jafari maintained his proclamation of victory yesterday as he derided the "inane and illegal measure taken by the adventuresome US President and the radicals around him". He attributed it to "the deadly blows by the Iranian nation, and this popular revolutionary institution [the Guards], which has been a successful trailblazer in the fight against terrorism".
Defense Minister Amir Hatami echoed the commander as he hailed the "glorious defense institution" of the Guards:
The Iranian MPs and people are aware that the Great Satan's (US's) conspiracies against Iran have continued over the past 40 years but we have emerged victorious with the help of God.
Today, the US seeks to infiltrate into the country's defense system by labeling the IRGC as terrorist but this time again it will be defeated.


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Venue – Central Goldfields Art Gallery, Maryborough, Victoria.
copyright 2018, all rights reserved.
Words in Winter Central Goldfields Victoria – Maryborough Dunolly Carisbrook Avoca
Celebration of Words in all their Forms
Last year saw a wonderful range of winter events take place in the Central Goldfields region. Below is the programme for 2016. We thank all those who helped create the wonderful range of events last year.
Thurs 25th August 2016 – Aviva Live -Soiree – Gregg Joseph and Friends – Maryborough Senior Citizens' Hall
Local musician and composer Gregg Joseph hosts an evening of words and music that wowed audiences last year. Bookings advised, supper included.
Date: Thurs 25th August Venue: Maryborough Senior Citizens' Hall Alma Street Maryborough Bookings Advised Gregg Joseph 0457 495 007 Gail Oliver 03 5461 1203 Time: 8 pm Cost: $10 ($8 conc) includes supper
Sat 27th August 2016 – Fireside Readings with Lynda Vater – Arts Hub Dunolly
Join Lynda Vater for a cosy fireside play read through and progressive story while enjoying mulled wine and hot chocolate. Rug up for outside bonfire fun too! Bookings advised.
Date: Sat 27th August Venue: Dunolly Arts Hub (Scout Hall) Alice & Thompson Street Dunolly Bookings advised Lynda Vater 0418 875 453 Time: 7 pm Cost: Gold Coin (includes refreshments)
Sun 28th August – Fireside Poetry Readings by Poets hosted by Rachel Buckley – Buckley's of Dunolly
Rachel Buckley MC for intimate Melba Lounge poetry readings afternoon by the fireside. Bookings strongly advised, limited seating, refreshments provided.
Date: Sun 28th August Venue: Buckley's of Dunolly 1787 Maryborough – Dunolly Road Dunolly Bookings advised limited seating Melba Lounge Rachel Buckley 0427 275 006 Time: 2 pm Cost: $10 (includes refreshments)


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"Tell the chef, the beer is on me."
For our latest Notable Narrative we chose Kevin Sack's "60 Lives, 30 Kidneys, All Linked," a New York Times story about an unprecedented chain of kidney transplants. We admired the story as a deft and moving example of explanatory narrative, and because Sack, a two-time Pulitzer winner, chose an unlikely protagonist, with deeply touching consequences. How did he pull it off? Here's our recent telephone conversation, edited for length and clarity:
You were dealing with a huge amount of complicated information. Could you talk a bit about how you organized it, and how you presented it in such a graceful, moving way?
To report "60 Lives," the New York Times' Sean Patrick Ferrell, Kevin Sack and Nicole Bengiveno scrubbed in for six surgeries.
It sounds a little silly to say that a story like this wrote itself, but to some extent the material was so compelling that it made the job a little bit easier. There were certain things that I knew were going to have to be included in the roughly 5,000 words I was allotted. Pretty much from the beginning I felt there was going to be a certain logic to writing it in a roughly chronological way, or at least with an emphasis on the first link in the chain and the last link, and with the rest of the story composed of equal parts explanation of how the chains work – the medicine, and what I witnessed in the operating rooms – and the history of these chains, and the best human stories that I could find from within the chain. Before I started reporting, I assumed that at every link there would be a great narrative tale. By definition there had to be: Somebody's giving up a part of themselves for a loved one. How uninteresting could it be? The challenge was gonna be to find out about as many of those links as possible in the time allotted, given the other things I was going to have to accomplish, and then picking out the best tales. When you look at the story there's only a handful of stories in it, out of the 30 transplants. There were a lot of great stories left on the cutting room floor on this one, sort of by necessity.
The biggest decision I had to make in terms of how to structure and write it – I longed to simplify the story by focusing on a smaller number of people. I was concerned all along that even if I minimized the number of characters there would be too many characters. I didn't want it to get bogged down in a long list of names. People wouldn't be able to keep it straight. And the stories would start to dilute each other. Ultimately I decided that that was wrongheaded.
What do you mean?
The central character was the chain itself. And by definition the chain consisted not of a handful of people but of 60 people. What made it miraculous was that there were 60 participants and that these kidneys flowed relatively seamlessly from one link to the next. And so I decided that to focus on a central character kind of undercut what the story was all about. Once I wrapped my head around that, I think I got more comfortable with the notion of doing it the way I did, with a number of central characters. I kind of dip in and out of each of their tales rather quickly, mainly because I have to. As I was reporting the story, Amy Harmon's great piece about the autistic couple in love ran, and I was envious because she was able to tell a story that essentially was about the socialization of autistic people through the eyes of a single couple. I was a little jealous and wanted to find a way to do that, but then quickly decided that the point of the (kidney) story is that there were 60 characters, not that there were two.
Where did this story come from?
I'm certainly not the first person to write about these chains. There was a New England Journal of Medicine article in, I think, '09 that was about the first of these chains that were structured this way, with a Good Samaritan starting a donation to the waiting list and then non-simultaneous operations. So there was a flurry of stories after that, about these chains. I was covering Obamacare at the time. We were sort of in the thick of legislative battle, and it wasn't something I was going to be able to get to at that point but I filed it away as being interesting.
I had a change of jobs back in the fall, where I got assigned to this new team of reporters created by Jill Abramson to do enterprise stuff on lifestyles. It was sort of broadly defined, and my part was that I going to continue to write about health-related issues. I had a list of story ideas that I put in front of my new editor, Adam Bryant, and he quickly got interested in the kidney-chain story. So I went out to see sort of what had been written, whether there was any room left to do something interesting, looking for, you know, an angle that would sort of give us a reason to do it, and to do it in a big way. My third or fourth call was to Garet Hil, whom I'd started to hear about and read about. He was in the middle of what was going to be the longest chain ever constructed. So I suddenly had my angle. I took it back to Adam and to others at the paper and there was a lot of enthusiasm about it and resources put into it quickly.
Such as?
A very quick decision to make it a big multimedia project. So: photographers assigned, graphic artists assigned, interactive designers assigned, a video journalist assigned. And sort of involvement from people on the masthead at the paper in terms of getting their attention and early signoff, an assumption that we'd probably do it at two pages long. All those things were in place pretty quickly.
Where in the chain was the transplant process at that point?
They were exactly halfway through. I found out about it in early November, and they were in the middle of this long bridge, as they call it, between donations. This was a point where a recipient had been transplanted – their paired donor had yet to donate, typically for some sort of logistical reason. This was the longest pause in the chain. It was from I think late September to early December, almost two months.
Which people in the chain? Could we look at it that way?
Identify which ones?
I think it was No. 16, Rebecca Clark. Yeah. John Clark, No. 15, had received his transplant, and his wife, Rebecca Clark, did not donate until Dec. 5. He had been transplanted on Sept. 28. My initial concern was, Well I'm not gonna be in on the beginning of this and that's gonna be awkward, to do a narrative that way, because I'm gonna have some stuff that's much more vivid than the rest of it. In retrospect, I think it ended up being an advantage. First of all, it cut the time of the project in half. For a project like this it was relatively quick: 3 1/2 months from conception to publication.
And also, it made what I did see fresher, I think. It wasn't that difficult to go back and reconstruct the first half of it. And the timing worked out kind of just right, because once I found out about the chain from Garet it gave me a month to get my ducks in a row before surgeries actually started again. So I was able to spend that time reconstructing the first half. I went to New York and spent a day with him at his office on Long Island. I interviewed a lot of doctors and people in the field, read a lot of journal articles, and also was able to get the rest of our team up and moving. They started collecting names and IDs and photos of people in the first half of the chain. Which was a process. So the timing worked out nicely.
I spent most of December kind of running. We had a sort of interesting decision to make: We had a meeting in New York with all the people involved – we had to make decisions about where we were gonna go in terms of actually being at the hospital and watching procedures and interviewing patients. Part of that was gonna be driven by who we thought was interesting given what I knew at that point about the chain, and part of it was gonna be driven by pure logistics. I knew that I wanted to be present for the end of it because I was going to highlight the last recipient. And there also was this great flurry of procedures on the penultimate day at UCLA. There were six surgeries from dawn to dusk that day. So I figured that would be a great place to be, and then fly with the last kidney to Chicago for transplant. But I was worried that what if the chain breaks before we get there, which definitely was possible.
One of the first things I did the first month was, Garet shared all the emails that he sent and received relative to the first part of the chain, and you could see all these different points where things had broken down for one reason or another, and he had had to repair breaches. So I knew that this chain that's supposed to be 30 transplants long could end up being 17 transplants long and if I was going to be there for the last three or four I'd have nothing to write about. So we decided to pick a surgery early in December, when the chain first started back up, to go and eyewitness, and to focus on those participants so that if disaster struck we'd have something.
I don't know if you've looked at all the stuff online or not –
It's killer.
We ended up doing a video piece about Cesare and Josephine Bonventre – he's from Brooklyn, she's from Toronto, they're mentioned briefly in the print story because they're the only example in the chain of a compatible pair, meaning she could've donated to cousins, she could've donated directly to him, but by donating down the line instead he was able to get an even better matched kidney. Which is kind of the next wave in these chains: It expands matching potential by including compatible pairs. So the day before the surgery I went with a photographer (Nicole Bengiveno) and videographer (Sean Patrick Ferrell) to his place in Bensonhurst and interviewed the two of them at length, went with him to his final dialysis treatment at a clinic in Brooklyn – again, with cameras in tow – and the next morning we all showed up at the hospital at 4:30 in the morning and watched them from the beginning of the day to the end of the day, including both their surgeries. Then we had something in the can that we could use to construct the story if we had to. They're sort of highlighted on the interactive graphic.
You guys do interactive so well.
It's great to work with them. It's real value added to what we do, particularly for a story like this that's so graphic in nature.
The permissions on this must have been tricky, getting all 60 to participate – well, 59 – for their names to be used, for their photographs to be used. How did you handle that logistically? And why didn't that 60th person, the one in silhouette in the grid, want to do it?
HIPAA obviously prohibits hospitals from releasing these names or anything about these folks without their express permission in the form of a signed, written waiver. There are 17 hospitals involved. So I went to each of the hospitals. From Garet, I had sort of a spreadsheet that showed the course of the chain with some detail: the gender of the donor and recipient, the year of their birth, a code name – no real names – and the hospital that they were gonna be at on the day of the surgery. That's pretty much what I had. So I was then able to go to the hospitals, explain the story to them, get them to go to the patients, get the waivers and then put me in touch with the patients.
Wait a minute, though. It's a miracle that you got any of these people, much less 60. Anytime you have other people asking permission for you, you know how that goes –
Right. The one advantage that I had in this case was that the people doing the asking had incentive to get people to yes. If they got people to yes it meant that their hospital might be mentioned in the story. And these were the PR people who were usually involved. So most of the hospitals were eager to pursue it. And I obviously did some coaching, to fully explain the story to people and what we were doing and how the information would be used. The other advantage that we had, a lot of people who go through this process become real zealots about it – they want to spread the word. They feel that they're saving lives and that (Good Samaritan donation is) an underutilized strategy and if more people knew about it more lives could be saved.
The person that said no was one of the first that I pursued, because I was basically going in order. I called this hospital in New Jersey, Saint Barnabas, and they were just sort of stunned that this person had declined. They thought maybe he was just having a bad day. They thought it was uncharacteristic and unexpected that he would say no, so I sort of maintained hope. We continued on and you can imagine what it's like – it's sort of clerical. You send out these requests and some come back pretty quickly and others you have to follow up on three and four times and eventually they started to come through. But yeah there are 59 pictures and one blank.
It does speak to some people's reluctance and fear about this whole thing –
Right. I mean, obviously I have no sense for his reasoning for not wanting to disclose. It could be any of a number of things; I respect all of them. I was surprising that such a high percentage of people were willing to put their names and faces out there. Sometimes people just don't want others to know that they've been ill or – I mean there are all kinds of reasons for them to not join in. They just cherish their privacy and understandably so. But there was a bit of a mission-oriented feeling for this, I think, for a lot of the participants.
Beautiful writing. There's this one sentence: "On and on the chain extended, with kidneys flying from coast to coast, iced down in cardboard boxes equipped with GPS devices and stowed on commercial aircraft." That's a whole procedure that you just managed to collapse as one gorgeous sentence. You've collapsed time, you've made procedure easy for the reader to follow.
One thing I did that I don't always do, even for long narrative projects like this, is, I outlined. I sort of methodically over a period of days went through my notes, kind of made a list of key points and key scenes and key characters, and then roughly organized them. And pretty much followed that structure. It certainly was deliberate, to try to write it in a restrained manner because the material itself was so strong and emotional and so potentially prone to purple prose. You do enough of those and you come to realize that if your material's good enough you just don't need to overwrite it. Not that there's ever a reason to overwrite anything, but you know what I'm saying. Beyond that, I really do feel like I just sort of followed the outline and constructed these scenes. I had to show discipline in terms of what we included and excluded. The original draft was not that much longer than the final one – I think just a few hundred words, and lots and lots of editors touched it before it got in the paper. I must say, all made really good suggestions and improved the story.
There's one interesting tale about all this. The last line of editing is (Executive Editor) Jill Abramson. On the Friday before publication – and I think it was the Friday that she was rushing out the door to fly to Beirut to console Anthony Shadid's widow and children – but before she got on the plane she ordered that I change the kicker on the story.
So here we are, it's been through umpteen levels of editing at this point and everybody's signed off on it, and the executive editor is ordering up a change at the last minute. The issue was – the initial kicker had to do with this story that the final recipient, Don Terry, tells, that I just found irresistible, about how in late November, before he knows that he's getting this kidney, he's out with his cousin and her two young children, and they go to this sporting good store because they know Santa is gonna be there for photographs with kids. And the kids get on Santa's lap and then as a goof Don and the cousin get on Santa's lap and Santa says, "So, young man, what do you want for Christmas?" And Don says, "Well, Santa, the only thing that I want is a kidney. That's all I want." And Santa sort of plays along, looks him in the eye and says, "I think you've been a good boy this year. I think you're gonna get that kidney."
And two weeks later he gets the phone call from the transplant surgeon saying: "You've got the kidney." Jill thought it was too much, that it was over the top and melodramatic, even though it happened and was real. Her point was exactly yours. The rest of the story had been written in this restrained sort of underwritten way, to some extent, and this was going to be jarring to the reader. This was all communicated to me through deputies but I think her sense was that I'd just sort of gotten to the end and I just couldn't help myself.
I just couldn't get all the way through without letting one rip.
That's awesome.
So I sort of resisted and kicked the dirt a little bit, but in the end it didn't matter because she's the executive editor and I'm not. But in retrospect I think she was probably right.
I think so too.
And we found a decent alternate.
You found a great alternate. It's forward-looking, whereas a Santa ending would've been a dead end.
I hate to say it but sometimes the executive editor of the New York Times can be a smart person.
So, the response to this piece – what has been the impact so far?
Well, they got a nice surge of offers of Good Samaritan donors both at the National Kidney Registry and at transplant centers individually. The National Kidney Registry had 426 donor registrations, Good Samaritan donors, in February, when the story ran. That compares to 120 in January, 81 in December, 79 in November, 70 in October. And then they had 300 patient referrals to member centers. These are patients coming in with paired donors, and that was more than three times the usual number. There was lots of sort of media follow-up. Diane Sawyer did a big piece on ABC. Lots of local TV. BBC did a piece.
And then there was a recent conference involving the debate about whether to create a national registry.
There was this consensus conference near D.C. where a bunch of specialists got together – surgeons, transplant coordinators, nurses, patients, insurers – to discuss the future of the field and look at ways to increase the number who get transplants this way. One of the key things on the table is whether there should be a single national registry, which the mathematicians and to some extent common sense tell us would presumably increase the number of transplants made possible. The bigger your pool the more potential matches you can make. A committee of this group recommended doing exactly that, which for the moment is likely to mean exactly nothing. It's purely a recommendation. It's a sense of direction of a committee of this group.
There's a lot of transplant politics involved. These different registries compete with each other. They have different philosophies. They're all virtually unregulated by the government at this point and there's nothing constraining them from operating the way they want to. It's not my sense that there's going to be much change anytime soon. Garet Hil, the guy that's featured in my story, has the most successful of these registries and he doesn't see much of a reason to change the way his is working. He feels like he's got a model that's getting transplants done, and he's concerned that any sort of merger, particularly a merger that puts him more at the mercy of government regulation and oversight, is going to decrease the number of transplants he can accomplish.
Speaking of Hil, this isn't a traditional narrative in that we're not following one or two main characters, we're not using a ton of dialogue, but you are following, as you said, the arc of the chain itself and then looking at these little narratives along the curve. But there's this sort of overarching hero in Hil – the former Marine recon ranger with a background in quantitative math, who started the registry after his own kid got sick. Another writer might've decided that that guy was the narrative and folded the chain around his story. It was a riskier and much more complicated piece of storytelling, what you did.
I think I was driven by my interests – and they were varied – in this subject. I was completely captivated by him. I think he's a fascinating guy. But I thought there were other fascinating parts to the chain. And to some extent, because he very much deliberately distances himself for ethical and legal reasons from the participants in the chain, if the story had focused more on him it would've been at the cost of the other parts of the process, which were all pretty darn compelling. I mean, until I wrote the piece he didn't have names for these people, for the most part. So more of a focus on him would've meant it would've been harder to humanize the chain. It would've been more about the math of what he does and his personal story.
When you described him as "Disney-hero handsome" which Disney character did you have in mind?
The one that I really had in mind – it ends up being the wrong one to have had in mind because as I thought about it more, he's not a hero, he's an oaf. In "Beauty and the Beast" I'm thinking Gaston, who is Belle's pursuer. I'm extremely familiar with the story right now because I've just watched three performances of my stepdaughter in a middle-school production. But yeah, he's got the same sort of cleft chin. Lots of hair. And he's not heroic at all – he's an anti-intellectual. Surely there were other heroes. Prince Eric maybe? In "The Little Mermaid?" I don't know. Don't you find Hil Disney-hero handsome?
He's happily married.
Good for her, is what I can say about that. I love how you de-glorified Ruzzamenti by mentioning his carousing, and his "unsmiling presence at work," and his "surliness," and his inattention to his parents and grandmother. He's real.
That's what I loved about him. He's such a quirky guy and would be the first to tell you so. We had a really good time interviewing him. I talked to him a couple of times by phone and then spoke to him at his home when we flew out to UCLA for the last part of the chain. He lives in Riverside, which is an hour or two away, so it was convenient. He's just a real character. I'm not sure that I give the reader a real way to understand him because I'm not sure that I completely understand why somebody, who by his own admission may not be the sunniest or most giving person every moment of every day, becomes an incredibly giving person at this one moment.
Maybe it's redemption. Maybe if you're an ass your whole life and you get the chance not to be, you take it.
Yeah. I think there's certainly – he didn't want me to overemphasize the notion of his Buddhism and its impact on his decision, because I think he feels he had this in him before he discovered Buddhism, but there's a certain karma for him. I don't think he felt, "I'm gonna go do a good thing and it'll pay off in the next life," but I do think he has a sense that the good things you do in life at some point have an impact.
The play-by-play of Conor Bidelspach's kidney removal was so descriptively written: "The slush in the blue bowl turned fruit-punch pink." And you wrote about a plastic bag knotted shut "like a goldfish brought home from the pet store." Clearly you're the father of young children.
You were there for that, though, obviously. You scrubbed in?
Yeah, from beginning to end I saw six different procedures at three different hospitals: the nephrectomies, which is the kidney recovery, and then the transplants. In each case I had photographers and video journalists in the O.R. with us. We scrubbed in, we were in scrubs, with masks and hairnets and note pads and cameras. The doctors seemed to be completely unfazed by the fact that we were there. They've done the procedure 100 times a year. And I think two of the hospitals required that we have TB tests. One of them required us to sign various waivers in case there was any havoc in the operating room, any trouble that we caused. But it was all fairly smooth. We just sort of took turns stepping up on a little stepstool just behind the surgeons, peering over into the abdomens as they did their work. With the nephrectomies, there were these screens all around the operating room, showing what's going on, because it's all done laparoscopically and there's cameras inside the cavity, showing what's happening.
Interesting that you wrote that someone "poured" a kidney. Interesting verb.
I've got this vague recollection that that wasn't the first word I used. An editor may have come up with that choice. I may have said "emptied" or something like that.
"Poured," with reference to a human organ, is odd in a good way. Unexpected in a good way.
It definitely helped to see the procedures multiple times. The first time out you're just sort of absorbing it and each time you see it you may think a little more in metaphor and imagery.
Getting back to a conversation you and I were having earlier: We were talking about long-form narrative versus daily reporting.
I've never seen the disconnect between hard news writing and narrative reporting and writing. I try to use the same skills. If I'm covering a hard-news story I'm looking for the same narrative elements and the same imagery and the same way of describing something metaphorically that I would when I'm reporting a narrative. I mean, I have the same opportunities to use it, depending on the story and how much space I've got. It's always seemed to me that even the hardest news story is helped by narrative elements. Obviously you deal with them in different ways depending on your format. But I've just never seen the distinction. Both ways of telling a story are equally credible in terms of getting at the truth, which is ultimately our goal and our mission.
*Photos courtesy of Kevin Sack
"The prosecutor wanted to know about window coverings. He asked: Which windows in the house on South Rose Street, the house where you woke up to him standing over you with a knife that night – which windows had curtains that blocked out the rest of the world and which did not?"
So begins Eli Sanders' story "The Bravest Woman in Seattle," which this week won the Pulitzer Prize for feature writing. The category usually offers up an unforgettable narrative and this year gave us a story – and an exciting writer – that we otherwise might have missed.
Sanders' elegantly tense portrayal of a home invasion, double rape and murder appeared last June in The Stranger, a Seattle weekly, but Sanders' coverage of suspect Isaiah Kalebu started long before that. In "The Mind of Kalebu," which ran in the fall of 2009, Sanders examined loopholes in the criminal justice system's treatment of mentally unstable suspects. His reporting ultimately led us into the courtroom, as murder victim Teresa Butz's partner testified:
The attacks became more sadistic. Things began to happen that were beyond the worst imagining of Butz's partner. She felt like she was going to be ripped in half. She thought: "He's not going to kill me with a knife, but he's going to kill me this way."
Then she heard Butz say: "Why are you cutting me? Why are you cutting me?"
The man said to Butz: "Shut up, or I'm going to kill your girlfriend."
He took the women into another room in the house, where he pulled another knife out of a pair of jeans he'd left on a guest bed.
The story he had been telling them, the story Butz's partner had been telling her- self, the story that he just wanted sex and was not going to hurt them, now completely shattered. "In that moment I just knew he was going to kill us," Butz's partner told the court. "I just knew. There was something different in his gaze. There was this kind of looking. I didn't feel fear from him, I didn't feel anger from him, I just felt this nothing."
We asked four Pulitzer winners, a Pulitzer judge and a legendary contributor to the craft of narrative journalism what they thought made the story special. Here's what they said:
I've never read a court story like "The Bravest Woman in Seattle" – never in 28 years of journalism. I don't know that anyone has read a trial story containing such painstaking detail and emotion; containing so many elements of the human instinct to survive in the face of the near inevitability of death.
"The Bravest Woman in Seattle" has all the elements of a work of fiction until the reader quickly reaches the chilling realization that this case was real. This was not some made-up crime novel. The people who were the subjects of this story, the heroes of it, too, were human beings, though savagely treated.
The power of this story is in the incredible writing, which made me care deeply for two women who were strangers to me, who were living normal lives before a knife-wielding man sexually assaulted and tormented them. "The Bravest Woman in Seattle" leaves readers clinging to hope that all ends well. The readers pray for the victims' survival and that the bad guy gets caught. It is a challenge of human will to stay with this story. There is the temptation to leave for fear it will rip at your own emotions. Once the mind wraps itself around the facts in the case (although it is impossible to comprehend how one human could be so cruel to another), the reader is left to draw her own conclusions about whether the convicted man got what he deserved.
Ronnie Agnew is a four-time Pulitzer Prize judge and sat on this year's feature writing jury. He is the executive director of Mississippi Public Broadcasting and the former executive editor of The Clarion-Ledger, in Jackson, Miss. He has worked as a reporter and editor in Ohio, Alabama and Mississippi.
As the Pulitzer board noted this week, Eli Sanders' "The Bravest Woman in Seattle" is "a haunting story of a woman who survived a brutal attack that took the life of her partner." It is also the story of the woman telling that story: The citation commends Sanders' use of her courtroom testimony to "construct a moving narrative."
But it is also the story of Sanders, a reporter, responding to the woman's telling of that haunting story. And that extra level of narrative, I think, is the source of the story's riveting power.
Sanders calls the survivor "the bravest woman in Seattle.'' Maybe that is true. But what matters is that we feel the rawness of his admiration for her courage, and of his rage on her behalf. It takes journalistic bravery to expose yourself, as well as your subject, to the reader. And it takes a rare skill to do it, as Sanders does, almost entirely with telling details, structure and intensity of tone. Seeking to transport us into the head of the woman whose story he is telling, Sanders places us at the same time into his own. He quotes her as well as her thoughts, channeling her with an authority born of his observation, of his participation as a reporter covering the emotionally charged event: "I am not scared,'' he imagines her thinking. "I have nothing to hide here. Not anymore. Not for something as important as this, the opportunity to put him away.''
You risk credibility when you do this, even in a story where no one can fault you for sympathizing with the woman on the stand. Maybe especially in a story like this, reporters bend over backward to be fair, to maintain a safe distance. But Sanders' understated honesty makes us trust him. The reporter next to him cried, he says. "I cried.''
How much of the graphic information about the rapes and murder, we hear Sanders wondering, about his role in this drama, is right to include? "Some of her testimony from this day is not going to be recounted in this story,'' he decides.
One of my favorite passages comes when Sanders observes the mother of Teresa Butz, the partner who was murdered:
She is a small woman, just like her daughter. If this woman can absorb, at the level of detail required for proof before a jury, the particulars of what happened to her daughter – can view the bloody crime scene photographs, can listen to the 911 call from a neighbor leaning over her blood-soaked daughter and screaming, "Ma'am, please wake up! Please wake up!" (while, to the 911 operator pleading, "Please hurry, please hurry"), can hear the testimony about DNA evidence and what orifices it was recovered from – then no one else in this courtroom can dare turn away.
Here, Sanders transports us to all three levels of the story at once. We are in the moment of the attack, we are listening to the horrifying details unfold in the courtroom, and we are in Sanders' own head, flinching from those details yet increasingly convinced that there is a moral imperative in relaying them.
Amy Harmon is a two-time Pulitzer winner and a New York Times national correspondent who covers the impact of science and technology on American life. Her series "The DNA Age" won the 2008 Pulitzer for explanatory reporting, and in 2001 she shared the prize for national reporting, for the series "How Race Is Lived in America."
"Maybe he could use that love against them."
In Eli Sanders' searing narrative about the rapes of two women and the murder of one of them, that single sentence reveals the writer's mastery of his subject. In the midst of all the horror, we are reminded of the victims' love for one another and experience an excruciating clash of emotions.
With his command of pace, rhythm, vivid description and multiple perspectives, Sanders switches between courtroom and crime, and from the victims' point of view to the narrator's, always taking care to be honest without being sensational.
The tension in the story comes as much from what is not said as what is. Instead of detailing every grim act, we get the reactions to the survivor's descriptions of those acts – from the bailiff, the court reporter, the prosecutor, even another reporter. By the end, we are reminded that violence is not ordinary, nor are the victims of violence.
If ever a story was three-dimensional, "The Bravest Woman in Seattle" is it. The story lives not only in time and space, but in consciousness. A testament to its power and truthfulness is that the survivor, who asked not to be named by Sanders, was moved to identify herself after the story's publication.
Amy Ellis Nutt won the Pulitzer Prize for feature writing in 2011 for "The Wreck of the Lady Mary," and was a finalist in 2008 for "The Accidental Artist." A reporter at the Newark Star-Ledger, she's also an adjunct professor in the Columbia University Graduate School of Journalism, and a former Nieman Fellow at Harvard.
The writing is rhythmic, concise. Every sentence does what it should in narrative: reveals more about character or moves the action forward. And while the details are beyond grisly, Sanders frames them in a way that forces – obligates – readers to withstand them.
Raquel Rutledge won the Pulitzer Prize for local reporting in 2010 for her Milwaukee Journal Sentinel series "Cashing in on Kids." An investigative reporter on the Watchdog Team, she is a Nieman Fellow at Harvard.
Sometimes details are nitroglycerin. As a kid, I knew about nitroglycerin only from Road Runner cartoons – this stuff is incredibly explosive yet there was always plenty of it, and the characters always seemed destined to drop it. Back then, I didn't know that in tiny doses, in heart medication, it can save a life. As reporters entrusted with powerful details, we sometimes wind up like the coyote trying desperately to cradle them before the ground falls away.
Not here. I was continually impressed with the way Sanders blended the horrific details with a strong instinct for story and, most importantly, care. It's a crucial combination, as I think he sets this up as more of a campfire story than a courtroom story. He starts off with a scene, then tells us that he's going to tell us a story. He actually allows us a chance to smile. He lets Teresa Butz's partner lay the foundation for how honest this story is going to be. He foreshadows some of it, knowing that won't make it easier when we get there, but at least we know to prepare. Then he tells us we've seen enough. Then he immerses us again.
The scenes in this story will join so many others in the feature writing category that haunt and teach through searing detail and restraint, among them one particular child in a car in Gene Weingarten's "Fatal Distraction," a little girl's room/closet in Lane DeGregory's "The Girl in the Window," and the description of the dead boy in the snow in Barry Siegel's "A Father's Pain…."
In "The Bravest Woman in Seattle," Sanders also finds that balance between the explicit and delicate, guaranteeing that though readers may pause, brace themselves or close their eyes they'll keep going. We have to continue, because Sanders has allowed Butz's partner to take us by the hand and show us why we must. By building elements of the story's framework on the details that make us cringe, Sanders demands that we read until the last word – actually the last nine words – so that by the time we reach that scream, it has been transformed into pure strength.
Jim Sheeler won the Pulitzer Prize for feature writing in 2006, for a Rocky Mountain News story that chronicled nearly a year in the life of a U.S. Marine casualty notification officer and the families he touched. His subsequent book, "Final Salute," was a finalist for the 2008 National Book Award. He holds the Shirley Wormser Professorship in Journalism and Media Writing at Case Western Reserve University in Cleveland.
The story is admirable in a similar (though of course less profound and courageous) way as its subject is admirable. Throughout, Sanders stresses the survivor's reasons for going through the ordeal of testifying, writing early on:
This happened to me. You must listen. This happened to us. You must hear who was lost. You must hear what he did. You must hear how Teresa fought him. You must hear what I loved about her. You must know what he took from us. This happened.
Later, he says that the mother of the murder victim, Teresa Butz, was in court and observes: "If a woman can absorb, at the level of detail required for proof before jury, the particulars of what happened to her daughter…. then no one else in this courtroom can dare turn away."
The accumulation of such comments begins to suggest, in a subtle way, that Sanders and we (the readers) are also participating in the very painful but also brave and important act of taking in this testimony. Later in the story he writes that in the aftermath of the crime, "civilization, which did not stop this from happening, which did not even know this was happening, slowly returned." The persuasive suggestion is that this article is a part of that slow return: listening to the woman bear witness, without turning away, is the least we can do.
I'll add, in passing, something I might have asked Sanders if I had been his editor. It strikes me that the bravest woman in Seattle, maybe the bravest woman in the history of Seattle, may have been Teresa Butz, whose actions, as described in the story, ultimately saved her partner's life even as she was losing her own. Do you think it might make sense to put a little more emphasis on Butz? Just asking.
Ben Yagoda has written about language, writing and other topics for Slate, the New York Times Book Review, the New York Times magazine, The American Scholar, Rolling Stone, Esquire, and many others. He's a professor of English at the University of Delaware and the author of, among other books, "About Town: The New Yorker and the World It Made" and "The Sound on the Page: Style and Voice in Writing." His "The Art of Fact," coauthored with Kevin Kerrane, is a staple of narrative journalism classrooms. His forthcoming book is "How to Not Write Bad."
This year's two features finalists were also rivetingly memorable, and each ran with compelling multimedia components. In "A Chance in Hell," Corinne Reilly of the Virginian-Pilot told the story of two weeks in a NATO hospital in Afghanistan. A glimpse:
A few minutes later the soldier is in the operating room. He's writhing now more than shaking. Through the moans, he's mumbling three words over and over.
"This is bad. This is bad. This is bad."
He keeps lifting his head, trying to get a look.
On the end of the bed, the last right boot he ever put on is lying at an angle that's all wrong, a sweaty foot still inside. The calf above it is a shredded mess of uniform, flesh, dirt and grass. Nothing about it looks real.
Above that there is no discernible knee, just a thin stretch of filthy skin barely hanging onto what's left of a thigh, which looks a lot like the mangled calf, except for one thing: Among the blood and mud, there is a little white inchworm, scrunching and straightening, slowly making its way across a bit of dying muscle.
Somehow it survived an explosion the soldier may not.
Around him, a dozen people are preparing for surgery. The room smells like damp earth, rubbing alcohol and blood.
"Hang in there one more minute, bud," the anesthesiologist says, trying uselessly to soothe his patient. "Everything's gonna be OK in just a minute."
A nurse walks in. Next to the boot, she sets down a medical form.
It says the soldier's name is Eddie Ward.
It says he is 19 years old.
And in "Punched Out," John Branch of The New York Times told the story of the life and death of hockey enforcer Derek Boogaard:
Boogaard, with a backlog of frustrations, wanted to quit during training camp in 2000. He was 18. He called his father to tell him. He told his teammates he had a plane ticket home. Tobin ultimately persuaded him to stay.
And, suddenly, Boogaard started to win fights.
"His first year in the W.H.L., I think, it was mostly adjusting to his frame, not knowing how to use his reach," Ryan Boogaard said. "I think he felt more comfortable with that frame in his second year in the W.H.L., and he did a lot better."
He quickly avenged his broken-jaw loss to Mike Lee. He beat Mat Sommerfeld, a rival who had torn Boogaard's name from the back of his uniform and held it over his head after an earlier conquest. One Web site put Boogaard's record at 18-4-4 in fights that season. One poll named him the toughest player in the W.H.L.'s Western Conference.
When Boogaard took the ice, a buzz rippled through Prince George's arena, which routinely had capacity crowds of 5,995. One side of the arena would shout "Boo!" and the other would shout "Gaard!"
He scored only once in 61 games for Prince George in 2000-1. He recorded 245 penalty minutes, ranking eighth in the W.H.L. He was, finally, an enforcer, appreciated by one team, feared by all others.
This continues Pulitzer Week on Storyboard. On Tuesday, Anna Griffin looked at Walt Harrington's story about Pulitzer-winning poet Rita Dove's writing process in our "Why's this so good?" series. On Friday, we'll post a video, transcript and interactive index of Pulitzer-winning novelist Paul Harding's recent standing-room-only appearance at the Nieman Foundation.
In the meantime, you'll find the citations, works and biographies for all of this year's Pulitzer winners here.
"Tell the chef, the beer is on me."
"Basically the price of a night on the town!"
"I'd love to help kickstart continued development! And 0 EUR/month really does make fiscal sense too... maybe I'll even get a shirt?" (there will be limited edition shirts for two and other goodies for each supporter as soon as we sold the 200)


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"Design and test of CDMA cellular systems."
Marty Feuerstein et al. (1994)
- Marty Feuerstein, Gregg Clausius, Dino Vendetti, Dan Crews:
Design and test of CDMA cellular systems. VTC 1994: 6-10
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Idealism with Singapore plus the Postcolonial Times
'Why is a adolescent Dutchman having to worry about the Strait of Malacca? Why do not get there almost any Singaporean young people worrying with regards to the dirty and even polluted water around Singapore? The simple option… is that there is also a deficit of idealism among Singapore's youngsters. '
– Dr . Kishore Mahbubani
'The issue is that our unique realities are often too slim to accommodate some things which extremely deserve the attention as well as empathy. '
-Kim Bumsoo
(Note: a just-for-Singaporeans version of the note was initially originally get as a Facebook note by just me; if you'd like to read the original, you can do here: https://www.facebook.com/notes/liren-fu/on-idealism-in-singapore-and-the-postcolonial-legacy/10153256126925940)
Recently, Doctor Kishore Mahbubani, Dean on the Lee Kuan Yew College of Open public Policy along at the National College of Singapore, released a document in The Straits Times about how exactly Singaporean young ones lack idealism. Yesterday, as of when So i'm writing the following, a very sweetie friend submitted a reply so that you can his report. I (respectfully, but also verily) disagree with, on the 1st claim that Singaporean youth deficiency idealism, and the second, that there are other things that we all should be listening to00; I disagree because not only do I think that any of us are idealistic, but there is no need to justify our idealism in the first place (as ironic seeing that that makes the following article).
To be able to caveat the as an admissions article although, two things. First of all: I don't believe this uses only to Singapore, I think in a variety of ways there is a particular western (and oftentimes North american and British) discourse that continues to form the way united states from somewhere else view yourself, and how our own national narratives are subsequently constructed to discover us that we are never more than enough, because people aren't "like the western world enough". Subsequently: I would do not have been able to be able to this devoid of Dr . Dorothy Pinto's wonderful class Girl or boy and Sexuality in Southern area Asia, and also Dr . Myra Russinoff's training Logic, for that reason take this as being a kind of PUBLIC REALTIONS campaign for the coffee lover both. I've also authored this because i would other essay I may submit to have an English category, using close-reading to style my inferences; so this essay, for me, crosses between the type of stuff I've learnt through studying Anthropology, English, Idea, Linguistics, along with Women's, Sexual category, and Sexuality Studies, and indeed needs all of them in order to have happen to be constructed. Therefore stay with me, whoever is here: I assurance to make it worth your while.
So , if you are still with me at night, what is idealism? Idealism is, to me, for instance one of those things that we can constantly count on to produce an impact without having necessarily imparting any more than a good vague feel of the expression: you're therefore idealistic , alternatively in order to rally support around another person (Bernie Sanders) or to chuck subtle judgments that they don't have thought stuff through sufficient (also Bernie Sanders). But you may be wondering what exactly can be idealism, as well as perhaps more importantly, is there a sense with which Dr . Mahbubani and Bumsoo are using it all? While Medical professional Mahbubani makes use of no specific definition, your dog seems to outline it absolutely: idealism open for contrast to your 'pragmatic' as well as 'sensible', it's the impulse being following anything impractical once you believe in the item. But could this be fair?
Can be idealism and pragmatism mutually exclusive? This is, naturally , a question set with historical circumstance, not smallest the fact that they may be almost always compared as opposites. But from your purely cerebral (and idealistic, haha pun) viewpoint, can we imagine the idealistic pragmatist or a pragmatic idealist? I'm sure we can. I think idealism, inside the purest form, is the perception of going after an ideal, searching for perfect version of the world; pragmatism, in contrast, tends to make no requires on how you have to ideate the globe, only for you to go about it again in a manner that realizes practicalities as well as willing to generate compromises. People are vision, as well as the other will be method; equipped to be some sort of idealist who else pursues your own personal dreams in the pragmatic way?
I think a better solution has to be without a doubt; I think should you have someone chasing after becoming a brilliant ballerina additionally they decide to look at only a cheaper dance class, or perhaps someone who likes to be the most effective engineer although goes to community college to reduce bills, we may recognize them all as idealists even if they may be making arrangement. I think, specially important for context, whenever we had a good Tufts job candidate who went on chasing their whole dreams whether or not they had for you to compromise about coming below, we would however rally attached as idealists (I'm thinking about you, Idelle).
I would argue that even the terminology we value for talk about idealism betrays this specific fact; the fact that Dr . Kishore Mahbubani, exactly who claims this 'The paradox of idealism is that it continually pays off inside the long run', integrates pragmatism into the extremely ideation connected with idealism, this idealism can be rationally pragmatic and useful. It doesn't feel quite right to contrast both then, or even to invoke the two simply because oppositional; so the prevailing society of pragmatism cannot endure as factor to whether idealism exists or not. But is there idealism with Singapore?
I think for that reason. I think back in a conversation I had on a birthday party latter summer, where an Internet marketer officer smiled and told me he needed to go into helping because, paying attention to his adult males struggle with French, he would not let which continue being possible; I think of your friend exactly who shaved the woman hair on a yearly basis for Curly hair for Anticipation, who levels out baking together with making a industry with needing to go into Guarderia education together with a million everything else. I think in the buddies I have preventing and volunteering in different social causes, I believe of the close friend who interned at Conscious supporting women's rights, those wrote Let's take a Get Back Together plus who you are not selected at Red Dot aiding the LGBT community home.
I think, likewise, of the spiritual ones, I do believe of the friends who also constantly appeal to align Christianity and religion and perception with that they want to respond in this world, I'm sure of the comments and issue on the Catholic Archbishop's disapproval of the Vergine concert for Singapore (and yes, Really placing vacation support with the LGBT locality and the traditional Christian amas side by side in idealism). I believe every single one of these is pursuing an ideal environment, I think idealism permeates Singapore the same way it should permeate all society, the fact that ideation along with the chasing for dreams is something essential and demonstrable at every grade.
Nevertheless is this idealism? Bumsoo, and perhaps Dr . Mahbubani, might don't agree: 'simple musing about it can't meet the requirements as idealism'. So what should? When carry out our wishes compare to any Dutchman, just who 'ran perfectly into a wall about rejections' however 'raised US$80, 000 around 15 days… has now designed a V-shaped array of flowing barriers that will passively catch plastic'. Maybe there deeper query: why tend to be not we inquiring whether the Nederlander have idealism?
Frantz Fanon, throughout 1968, authored that 'colonialism forces the folks it rules to ask the question constantly: 'In real truth, who am I? " Within the country that might not are there without colonialism, in a area that is situated no in order to some recent national credit rating, perhaps the thought is better rephrased as 'Who am I? ', a question most people raise ceaselessly to the universe around us, and the dilemma I am prompting right now is that the idealism each of those articles are most often arguing pertaining to is severely suspect. It is deeply suspicious in that Doctor Mahbubani states that the seeds of idealism is to be evident in that teen Singaporeans really do not 'have to cope with real challenges', and that on the other hand we should be partnered with an individual far more intense off so that you can 'unleash the exact inherent moral sensibility and make him or her alot more idealistic'; as the idealism sought is one that must definitely be relevant to people and, this indicates, grander plus more global throughout scale.
It will be suspect in this particular Bumsoo is currently writing 'The complacency of an probably the number one successful product makes it easier to ignore larger problems'; since 'Singaporean teenagers chasing their whole music dreams' aren't huge enough, considering that 'national occasions like Chingay and Domestic Day kvantuming their spectator management projects entirely in the direction and performed by youths', and teenagers, who I've got to note, give back year after year to help devote a great number of (rather thankless) hours, is absolutely not an impressive sufficient achievement. That we all can accumulate youths figure out the logistics of national events and even who also believe in it plenty of to return regularly does not matter as idealism; it is the 'idealism typified simply by young people in the West' which passes muster, when many of our (non-western) hopes and dreams do not.
It truly is suspect since at the end of the day, all of us don't perhaps even need a census of how idealistic the Nederlander are; we just need one 21-year-old to regain it to the Entire world Economic Community forum for us towards decry your nation's youths as not being idealistic a sufficient amount of, that we have to generate even more, or much better, idealism. Some of our idealism genuinely worth anything, not right up until we can generate effect further than our banks; but m hen are we more than enough? Our but about Singapore can never wayward too far just before invoking any magical paragon of virtue: some other united states, and often quite a few global rank (conducted by using a western organization).
When we mention the earlier days in Singapore lacking idealism, what are people lacking idealism for? Is there a purpose of the idealism? Since idealism actually an biceps and triceps race; we can't perhaps be in a competition for competition's sake together with every extraordinario example of a homeowner. So if we are to ask for all of our youth to always be more idealistic, or even that they are more resourceful or modern or gumptiouspioneering, up-and-coming or the thousand other things we ask them to come to be, then it must be for a purpose, and it is unable to simply be 'so that we are actually better', mainly because better so it? Who are people being more beneficial for?
Just in case the answer is emergency, if the reply to is that we live a Little Inflammed Dot by using limited methods surviving within the whims worldwide, if this is constantly to be the answer, then simply Fanon's words and phrases ring deathly true: do not survive to get ourselves, so that we want, for what we believe within, but solely for the credit of the world about us, intended for asking these individuals 'Who am i not? ' This existence is always then referential to the requirements the world pieces for us, certainly not our own, in no way our own wants or your thoughts and even, as trite as it is, many of our cultural norms.
And if which is so gender discrimination thesis statement, whenever do we turn out to be our own region?
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