text:
In this paper I note some of the common ways in which writers exaggerate, hyperbolize and sometimes "economize with the truth" when describing their writing processes and/or their experience of writing. I suggest some ways in which we might detect them doing this, and then offer some tentative explanations for why they might do it. The rationale for this being the need to separate wheat from chaff if we are to use writers' accounts as serious evidence in studies of writing as production.
Keywords: creative writing, writing as production, the author, authors, process
Literary academics have tended to ignore or sideline what writers have to say about their writing.[1] The reasons for this are various and have been dealt with very adequately elsewhere.[2] However, around the turn of the 21st century, some literary academics began to rethink. At a conference of literary critics and theorists in 2001, Stephen Earnshaw wondered why the "Anglo-American critical institution" always turns to "figures of authority so far removed from the practitioners themselves?" (Earnshaw 2001: 2). He then tentatively recommended "an acceptance of the author as a valid and valued voice" (Earnshaw 2001). He did this because he thinks that "the very writers literary theorists depend upon for their critical matter must surely be able to provide the kind of insight only available from practitioners." (Earnshaw 2001).
Earnshaw is well aware that the language writers use is usually "not consistent with critical theory" (Earnshaw 2001). Notwithstanding this, he considers that useful insights may be garnered from their pronouncements. I would argue that the difficulties are often greater than Earnshaw allows. I have collected and studied examples of several hundred writers describing their processes and experiences when writing. As a result, it is hard to avoid drawing the conclusion that many of these accounts are not merely inconsistent with literary critical theory but seem, at first glance at least, to be inconsistent with rational interpretation and practical application of any kind.
To briefly make my point I will consider, for now, just one example. Metaphor is one of the basic tools of the poet's trade, therefore descriptions by successful poets of what they consider metaphor to be, and how they use it, are clearly pertinent to our understanding of their compositional processes. Bearing this in mind, what are we to make of Pauline Stainer's description of metaphor as "a dark and arterial currency" and metaphor-making itself as a "sleep-walk into the well"? (Brown & Paterson 2004: 276). Her metaphor for metaphor depicts it as a medium of semantic exchange as basic as the circulation of both money and blood. It is precise, clever and insightful. How, therefore, can metaphor be considered inevitably "dark"? Metaphor may, of course, sometimes be "dark"; if by "dark" we mean "mysterious" or "difficult to pin down". However, metaphor can equally often be illuminating in its clarity, like the first part of Stainer's own metaphor above. So when she then describes the process of metaphor-making as a "sleep-walk into the well" this reader, at least, is lost. What does that metaphor for metaphor mean? How does the process operate in practice? How might one learn from it or teach it?
Notwithstanding such difficulties, if the attention of writers in the academy is to turn from the consumption theories of literary critical readers to writer-led production theory – and it is hard to see where else their attention could turn without lighting upon territory heavily colonized by older academic imperia – we either need to make clearer sense of our more metaphorically inflated, confused, abstruse, and mystifying statements or, failing that, we need to be able to cut through hyperbole and mystification to what is actually going on.
One way in which we might begin to do this is by comparing what writers observably do when writing, with what they sometimes claim to be doing. So, when at work writing, writers tend to sit in chairs at desks. Occasionally, like Hemingway, they stand, but this is very much a minority choice (Plimpton 1963: 218). When at work writing, writers write things down on paper or input data into computers; and the things they write down or input are, in the main, not true; in the sense that they are either largely made-up or, if based on truth, inevitably modified so they can never be completely true.[3] To summarize: what writers mainly do when writing, is sit down and make stuff up. There are other activities of course; for example: research, drinking coffee, meeting agents and publishers, arguing with editors and so forth, but sitting-down-and-making-stuff-up is the one without which all the rest come to nothing.
What writers don't do, at least not whilst writing, is literally fight wars, climb mountains, fall into pits, fly up to heaven, descend into hell, sleep walk into wells, or risk life and limb in any immediate physical sense (lower back pain and repetitive strain injuries excepted); and yet these are just some of the Technicolor activities invoked by writers in order to describe their compositional activities and experiences. In many cases it is clear that writers are simply drawing somewhat inflated analogies; for example, between the sometimes arduous experience of writing and mountain climbing. In others it isn't so clear. When George Barker suggests that "if you look closely" at one of his poems "you will see right down to hell" (Brown & Paterson 2004: 9) is he simply drawing an analogy, or describing what he thinks is the literal truth?
When considering such statements as evidence for a study of writing-as-production, it would seem legitimate to try and determine their accuracy and, especially in the ones that seem to be describing a literal event, to question whether or in what way it could have happened.
For example: "My work as a writer has from the beginning aimed at tracing the lightning flashes of the mental circuits that capture and link points distant from each other in space and time..." (Calvino 1996: 48). Here, the poet and novelist Italo Calvino depicts himself aiming to track and link elemental forces ("lightning flashes") with universal categories ("space and time"). He makes it clear that he is talking about psychic activity – those "lightning flashes" occur within "mental circuits" not in the external world, but the forces described are, nonetheless, clearly understood by the reader to be elementally powerful, and the "points" in question are literally "distant in space and time". Our first impression is that Calvino is attempting something very special, enormously impressive, not to say titanic and even God-like, whereas, after a moment's critical reflection, we realize that Calvino is writing about thinking; or, rather, about thinking-about-thinking. Now, neither thinking, nor thinking-about-thinking, is an activity unique to writers. All homo sapiens not in an entirely vegetative state do both these things as a matter of course. Moreover, in the process, we are constantly making associative mental links between things that, in the external world, are widely separated "in space and time". One example of this might be: "should I stop worrying about whether to go for my holidays to Morocco or Ibitha next year?"
Of course, writers are professional brain-workers and may well spend more time thinking than other kinds of workers; but it is not obvious that they would do this more than, for example, psychologists, philosophers or even advertising executives. If therefore we strip out the hyperbole from Calvino's account, we arrive at something like: "My work has from the beginning aimed at tracing the way the mind thinks about and links events, ideas and experiences from widely different places and times"; which does not tell us anything special about the compositional experiences of Calvino or any other writer because it describes what all human beings do.
Calvino here provides an excellent example of one common type of writer-hyperbole: We might term it "Gargantuan Exceptionalism": the tendency to metaphorically inflate processes or experiences common to many, if not all people, and to imply that they are somehow special either to the individual writer, or to all writers.
Another common hyperbolic trope involves associating the essentially sedentary activity of writing with more physically risky or dangerous activities. Two examples: The poet James K. Baxter considers writing to be like war, because it submits him to "the experience of conquest and defeat on a white page" (Brown & Paterson 2004: 14); and for the playwright Harold Pinter, "language in art remains a highly ambiguous transaction, a quicksand, a trampoline, a frozen pool which might give way under you, the author, at any time." The writer's life "is a highly vulnerable, almost naked activity" in which "you are open to all the winds, some of them icy indeed" so that "You are out on your own, out on a limb" and "find no shelter, no protection…" (Pinter 2005: 9-10)
The obvious issue with Baxter's account is that writing is not much like war. Writers are rarely mutilated or maimed or killed when writing, and there are many other differences too obvious to mention, given a limited word length. Similarly, in Pinter's account, the experience of being slowly suffocated in quicksand, falling to one's potential death into freezing water, or bouncing through one's trampoline and hurting oneself on the lawn, does seem rather remote from the problems a writer is likely to confront when trying to control, for example, the inherent ambiguities of language. Pinter is of course trying to evoke the frequently felt isolation of the most important part of a writer's working life, i.e. the sitting-down-and making-stuff-up-alone part. It is not clear, however, what he is getting at with those "icy winds" and the complete lack of shelter and protection that the metaphor implies, because successful writers often have writer-friends to talk to, sympathetic partners to moan at, agents jealous to protect their joint interests and, in playwriting, the perennial possibility of fruitful collaborations with actors, designers and directors.
It could be argued that metaphors by definition are not exact. This is perfectly true. Metaphors are not allegorical. They nonetheless invoke comparisons and we judge their effectiveness from the accuracy and justness of these comparisons. So, when James K. Baxter invites us to compare writing with war he is, obviously, not asking us to accept that writing is exactly like war but rather that writing is enough like war to give us new insights into the nature of both. It is a problem therefore when there are clearly no, or very few, similarities. In this case we may judge the comparison to be intentionally inexact, inflated (mock heroic) or merely hyperbolic, i.e. a serious but strained comparison that therefore unintentionally invites mockery.
We might term Baxter and Pinter's hyperbolic tendencies "The Action (or Jeopardy) Man" and once again I would suggest that it tells us very little about the actual processes and experiences involved in writing. This is not to suggest that writers don't sometimes take physical risks or put themselves in situations of great danger outside of writing, but simply to point out that the activity of writing is itself not physically dangerous or risky. Neither am I suggesting that taking risks cannot be part of a writing process, conceived more broadly. For example: Norman Mailer took a conscious decision to go to war, and put himself thereby at great risk, precisely in order to afterwards write what became The Naked and the Dead (Plimpton 1968: 260-261). Indeed, I would argue that when writers do dangerous or risky things without intending to write about it at the time, but eventually do, those things become retrospectively part of the broader writing process when they are recalled, processed, re-shaped, and written down. Clearly, writers can be risk-takers. Brave writers in repressive societies, for example, often put their freedom and sometimes their lives on the line simply by continuing to write. My point is that many of the writers who deploy metaphors of risk and danger when describing their processes do not live in such societies and don't do what, for example, the Soviet dissident Solzhenitsyn did.
A third very common source of writer hyperbole might be tentatively termed "The Overwrought". When reading some writers' accounts of their feelings when writing, it is difficult not to suspect them of over-egging their emotional pudding; for example: Edna O' Brien's description of completing a novel in a few weeks during which "all the time I was writing it I couldn't stop crying..." (Plimpton 1986: 244).
Now, this may seem exaggerated but how can it be tested? Emotions are, by definition, private and internal, and therefore more difficult to verify or invalidate, but not impossible. I asked a doctor of my acquaintance for his medical opinion of O'Brien's account, and he found it
hard to imagine anyone producing tears for any longer than a few minutes. While the psychological condition provoking said crying might prevail for a considerable time, the actual weeping will inevitably dry up. The medical conditions associated with tears are either dry eyes from inadequate tear production or the inability to drain tears from eye to nose resulting in apparent tearing but no actual increase in tear production. [4]
And even if it were possible to cry continuously for weeks, such incessant "tearing" would surely make it difficult to see what one was writing, and would therefore tend to slow one down, which would have surely reduced Edna O'Brien's ability to write the novel in "a few weeks".
The following account by Flaubert seems to be just as overwrought, but is more difficult either to verify or invalidate. He describes a temporary writer's block, and then the sudden inception of a new creative idea, in emotional, evocative language more normally associated with religious despair, love pangs, sexual ecstasy and/or parturition:
when expression won't come, when, after scribbling long pages, I find I haven't written a sentence, then I fall onto the couch ... in an inward slough of despond ... (and) a quarter of an hour later, everything has altered; my heart is pounding for joy ... revelling deliciously in the emotions of my conception … I have glimpsed sometimes ... the glimmerings of a rapture which sends a shudder over my flesh ..." Letter to Louise Colet (24 April 1852) Correspondence (1900) (Allot 1965: 149)
We may suspect this account but, unlike O'Brien's, it is not demonstrably impossible and could in fact be the plain truth. Writers can get depressed when ideas don't come, and they may then fall into something that feels very like a "slough of despond". Getting a good idea after being blocked could well make one's heart pound with joy, and a process of identification with one's characters could plausibly cause one to "revel deliciously" in the emotional charge of conception. So, in the absence of other evidence, even the most sceptical researcher may have to give Flaubert the benefit of the doubt and let his account remain as potentially legitimate evidence for one aspect of his writing process, unlike O'Brien's.
However, if we consider writers to be especially prone to neurosis and even mental illness, we would have to reconsider the above discrimination because extreme joy, extreme misery and all manner of heightened emotional states might be exactly as described by writers like O'Brien (long term "tearing" excepted). There are those who do think entire categories of writer are more prone to mental illness than "ordinary" people. In their introduction to an anthology in which several hundred eminent poets write about their work, Clare Brown and Don Patterson suggest that madness is, for poets, "an occupational hazard, like ... miner's emphysema". Poets, they suggest, are more prone to mental illnesses and suicide than other categories of worker because "the systematic interrogation of one's own unconscious is dangerous and perhaps foolhardy work ..." (Brown & Paterson 2004: xi).
Mental illness is no respecter of proportion or common sense, and emotions felt during it are real, even if the cause seems to others to be insufficient or illusory. It is probable, for example, that the extreme feelings experienced by Sylvia Plath during the last months of her life while writing the "Ariel" poems were at least partly a function of her illness, but were no less "real" for all that, and would plausibly have fed into the writing of her greatest poems.
This claim on a special poetic relationship with insanity is, of course, as old as Plato. He thought that "a Poet is … unable to compose until he is inspired and out of his mind and his reason is no longer in him" (Plato 2000: 5-6). Brown and Patterson bring this up to date by citing scientific evidence that poets "belong to the most mentally unstable of professions".[5] Now, even if we are inclined to scoff, or be outraged, at comparisons between cosy, chair-bound writers and miners rendered chronically ill after a life-time's toil underground at risk of rock-falls, flooding and explosions, Brown and Patterson's research data would seem to at least partly justify the comparison. If so, this would add weight to suggestions like Harold Pinter's that creating characters is "hallucinatory" (Pinter 2005: 10), and to Edna O'Brien's idea that "it is only by the grace of God, and perhaps willpower that one comes through each time" (Plimpton 1986: 246). If writers really are more subject to mental illness than others, then it is likely that they will be more subject to hallucinations and frightening delusions experienced exactly as described, and are therefore not exaggerating.
However, before we start validating the more unlikely-sounding writer-statements on the grounds that all writers (and especially poets) are temporarily or permanently insane, caution may still be in order. Other research indicates that dentists have an even higher rate of madness and suicide than writers (Kaufman & Kaufman 2009: 28). This suggests that staring into the gaping dental void may be as mentally unsettling as staring at a persistently blank page. It would certainly undermine any claim for writers to be uniquely prone to madness, and might at the very least cause researchers to seek corroboration.
Similar issues arise when we consider the tendency for writers past and present to claim special access to divinities and other metaphysical entities and forces. This, like the tendency to think writers are madder than normal folk, has a long history. Speaking of poets (a category that, for the Ancient Greeks included playwrights) somewhere between 429 and 374 BC, Plato wrote: "it is God himself who speaks and addresses us through them" who are "nothing but interpreters of the gods, each possessed by his own possessing God." (Plato 2000: 6) Christianity narrowed the source of inspiration to one deity, but the relationship between writing and the divine remained. 2000 years after Plato, Jean Cocteau, was still making the claim: "the work that makes itself in us and in spite of us demands to be born, we can believe that this work comes to us from beyond and is offered us by the Gods" (Plimpton 1977: 79-80).
How might one test such a proposition?
It is always helpful to make a distinction between the use of simile and metaphor when considering all apparently "hyped up" accounts. The poet Peter Didsbury is convinced that "in writing a poem one is exemplifying ... the creative processes and hunger at the heart of the universe" (Brown & Paterson 2004: 51). Robin Skelton writes that "in the act of creation … it seems that one has escaped from time into eternity, or returned to Eden" [my italics in both quotes]. The "exemplifying" in Didsbury, and the "seems" in Skelton ground both claims in a degree of rational possibility. This is because writing is a creative process and if we think the universe is creative (and can agree on a reasonable definition of what creativity is) then it seems to follow that writing is an example of something very basic indeed. Similarly, it is perfectly possible to lose one's sense of time when writing (or when absorbed intensely in any human activity, in fact), and therefore feel as if one has escaped the trials and travails of ordinary, post-lapsarian existence. However, when Skelton shifts in the same description from simile to metaphor, his tropes edge into literal description and become difficult to credit. Anyone, writes Skelton, who helps anyone else "to experience the creative act, to develop their creative powers and perceptions" is "revealing the Kingdom of Heaven within us." In response to this claim, it is hard not to lapse into open-mouthed, colloquial exclamations, as in: "Really? Anyone?! The Kingdom of God?!" But that would be academically inappropriate. Perhaps better to note that many writers, in university writing courses and elsewhere, now spend a lot of time teaching others "to experience the creative act" and are therefore arguably engaged in developing "creative powers and perceptions" but it seems unlikely that many, if any, of our students will have experienced the Kingdom of Heaven within themselves as a result. Of course, if we wished to be more certain, we could always pose the question in an end-of-course evaluation document.
Related to the tendency to claim divine or supernatural inspiration is the sense that some writers have of being special, even "chosen" because they have, in Schelling's words, a "power" that "separates him [the writer] from all other men" (Clark 1997: 126). This source of hyperbole and exaggeration might be termed "The Schadenfreude".
Henry Miller writes approvingly of the writer who is the "intermediary", "the man, the interpreter". Writers like this are, in Miller's view, chosen to more-or-less unconsciously host something very similar to what Jean Cocteau (and George Lucas) call "the force"[6] in their work. He contrasts these with a host of lesser writers who "put down merely what one is conscious of" and which "means nothing really" because "anybody can do that with a little practice, anybody can become that kind of writer" (Plimpton 1963: 175-176). "That kind of writer" is for Miller the kind who consciously deploys craft rules and techniques to please audiences, thereby blocking access to the greater, ineffable, creative power which comes unknowing and effortlessly without needing to please anyone. There is of course something in this that brings to mind the Calvinistic doctrine of Grace. Patrick Kavanagh (quoted below) seems to acknowledge this when he uses the word Grace to describe the action of "the force" upon him. The poet Derek Walcott is even clearer. After writing, he tells us: "I do pray, I do say thanks ... because I feel that it is really … a kind of fleeting grace that has happened to one" (Plimpton 1988: 272-3). In strict Calvinist theology, only 40,000 elect individuals, throughout the whole of eternity, could ever be in receipt of divinely-endowed Grace. Without need of good works or special effort, they alone can attain the Kingdom of Heaven. Who wouldn't trade dreary, conscious, painstaking, controlled and rational, good work, for the high-status literary equivalent of that?
There is at least one other important "force" encouraging writers to exaggerate and hyperbolize. This force is generated between writers and their readers and audiences, and we might term it "The Adulatory". The poet Valéry, in a series of celebrated lectures, spoke of the writer's tendency to "over-compensate" being reinforced and amplified by adoring audiences. Valéry had a very particular mechanism in mind. It is the way in which the experience of reading obscures the process of writing. In reading, a work which may have taken years of conscious and unconscious effort and of craft will be consumed by the reader in a few hours, sometimes even minutes. These two experiences are completely different and may lead the reader-consumer to think that the producer is superhuman: "a being of great powers, capable of working all these wonders with no more effort than it takes to do anything at all …" Valéry also points out that:
certain elements of the work which have come to the author by some happy chance may be attributed to a singular turn of his mind. In this way the consumer becomes a producer in his turn: at first a producer of the value of the work; and the next, because he immediately applies the principle of causality … he becomes a producer of the imaginary being who made the thing he admires (Ghiselin 1952: 97)
One could expand on Valéry's point by noting that many readers and audiences are influenced by the same Romantic ideologies as the writers they read. They are therefore primed to consider writers as very special beings. So when writers make exaggerated claims about what happens when they write, they are preaching to the converted. The faith of the convert then, as ever, confirms the fondest self-belief of the preacher. Even if readers don't share the ideology of the writer, their delight in the powerful imaginative worlds he or she has created can cause them to think that these worlds must have been invented by a creature equally beguiling and powerful. This, of course, is not generally the case. For all these reasons readers often want their favourite writers to be somehow lifted above the mass of ordinary humanity.[7] This is nowhere better exemplified than in that perennial favourite of post-reading questioners: "where do you get your ideas from?" A moment's thought would of course provide the answer. Writers get their ideas from the same places as everyone else: memory, conscious and unconscious thought, experience, books, education, newspapers, research, and so forth; where else? But this is not the answer the questioner wants. The questioner wishes to be let into the arcane secrets of a priestly elite and is pleased when writers grant the wish, by claiming, in gnomically oracular terms, that they have no idea where the ideas come from, or indeed, how they wrote a particular novel or poem; with the implication that they arrived from some more or less mysterious place courtesy of some privileging magic.
The types of hyperbole I have so far discussed do not exhaust the field, but space is limited and others are welcome to continue or amend the typology, if it interests them. Meanwhile, I want to consider why many writers exaggerate and hyperbolize until they teeter on the edge of outright untruth.
Murray Abrams stresses the importance of metaphor in the formation of thought. For him "archetypal analogies" are not just expository or illustrative but can be "constitutive" (Abrams 1953: 31). It is at least plausible that the thinking of O' Brien, Skelton and others, above, has been at least partly "constituted" by metaphors rooted in shamanism, Platonic and Neo-platonic philosophy, Christian Theology, and nineteenth century Romanticism; metaphors that remained influential in the thinking of many writers throughout the 20th century (and beyond) as is evident in this statement by Italo Calvino:
… I have to think of literature as extended to anthropology and ethnology and mythology. Faced with the precarious existence of tribal life – drought, sickness, evil influences – the shaman responded by ridding his body of weight and flying to another world, another level of perception, where he could find the strength to change the face of reality … It is this anthropological device that literature perpetuates. (Calvino 1996: 48)
Hand-me down metaphors provide a framework in which, for example, it is possible to imagine that getting an idea for a first novel is somehow analogous to St Paul having his vision at Damascus. It also helps to explain why, when he can't work out where a good creative idea came from, even Seamus Heaney thinks shamanically, rather than rationally ascribing it to the obviously relevant reading and research he has just undertaken and told us about: "Not I, Not I, but the wind that blows through me" (Heaney 2005).
However, we cannot take the "constitutive" power of metaphor to be the whole story. People are rarely motivated by ideas or metaphors alone. Ideas have to be accepted and words chosen to express them. Metaphors are themselves merely one element of ideology, and ideology, as Althusser suggests, may not represent "the real relations which govern the existence of individuals, but the imaginary relation of those individuals to the real relations in which they live" (Althusser 2001: 111). In other words: the "constitutive" power of metaphor may explain why writers use certain hyperbolic tropes, whilst not explaining why they exaggerate in the first place. If we want to try and explain this, we could do worse than take Althusser's prompt and consider some of "the real relations" in which writers live, and are made. Once again the obvious seems worth pointing out.
A writer is a white collar worker with specific skills and talents. In this respect he or she is like a civil engineer or an airline pilot. However, we rarely, if ever, come across pilots or civil engineers who suggest that their activities are divinely inspired; and if they claimed that they had no idea what they are doing when building bridges or flying planes, explaining that they are in fact "flying blind" under divine guidance, they would surely not remain in post for very long. So, why do writers and artists frequently lay exaggerated claim to peculiar powers and experiences; and why do so many of their readers accept them? Without more research, both qualitative and quantitative, there can be nothing approaching certainty, but I feel it is worth speculating on the basis of some simple observations.
Writers tend to be bookish rather than action men and women. We can be certain that many of them, when children, stayed in reading whilst other children played out, because books take time to read and massive reading as a child is essential preparation for being any good at the job later. Some embryonic writers may sometimes have looked enviously on other children playing out actively together. Some may not have been at all envious and may have looked upon their more active peers with contempt. Either way, it would not be surprising to discover grown-up writers finding rather appealing those ideologies that regard passive receptivity as real power.
The majority of writers are, and always have been, poorly paid, badly organized homeworkers, in thrall to whoever holds the purse strings at any given historical moment. Until the 18th century it was mainly aristocratic patrons. Under capitalism, writers gradually became subject to the demands of editors, directors, producers, publishers, readers and audiences (if they were lucky enough to have any). These demands can be perceived as humiliating even for a successful playwright such as Tennessee Williams, who spoke bitterly of "the terrible indignities, humiliations, privations, shocks that attend the life of an American writer" (Plimpton 1985: 89).
If we add to the above the vivid imagination that writers must have, and their carefully cultivated skill with words, the route taken here by the novelist Judith Freeman into cosy, compensatory visions of wholly imaginary power, like a child into its den, is unsurprising:
I see myself beginning to descend into a much more timeless, realm ... the realm, in a sense, of pure story, pure imagination. And I can almost visualize it as walking down a series of steps that lead me into some sort of wonderful secret illuminated chamber (Kaufman & Kaufman 2009: 214).
Equally unsurprising is a tendency in writers to imagine that, when writing, they get an exceptional emotional charge that distinguishes them from lesser mortals like editors and publishers. "I had" writes Flaubert:
to go and get my handkerchief. The tears were running down my face. I had written myself into a state, and it was immensely enjoyable […] a state of the soul so far above ordinary life, a state in which fame counts for nothing and even happiness isn't relevant" (Wall 2002: 205-6).
Perhaps most unsurprising of all is the tendency of poets in particular to make extravagant compensatory claims. Poets are more liable to work alone than, say, playwrights and novelists, and in modern times this sense of isolation is compounded by tiny to non-existent readerships. One understandable response to this would be self-denigrating depression. Another equally understandable one would be to come out fighting, wielding hyperbole like a giant's club. Perhaps the best and most famous example of the latter is Shelley. At the time of writing the following, he was short of cash, living in exile, a moral pariah in his home country, largely unpublished and unrecognized, and therefore effectively powerless:
Poets are the hieraphants of an unapprehended inspiration, the mirror of the gigantic shadows which futurity casts upon the present, the words which express what they understand not; the trumpets which sing to battle, and feel not what they inspire: the influence which is moved not, but moves. Poets are the unacknowledged legislators of the world (Burke 1995: 80).
Although our imagination may be stirred by this (especially perhaps if one is a poet) common sense recoils. Poets are not world legislators and never have been. Furthermore, most of us would find it difficult to reconcile our knowledge of actually existing poets with the idea that they might ever conceivably be. Even if we allow that Shelley is writing here about a few "super poets" like Milton and Blake (a point often overlooked), there is no evidence to suggest that "Paradise Lost" or "Vala and the Three Zoas" has ever had much influence on legislation anywhere, and certainly not the defining one that Shelley claims here. Milton did have a post in Cromwell's bureaucracy, but world legislation was not part of the job description, and it is perhaps for the best that some of Blake's nostrums in The Marriage of Heaven and Hell never got into the statute book; for example: "sooner murder an infant in its cradle than nurse unacted desires".
If the engine of much writer-hyperbole is humiliating social circumstance and its wheels are ideologically charged metaphor, then the fuel that drives the rickety structure is probably ego or, as they say in these post-Freudian days, a need for "self-esteem".
Some writers agree. The Swiss-born poet, novelist and memoirist, Blaise Cendrars, suggested that his writer colleagues "exaggerate" to "make themselves sound interesting." (Plimpton 1968: 33); and the novelist Lawrence Durrell puts down the "exaggerated pretentions" of many of his fellow writers to "a nice corpulent ego" (Plimpton 1963: 274).
The pressing need for "self-esteem" is oddly most evident when writers are at their most ostensibly self-effacing. When the poet George Barker humbly writes "I had thought never again to be visited by the donative powers, if indeed I have ever been visited by them" and then adds "I think I was visited", we may detect his praiseworthy modesty straining to contain a certain self-satisfaction at being "chosen". The same tension is evident within Seamus Heaney's claim discussed (in other terms) above. "Not I, Not I but the wind that blows through me" (Heaney 2005). This seems, on the face of it, to be rejecting credit; but is it not also simultaneously claiming distinction? For surely it is not given to us all to host this "wind" – the "divine efflatus" – of Biblical-Creative power.
In much the same way, the poet P.J. Kavanagh begins with a radical denial of poetic ego: "a poet goes so deeply into himself when he writes a poem that he ceases to be himself at all"; only for the denial to quickly turn into its opposite when he considers those rare but real "moment(s) of creation" when, in losing himself, a poet may enter into a "state of grace": a state in which, like the very greatest practitioners of the art, he "becomes himself so entirely that he becomes all men". This state, concludes Kavanagh, in an access of renewed modesty, "has something of virtue in it" (Brown & Paterson 2004: 137). To which we might colloquially respond, "Well, yes!"
Not all writers exaggerate in the service of a needy ego. Many emphasize the more consciously controlled, less obviously mysterious processes in writing, and it is notable that they tend to use very different kinds of metaphor; for example, Beckett: "The fashioning, that's what it is for me, the pleasure in making a satisfactory object" (Plimpton 1992: 33); and the screen writer John Gregory Dunne: "Fact is like clay. You shape it to your own ends" (Dunne 1996). Rather than elevating the writer into a priest-like, shamanistic elite, these figures of speech compare writing with the activities of "ordinary" workers: professional tradesmen and women whose daily creativity is thereby recognized. When such writers consider the unconscious and therefore more mysterious elements of the writing process, their metaphors are similarly "down to earth", evoking, as for example John Steinbeck does here, the activities of huntsman and poacher:
I hope I can keep all the reins in my hand and at the same time make it sound as though the book were almost accidental ... also I'll have to lead into the story so gradually that the reader will not know what is happening to him until he is caught ... it's like a man setting a trap for a fox and pretending ... that he doesn't know there is a fox or a trap in the country (Plimpton 1977: 197).
Or sailors and navigators, who, for John Barth, provide metaphors for both the necessity and limitations of planning:
To embark on such a project without some idea of what the landfall and the estimated time of arrival were would be rather alarming, but I have learnt from experience that there are certain barriers that you cannot cross until you get to them ... you may not even know the real shape of the obstacle until you heave in sight of it, much less how you're going to get round it" (Plimpton 1986: 235).
Even when hoping for a permanent place in the literary pantheon, the emphasis can be on craft and effort not some unbidden, mystagogic force, as with Hemingway here: "if you make it well enough, you give it immortality" (Plimpton 1963: 239).
Detecting exaggeration and hyperbole is essential if writers' accounts are to be usefully used in the study of writing as production. There is, however, another more important reason for endeavouring to "cut through the crap". Writers often claim to be aiming for some kind of "truth" in their work (however we choose to define that word): it therefore behoves on the profession not to be "economical" with the truths of how it is done, and researchers to tell them when they seem to be.
[1] I use "writers" in this paper to refer to poets, novelists, short story writers and scriptwriters, i.e. those writers commonly and unhelpfully referred to in Universities as "creative writers", as if all other kinds of writer are not "creative". It may be that the arguments in this paper bear on these other writers but, in the main, I suspect not. At any rate my research has not so far included them.
[2] For example: "… from the era of Elliot onwards, the dominant mode of critical methodology in the Anglo-American tradition has turned away from the problems posed by authorship, or has turned toward them only occasionally, and only by way of the most drastically impoverished descriptions. No attempts to consolidate, revise or redefine anti-authorial theory have been made nor has any decisive and broadly based interest been shown in the project of authorial renewal." (Burke, 1998, p. 187). See also Harris: 'Escaping the tractor beam of literary theory' in TEXT Vol. 13, No. 2, October 2009.
[3] I use the word "truth" here not to suggest the existence of some impossible absolute verity but rather in contrast to the word "fiction" or, to put it another way: to help make the distinction between trying to put into words exactly what one thinks happened, and using what one thinks happened to put into words something that never in fact happened. I also use the word "truth" because it flows into the main body of my text better than would this somewhat pedantic footnote.
[4] Dr Tony Pearce (BMBS FANZCA PGDip Clin Ultrasound), Senior Staff Specialist Anaesthetist, Royal Adelaide Hospital, in an e-mail to the writer 12.09.2012.
[5] 'Method and Madnesss in the Arts and Sciences', Creativity Research Journal (Vol II, No 2, 1998). But see also Kaufman and Kaufman (pp. 12-16 and 26-29).
[6] Cocteau: "if the force functions, it goes well. If not you are helpless" (Plimpton 1968: 76) "A Jedi's strength flows from the Force" (Yoda in The Empire Strikes Back).
[7] The cult of literary celebrity seems to have preceded the version peddled in contemporary media. Byron springs inevitably to mind here.
Abrams, M. (1953) The Mirror and the Lamp. Oxford: Oxford University Press.
Allot, M. (1959) Novelists on the Novel. London: Routledge and Kegan Paul.
Althusser, L. (2001) Lenin and philosophy and other essays. New York: Monthly review press.
Brown, C. & Paterson, D. (2004) (eds.) Don't Ask Me What I Mean. London: Picador.
Burke, S. (1995) (ed.) Authorship from Plato to the Postmodern, a reader. Edinburgh: Edinburgh University Press.
Burke, S. (1998) The Death and Return of the Author. 2nd edition. Edinburgh: Edinburgh University Press.
Calvino, I. (1996 [1988]) Six memos for the next Millennium. London: Vintage.
Clark, T. (1997) The theory of inspiration: composition as a crisis of subjectivity in Romantic and Post-Romantic writing. Manchester and New York: Manchester University Press.
Dunne, J. G. (1996) The Art of Screen Writing No: 2. [Online]
Available at: http://www.theparisreview.org/interviews/1430/the-art-of-screenwriting-no-2-john-gregory-dunne
[Accessed 27 December 2013].
Earnshaw, S. (2001) 'When he woke up the dinosaur was still there'. Paper delivered at 'Post Theory' Conference, De Montfort University, September 2001.
Fruman, N. (1972) Coleridge, the Damaged Archangel. London: George Allen and Unwin.
Ghiselin, B. (1985) (ed.) The Creative Process: reflections on invention in the arts and sciences. California Paperback 1985. University of California Press.
Heaney, S. (2005) Search for the soul of Antigone. The Guardian, 2nd November.
Kaufman, S. B. & Kaufman, J. C. (2009) (eds.) The psychology of creative writing. Cambridge: Cambridge University Press.
Pinter, H. (2005) Pinter v the U.S. The Guardian Review, 8 August, 9-13.
Plato, (2000) Ion, in Classical Literary Criticism. London: Penguin, 1-14.
Plimpton, G. (1963) (ed.) The Paris Review Interviews: Writers at Work (2nd series). New York: Penguin.
Plimpton, G. (1968) (ed.) The Paris Review Interviews: Writers at Work (3rd series). New York: Penguin.
Plimpton, G. (1977) (ed.) The Paris Review Interviews: Writers at Work (4th series). New York: Penguin.
Plimpton, G. (1985) (ed.) The Paris Review Interviews: Writers at Work (6th series). New York: Penguin.
Plimpton, G. (1986) (ed.) The Paris Review Interviews: Writers at Work (7th series). New York: Penguin.
Plimpton, G. (1988) (ed.) The Paris Review Interviews: Writers at Work (8th series). New York: Penguin.
Plimpton, G. (1992) (ed.) The Paris Review Interviews: Writers at Work (9th series). New York: Penguin.
Wall, G. (2002) Flaubert. London: Faber and Faber.
Mike Harris is a script writer and theatre director. He teaches part-time on the MA in Writing at Sheffield Hallam University. His research interest is writing as production.


text:
The spate of anti abuse activity has continued since our last post (see here).
The CFTC has settled with Lansing Trade Group LLC for $3.4 million, in a physical-financial manipulation case in agricultural trading. The CFTC press release can be found here and the order here. This is another example of the use of physical contracts and positions to manipulate financial prices. There have been several examples of this practice being fined for in the past in different commodities.
The CFTC has also been focusing on spoofing cases. This article by Jay Biondo of Trading technologies on the Tabb Forum looks at this trend and the legal basis behind it. In a related topic, this article, also on the Tabb Forum, by Michael Friedman of Trillium, looks at the challenges of surveillance of crypto trading for spoofing.
The topic of anti abuse activity, and cases, will likely continue over the coming months.

subset: commoncrawl


text:
Laguna Agate
This page is currently not sponsored. Click here to sponsor this page.
About Laguna AgateHide
A variety of Agate
A colourful agate variety.
Originally described from Ojo Laguna, Chihuahua, Mexico.
A colourful agate variety.
Originally described from Ojo Laguna, Chihuahua, Mexico.
Chemical Properties of Laguna AgateHide
Elements listed:
Common AssociatesHide
Associated Minerals Based on Photo Data:
|2 photos of Laguna Agate associated with Chalcedony
|1 photo of Laguna Agate associated with Quartz
Other InformationHide
Health Risks:
No information on health risks for this material has been entered into the database. You should always treat mineral specimens with care.
Internet Links for Laguna AgateHide
mindat.org URL:
Please feel free to link to this page.
Please feel free to link to this page.
Mineral Dealers:
Localities for Laguna AgateHide
Locality ListHide
- This locality has map coordinates listed. - This locality has estimated coordinates. ⓘ - Click for further information on this occurrence. ? - Indicates mineral may be doubtful at this locality. - Good crystals or important locality for species. - World class for species or very significant. (TL) - Type Locality for a valid mineral species. (FRL) - First Recorded Locality for everything else (eg varieties).
Struck out - Mineral was erroneously reported from this locality.
Faded * - Never found at this locality but inferred to have existed at some point in the past (eg from pseudomorphs.)
All localities listed without proper references should be considered as questionable.
All localities listed without proper references should be considered as questionable.
|Mineralogical Record (2008): 39(6): 69-88.
|Mineral Record (208) 39:6 pp69-88
|Mineralogical Record 39:6 pp69-88
|Mineralogical Magazine, October 2006, Vol. 70(5), pp. 485–498; [www.minerals.net]


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Abstract Submission Deadline: Friday, October 12, 2018
You will be required to pay a $25 one-time, non-refundable, abstract submission fee. This one-time fee will allow you to submit up to two abstracts. Students will NOT be required to pay the $25 submission fee. Submissions by or with younger members will receive additional consideration.
Conference papers and presentations will cover all types of horizontal infrastructure: roads, bridges, dams, levees, plazas, buildings and facilities, rail, waterways transit, water and wastewater, aviation, ports, solid and hazardous waste, telecommunications, and energy.
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- Climate Change and Extreme Events
Abstracts must be:
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- Approximately 250 words maximum
- Your own work
- Must include names of all authors, titles, credentials and affiliations
Abstracts must NOT be:
- Autobiographical
- Previously published
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ASCE membership is encouraged, but not required for submission. Submitters whose abstracts are accepted for presentation, whether oral or poster, are expected to register for and attend the conference in Los Angeles, CA. All expenses associated with the preparation, submission and presentation of abstracts and papers are the responsibility of the authors and co-authors.
Final Paper Deadline: Monday, April 1, 2019
- Final paper length is limited to 12 pages to include the abstract, text, photos and graphics.
- Final paper must be, at minimum, 6 pages in length for inclusion in the published proceedings.
- Final papers must be in English and submitted electronically to the paper submission website.
- Authors whose papers are selected for inclusion in the technical program will be required to register for the ICSI Conference at the appropriate fee, attend the conference, and make their presentation in person.
Speaker/Author Registration Deadline: June 24, 2019
Registration for the ICSI 2019 conference opens up on June 12, 2019. The deadline for speaker/author registration is June 24, 2019, Eastern US Time. Should an individual submit their final paper but fail to register by the deadline, that paper will be removed from the conference program and proceedings.
Speaker/author registration fees are nonrefundable due to necessary advance production of the proceedings and program. Exceptions will only be made for illness or emergency if the request is made in writing and accompanied by a doctor's note and/or similar official documentation stating the emergency and person's name. The subsequent refund will be made minus a $100 processing fee.


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DJ Sadic
Fame won't change the person I am or the passion I've got!
I was elated as I got to chat with one DJ Sadic, The Mix Genius himself. He graciously accepted to sit in for this interview, to help us know him up close and candid. Shall we?
Introduce yourself to us, who is DJ Sadic?
Sadic is a born-again young man, passionate about deejaying and ministry and he's a businessman as well. That's Malvin Sande by birth, if you like.
How did you come up with your name Sadic? It somehow sounds closely related to Sande. And how about your tag-line – TMG?
Well, I got the name Sadiq while in high school; from my friends. It's a Hebrew name meaning "truthful". I later decided to use it as my artistic name but coin it to an acronym that reads out as: Saved, Anointed, Directed, Inspired by Christ (SADIC).
My TMG tag-line came about back then when a certain artist, Admiral Kilosh, would enjoy how I did his mixes while he performed. I'd just begun as young DJ and he kept introducing me to his fans that "this is my deejay, he is called Sadic and he's a mix genius". It got stuck and that's how I've had it to date.
How long have you been active on the industry and how has the early years been like?
I've had the deejaying passion since my high school years but then being active on the industry has been from 2008. I'd also say that my breakthrough came about in 2010 when I'd debut on NTV's Crossover show.
Back then in high school, I had this guy, DJ Nevz whom I'd look up to. He'd entrust me with a little bit of gigs here and there. So when I was done with schooling, he took me under his wings and taught me the ABC's of deejaying; that's the expertise, the ministry and business aspects for about 2 years, we operated under Spinrej Unit. During this season, I learnt and practiced a whole lot of patience as I did set up for his gigs and would carry the music records.
Later on, we formed the System Unit with DJ Mo and Alemba.
The discipline of saving over time enabled me to purchase my very first pair of necessities; laptop, headphones and deejaying gear. This facilitated the launching of my own unit, the Genius Entertainment.
I understand that we DJs are versatile and can easily play any music genre, but what would you say is your most favorite one?
My first love has always been worship music but then I'm entirely in my zone when playing a reggae set, hence my most favorite genre. Growing up, I'd listen to a lot of reggae music and I guess that's how it rubbed on me.
We see you mostly on your KTN Tukuza show, how different is it to be on TV as compared to being a radio DJ? Ever been on radio?
Yeah, I have been on radio as well and in fact much longer than on TV. We started out at Hope FM, to Truth FM, then Homeboyz Radio, and Power Radio back then with Kkrew. However, there isn't much difference between the two, save for the fact that TV is more restrictive especially since you have to check on the video quality of the songs you're playing.
On radio, there's a wider selection of music and you can go either way. If you are an energetic DJ, it will show on whichever medium you're ministering in. Conversely, I'd say that it is an honor to be on TV but I love radio much more.
Well Sadic, being a public figure, how do you deal with being on the limelight – the attention and stuff?
I look at it this way, there's no difference between myself and my fans who look up to me. I just have a different platform, from what they have and rightfully so, I've never been attached to fame. I love helping people achieve their potential so whether am on TV or not, it doesn't matter.
Fame won't change the person I am or the passion I've got! I do interact with my fans freely, am able to relate and thus appreciate the role they play in my life.


text:
James Robert Kane was three years ahead of me in school, but up until December 1968, he and I were of the same mindset when it came to the war in Vietnam. We were against it.
He had just graduated with a degree in journalism from the University of Minnesota. I was in the middle of my freshman year at Piper College in Pennsylvania, majoring in English and minoring in art. My career path was set for the clergy.
At roughly the same time period in the late 1960s, James and I reached the same moment of truth. My Selective Service card had me classified 1Y, which meant if I left school for any reason, I could be drafted, but would not have to fight. I expressed my displeasure with the war singing protest songs by Dylan, Donovan, Tom Paxton, and Phil Ochs in coffeehouses in the northeast. I still contemplated a run to Canada should things get testy. It became a moot point when I was downgraded/upgraded, depending on your perspective, to a 4F classification.
James, even though he was married and had a daughter, received a draft notice with a classification of 1A. He seriously considered a run to Canada as well, but in the end opted to serve in deference to his dad's service in WWII.
On my end, I continued to oppose the war, but felt deep compassion for all who were serving. In 1970, my cousin Victor, who returned from Nam after a stint as a proud Marine, tried to drown his nightmares in booze, weed, and sticking his head between two stereo speakers blaring "In A Gadda Da Vida" at full bore as he attempted to slit his wrists at my 21st birthday party. It was a cry for help. "Shell Shock" was the term given it back then. Only recently have we begun to understand the ramifications of—and how to begin to deal with—PTSD, or post-traumatic stress disorder.
Being caught in a horrendously unpopular international crossfire was bad enough. But James faced a violent inner war raging between the truth in his heart vs. truth foisted on him by the powers-that-be. His struggle haunted him for years until he discovered a way to free himself. Though he handled the nightmarish confusion differently from my cousin Victor, the intensity was the same. James' secret weapon in the PTSD battlefield was the pen.
The crux of James' nightmares was "a sort of three-legged stool thing," he says. "One leg of the stool was being caught in a firefight where I was fired upon by the enemy as I climbed over the trunk of a huge tree blocking my path. Diving forward to avoid getting hit, I landed on my head and blacked out.
"The other two legs were the fear from constantly being stalked by the enemy and guilt over what we did there. The terror of that night on a listening post in the dark, being stalked by the Vietcong, certainly was manifested in many of my nightmares. So was the hamlet firefight after being knocked unconscious. Flashbacks about that incident left me wondering whether it was just another firefight or, perhaps, murder.
"More powerful than the battle experiences," he continues, "I discovered what ate at me for 20 years afterward was the recognition that allowing myself to fight in that war was the greatest moral failure of my life. I did not have the courage to stand up and say Hell no, I won't go. Lots of factors figured into that decision, but at the heart of it was that I didn't want anyone, particularly other members of my extended family who served in WWII, to think I was a coward.
"The irony of that is this. One of my great uncles, a man I have admired since childhood, and himself a WWII Pacific Campaign veteran, read No Escape and told me, 'I would have championed your decision if you'd had chosen to not serve.'
"So the firefight, the listening post and guilt. One hell of a powerful combination that took more than thirty years to work through." And work through them he did. James confronted his nightmares by capturing them in his first novel, No Escape—Long Journey Back from Nam now available through Amazon or the Chanhassen Library.
"Telling a story over and over, it will loosen its hold on you," James said in the Veterans Day issue of the Chaska Herald. No Escape is a poignant account of how protagonist Jim Nelson endured torture and met up with dead comrades on the other side of the veil separating us from life and the afterlife. After reading it I came away with a much deeper understanding and appreciation of postwar issues facing veterans.
PTSD is a struggle haunting and threatening the very lives of thousands of Vets still, and not just from Vietnam. James wants to continue helping Vets find their way to healing through writing, and he recommends Writing War: A Guide to Telling Your Story. "I would like to encourage other veterans—it works," he says.
James has continued to write, adding two new books to his list. You can check them out here.
Note: Space Larrabee is the main character in D. E. Munson's Chronicles of Space and Thyme series of novels. Learn more about the reason for the existence of this blog here and author D. E. Munson here.


text:
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- Indiana
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- Quality Inn Huntingburg
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Photo of Quality Inn Huntingburg
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Quality Inn Huntingburg
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NFC Tools - Pro Edition 8.0.1 [Paid][Paid]100419Downloads, 0 Comments
Description · · ·
NFC Tools Pro Edition includes additional features such as profiles management and many others. Save your tags or tasks profiles to reuse them later. Export and import easily.
NFC Tools Pro Edition allows you to import your records or tasks directly from an existing NFC tag. You can edit your tag very quickly. Also you can run directly your tasks profile without NFC tags
And of course, other exclusive features will be coming.
Approach a tag and the application will display the available information, such as:
- The manufacturer of the tag (eg NXP, Nokia, IBM)
- The type of tag (eg: MIFARE Ultralight, Ultralight C, DESFire, NTAG203)
- The standard (eg: NFC Forum Type 2)
- The available technology (Android class)
- Serial number (eg: 04:85: c8: 5a: 40:2 b: 80)
- The size of the tag and data
- If writing is possible and if the tag can be configure read-only
- All records present on the tag format NDEF
You can also write data on your NFC tags such as :
- Save a text
- Register a link
- Post a link to an application
- Save a mail
- Save a contact
- Save a phone number
- Save sms
- Save GPS location
- Save address
- Configure bluetooth connection
- Save custom data
And you can set this following tasks :
- Enable / Disable / Toggle WIFI
- Enable / Disable / Toggle WIFI Hotspot
- Enable / Disable / Toggle Bluetooth
- Enable / Disable / Toggle Mobile data
- Enable / Disable / Toggle Airplane (root)
- Configuring sound profile : Mute / Vibrate / Normal
- Set brightness mode and brightness level
- Set auto-rotate
- Set volume for ringtones and notifications
- Set volume for media
- Set volume for alarms
- Set alarm
- Set timer
- Launch a app
- Launch URL / URI
- Launch Tasker task
- TTS (text to speech)
- Configure a WIFI network
- And more !
You can write a lot of information on your tag.
Other operations is available, such as copying or erasing of NFC tag.
NFC Tools has been tested with following NFC tags :
- Topaz 512 (BCM512)
- Ultralight, Ultralight C
- Mifare Classic 1k
If you have any problems, do not hesitate to contact me.
If you don't have NFC Tags, you can buy high quality and super durable NFC tags here : http://www.whiztags.com/shop/
Notes :
- Requires an NFC-enabled device.
- Application's rights is limited to the use of NFC.
- Tasks require this additional free application : http://getapp.nfctasks.wakdev.com/
- If you like NFC Tools, you can buy me a coffee: http://getapp.donate.wakdev.com/
- And if you want buy me more coffee, visit : http://donate.wakdev.com/
Change log
(use ctrl+c/ctrl+v copy) How to make money?
Add Review / NFC Tools - Pro Edition · · ·
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Keto and Low Carb Cheesecakes
Discover why cheesecake is the most popular dessert for those watching carbs. Just take a look at all the amazing low carb and keto cheesecakes that can be made and enjoyed while on a limited carbohydrate eating plan.
From an easy no bake low carb cheesecake to a ricotta pie to a mocha cheesecake, you'll find the perfect dessert for every day or a special event. Your friends and family will thank you for the healthier treat.


text:
Sold in 2018 in Panorama, Cathedral City, CA
Richard Martin is extremely knowledgeable and very professional. He did a terrific job selling my father's house. He really helped us make key decisions along the way. He definitely knew how to get things done. We were very happy with his work.


text: luna65 Posted August 8, 2018 A delicious variant of one of our most successful nurturing potions (Pied Piper Potion) with a scent no kiddo can resist – a mouth-watering take on a splendid banana split sundae – a rich layering of french vanilla ice cream, hot fudge and banana brulee, drizzled with a sweet dash of syrupy strawberries, caramel, and topped with maraschino cherry. And because every mother needs all the help she can get, we've included the assistance of our exclusive pheromone mix MOTHER'S LITTLE HELPER, a blend for women to help create a sea of peace and calm, pleasant interactions, warmth, coziness, friendliness and helpfulness...while secretly exerting a little authority too. VANILLA ~ Aphrodisiac, inspires happiness, playfulness, vitalizing. Evokes sense memories of nurturing and family. CREAM ~ Nurturing, soothing, eases troubled relationships. Goddess energy. CHOCOLATE ~ Lightens emotions, evokes feelings of love. STRAWBERRY ~ Attraction, draws fortunate circumstances in all areas of your life. BANANA ~ Fertility, prosperity; lightens emotional burdens. CHERRY ~ Stimulates and attracts love, cheerfulness, good humor, mood elevator, divination. CARAMEL ~ Attracts love, luck, sweetness, wishes granted. Created by: Mara Fox Collection inspiration: Pat (katz) Description: Julie (luna65) Label art: Baba Studio Bohemian Cats collection, Spring 2012 Share this post Link to post Share on other sites


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About Us
We are a small family run business established in August 1987. We provide Plant Hire, Groundworks and Civil Engineering across the South West.
Our Aim is to provide a friendly and efficient service to both private and commercial clients. We strive to deliver projects on time and on budget for our clients.
We also pride ourselves in offering our staff a flexible and safe working environment.
Our Accreditations
- Local Authority Approved Contractor
- Wessex Water Approved Contractor
- CHAS Accreditation
- SMAS Accreditation
- Confined Spaces
- Street Works Qualifications Register
Health and Safety
Mike Boobyer Ltd prides itself in promoting Health, Safety and Welfare within the workplace. We are a registered Silver Plus Scheme Member of SSG Training and Consultancy. Our Health and Safety Policy is updated annually and our Risk Assessments and Method Statements are tailored to suit each individual project.
Mike Boobyer Ltd has been awarded a Worksafe Contractor Membership Certificate as a Contractor under the CHAS Assessment Scheme and SMAS Ltd. The process was undertaken in line with The Health & Safety at Work Act 1974, The Construction Design & Management Regulations 2007, The Management of Health and Safety at Work Regulations 1999.
Mike Boobyer Ltd is registered with CITB Construction Skills. All Employees hold their CSCS and CPCS Cards. Our Foremen have successfully completed their Site Supervisor Safety Training Scheme and Managers hold their Site Management Safety Training Scheme for the Construction and Civil Engineering Industries. We also have employees who have successfully completed their First Aid at Work for the purpose of Health and Safety (First Aid) Regulations 1981.
Current Vacancies:
We are currently looking for: Bricklayers, Experienced Groundworkers, Groundwork Foreman, Plant Operators
For applications, please contact email@example.com


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Allied Aviation History at YQY:
Airconsol Aviation Services, ULC commenced operations at Sydney Airport in 1995 providing ground handling, de-icing/anti-icing and passengers services. Airconsol has a full line of GSE available and skilled team of employees available to provide a full range of aviation services.
The history of Sydney Airport dates back to 1929 and was used during the Second World War by the Royal Canadian Air Force. In 1946 the Department of Transportation assumed operation of the facility and shortly thereafter scheduled service commenced to the airport. Sydney Airport is located on major air routes serving Atlantic Canada, including oceanic air routes. In recent years the facility is used by several domestic carriers, operating year round or seasonally.


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Oh man, do we all have lessons we have learned the hard way.
You get a tip on how fantastically it worked for someone else, you try it, and then disaster!
Things should not be allowed to work that way.
What has not worked for me?
Getting up really early suggestions. I know moms who have half of their daily to-do's accomplished by 6:30 am. I am not one of those moms. Don't get me wrong. I do not sleep my day away or anything but I am by no means a get-up-before-the-sun-and-conquer-the-world kind of girl. I conquer the world after 7 am. 🙂
Swiffer wet jet. I do realize how sanitary it is to be able to throw away the pad but it just cannot clean the edges of the floor, the cracks (or grout) in tile and baseboards. It just doesn't seem to work as well as an old fashioned scrubbing. I use an industrial string mop and wash the head. It is a washcloth to clean the baseboards and edges.
So, what doesn't work for you?
Pop over to Rocks in My Dryer to read more "didn't work" and leave a few of your own!
Have a blessed day,


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Treat the mum-to-be to a wonderful celebration with family and friends before welcoming the new arrival into the world. We're here to help organise your baby shower; let us pamper and indulge you and your guests!
A baby shower is now a rite of passage for expectant mothers; a time to celebrate new life and share advice on parenting. Our team are well versed in providing the right atmosphere, décor and delicious food for your special occasion
We understand that everyone's preferences are different; you may be looking for a sophisticated afternoon tea, or believe that just because parenthood is on the horizon there is no need to lock away the cheeky fun! Whatever your preference, the team at Hallmark Hotels are here to help.
- Room hire.
- Delicate finger sandwiches.
- Warm scones, clotted cream and preserve.
- Assorted cakes.
- Fresh pastries.
- Choice of freshly brewed coffee, English breakfast or fusion tea.
*Minimum numbers of 10 people apply.
Make the day that extra bit special with:
- Glass of Pimms - £4.00 per person.
- Glass of Mocktail - £4.00 per person.
- Glass of Prosecco - £5.00 per person.


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Unilumin aims to provide holistic solutions to its worldwide clients, including all industrial solutions: Security Monitoring, Broadcasting rooms, Video Conferencing, and Control rooms.
Here are examples of Unilumin's classic cases, these examples help exemplify our commitment to a better-viewed world and highlight our commitments to our customers.
Unilumin's professional engineers are on-hand to provide 24/7 customer support.
Keep up with the latest Unilumin news.If you want to know more about industry trends or get familiar with the most advanced products, you can click here for more information.
Keep up to date with the latest LEDs business information and industry insights from experts
Unilumin is a leading LED application products and integrated solutions provider dedicated in LED product development, manufacturing, as well as worldwide sales and after-sales services.
As the highest level of individual sports events since Shenzhen city was established and the highest level of WTA event in Asia and worldwide, this year the WTA Finals will be held from October 27 to November 3, which will be held in Shenzhen for ten consecutive years (2019-2028). It's our honor that Unilumin is the 2019 Shiseido WTA Finals Shenzhen Official LED Brand.
With Unilumin Sport solution shining the Finals, the WTA's best players' skill and athleticism will be a perfect match for the forward-looking, youthful energy of Shenzhen.
Unilumin Sports provides technical & professional LED display solutions for the WTA Finals with the main screen, the LED board on the side of the field (both sides and front and rear), the scoreboard, and the broadcast control equipment, etc. The whole screen area of the event is over 700 square meters. We hope that through our best efforts, we can bring amazing visual experience and great excitement to the tennis fans around the world.
Worthy to mention, Unilumin has been appointed as the official long-term LED supplier for FIBA's top-level international competitions in August this year. A global leader in its market, Unilumin is a leading LED solution provider for international top-level sporting events, such as the Rio Olympics, London Olympics, and the 2018 FIFA World Cup. Unilumin provides customized and diversified solutions for a variety of sports, including basketball, football, cricket, baseball, ice hockey, horse racing, swimming, volleyball, and tennis
For further information about Unilumin Sports, please visit:
[email protected]
112 Yongfu Rd., Qiaotou Village, Fuyong Town, Baoan District, Shenzhen 518103 China
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Seminar Center for Global Humanities Lecture/Seminar Series
In recent years, physicians have been receiving gifts, food, honoraria, consulting fees, free continuing medical education and research funds from the pharmaceutical, biotechnology, and medical device industries. In many instances, including clinical practice guideline panels, FDA advisory groups, and research programs, this largesse has been a corrupting influence on medical decision-making and has damaged the trust between patients and the medical profession. Efforts to reverse this trend and restore trust are underway.
Jerome P. Kassirer served as the Editor-in-Chief of the New England Journal of Medicine (1991-1999). He is currently Distinguished Professor of Medicine at Tufts University School of Medicine where he has also served as Vice Chairman of the Department of Medicine. He has served on the American College of Physician's Board of Governors and Board of Regents, chaired the National Library of Medicine's Board of Scientific Counselors and is past Chairman of the American Board of Internal Medicine. He is a member of the Association of American Physicians, the Institute of Medicine of the National Academies, and the American Academy of Arts and Sciences. Dr. Kassirer's current interests are reliable approaches to the assessment of the quality of health care, professionalism, ethical scientific conduct, and patient involvement in decision making. He has been highly critical of for-profit medicine, abuses of managed care, and political intrusion into medical decision making. His latest book, on financial conflicts of interest in medicine, entitled On the Take: How Medicine's Complicity With Big Business Can Endanger Your Health was published by Oxford University in 2004. He has also published extensively on nephrology, medical decision making, and the diagnostic process.
Assigned Reading
Jerome P. Kassirer, On the Take: How Medicine's Complicity with Big Business Can Endanger Your Health (Oxford University Press, 2005)
A reception will be held at 5pm at the UNE Art Gallery
Center for Global Humanities
(207) 221-4335


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Dear students, alumni, friends and sponsors of IfMK,
It is the end of the year and again a couple of interesting things happened at our institute. Therefore, we have assembled a short collection of news, projects, events, publications and conferences we worked on during the last months.
We are especially pleased about the successful completion of the doctorate of our long-time colleague Britta Gossel at the Otto-Friedrich-University Bamberg. In addition, we can announce three further doctorates at the institute: Waqas Ejaz and Lena Birkenfeld (Research Group Empirical Media Research and Political Communication) and Mariia Dubiago (Research Group Media Psychology and Media Conception) successfully defended their doctoral theses.
Furthermore, we congratulate Professor Andreas Will on his teaching award at the TU Ilmenau.
In addition, we can once again welcome many new employees to the Institute. Max Schindler has been supporting the Research Group Computational Communication Science since July and Nigar Zahan has been working on the Media and Communication Management Group for the EU Interreg project CerDee since August. Moreover, Johanna Radechovsky has joined the Research Group Media Sudies in October. And, we welcome Laura Martin back in the Group for Research in PR and Communication of Technology, who has been taking over parental leave from Elisabeth Wagner-Olfermann since October.
In our Alumni-Portrait Olivia Deskarina will tell us about her work at the branch office of the German Acadmic Exchange Office (Deutscher Akademischer Austauschdienst, DAAD) in Indonesia's capital Jakarta.
Enjoy reading!
Prof. Martin Löffelholz, Laura Martin, Tatjana Faj & Kersten Hoppe
18.12.2019 10th Gala Night of the vocational field orientation Media Production
Also this year the students of the vocational field orientation "media...[more]
18.12.2019 Students launch multimedia project about climate change
Students of the vocational training course "Journalism" develop multimedia...[more]
18.12.2019 Group for Research in Public Relations and Communication of Technology cooperates with the German AI Association
Master students at IfMK create Europe-wide communication strategy for...[more]
18.12.2019 EU Project CerDee Launched
On 1 May 2019, the CerDee project was launched at the Technische Universität...[more]
18.12.2019 Initial Funding for Inter-Institutional Project About YouTube
Dr. Rohangis Mohseni has received initial funding for the inter-institutional...[more]
23.09.2019 IfMK's Staff Visiting Partner University in Indonesia
IfMK's staff, Mira Rochyadi-Reetz, visited Atmajaya University Yogyakarta...[more]
18.12.2019 Computational Methods for Communication Science: Toward A Strategic Roadmap
Junior-Professor Dr. Emese Domahidi co-edited a Special Section on...[more]
10.09.2019 DAAD grants funding for cooperation with Turkish-German University
The DAAD has approved a grant for the conception of an MA course in...[more]
14.08.2019 Explaining the Media's Framing of Renewable Energies: An International Comparison
Publication from Mira Rochyadi-Reetz and Jens Wolling in Frontiers Science and...[more]
18.12.2019 Bachelor students present for Schmitz Cargobull and Regional Management Kreis Gotha und Ilm-Kreis
In July, bachelor students of the vocational field orientation "PR" presented...[more]
03.06.2019 Innovative seminar: Mobile TV journalism with the smartphone
The practical workshop "Mobile Reporting" enters the second round. Here the...[more]
03.06.2019 IfMK cooperation with BOSCH
Media students create global campaign for factory of the future and industry 4.0[more]
03.06.2019 Behind the scenes
Students of thevocational field orientation journalism have visited the MDR...[more]
03.06.2019 Exciting practice partners from the region in the vocational field orientation PR
Student junior agencies create PR campaigns for regional management Gotha/...[more]
03.06.2019 CerDee - Creative entrepreneurship in ceramics regions
New research project for the Research Group on Media and Communication...[more]
03.06.2019 Thirteenth issue of the online magazine Media Production will be published in July 2019
In the next issue there will be some exciting articles about "Adaptive...[more]
03.06.2019 Projekt for the Hessische LandesEnergieAgentur (LEA) sucessfully finished
The Research Group on Empirical Media Studies and Political Communication...[more]
16.11.2018 A finale like in a real agency pitch: Students of the vocational field orientation PR compete with creative concepts
On July 13 students of the course "Berufsfeldorientierung PR" presented their...[more]
16.11.2018 Risk Perception of Artificial Intelligence: How do we perceive artificial intelligence?
New research project on societal framing of AI technologies at the Research...[more]
16.11.2018 First Findings in the Research Project "Crisis Communication of Transnational Non-Profit Organizations"
In a first content analysis, the media coverage of crisis incidents by INGOs...[more]
16.11.2018 Project "Entrepreneurship Education Monitor for STEM Programs in Eastern Germany" successfully completed
At the media and communication management research group, a research project...[more]
16.11.2018 Ilmenau Sexuality Research in the TU Research Blog
In its newly established research blog, the TU Ilmenau periodically informs...[more]
16.11.2018 Does the omnipresence of the smartphone damage concentration?
This was the central question of the annual teaching project that Dr. Christoph...[more]
11.07.2018 Students launch multimedia project about refugees
Within the vocational training course "Journalism", ten bachelor students of...[more]


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Face Mask with Indigenous Fabric
This variant is currently sold out
Let's be more conscious about reducing our waste in our every day. Because in everything we do, we should consider the Earth, Too.
This face mask was made with beautiful indigenous fabrics from our partner communities and was created by the artisans of Rags2Riches from their homes. This mask is sold per piece.
Filters are sold separately here. For bulk orders and corporate inquiries, please contact us here.
Learn more about the brand here.
- Reusable face mask hand-sewn by the R2R urban artisans from their homes in Payatas, Quezon City
- Inner fabric is made with breathable cotton blend and contains a pocket for filters (our filters are sold separately here)
- Outer fabric is made with indigenous fabrics from our partner communities
- Gartered straps are manually adjustable
- Care instructions: Wash it first before using it and after every use. Handwash in warm water and soap for at least 20 seconds.
- While this mask provides protection, you still need to wash your hands with soap and water, avoid crowded places, practice social distancing, and keep your immune system up. This is not medical grade. You may choose to put a filter in the mask pocket as well for extra protection. It could be tissue paper or a small clean piece of cloth.
- If you are not a healthcare provider or a frontliner, and if you are otherwise healthy and strong, use this mask instead of surgical masks or N95 masks. Give those to our frontliners instead.
Due to the Enhanced Community Quarantine in the Philippines, shipping may be delayed. We'll be shipping products as soon as this is lifted!
An exception to this rule are our Face Masks & PPEs that come from our communities in Quezon City and Taytay City. They are being produced and delivered during the weekdays of this quarantine. We will only allow deliveries within Metro Manila via Lalamove or GrabExpress, and the advocate will cover shipping. Thank you for understanding!
Payment & shipping
- We accept: PayPal, Credit Card (via PayPal), or BPI Bank Deposit
- For details on our various shipping and pick-up options, visit this page
Other things to note
- Due to various reasons, the color of the actual product may slightly differ from what you see on the screen. We strive to make our colors as accurate as possible, but screen images are intended as a guide only and should not be regarded as absolutely correct.
For more questions, please check our FAQ page


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The Iron were beaten 4-0 by Peterborough United at Glanford Park.Manager Mark Robins opted to make two changes from Tuesday night's victory at Bury, as Jordan Clarke and Charlie Goode came in for Scott Wiseman and David Mirfin.
The rest of the starting eleven remained unchanged, with Luke Daniels in goal, a back four of Clarke, Goode, Niall Canavan and Scott Laird. Neal Bishop and Jack King were the midfield two once again, and in front of them was an attack of Tommy Rowe, Luke Williams, Paddy Madden and front man Darius Henderson.
After making a bright start to the match, which saw Williams hit the target twice, the Iron fell behind. Posh striker Connor Washington nipped in ahead of Daniels to head home in the fourth minute.
The visitors nearly doubled their advantage 10 minutes later but, after reacting first to Daniels' parry, Michael Smith could only blaze his close range effort over the crossbar, and into the traveling Peterborough fans behind the goal.
United were keen to hit back, and they went close to leveling things up through Henderson. The striker got ahead of his man at the near post, but he could only steer Madden's cross past the outside of Ben Alnwick's goal.
A moment of magic from Harry Beautyman almost put Graham Westley's side two ahead. The midfielder struck the ball on the volley from the edge of the area, and it looked to be arrowing towards the top right hand corner. However, Daniels got across his goal quickly, to claw the shot out.
The Iron kept pressing for the equaliser. Three minutes before the interval, Williams linked up well with Henderson and then hit a long range effort, which Alnwick in the Peterborough goal did well to hold.
Madden then went close soon after too. Much like Williams, the Irishman found some space, and then tested Alnwick with a low drive.
After keeping out Beautyman once already in the half, Daniels was forced into another spectacular save, right on the stroke of half time. The Iron 'keeper reacted well to divert the midfielder's close range strike over the crossbar.
This was the last action of the first period, as shortly after the half-time whistle was blown.
Three minutes after the restart, United were hit with a sucker punch. In his attempts to clear the ball, Henderson was penalised for a trip inside of the penalty area, which subsequently meant the reward of a spot kick. From the resulting penalty, Michael Bostwick stepped up and lashed the ball down the middle of the goal, to put the visitors two ahead.
It took United a while to get a foothold in the second period, but they still continued to probe. With 20 minutes to play, full-back Clarke got to the byline and delivered a dangerous cross. Williams was waiting to tap home, but he was prevented from doing so by some last ditch Posh defending.
The visitors continued to provide a threat on the break though, and they should have gone three up when substitute Marcus Maddison hit the post following a swift counter attack.
Two minutes after going close, Peterborough did make it three. Washington, who put the visitors ahead in the first half, made room for himself and brilliantly curled a right footed strike into the far corner of Daniels' goal.
Westley's team added a fourth on the stroke of full-time, when striker Washington broke the offside trap and finished under Daniels, to complete his hat-trick.
Scunthorpe United: Daniels, Clarke, Goode (McAllister 77), Canavan, Laird, Bishop, King, Madden, Williams, Rowe (McSheffrey 46), Henderson (van Veen 77).
Substitutes not used: Anyon, Wiseman, Boyce, Adelakun.
Peterborough United: Alnwick, Smith, Taylor, Bostwick, Oztumer (Fox 76), Aldmeida Santos, Washinghton, Beautyman (Maddison 66), Angol (Samuelson 68), Elder, Forrester.
Substitutes not used: Henry, Baldwin, Coulibaly, Addison.
Tweets by @SUFCOfficial


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Entre Nous (French) // [ ahn-truh noo ]
1. confidentially; literally "between us"
2. a series of traveling experiences translated to musical memories, mixed by Mikey Da Roza
After returning from Coachella and being totally inspired, it was only fitting that i muster a mix compiled of the artists that made this weekend so memorable. The crew we traveled with, the people we met, the music we experienced, the drinks we had, the warmth of the Californian sun, all made this second trip to Palm Desert worth it.
Artists on the mix include: Phoenix, Sia, La Roux, The XX's, Passion Pit, Miike Snow, Smalltown Romeo & many, many more!
Titled "Entre-Nous", there was something magical "between us". Thank you to all my friends who made this trip possible, who brought on the inspiration, the intimate moments and the good times. For all of you, I'm thankful and cannot wait to return.
"… it ends up being this collection of thoughts, both preceding and succeeding all the activities that take place. You make memories with the people, the place and yourself. There are so many different memories that are created, it's something special, unlike anything else…."
Please download this nu-disco mix and share a nice "spring like" jam with me!


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Here's another blog from a Mississagua Chiropractor…
Carpal Tunnel Syndrome is the compression of the median nerve where the nerve passes through the carpal canal deep to the transverse carpal ligament along with the finger flexor tendons.
Gender: Females > Males (5:1); most commonly in middle aged women
Age: Most common in 40-60 year old (but can occur at any age)
Overuse/Ergonomic Stressors:
- Repetitive finger or wrist flexion/extension, ulnar deviation motions
- Constant pressure over the carpal tunnel (bandages, casts, watches, bracelets)
- Trades (mechanics, carpenters, meat packers, butchers, typing, computers, cashiers)
- Vibration (jack hammer, truck driver), vibratory power tools
- Repetitive fine hand movements (seamstress, writers, beauticians, typing), chiropractors, dentists, dental hygenists, athletes (gymnastics, weight lifting, cycling), housewives, musicians
- Gripping (tradesmen, rock climbers)
Patient will note intermittent "pins & needles" in the thumb, index & middle finger, but not usually over the palm of the hand; also will note anterior wrist pain
- If the numbness is over the palm, it may signify compression of the median nerve near the elbow (pronator teres) or higher (brachial plexus or nerve root)
- If the numbness is over the hypothenar, digits 4 & 5, it may signify compression of the ulnar nerve (ulnar tunnel, ulnar groove at elbow, brachial plexus or nerve root)
Signs & Symptoms:
- Decreased light touch & sharp-dull sensations in the median nerve distribution
- Decreased hand grip
- Rest
- Avoid repetitive ulnar deviation, finger extension/flexion & wrist flexion/extension
- Avoid prolonged static wrist flexion/extension, vibratory tools, prolonged/repetitive gripping
- Wrist supports (usually best in neutral functional position; posterior splint
2. Osseous mobilization of the wrist, carpals, elbows, shoulders
3. Massage Therapy:
- Treat the pronators/elbow flexors
- Deep tissue massage/Active Release Technique (ART) of the anterior forearm, neck, scalenes, protator teres
4. Ice packs when condition is acute. If ice is aggravating the symptoms, switch to heat
- Alternate hot/cold when the condition is chronic
- Hot packs, then stretch pronators/forearm flexors & ice after
5. Electrotherapy – Discontinue of signs and symptoms increase
- Ultrasound: anterior forearm & wrist
- TENS/forearm (over pronator) or wrist (over median nerve)
- IFC: Distal forearm & anterior/posterior hand
6. Exercise Therapy
- Warm-up by stretching the neck, shoulder, elbow, wrist, hand, fingers
- Median nerve flossing; Ulnar nerve flossing
- Daily intermittent stretching every hour for 1-5 minutes
- Later on – active grip exercises (clay, silly putty, racket ball)
- Strengthen pronators, wrist flexors, wrist extensors
- Discontinue if any of the above exercises aggravates the symptoms and reintroduce at a later time.
7. Ergonomics & Patient Education
- 90 degrees Rule for the whole body when in a sitting desk work position; avoid sustained or repetitive extension/flexion/ulnar deviation
- Straight wrist, thinner or split keyboard
- Desk top support
- Good sitting/standing/sleeping posture
- Proper grip size/padded grip/padded glove
- Conservative care is an excellent initial treatment care option
- Patients over 50 years old, chronicity over 10 months, constant numbness, atrophy over the thenar eminence are often less responsive to conservative care
- Refer for surgical consultation if treatment failure or severe acute presentation


text: The Pompadour Restaurant | Edinburgh, Scotland | One of the things which quite strike me during my recent visit to Edinburgh, Scotland, was the number of FABULOUS restaurants available, for such a lovely but tiny destination. The Pompadour Restaurant was not an exception, on the contrary was pretty much on my top 05 rule. I guess I could define myself as a foodie, but what I truly enjoy, is the experience overall. I am not a gourmet connoisseur, but I do know how to create experiences and tell a travel or gourmet story, and The Pompadour, has quite and interesting one, lead by this legion of young professionals, who will blow you away with the style, knowledge and artistry, and make your dining experience a truly memorable one. Continue reading The Pompadour Restaurant


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When hiring, your job description is the first impression you make with a potential future employee. It should answer any questions a job seeker has and attract the right candidates to apply. Here we have listed all the major components of a job description and discussed in brief why it is important.
Job Title: The job title is naturally what will catch the eye for an ideal candidate. It should include what they will do (eg: Accounts) and their level within the company (eg: Manager, Executive etc). The title needs to make the right people interested and entice them to read the full description.
Location: Even if someone is the right fit for your job, they cant proceed if the location does not work for them. The location of the position should be displayed prominently so that the candidate can decide right away if it makes sense to apply for the job. Try to give the specific location of the job as far as possible.
Roles & Responsibilities: Here we need to outline the day to day responsibilities. Try to define exactly what the new hire will be doing so that candidates can relate to the tasks they have done in their previous jobs and feel confident to apply. Also mention the desired years of experience so that the right set of experienced candidates approach you.
Company Description: It is always good to include some details about the company. This greatly improves the credibility of the job.
Salary and Benefits: It is a good idea to give some insight into how much a potential employee will earn so a candidate's expectations align with your's right from the start of the hiring process. Also make sure you call out all the other benefits like PF, ESI, Health Insurance, food, accommodation etc.
Work hours and travel requirements: Candidates with the right skills want to avoid applying for jobs that require long hours, travel requirements or other responsibilities that they cant adhere to. So it is recommended that you put as much information as possible in the job description so that candidates are not surprised when they apply.