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Restock & release: Real Ostrich & NEW Ostrich X!16 January 2018
We are happy to announce both a restock and a release today!
This morning, we restocked six colours in our Real Ostrich leather:
- Sun (080)
- Chestnut (081)
- Anthracite (083)
- Oryx (086)
- Iris Blue (063)
- Rosa (064)
Like with every restock, if you registered your email address for one of these colours, you received a notification of this restock hours ago already!
As you know, real Ostrich leather is superbly soft, but also immensely durable, and without a doubt the most luxurious leather in Gillio's collection!
We know many of our clients LOVE the real Ostrich leather for the softness, unique look and durability, but we also had many clients request planners with "less bumps", i. e. made from the parts of the hide that has less quill follicles.
You asked, and we deliver: today at 1 PM CET, we release the new variety 'Ostrich X', planners made from exactly that part of the quill. As with all Gillio's items, each one is unique - there are no completely smooth Ostrich planners. But in this collection you'll find items made with just a few follicles - be it for example only on the inside of the planner, or only in distinct areas on the planner.
You can see some examples in the pictures on our website, but we advise you to ask for pictures when ordering, and letting us know what you'd prefer to see in your new Ostrich X planner. Our staff will then check the available stock and show you pictures of the items that match your desires and are still available.
In the Ostrich X variety, the exact same colours are available as the ones we restocked today:
- Sun (080)
- Chestnut (081)
- Anthracite (083)
- Oryx (086)
- Iris Blue (063)
- Rosa (064)
Good news: as these pieces of leather are usually not used for planners but for smaller leather goods, we can offer you these planners for 561,98€ (680€ VAT included)!
Happy shopping!
PS - if you can't wait to receive your new planner, why not opt for priority processing, handling and shipping with Gillio's BUZZ expedited shipping option?
Buy Organiser – Compagna (medium)
Organiser – Compagna (medium)Starting at € 258,78313,12 incl. VAT


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Today started with the monthly challenge workout: 2 more days to go! It is not getting easier, but we are getting stronger 💪🏻.
Breakfast was for me a coffee, boiled eggs, and some grilled chicken. We did not have much time to enjoy this meal because we had plans to go to a big place with pools and slides.
We arrived at Arriba Erlebnisbad at 10 in the morning. There we met our friends who also have two kids. We put our towels next to the kid's pool, and the fun started! My daughter loves to play in the water.
We had some snacks with us, fruits and crackers, but around lunchtime, we decided that we want to enjoy the sunny day and the warm water a bit longer. That means we ate there and I had a cheat day: pizza, french fries and later in the evening ice cream.
We left the pool at around 17:00, it started raining, finally some fresh air 😊. We are all tired after so much time spent playing in the water. Back home, after my little one fell asleep, we played the board game and enjoyed some ice cream. After that, my husband and I had a long walk around the neighborhood and some cocktails. I love the family time when we are all together, but we also need some time alone.
Today it was an enjoyable day spent with family and friends. I did break my diet, but tomorrow I will continue to focus on achieving my goals. Never give up!

subset: commoncrawl


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SCG News: It turns out that one of the researchers who ran Facebook's recent psychological experiments received funding from the U.S. Department of Defense to study the contagion of ideas.
There has been quite a bit of chatter this past week after it was revealed that a recent Facebook outage was the result of a psychological experiment that the company conducted on a portion of its users without their permission. The experiment, which was described in a paper published by Facebook, and UCSF, tested the contagion of emotions on social media by manipulating the content of personal feeds and measuring how this impacted user behavior.


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Our mission is to help currently enrolled students focus on their studies without having to face the burden of food insecurity. Dusty's Food Pantry is willing to provide a temporary supplemental supply of non-perishable goods to students who submit the required online form.
Dusty's Food Pantry is an imperative part of our University's endless efforts to ensure students' success and managed by the Office of Student Conduct and Community Engagement.
It's important to understand the difference between hunger and food insecurity, both terms are closely related but distinctive. Hunger is when one is having personal, physical sensation or discomfort, and food insecurity means the lack of available financial resources for food at the level of the household. Food insecurity involves the lack of having a nutritious meal to keep an energized day. The issue does not have a face but it can impact anyone at any given moment.
Starting Fall 2018 Semester, students that wish to use of the food pantry, will be required to submit one online form per semester. Dusty's Food Pantry is committed to the confidentiality of each of our students that may be facing food insecurity. The following form is solely to keep accurate data collection of the demographics of our students as well as the performance of the food pantry. The information provided will be kept confidential and used only for statistics in our annual report.
The College and University Food Bank Alliance (CUFBA) is dedicated to providing support, training, and resources to campus-based food banks/pantries and other food-insecurity initiatives that primarily serve students. To alleviate the barriers and challenges associated with food insecurity and hunger so that college and university students can remain in school, and ultimately, earn their degrees. For more information about CUFBA, visit the CUFBA official website.
Dusty's Food Pantry is temporarily relocated to the University Village Club House.
Monday - Friday
10:00 a.m. - 4:00 p.m.
Dusty's Food Pantry is always accepting donations, which can be dropped off at Student Center 226 during business hours. Wish list includes the following:
*Please ensure that all donations have not passed the "best by, "sell by" or expiration dates.*
*These donations are in exchange for service hours.
If your office or organization is planning to host a food collection drive, please notify us by calling (956)326-2265 and complete the donation request form.


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Allocations to U.S. equities rise, but some planners urge caution
Advisers sharply increased allocations of client assets to U.S. equities, but some planners are cautioning against piling into a market where they see valuations as being too high.
Allocations to U.S. and international bonds slipped to levels not seen in a year, while those to U.S. equities reached a level not seen since April, according to the latest edition of the Global Asset Allocation Tracker. Allocations to global equities increased slightly, according to the tracker, which surveyed 302 advisers.
Advisers say the shifts in asset allocations were motivated by post-election expectations of changes in the tax code that would benefit wealthy Americans, an increase in interest rates and the possibility of new stimulus under President-elect Trump's proposed infrastructure program.
"With the surprise election result, we think there will be a Trump bump over the next few months," a wealth manager says.
Client risk tolerance has risen markedly since the election, advisers report. A broker, pointing to clients' expectations, had a succinct explanation: "Bull market, baby."
Planners also said they pulled back on global equities for fear of protectionist policies being put in place in the U.S. and other countries. But other advisers expressed caution on increasing allocations to U.S. stocks, citing the risk of trade wars as well.
"Relative value for equities seems more favorable in Europe and is starting to look more interesting in emerging markets," an adviser says.
A wealth manager says recent investor reactions are "too much of a knee-jerk reaction."
Another adviser points to human psychology: "People want to chase gains."


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Card of the week 176
PCD47 Square Nesting Die
ADD10094 Vehicle Frame
ADPP10016 Paper Pack - Vintage Vehicles
SB10152 3D Decoupage – Planes
Extra thick acetate
A3 White Card
Dark Grey Foundation Card
Brown Foundation Card
Mirror Card
Firstly make your card blank by getting an A3 white piece of card and cut to measure 34 x 17 cm then fold in half.
Cut the square die from PCD47 square nesting die which measures 17 x 17 cm in dark grey foundation card.
Combing two square dies from PCD47 measuring 16.3 x 16.3 cm and 10.6 x 10.6 cut in brown foundation card to make a window frame effect.
Now pick a design from ADPP10016 paper pack vintage vehicles (we used the aeroplane silhouette) place the square die from PCD47 measuring 11.5 x 11.5 centrally onto your design and cut.
Cut ADD10084 vehicle frame die in mirror card.
Cut a strip of extra thick acetate measuring roughly 1 x 15 cm, now stick onto your card blank making sure you have enough to dangle over the front of your card as show in photo.
Now using the layered double wing plane design numbered 1,3, and 4 from SB10152 3D decoupage planes, layer using silicone glue and foam pads centrally onto the dark grey foundation card you cut out earlier. Now stick onto the front of your card blank.
Stick your brown foundation card window cut out on top using foam pads to give it a raised effect. Now stick your paper pack design on top of that followed by your mirror card frame cut out.
Finish off sticking design 2 double wing plane from SB10152 onto the end of your acetate cut out. Bend the acetate cut out until your plane is overhanging on the front of the card giving it the illusion its flying.


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We are proud to be a Weber World Store
at our Skipton branch and have aGlarge
range of Weber BBQ's in our Clitheroe store.
The Outdoor performance
Everdure Barbecues By Heston
Gather your family around the barbecue
and ignite the flames. Let the GS4 take
the lead while you focus on what really matters.
A must for every charcoal bbq
owner regardless of brand
Buy one today!
Browse our range of Built In
cabinets/units and built in
Browse our range of
Wood Pellet Grills.
Browse our range of sale barbecues
and accessories
The Outback 2018 Gourmet 4 Burner Black Gas BBQ will make a great all round family entertainer with it's large porcelain easy to clean non-stick enamel grill cooking surfaces backed up with a side-burner for additional versatility heating sauces and cooking vegetables plus a warming rack to keep things warm when cooked so nobody needs to go hungry.
To widen the range of grilling options even further the porcelain enamel grill cooking surface features a reversable central griddle plate which can simply lift out with the 30cm removable centre section allowing a separately purchasable pizza stone or wok to be dropped which can be stored in the double door storage cabinet when they are not in use.
The Outback 2018 Gourmet 4 Burner Black Gas BBQ features an abrasion resistant porcelain-enamelled hood and body to prevent blistering and peeling under which sits a whole range of grilling features including cast iron burners,side tables with tool rack, lid heat indicator, removable drip tray, warming rack, flame tamers, integral spark ignition, bottle opener easy to move castors with secure locking. Also included is a hose and 27mm Clip On Regulator to connect to refillable gas bottle it use as it's power source.
The Outback 2018 Gourmet 4 Burner Black Gas BBQ features 4 x Porcelain Enamelled Flame Tamers which sit below the cooking grates and above the burners which efficiently and cleanly vapourise excess cooking juices recycling them back into the cookbox to give the cooking food the distinctive barbecue taste at the same time as minimising the likelihood of flare ups when grease falls onto the burners or what is being cooked on the grates taking on the taste of previously cooked foods.
With it's dark good looks and great range of grilling options the Outback 2018 Gourmet 4 Burner Black Gas BBQ will make a much used focal point for relaxing and socialising in any garden or on a terrace.


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It took five years for Sloane Stephens to break the Top 10 after reaching No.11 in October 2013 - but it's only taken the American three months after that to breach the next milestone of the Top 5, thanks to her run to the Roland Garros final.
Read more: Stephens: 'I'm not satisfied, but I am proud of myself'
Having survived a stern test from Camila Giorgi, who served for their third-round match twice in one of the best matches of the tournament, Stephens ploughed through the second week in imperious fashion. The 25-year-old defeated Anett Kontaveit, Daria Kasatkina and Madison Keys without dropping a set - and continued this form into the final, going up a set and a break on Simona Halep with immaculate tennis.
Though the Romanian would come back to capture her own maiden Slam title, Stephens can add her Parisian runner-up showing to highlights of a spectacular 12 months that have also seen her become the US Open and Miami champion for the first time - a record that sees her shoot up to World No.4.
Here are some of this week's most notable ranking movers:
Sloane Stephens (+6, 10 to 4): The Roland Garros runner-up is one of two players to have reached multiple Slam finals in the past year, alongside Simona Halep - and hits a new career high as a result. Stephens' move means that each member of the Top 4 (alongside Simona Halep, Caroline Wozniacki and Garbiñe Muguruza) is a reigning Slam holder - the first time this has happened since September 1998, when Australian Open victor Martina Hingis, US Open winner Lindsay Davenport, Wimbledon champion Jana Novotna and Roland Garros titlist Arantxa Sánchez Vicario comprised the top four ranking places.
Madison Keys (+3, 13 to 10): The American's maiden French Open semifinal run sees her return to the Top 10 for the first time since last April. Keys has now reached the final four at every Slam except Wimbledon, and becomes the youngest active player to have reached three Slam semifinals. This is also the first time that the US Open runner-up has reached two major semifinals within a 12-month period.
Maria Sharapova (+7, 30 to 23): Having been ranked outside the Top 50 at the start of May, the Russian capped off a clay swing that has seen her put together her best results since returning to the sport with a Roland Garros quarterfinal - and a boost to the brink of the Top 20.
Mihaela Buzarnescu (+3, 33 to 30): 30-year-old Buzarnescu's stunning defeat of No.4 seed Elina Svitolina in Paris meant that the Romanian became the oldest second-week debutante at a Slam since Jill Craybas at Wimbledon 2005. This time in 2017, the Romanian was ranked No.374 and had never even played a WTA main draw match - but it was exactly one year ago that her ITF $60,000 title in Hodmezovasarhely, Hungary kickstarted a meteoric rise that now sees her hit the Top 30 for the first time.
Katerina Siniakova (+14, 54 to 40): The Roland Garros doubles champion also had a fine showing in singles, scoring a straight-sets win over Victoria Azarenka in the first round and going on to make the third round of a major for the second time in her career following Wimbledon 2016. The Shenzhen runner-up is now just four places off the career high she set last April.
Kaia Kanepi (+9, 52 to 43): Though Kanepi lost in the first round of the French Open to Daria Kasatkina, the US Open quarterfinalist took the title in the ITF $60,000 event in Brescia, Italy during the second week. This time last year, the Estonian was unranked and only just about to embark on her latest comeback from injuries and illness - but now returns to the Top 50 for the first time since June 2015.
Camila Giorgi (+8, 57 to 49): The Italian played one of the best matches of Roland Garros in her third-round loss to Sloane Stephens - but Giorgi adds a career-best showing in Paris to a solid season so far that's also seen her notch up semifinals in Sydney and Prague, and consequently returns to the Top 50 for the first time since June 2016.
Yulia Putintseva (+42, 98 to 56): With her ranking in danger of slipping out of the Top 100 for the first time in three years, the Kazakh admitted during Roland Garros that she had already begun to target ITF events over the summer instead of WTA tournaments. However, a first-round upset of Sloane Stephens in Nurnberg the week before the French Open laid the groundwork for a stunning quarterfinal run in Paris - her second at the clay Slam - and means that Putintseva has avoided having to drop down a level.
Alison Riske (+20, 83 to 63): The American has been resurgent in recent weeks. Following a maiden clay final in Nurnberg, she proceeded to turn heads in the first round of the French Open by reeling off the first five games against No.1 seed Simona Halep. Though Riske would eventually fall in three sets to the eventual champion, she carried her form over on to her beloved grass courts, taking the title at the ITF $100,000 event in Surbiton without dropping a set.
Wang Qiang (+18, 85 to 67): The Chinese No.3's Roland Garros was one in which she overcame a couple of long-standing hurdles. In the first round, she faced No.9 seed Venus Williams - who had ousted her from both the French Open and Wimbledon last year. This time, Wang finally had her moment, winning 6-4, 7-5 - and backed it up by winning her first Slam second-round match at the seventh go for a career-best major showing.
Rebecca Peterson (+21, 97 to 76): This time last year, the Swedish No.2 was only just returning to action following a shoulder injury that kept her on the sidelines for half a year. Her form this year has been irresistible, though: Peterson has compiled a 22-10 win-loss record, including a maiden WTA semifinal in Acapulco in February, and backed that up by qualifying and winning her first Grand Slam match in Paris. She is rewarded with a brand new career high ranking.
Andrea Petkovic (+20, 107 to 87): For the second major in a row, the former World No.9 upset a seed in the first round. Having ousted Petra Kvitova in Melbourne, last year's quarterfinalist Kristina Mladenovic was Petkovic's victim in Paris. The German, who went on to the third round before falling to Simona Halep, reconsolidates herself in the Top 100 as a result.
Tamara Zidansek (+27, 122 to 95): The 20-year-old Slovenian's rise this year has been stealthily spectacular. Ranked No.205 as recently as February, the former junior World No.16 has torn up the ITF Pro Circuit since graduating to the pro ranks, capturing 16 titles there since 2014 - and this year, Zidansek has been translating that to another level. Her WTA main draw debut in Rabat in April was a successful one as she defeated Magda Linette in the first round - and last week, she scored another victory over the Pole in the final of the Bol 125K event to lift her biggest trophy yet. Zidansek becomes the 10th player to crack the Top 100 in 2018 as a result.
Caroline Dolehide (+19, 125 to 106): The 19-year-old American, who took Simona Halep to the brink of defeat in Indian Wells before losing 1-6, 7-6(3), 6-2, has backed that up with a fine clay season - culminating in coming through qualifying in Paris to make her Grand Slam debut, where she defeated Viktorija Golubic in the first round before falling to Madison Keys. Dolehide hits a new career high on the brink of the Top 100 as a result.
Serena Williams (+268, 451 to 183): The 23-time Grand Slam champion's return to the major stage following maternity leave saw her score three fine wins over Kristyna Pliskova, No.17 seed Ashleigh Barty and No.11 seed Julia Goerges before a pectoral injury forced her to withdraw from her fourth-round clash against Maria Sharapova. Just three tournaments into her comeback, Williams is already back in the Top 200.
Click here for more WTA Rankings from the week of June 11, 2018.


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This is more of a bedtime read but it seems a shame to start something with these lunchtime reads getting through short story collections and then let it slip so despite the time here is the first of these amusing stories.
The Custody of the Pumpkin
In a nutshell Lord Emsworth wants to win the pumpkin competition but when he discovers his useless son is engaged to the head-gardeners cousin he tells the man to get rid of the girl and as a result he hands in his notice. The pumpkin that Emsworth so wanted to win in the agriculture show droops after the head-gardener leaves so the Lord heads to London to get him back and there discovers that his son had got married. In a scene that you could guess was coming the father-in-law turns up and is a multi-millionaire and so everything is forgiven and then to top it all the pumpkin wins first prize.
There are some bits that bring a smile to your face but to really laugh out loud it is going to take some willingness to put to one side the lack of interest and sympathy for the aristocracy. Maybe that will come over the course of the week...
Monday, March 19, 2007
Lunchtime read: Lord Emsworth Acts for the Best
Posted by Simon Quicke at 10:46 pm
Labels: P.G. Wodehouse
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Adirondack Country Homes Realty
462 Glen Street, Glens Falls, NY 12801
Inventory #RE0330
Address: Sodom Cross Road, Johnsburg
Listing Price: $119,000 - OFF MARKET
mortgage calculator
Affordable starter home or ski house with nice views of Gore Mountain. Only 3.5 miles from some great skiing.
Possibly two building lots. Great potential and lovely perennial gardens
.78 acre with 280' road frontage Cottage styling Only 3.5+/- miles to Gore Ski Mountain Built in 1930 and in good to fair condition Large enclosed porch 800 + sq ft home
100 amp service
1 Bedroom, 1 full bath Kerosene Monitor Heating Dug well and private septic Appliances included: (refrigerator, stove) carpet and vinyl flooring
Return to Residential Properties
Return to Commercial Properties
Contact your ACHR Agent for more information.


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Some have said there are several personalities to the person called Moyo Lawal, a curvaceous actress who is well known as the character 'Chinny' in the Mnet soap opera 'Tinsel'. She's an effervescent type, who could blow either old or cold, depending on the tide her temperament is riding.
As a liberated woman, nobody really sees Moyo as the wife material type but the 'Cloud of Pain' and 'Big Gals on Campus', girl reveals recently, that there is every woman beneath that her façade of big tough girl when she said she would really have loved to have been married except that she hasn't seen anything like the right man on the horizon
"I am one of those people who will never do something until it's perfect or just right. I guess that explains why am still single. If you make the wrong choice you end up with your worst nightmareâ€, she said.


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J.Crew will close dozens of stores by the end of the month.
The clothing retailer announced its plans to close 39 stores by the end of January, about 6 percent of its total amount of stores. The company, which also owns Madewell stores, announced a total of 50 stores were expected to close during fiscal 2017. The company closed 11 stores in the first three fiscal quarters of the year.
» List: Retailers that closed stores in 2017
The retailer saw total revenue decrease about 5 percent and comparable company sales decrease 9 percent in the third quarter. J.Crew sales decreased 12 percent to $430 million. Company leaders said the brands would evolve into a "digital first" business.
"Our goal is to reinvigorate the J.Crew brand to reflect the America of today and to continue to drive strong momentum in the Madewell brand," said Jim Brett, chief executive officer.
J.Crew has a Factory Store location at The Greene Town Center in Beavercreek and another Factory Store at the Cincinnati Premium Outlets in Monroe. The retailer also has Madewell and J.Crew locations in Cincinnati and Columbus. Thousands of stores have closed across the U.S. this year, including other clothing retailers like The Limited, Rue21 and Wet Seal.
• Newborn boy, first of 2018, born at Wright-Patterson Medical Center
• Woman convicted of teen slaying in Dayton released on Christmas Day
• No more waiting? Kroger looking to eliminate checkout lanes
• Currency of the future? Some argue it's bitcoin
• Southwest Airlines adds new flight at local airport
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Orange, Sweet Essential Oil
Certified Organic
- Citrus sinensis
- Origin: USA
Parts Used
Fruit peel
Extraction Method
Cold pressed
Note Classification
Sweet, sugary, and citrus
Known as an uplifting oil. Orange oil is often found in household cleaners.
1/2 oz., 1 oz., and 2 oz. essential oils are packaged in amber glass bottles with drop reducers for easy application. Larger sizes are packaged in amber screw cap bottles and do not come with reducers or droppers.
Label Updates
We are currently transitioning to a smudge proof label for our essential oils. If ordering more than one oil you may receive both types of labels as we make this transition. Our new labels are a poly-base and printed in full color in-house.
Blends Well With
Basil, bergamot, black pepper, cinnamon, clary sage, clove, coriander, eucalyptus, frankincense, geranium, ginger, grapefruit, jasmine, juniper, lavender, lemon, litsea cubeba, marjoram, myrrh, neroli, nutmeg, patchouli, petitgrain, rose, sandalwood, vetiver, ylang ylang
Herbal Miscellany
Sweet orange oil contains about 90% limonene, which is in many household cleaners. Because of this sweet orange oil is used as a earth friendly alternative to many common household cleaners.
This oil has no known precautions. Never use essential oils undiluted, in eyes or mucus membranes. Do not take internally unless working with a qualified and expert practitioner. Keep away from children.
Before using topically, perform a small patch test on your inner forearm or back by applying a small quantity of diluted essential oil and apply a bandage. Wash the area if you experience any irritation. If no irritation occurs after 48 hours it is safe to use on your skin.
For educational purposes only. This information has not been evaluated by the Food and Drug Administration.
This information is not intended to diagnose, treat, cure, or prevent any disease.


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Happy Beaks Feed Scoop
Just £7.99Quick Buy
Just £32.99
Hanging bird seed feeder - The feeder has a built-in handle allowing you to hang it up
Easy to open lid and base - Comes with a lift-lid and twist-off base for convenient filling and cleaning
Attracts wild birds - Perfect for enticing tits, woodpeckers, finches and house sparrows
Perch rings - Includes two free perch rings
Guarantee - Backed with the reassurance of our Lifetime Guarantee
Encourage a wealth of stunning birds into your garden with this six-port Ring Pull Pro seed feeder. Constructed from chunky metal and plastic, the feeder features six feeding ports and is perfect for seed mixes, sunflower seeds and sunflower hearts.
Bird seed mixes are high-quality options that will attract more birds and will keep them coming back for more meals. They offer a variety of foods to cater for different needs and feeding preferences and are perfect for use through the entire year.
This feeder not only has a large capacity of approximately 1.5L, but also features an easy to fill, lift-off lid to keep the contents dry and six plastic tipped perches, allowing birds to feed in comfort. There is also a twist-off base allowing for quick and easy deep cleaning. Simply fill, hang on a branch or feeding station with the convenient, built-in handle and enjoy watching the beautiful birds feed.
Also available to purchase is a 2 and 4 port Ring Pull Pro seed feeder.
Height: 540mm
Capacity: 1.5L
6 ports
Enjoy total peace of mind: your Lifetime™ feeder is covered by a manufacturers Lifetime Guarantee.
They'll replace any defective parts free of charge for as long as you own the feeder. In addition, They'll send you free replacement parts if they're badly damaged by squirrels or predators, only ever charging you the cost of delivery. This is in addition to your statutory rights.
Jacobi Jayne Ring Pull Pro Seed Feeder 6 Port (G2504)
Seeds and garden supplies will normally be delivered within the time period stated against each product as detailed above. Plants, bulbs, corms, tubers, shrubs, trees, potatoes etc are delivered at the appropriate time for planting and will be stated on the product page or in your order acknowledgement page and email.
Orders for packets of seed or plants incur a delivery charge of £4.99.
Large items may incur a higher delivery charge - this will be displayed in your shopping basket.
Please see our Delivery page for further details and details of any surcharges that may apply to certain destinations.
For your complete peace of mind, our Home and Garden products may be returned to us within 30 days of purchase for a refund of the purchase price. Items must be returned unused, at your cost and in mint condition. All items carry a manufacturer's 12 month defects warranty.
© 2020 Van Meuwen. All rights reserved. A division of BVG Group Ltd.


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We've taken a look at four props from two different http://www.officialducksshoponline.com/authentic-62-andrej-sustr-jersey.html sports books to see the real highlights: Coach of the Year Bovada has the most interesting odds listed here.Please send me an e-mail if interested.Green Bay Betting Trends Green Bay is against the over under this season Green Bay has an ATS record of this season Chicago Betting Trends Chicago is against the over under this season Chicago has an ATS record of this season Injuries to Watch Green Bay 12 16 TE Jared Cook Chest injured last game, ?This one, I drive it, Baer said.
2016 New Mexico Lobos Football Predictions and Season Win Total Picks by Robert Ferringo – 8 2016 I was one of the few football handicappers in the country that was buying into New Mexico last season.The Grizzlies force 17 turnovers per game which ranks them 3rd Andrej Sustr Womens Jersey in the NBA.Read More >> Trading has come to the NFL in a bigger way than ever before this offseason, and the L.A.Knicks at Timberwolves The Knicks lost in double overtime at home to the Bulls on Wednesday, 122.
No Salesman.Goodwin is averaging 23 points, 5 rebounds, 4 assists and 1 steals in nine games with the Memphis Hustle of the G League this season.They allow 15 completions per game on 28 attempts for a completion percentage of 54.Zetterberg is not expected to rejoin the team until the end of December, at the earliest.The favorite is ATS in the last 8 meetings.In that time he has a shooting percentage of 11% by scoring 13 goals on 119 shots.
The Texans average 5 yards per play, which is 20th in the National Football League.He played well in last year's opener as well, registering six tackles and half a sack against the Texans but injured his ankle a week later versus the Eagles.No Obligation.They currently have a point differential of 4 as they are averaging 80 points per contest while giving up 75 per game.World War II intervened in the early '40s with Schmidt, Bauer and Dumart enlisting in the Royal Canadian Air Force and Brimsek and Conacher leaving as well to join the war effort.Eagles defensive tackle Treyvon Hester was able to get a finger on Parkey's kick to knock it just off course, as the ball caromed off the left upright and crossbar before falling short.
As a team they have accumulated a total of 148st downs this http://www.footballcowboyshop.com/chidobe-awuzie-jersey-for-sale-c-82.html season, ranking them 12th overall as an offensive unit.Behind the arc they shoot 36% which is good for 12th in the NBA.To search for players who were born on a certain date, for example all players born on December 25, choose the month, day and year with the drop down boxes and then choose the 'Full Date Search' option.Newman has reportedly been exploring options with other teams, but could stay at RCR.They are 20th in the league in team earned run average at 4.From Amal Clooney's overly complicated getup to Daniel Kaluuya's ill-fitting prom suit, the Met Gala this year sure had plenty of fashion pitfalls.
7 Stanford: I just plain don't get this one.It was just the third time all year the 28-year-old has caught more than two passes in a game.1) KB Chidobe Awuzie Jersey or not KB: Certainly not listed in order of importance to Thursday's proceedings but rightly at the top of the list when it comes to initial intrigue, it will be interesting to see how Bills wide receiver Kelvin Benjamin interacts with his former teammates �?and vice versa �?in the pregame period on the field.He loses his train of thought easily.Cubs ace Jon Lester was offered more money a couple of years ago as a free agent by the Giants than the Cubs.They score 4 runs per contest and have scored a total of 201 runs this year.
They give up a walk 3 times per 9 innings while they strike out 8 per 9.He scored 34 points in 41 games but sat out the playoffs when the Penguins won a second straight Stanley Cup.They did hold on to get the cover.One E-mail A Week Is All You Need!To search for players who were born on a certain date, for example all players born on December 25, choose the month, day and year with the drop down boxes and then choose the 'Full Date Search' option.
He averages 0 assists per contest and 5 rebounds per game for Houston.U20 Euro Championship B.


text:
Season's greetings from Samuel Beckett: 'Allow me to wish you – well brought up as I am – much happiness in this bloody awful coming year.' Or if you prefer the French: '…dans cette putain d'année qui vient.'
Assiduously gloomy. Inimitable. This is how the King of Nothing welcomed in 1957, in a letter – the final item in The Letters of Samuel Beckett: Volume II (1941-1956) – to Jacoba van Velde, younger sister of the painters Geer and Bram van Velde, friends of Beckett. This is Beckett the pen-pal, chirpy and inconsolable, scurrying between the Rue des Favorites, Paris, and the house that success built in Ussy-sur-Marne, 30 miles outside 'Paname', from where, in between bouts of hole-digging, paroxysms of ataraxy and many no doubt meaningless ablutions, he wrote this letter.
Despite his protests, by 1956 Beckett is thoroughly absorbed in administrating his genius – in proofs, in translation, on the stage, but also in evading interviews, declining honours and shooing nosey hermeneuts off his artistic estate, while quietly, sedulously directing and enlightening his apostles. Although he is over-worked, as his own manager Beckett is peerless. He operates through defensive, dignified self-promotion. He understands the lasting allure of enigma. He knows who his real friends are. And he is principled, though not intransigent, when it comes to the editing and censoring of his prose and plays. He has had local critical success with his novels, and now worldwide commercial success with En Attendant Godot. Materially speaking, he is as far away from the poverty of the war years as he has ever been.
Predictably, none of this has made him happier. Often, it is to his lover Pamela Mitchell that he confides. Famously, on the success of Godot, in October 1953: 'I went to Godot last night for the first time in a long time. Well played, but how I dislike that play now. Full house every night, it's a disease.'
Imagine waiting for Godot every night. And knowing he will not come. Beckett also despairs of his prurient audience, again to Mitchell in August 1955: 'I am really tired of Godot and the endless misunderstandings it seems to provoke everywhere. How any thing so skeleton simple can be complicated as it has been is beyond me. People are never happy unless they are digging.'
This is the slow-creep Beckett PR-machine at its subliminal, perhaps unwitting best, teasing in the same breath it resists: 'skeleton simple' maybe, but then surely one has to 'dig'?
James Knowlson's biography Damned To Fame is more equable than its title suggests. Beckett was not, Knowlson argues, the 'miserabilist' he is often caricatured as, nor was he a saint. A wilier Beckett also emerges from the second volume of letters. And this returns us to the New Year's blessing, because there is an increasing sense, across these two volumes, that Beckett has written and managed himself into self-awareness, and perhaps even brand-awareness. Lugubriousness is no longer an occasional effluence, or even a signature; no matter how felt, it has become the Beckettian stationery set, as quotidian as a New Year's greeting.
The final letter of 1922 leaves young Hemingway – Ernest nice, clean, fine, straight, brave, lovely Hemingway – in a more mundane impasse, short of cash in Switzerland, paying his expenses out of a modest journalist's salary, moving too fast for his employers to help him, and busily working himself into a sepsis of rage. When Swiss francs are not forthcoming, his response to Frank Mason, his justifiably wary employer at the International News Service, is laconic even by telegram standards:
(A locution borrowed for a telex message in Night and Day by Tom Stoppard, a Hemingway aficionado: 'UPSTICK PROTEST ARSEWARDS.')
The Hemingway of these early letters (1907-1922) sounds every bit as boisterous as the mythic Hemingway. Beckett recalls meeting him in 1938, at Sylvia Beach's introduction, in a letter to Tom MacGreevy: 'The Beach introduced me to Hemingway in her shop. Exactly like Alan's Packard.' That is, Alan Duncan's Packard, a large American car. It's an apt likeness for a static Hemingway, built square like an automobile. But it doesn't stretch to Hemingway's locomotion, at least in these early years. Like the déraciné of déracinés, Money's John Self, he goes 'bullocking', over two continents, through Kansas City, through Toronto, through Chicago, into one World War, across Europe, back over to America, and even as far as Russia. He travels further and more violently than the young Beckett; and, like Amis's Self, suffers and reports all with remorseless vivacity. He claims to drink his way into and out of jaundice. He smokes his tonsils into shape. He rises larger than life from these letters, like the Tarzan of the famous Miguel Covarrubias caricature, virile, brutal, endearing.
Unlike the older Beckett, Hemingway's lifestyle cost him as much as his writing. Yet he was sure to talk like a legend even when he was not living or feeling like one. In a letter to his mother he paraphrases Flaubert's words to Louise Colet: 'You know what Flaubert said, "The artist must live like a bourgeois and think like a demi-god".' Hemingway, though by no means poor, did not yet live like a bourgeois. He traveled. He still had, in his own words, 'a need of seeds'. His stories and poems were written around his job as a journalist, often late at night; his letters home, especially those from his American reporting days, were typed out without looking back in his lunchbreak. Towards the end of the volume he confesses to Pound: 'I'm quitting the sheet. [This is between us]. I know what I'm after in prose, now anyway, [meaning for the present] and hope to give you a couple of samples of it at the end of six months.'
He stayed on the Toronto Star for another year, before returning to Paris in 1924. Still, at 23, he had lived almost all the archive from which the next six or seven years of work were generated: as a soldier, as traveler, as returning son. He was well connected in Europe and America. And, as in his letter to Pound, he was confidently forming a style – a style extravagantly bald, with no 'ten-dollar-words', as he famously put it to Faulkner.
The publication of Beckett's letters has gone ahead with an authorial embargo on those letters that do not touch his writing. Is such a distinction possible? Here he is, to Georges Duthuit, the French art-critic and reviver of Transition, the Parisian literary journal for which Beckett produced a great deal of work as translator:
'One must shout, murmur, exalt, madly, until one can find the no doubt calm language of the no, unqualified, or as little qualified as possible. One must, no that is all there is, apparently, for some of us, this mad little tally-ho sound, and then perhaps the shedding of at least a good part of what we thought we had that was best, or most real, at the cost of what efforts. And perhaps the immense simplicity of part at least of the little feared that we are and have. But I'm starting to write. It has just struck midnight. Until tomorrow.'
This, surely, comes express from Molloy-country, that dark land of syntactical indulgence. Even its serendipitous end sounds like a Beckett coda. Moran's closing words in Molloy are: 'Then I went back into the house and wrote, It is midnight. The rain is beating on the windows. It was not midnight. It was not raining.' There are also in this letter, as always in Beckett's prose, two voices: the over-talking, onrushing idiot savant, the bravura babbler Lucky, and the arch crack of its master's writerly whip ('But I'm starting to write'), the voice of sterner Pozzo. In Beckett's prose and correspondence, these two voices go everywhere together, never emulsified, always in conspicuous, unhappy suspension.
Beckett's life and work, on the other hand, are often impossible to separate, especially in the early letters of this volume. Hemingway is, as you would expect, more exposed by his estate. He did not, and could not maintain his authorial iceberg principle when it came to his correspondence. His letters were never intended for publication, and there is a very good reason: unlike Beckett, Hemingway did not care strongly about them as works of art. They were an important medium for the Hemingway performance. Here is seventeen-year-old Ernest transcribing a cold in a letter to Emily Goetzmann: 'On pended gknees I peg your bardun vor the ladness of this legger. Bud a gombination of monthly examinachugs and Bad goldt are my eggscuse, or to quote "them immortal lines" the brooks are ruggig – also my gnose.' The letters' youthful, confrontational verbal exuberance distinguishes Hemmage the correspondent from Hemingway the 'one-dollar' author.
His letters, in that sense, offer few obvious leads for investigating the formation of his style – its lexis, its taxis, at least – and speak more readily about his experiences and personality. And perhaps, for Hemingway's writing, experience and personality are more important clues. Ironically, the more exaggerated and inconsistent the letters are, the sharper the portrait of young Hemingway is. Monumental, well-tended Beckett is not, by contrast, obscure: the shape of his archive and the impression of the man are altogether more consistent. His letters speak inseparably about the man, the myth and the work. Why then Beckett's embargo, his posthumous distinction between the man and the artist? Perhaps because he felt, as a writer, that, far from being extraneous, his personal correspondence was too revelatory.
The familiar melody of the Beckett myth goes something like this. Life is a struggle. A struggle against death, against time, against illness, against silence, against lassitude, against ignorance, mainly of others, against his own success and fetishisation, against convention and, of course, against nothing. And Beckett is a struggler. But not just any old struggler. He is quiet, determined, modest, principled, enfeebled by his own brilliance, charming, droll within his own comitatus. He is also sincere in all the proper places, wise, learned. Like a water cooler, he dispenses refreshment only on demand. Yet is crucially retiring, inscrutable, just beyond reach. In short, inhumane. The Beckett that ultimately emerges from these letters, although they very often endorse the myth, is far more interesting than the severe but sympathetically creased Penguin postcard portrait, the agnostic's Father Christmas.
A little Beckettian virtue goes a long way. To each correspondent, with natural intervals, his monotony would have seemed palatable, perhaps even reassuring. En masse, though, each virtue shades into its obverse. Beckett can also be straightforwardly nasty, patronising and snobby.
One of the most moving passages in this volume is the description of his dying mother (to Georges Duthuit, August 1948): '…I keep watching my mother's eyes, never so blue, so stupefied, so heartrending, eyes of an endless childhood, that of old age. Let us get there rather earlier, while there are still refusals left to make. I think these are the first eyes that I have seen.' Beckett is most poignant on death when he accents what is still alive – here, his mother's eyes, 'jamais si bleus'. He loses great friends, like Alfred Péron, to the war, and later his brother Frank in September, 1954. Understandably, he cannot always find the same equipoise he achieves in the description of his mother. Often, instead, morbidity fixes him, as he admits to Pamela Mitchell towards the end of Frank's illness: 'Sometimes feel like letting myself be sucked in by this exquisite morass, just lie down and give up and do nothing more. Always felt that temptation here but never so strong as in these last weeks.'
Beckett's skewed reading of Dante, a consistently consoling prism for his own morbidity, is telling. He is fond of quoting the purgatorial cry 'Io fui' [I was]. But Beckett's Dante, as he is invoked, is a foreshortened, miserable shade. T S Eliot's great medieval advocate E R Curtius is a more accurate and balanced reader:
One of the most striking things in Dante is his delight in the beautiful structure of the universe, in the glorious spectacles of nature, in the splendour of human life. When he meets acquaintances in Hell or Purgatory, they talk with longing and love of the sphere of earthly existence to which he is to return and where they wish to be remembered. His poetry teaches a joyful acceptance of our sojourn here.
('The Medieval Bases of Western Thought')
Complaints about his health are, by and large, fewer than they were in Volume I. His vocation is his major ague – Godot the 'disease'. In September 1953, he complains to Tom MacGreevy about his translator's duties: '…this will go on for years, until 1955 anyway, an indigestion of old work with all the adventure gone. I tell me take art easy, but nothing will come any more, all contracted and unhappy about it.' The constipatory allusion is fitting in Molloy's case: it had taken him six months to write it in 1947, and roughly seventeen-and-a-half months to English it with Patrick Bowles. In January 1954 he complains to Barney Rosset, his New York editor at Grove Press, of 'all this old vomit'; in September he claims, occasionally, to have 'premonitions of a brief & final haemorrhage prior to what condolers call the higher life'.
His War on Silence – a struggle he tried to dramatise with the stuttering vaudevillian routines of Vladimir and Estragon – is voluble.
Beckett aspires to a better theatre, especially for a play as popular as Godot. He resents his audience's ignorance, but also, paradoxically, their curiosity. Misunderstandings depress him, but he is equally reluctant to explain. This is certainly his prerogative. And yet he goes so far as to advertise his abdication in a letter to Michel Polac, a radio presenter who had written to ask for Beckett's ideas about the play. Beckett's response went on air, read by Roger Blin, the first Pozzo and a critical agent in galvanising the original production:
I have no ideas about theatre. I know nothing about it. I do not go to it. That is allowable.
What is less so, no doubt, is first of all, in these conditions, writing a play, and then, having done so, having no ideas about it either.
This is unfortunately my case.
It is not given to everyone to be able to move from the world that opens under the page to that of profit and loss, then back again, unperturbed, as if between the daily grind and the pub on the corner.
I know no more about this play than anyone who manages to read it attentively.
I do not know in what spirit I wrote it.
I know no more of the characters than what they say, what they do and what happens to them. Of their appearance, I must have indicated the little I have been able to make out. The bowler hats for example.
I do not know who Godot is. I do not even know if he exists. And I do not know if they believe he does, these two who are waiting for him.
The two others who pass through towards the end of each of the two acts, that must be so as to break the monotony.
All that I have been able to understand I have shown. It is not much. But it is enough, and more than enough for me. I shall even say that I could have made do with less.
As for wanting to find in all this a wider and loftier meaning to take away after the show, along with the programme and the choc-ice, I am unable to see the point of it. But it must be possible.
There is something odious about those choc-ices, 'les Esquimaux' – a snobbishness worse even than the fondled myth of the dark artist, with his inspired, unthinking Orphic utterances.
Among the initiated, he is less diffident. With Niall Montgomery, a Dublin-based architect, he is more expansive: inspecting Montgomery's report on his work for New World Writing, he ushers him towards the keynote of Murphy: 'The heart of the matter, if it has one, is perhaps rather in the Naught more real than nothing and the ubi nihil vales, already in Murphy – I imagine so.' And yet on 14 December 1953, a fortnight later, he reports back to MacGreevy on this same essay with which (to Momtgomery) he had declared himself generally 'impressed': 'I did not expect anything very penetrating from Niall. What impressed and touched me was the trouble he seemed to have taken and the evidence of at least having read the books, no easy or pleasant matter as you know.' The earlier 'impressed' is meanly qualified. Duplicity is often a necessity of politeness, but there is something unappealing here about Beckett's condescension.
Beckett pursued critical success, and he was sensitive to criticism, especially before he had acquired a lacquer of reverence. He was by no means indifferent to the literary establishment in these years. He certainly knew how to work a press-force. After the publication of Molloy he writes personally to reviewers Maurice Nadeau, Max-Pol Fouchet and the influential Jean Blanzat, even though he claimed privately to dislike his article. On the publication of En Attendant Godot he rewards both his loyalists and certain celebrities with signed copies. In England, he goes to watch the Lord's test match with Harold Hobson. And he submits to chin-wagging with Kenneth Tynan.
Though he is principled when protecting his own work and image, he is not inflexible: when Godot comes to England he navigates several of the Lord Chamberlain's censorship concerns. He sends several 'stinkers' to editors, notably Simone de Beauvoir and later Alexander Trocchi, the editor of Merlin, when his authorship is abused. He intervenes to spartanise the French set for Godot. He insists to Blin that Estragon's trousers fall all the way down. He is also dubious about Peter Hall, director of the first English production, and the tenor of his production. Alan Schneider, the original American director, recalls Beckett's audible whisper during the production of Hall's they saw together – 'It's ahl wrang'. Beckett later writes of his relief that Hall is unavailable to take the show to America: 'I am rather glad, having seen photos of Criterion set-up and heard echoes of their Anglican fervour especially during Act II.' Among the copious (mostly voice) notes given to Hall, subsequently copied to Schneider, are several related recommendations: '34 In the loft. Simply. No pointing to heaven.' And similarly: '59 Christ have mercy on us. Almost unintelligible ejaculation.' There is a history here.
VLADIMIR: [Softly.] Has he a beard, Mr Godot?
BOY: Yes, sir.
VLADIMIR: Fair or…[He hesitates]…or black?
BOY: I think it's white, sir.
VLADIMIR: Christ have mercy on us!
Harold Hobson pronounced: '"Christ have mercy upon us," [sic] is the most solemn thing heard in our comic theatre for many years.' But he had heard it wrong. Cyril Lucas had previously written to Beckett claiming he had checked the French for the sequence from the very end of the play. The final line, Lucas complained, was 'the less committal, unparticularised and entirely comprehensible "Miséricorde" '. Beckett agreed that the English inflection was part of a larger 'redemptive perversion'. So much for Peter Hall.
But when he wrote to Barney Rosset on 15 March 1956, all was roses once more: 'I quite like the idea of the London director for New York. I talked with him in London and gave him notes and I think he is now in a position to do a rather better production.' Were there sterner words behind this encouraging, schoolmasterly glaze?
To Beckett's famous reserve, finally. While he must have been initially unpopular in the Edition de Minuit's publicity department, he ultimately served himself and his publishers better by conducting public relations on his own terms. He successfully coerced his long-time partner and, later, wife Suzanne Dechevaux-Dumesnil into secretarial duties, at least for a time. A letter written by Suzanne arrives with Jérôme Lindon, his publisher, pointing inaccuracies in Blanzat's review of Molloy: 'There are a few gross errors of interpretation. It is hard to imagine that he should have confused Moran's victim with poor old Molloy.' Three days earlier, on 16 April 1951, Beckett himself wrote to Mania Péron on the same subject: 'It took some serious inattentiveness to confuse Moran's victim with poor old Molloy.' In French 'le père Molloy', the same phrase in both letters. Indeed, Beckett's back-seat-authorship lends the letters a third-person stiffness, like a reply to a formal invitation: 'Beckett's attitude to literary prizes is difficult to define. What he dreads, above all, in the very unlikely event of his receiving a prize, is the publicity which would then be directed, not only at his name and work, but at the man himself.' Or here, again to Lindon (supply offstage row): 'Beckett will not hear of being interviewed whether orally or in writing. I fear that on this he is not to be budged.'
Every so often, Beckett skulks a little conspicuously.
The Hemingway myth is essentially more plausible because it is partly cautionary. Its hero is powerful but flawed – more of a demi-god. Hemingway, like Achilles, is an avatar of virility: pugnacious, ebullient, instinctive, garrulous, outward-bound, and easy, breezy, boozy in an anodyne, functional 1920s all-American fashion. But the heroic stock from which his legend is cast has historic flaws: hostility, indifference, recklessness, jockishness, mendacity and alcoholism. Because of this, his letters, unguarded and exposing as they are, seem less revelatory than those of Beckett.
Hemingway grew up in Oak Park, Illinois, a rarified retreat outside Chicago, nicknamed 'Saint's Rest' by Frank Lloyd Wright because it had more churches than taverns. Apart from the occasional brawl, the major outlet for his youthful aggression was as a boxer. The letters are scattered with the names of boxers, fights, predictions, bets and losses. By the end of the volume he is fighting Ezra Pound, whose efforts he affectionately disparages in a letter to the American novelist Sherwood Anderson (9 March 1922):
'He habitually leads wit his chin and has the general grace of the crayfish or crawfish. He's willing but short winded. Going over there this afternoon for another session but there aint much joy in it as I have to shadow box between rounds to get up a sweat. Pound sweats well, though, I'll say that for him.'
Ten days later Pound 'has developed a terrific wallop', though Hemingway is quick to reassure: 'I can usually cross myself though before he lands them and when he gets too tough I dump him on the floor.' Mentally, Hemingway is hardly ever out of the ring. He is only half-joking when he applauds Pound in the letter to Anderson: 'it's pretty sporting of him to risk his dignity and critical reputation at something that he don't know nothing about.'
Hemingway is notoriously, ruinously, competitive, as Anderson would find out in 1926 when The Torrents of Spring is published, a parody of his Dark Laughter. Eventually, in May 1926, he joshed Anderson in the most natural Hemingway terms: '…if we have to pull our punches and if when somebody starts to slop they just go on slopping from them on with nothing but encouragement from their contemporaries – why we'll never produce anything but Great American Writers.'
Hemingway liked to think of himself as Scott Fitzgerald's personal trainer also. Think of the opening pages of The Sun Also Rises, the audibly nervous, reflexive voice of its narrator Jake Barnes, so unlike the rest of Hemingway, but so like the beginning of The Great Gatsby. He joked to Fitzgerald that the eighth impression would read:
A greater Gatsby
(Written with the friendship of F Scott Fitzgerald, Prophet of THE JAZZ AGE)
With writing, as with boxing, he hated to lose and loved to crow.
Central to this volume are Hemingway's wartime letters, written around the time of his service as an ambulance driver on the Austro-Italian front in World War One, experiences that would later nourish A Farewell To Arms. His letters home exude the same invincibility as his protagonist, Frederic Henry: 'Well, I knew I would not be killed. Not in this war. It did not have anything to do with me. It seemed no more dangerous to me myself than war in the movies.'
What Hemingway gives us is a voice talking itself into immortality, or at least bragging its way out of anxiety. He assumes a similar swagger, a similar perspective, in his letter home (18 October 1918): 'All the heroes are dead. And the real heroes are the parents. I've looked at death, and really I know. If I should have died it would have been very easy for me. Quite the easiest thing I ever did.' The axiomatic sincerity of this passage is quite unlike anything else Hemingway sent home from the war. It sounds eerily like someone else's voice, a standard-issue army peroration. Frederic Henry is, in this sense, a brilliant resuscitation of that bravado: an attitude that props itself up, mitigates some deeper nervousness.
When Hemingway feeds his style with a high voltage episode – the rape of 'Up in Michigan' for instance, or the violent vignettes from In Our Time – the result is usually mesmerising, because his flatness naturally amplifies any violence. In the celebrated war-wound sequence of A Farewell To Arms, for instance:
I sat up straight and as I did so something inside my head moved like the weights on a doll's eyes and it hit me inside in back of my eyeballs. My legs felt warm and wet my shoes wet and warm inside. I knew I was hit and leaned over and put my hand on my knee. My knee wasn't there. My hand went in and my knee was down on my shin.
Here, it is the triple repetition of 'inside', and the further jar of 'inside in'; the missing punctuation and the disguised chiasmus, the mimetically liquid syntax of 'My legs felt warm and wet [comma omitted] my shoes wet and warm inside' – plus the matter-of-fact missing knee. The word 'knee' is there three times – which makes its absence the more shocking. The sequence feels at once lived and out-of-body.
The reality of Hemingway's wound is a little more obscure. Frederic Henry is lionised partly because he is young, likeable and American – 'il giovane Americano' – and feels at first undeserving. Ted Brumback, Hemingway's superior, informed the family of their son's wound, and the silver medal for valour he was shortly to receive, on 14 July 1918:
There was an Italian between Ernest and the shell. He was instantly killed while another, standing a few feet away had his legs blown off. A third Italian was badly wounded and this one Ernest, after he had regained consciousness, picked up on his back and carried to the first aid dug-out. He says he does not remember how he got there nor that he had carried a man until the next day when an Italian officer told him about it…
This is also the story of A Farewell To Arms, with one salient difference: Henry does not carry anyone, but is helped to the first aid dug-out by two Italians, where, despite his reluctance, he gets preferential treatment. Several versions also exist as to the quality and quantity of wounds. Happily, Hemingway's fiction is more credible than its source.
The voice in the letters is that of a pal, full of in-jokes and hokey little circumlocutions. Here, to Dale Wilson, a fellow staff member on the Kansas City Star:
Dear Wilse –;
Ha! Ha! Ha! Ha! Ha! Ha! Tis none other than the greatest of the Hemingsteins that indicts this epistle. Woodrow me lad, comma how are you. Much obliged for your sending ye old Liberty Bond. In the words of Smith ye beamer it was most good of you. And the great Hicks. He of the tortoise shelled disposition and the sad lack of anal covering. What of him?
And so on. A young journalist, hooting at his typewriter, wallowing in copiousness, flexing his verbal muscles. Occasionally it's irritating, but largely it's winning: he does not write with the spectacles of posterity, or if he does it is a prescription he will soon outgrow.
There is evidence of delightful nastiness, the fallout of that exuberance. He stops boarding with Y K Smith (and in doing so hobbles precious relationships with Smith's siblings, Bill and Kate) because he disapproves of his wife Doodles's infidelity. When he leaves, he takes time to rescind Smith's invitation to his and Hadley Richardson's approaching wedding. He ends his letter (1 October 1921):
'So mote it be
So mote it be
Go hang yourself on a Christmas tree'
Many of the letters enthuse about the outdoor life, or reminisce about Hemingway's North Country nostos around Lake Michigan. He records many of his catches in letters home to his father: '…caught a mess of the big perch that come in from Lake Mich. None under 1/4lb and up to 1lb. Bill S. and I caught 75 and sold 25 for 50¢ and split the rest to our families.' But sadly, there is not much description beyond adjectives like 'large' and 'brutal'. Nothing as compelling as the Edenic fishing scene in The Sun Also Rises: 'He was a good trout, and I banged his head against the timber so that he quivered out straight.'
Hemingway's youthful sense of humour is slightly more crass and anecdotal than it will appear in his writing. For instance, Frederic Henry reflects on the essentials of retreat: 'The thing to do was to be calm and not get shot or captured.' At fifteen, he is cultivating a nose for pretension (compare Elvis Presley): 'This is how they say one for the money two for the show in Boston. "One for the currency, two for the Exhibition, three for the preparation and four for the execution".'
Such urbanities are rare in an otherwise blokey fug. More typical:
Brummy and Dick were wading down the stream and Brummy was tired and wet and about two miles below camp. Brum's beard was blond and curly and Dick sez, 'Gosh Baugh you do look like Jesus Christ!'
'Well,' the Baugh comes back at him, 'If I was I wouldn't wade. I'd get right up on the water and walk back to camp!'
That wasn't such a bad one Nespah?
You can almost hear the howls in the country club.
Great raconteurs are given latitude to exaggerate, so it should cause little surprise that Hemingway is also a born liar. But his lies are almost always interesting lies: to his sister Marcelline he claims he is involved with Mae Marsh, a silent-film actress who, when asked if she had ever met Hemingway, replied, 'No, but I wish I had'; then, at eighteen, he tells his parents he is engaged to her, only to telegraph them 'JUST JOKING'; he lies about his age to John Bone of the Toronto Daily Star; and, perhaps most fabulously, he claims to have boxed Henry Cuddy ('a middleweight from Salt Lake City') on a boat off the coast of Spain when Cuddy was still nursing his wounds from a fight the day before in Utah.
And all this with a famous thirst: 'Liquor is all that has carried the enditer through the last month. By Gawd Liquor is a fine thing. Let there never be any throwing off on it.'
Although Beckett wrote several great plays, everyone, including Beckett himself, agrees that his prose is ultimately punitive, however interesting its premises might be. The tedious stone-sucking routine in Molloy, for instance, in which Molloy attempts to suck sixteen stones one after another (but each one not more than once) using a system of four pockets, is, as Molloy concedes, purgatorial. In the hands of a genius like Peter Cook it might come off; but then Peter Cook had his own material. The greatness of Beckett's plays pays off the often forgotten mortgage on his prose. The short stories – 'The Expelled' and 'The End' in particular – benefit from greater shapeliness, but mostly from brevity.
At the centre of this volume is an exchange – 'staggering', according to the editors – which brings us as close as we will probably ever get to explaining the prose. Several admissions on Beckett's part – 'This evening, having drunk no more than three double whiskeys with my old golf teacher…' – make it clear that they are quite literally staggering. That does not mean they are gibberish. Rather, they offer long-winded pretension:
This evening, among the dripping bracken, in this light from the setting sun, illuminating the storm from below, I had the feeling that we need a motive to blow up all this dismal mixture. It is surely to be sought where everything must be sought now, in the eternally larval, no, something else, in the courage of the imperfection of non-being too, in which we are intermittently assailed by the temptation still to be, a little, and the glory of having been a little, beneath an unforgettable sky. Yes, to be sought in the impossibility of ever being wrong enough, ever being ridiculous and defenceless enough. You speak of all those closed, achieved worlds that give off a grinding of solitudes, prides. And at the same time of a possible totality of being.
Still there? In toiling drafts like these Beckett and Duthuit lurch towards an aesthetic of renunciation. In discussing Bram van Velde's work, Beckett concedes '…I shall tend irresistibly to pull Bram's case over towards my own'. He admires Bram's painting because it 'is the first to repudiate relation in all forms'. He applauds the triumph of its non-figurative essence. He disdains the 'definition of the artist as he who–is–always–in–front–of'. And we hear distinctly Beckett's own agenda, as well as its impossibility. The letters simply confirm what any reader apprehends if they have read Beckett's trilogy: translated into the novel, such an agenda means no real plot, only vague arcs, no firm characterisation, and obscure, dilatory attempts at perspective. Essentially, no firm lines, only emphatic instabilities. Beckett's prose is a struggle to elude form.
All of this can be made to work. Beckett had read some Kafka: 'All I've read of his apart from a few short texts, is about three-quarters of The Castle…I felt at home, too much so – perhaps that is what stopped me from reading on…' The world of Beckett's novels, however, is fatally distinct from Kafka's. The Castle, avant-garde though it may be, is partly powered on old-fashioned reader-friendly principles: we know, for instance, all K's desires, all his aspirations, even as, chapter by chapter, they change. And, crucially, although K lives in a world where authority appears to intervene randomly, inscrutably, formlessly, K is constantly scrutinising and schematising the conditions in which and the reasons for which he suffers. And so, although nothing really 'happens' in The Castle, that deadlock is the product of a recognisable and compelling struggle. We care about K. Beckett's creatures are not only incapable of rationalising clearly, they give up rationalising too easily, and crumble into incoherence. Or, worse, they are press-ganged by their author into saying droll philosophical things. Here is poor Molloy: 'What I liked in anthropology was its inexhaustible faculty of negation, its relentless definition of man, as though he were no better than God, in terms of what he is not.'
Beckett's agenda no doubt licenses such inconsistency; but to any reader it is clear which voice is Beckett's and which is that of his creature. We do not care about the struggle of Molloy or Moran or Malone or the narrator of The Unnamable partly because they do not always care, but mainly because we do not feel it is their struggle, but Beckett's.
The result is that the straining philosopher's project is always visible, and the countryside of the novel looks more and more like a landscape of Beckett's mind. And if his landscapes, so ersatz, so perfunctory, resemble the topography of medieval dream poetry, or some thought-experiment, more closely than they do anything lifelike, can it be any surprise that they fielded symbolic enquiries? They may not be symbolic, but they emphatically court symbolism.
The other problem with denying the novel its traditional pleasures, insisting on discomfort, disjunction, is that all its effects are inevitably local: there is no place for longer-term satisfactions. Molloy does have, in Moran's degeneration, some parallels between its two sections, but these are no more than faint trajectories. Malone Dies and The Unnamable follow one long dilapidating line. Beckett's novelistic palette is therefore reduced to cliché-molestation and rhetorical tricks. In terms of rhetorical ornament, he cannot use certain schemes, because they might appear too formal; that leaves him mainly reliant on tropes. But the first prescription of rhetorical figures is: use sparingly, and vary. Aporia, true or feigned doubt, features heavily; hyperbaton, the disturbance of regular word order, is another favorite. His absolute weakness, however, especially with these low-lifes, is for poicilogia, overly ornate speech, especially when yoking lofty and base: 'And I am perhaps confusing several different occasions, and different times, deep down, and deep down is my dwelling, oh not deepest down, somewhere between the mud and the scum.'
The rhetoricians formalised their art for a good reason; and although no writer should write to satisfy that art, it does describe why Beckett's prose can be so enervating.
Hemingway found Cicero easy: 'Cicero is a pipe,' he wrote to his parents. His style, on the other hand, keeps well away from the hypotactic sentences for which Cicero was so famous. He thinks Ulysses 'a damn wonderful book', and it is tempting to suppose 'Penelope' influenced the Hemingway sentence. Stylistically his letters are, by and large, very unlike his novels and short stories. Yet there are some signs of the famous gait. His earliest letters sound strangely inimitable:
Dear Papa
today Mama and the rest of us took a walk.
We walked to the school house.
Marcelline ran on ahead.
Wile we stopt at Clouse's.
In a little wile she came back.
She said that in the Wood Shed of the Scool house there was a porcupine.
So we went up there and looked in the door, the porcupine was aslleep.
I went in and gave It a wack with the axx.
Then I cave It anthor and another.
Then I crald in the wood.
Wrane to Mr Clous and he got his gun and Shot It.
This reminds us of the labours Hemingway made to return to that supple, innocent-sounding simplicity. He has not quite returned by 1919, as he remembers Taormina, Italy: '…strolling through that great old place and the moon path on the sea and Aetna fuming away and black shadows and the moonlight cutting down the stairway…'
If Beckett is a genius he is, in the words of Christopher Ricks, a 'high narrow genius'. Narrowness is all, with Beckett. Especially in these years. He guards himself, his work and, ultimately, his estate. As a correspondent, he is humane and monotonous. In his prose, he is drawn towards a project that ineluctably narrows his talents, and the effects he can produce. And he is, unfortunately for Beckett, a novelist who always works in front of you:
But my fingers too write in other latitudes and the air that breathes through my pages and turns them without my knowing, when I doze off, so that the subject falls far from the verb and the object lands somewhere in the void, is not the air of this second-last abode, and a mercy it is.
This from Malone Dies. Why is it hard to read at first? Because the subject – 'the air' – governs two verbs, the second of which – 'is' – is suspended beyond a sub-clause including the words 'the subject falls far from the verb'. A mimetic success, but one that betrays a mind, cloistered at his desk, working mainly from the page, enjoying and indulging himself, as his agenda permits. This is the Beckett of the trilogy.
Worldly Hemingway comes richly from life. When Frederic Henry takes Catherine Barkley to a hotel room for sex in, Hemingway finds the exact, telling details:
I went to the window and looked out, then pulled a cord that shut the thick plush curtains. Catherine was sitting on the bed, looking at the cut glass chandelier. She had taken her hat off and her hair shone under the light. She saw herself in one of the mirrors and put her hands to her hair. I saw her in three other mirrors. She did not look happy. She let her cape fall on the bed.
Catherine complains she feels like a whore, but Hemingway has already given us all we need: the shutting of the curtains, the mirrors, the atmosphere of gaudy opulence, the cape falling carelessly. And the look at the chandelier. It has to be the chandelier. Out of the window is too wistful, removed; at the floor is too sulky, ostentatious. The chandelier, though: the attempt to disguise unease in the company of someone you love with an inspecting, upwards look. So few brushstrokes and so much achieved. Each sentence a diacritic for something supra-literal. Each detail contagious.


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Former Treasury secretary Martin Parkinson has heavily criticised the Abbott government's renewable energy target and Direct Action policies, saying they will be a far costlier way to reduce greenhouse gas emissions than an emissions trading scheme.
But he has admitted he and other economists failed to sell the ETS properly to the Australian public during the Rudd and Gillard years, and said he hopes Labor, if it gets back into power, builds on the Abbott government's Direct Action policies rather than starting again with its own.
Dr Parkinson told a conference at the Australian National University that it is "unarguable" that the cost of emissions reduction under the Abbott government's RET and Direct Action schemes is more expensive than under emissions trading.
"The cost of emissions reduction that the RET has delivered is significantly in excess of what any emissions trading scheme would [be] — carbon pollution reduction scheme, or other," Dr Parkinson said.
But he said the economics profession had failed to explain to voters why an emissions reduction scheme would provide the cheapest, most efficient mechanism to cut emissions, and how it would work.
He also admitted that he never gave enough weight to the fact, when designing the trading scheme, that voters wanted to feel they were making a contribution to emissions reductions, and emissions trading systems do not provide them with that feeling because they are too abstract.
"We got so hung up on the [idea that] we've got this really big problem that we have to deal with, and we've got to do it at least cost to the economy, so we delivered a least-cost way of doing it," he said.
"It is unarguable that the RET is more expensive, and Direct Action is more expensive, than emissions trading ... but we never had a mechanism in there which says that this is how the punters feel that they can contribute."
The Senate passed legislation last week to cut Australia's renewable energy target from 41,000 gigawatt hours of annual renewable energy production by 2020, to 33,000 gigawatt hours.
The Coalition and Labor reached agreement on the issue last month, ending more than 12 months of political deadlock.
Both major parties say the deal will provide certainty for the renewable energy sector, although critics say it will cut investment in renewable energy by about $5 billion.
Economist Warwick McKibbin, from the Australian National University, said the biggest problem with Direct Action is that you cannot use it to build momentum and "scale up" emissions reductions because it is funded via the budget.
He said the same problem plagued Labor's carbon tax.
"The more [emissions] you have to cut, the more [money] you have to pay, and that was a big problem with Labor's policy, which had more compensation than the tax was going to generate; it creates fiscal uncertainty," he said.
"To get Direct Action to scale up, you're going to have to have penalties in the system, [and] very clear property rights over a very long period ... [and] you're going to have to have it completely off the fiscal accounts, which means it has to be like a carbon trading system.
"Now, you can do that with Direct Action, but it requires you to push it in certain directions where it's currently not feasible politically," he said.
Dr Parkinson was head of the Climate Change Department during the Rudd government years and became treasury secretary in early 2011.


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What to do with leftover soap pieces (a few pieces)
Use 3 or 4 scoops for large load.
Depending on family size, the washing soda and borax should make quite a few batches, saving you a lot of money.
Source: I learned from instructions in the ebook, The Handcrafter's Companion at http://squidoo.com/thehandcrafterscompanion.
Also bought a book on essential oils and used tips from other soap makers. A true crafter is always willing to share their recipes and I am happy to do so.
By Debra from Oxford, Michigan
Add your voice! Click below to comment. ThriftyFun is powered by your wisdom!


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26. Mai 2020
Find the right answer and get 20 Diamonds for free!
A wealthy bridge player has just joined the-Funbridge community. He made a fortune out of clover chairs but that's another story. He has everything to be happy about except one thing: he can't stand loneliness. That's why he decided to give 20 Diamonds to any player who will PM him on Funbridge by 2 June! But this mysterious benefactor likes to play, so he published a riddle on our Pinterest…Fortsetzung lesen


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GERD (gastroesophageal reflux disease) has been directly linked to even small gains in body weight, without the person having to be overweight, say researchers in a report published in the New England Journal of Medicine, June 1 issue.
One of the symptoms of GERD is heartburn.
Dr. B Jacobson, study author, from Boston University School of Medicine, USA, said that his study shows that any excess weight may have a negative effect on health, even small amounts which would not class the person as overweight. In other words, a person of normal weight who gains a bit of weight - and is still considered to be of normal weight - can become more prone to GERD.
GERD is the failure of the valve between the stomach and the esophagus to close properly. Stomach acids work their way up into the esophagus, which erodes. GERD can lead to cancer of the esophagus.
We have known for a while that obese/overweight people are prone to GERD. The association between GERD and BMI (body-mass index) was unclear. This study clearly showed a link.
10,545 women completed a questionnaire which asked them how often, how severely, and how long they suffered from GERD symptoms. They were categorized according to BMI, which was then referenced over to GERD data.
22% had GERD symptoms once a week or more. Of the women who had had GERD symptoms at some time, 55% described them as moderate.
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Women with a BMI of 22.5-24.9 had a 38% higher chance of having GERD symptoms in comparison with the 20-22.4 BMI group.
Women with a BMI higher than 25 are classed as overweight.
The researchers found the increase in GERD risk correlated pretty much in parallel to the increase in the womens' BMI - the trend was linear.
The scientists stressed that they would not advise a person whose weight is ideal to lose weight if he/she is suffering from GERD symptoms.
However, if a person of ideal weight puts on a few pounds and notices his/her GERD symptoms become more severe, losing a few pounds may help alleviate the symptoms. They added that aiming for your ideal weight brings with it a host of other health benefits, including a lower risk of heart disease, cancer and diabetes, as well as reducing GERD symptoms.
GERD is more likely to get people to do something about it than worrying about the risk of diabetes or cancer is. This is because heartburn is an annoying problem that will make you think carefully about your weight. It hits you there and then - put an a few pounds and the annoyance immediately grows, lose a few and the bother immediately goes away.
Written by: Christian Nordqvist
Editor: Medical News Today.


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The common functions of a real estate agent is to assure the sale of a real estate on behalf of the seller.The real estate agent's major in matching up the buyers and the possible sellers who would wish to sell or buy estates.The Gilbert Real Estate Agents, in this case, consist of people who have the entity and obligation of marketing the real estate on behalf of the clients.At Gilbert real estate, the people who are trained there have the work to sell and make the property known to the possible buyers. Ensure that you consider certain factors before you settle on the Gilbert real estate agents to get the best kind of service.
For instance, the real agent has professionals who are ready to relate to the customers. The client's needs are taken care of by ensuring there is openness.The real estate, on the other hand, is made known to the clients.
The real estate agents ensure that the features that are enlisted on the real estate are what is actually on the estate. They major in ensuring that the clients have the best and that there is trust that is built between the clients and the real agents. There is creation of a strong customer and agent relationship built among them.
The Gilbert agents make sure that they offer the best kind of service to the clients and they get the best skills.The real estate agents have acquired the best type of training and skills that are instilled to them to ensure that they have the best skills. The type of the training that is offered to the clients does not only major in quality but also in transparency. The end of the services that are given are also based on the business stands.The necessary documentation is included in the transactions that are carried between the seller and the buyer. The transactions between the buyer and the sellers are trustworthy.
Gilbert real agents are experienced to offer the best kind of service. The type of experience the clients have are many. The agents deals with the provision of the services that are related to the real estates .The real estate agents have worked for a long period of time. The agents ensure that the risks and challenges that would revolve around any situation are cleared to the clients. the real estate handles the safety of the clients.
the real agents at Gilbert are given the mandate to deal with the estates from the state.The government ensures that the agents have been authorized. Any issue that would come could be handled in a simple and efficient way. Enough security measures ensure the adequate safety measures between the purchasers and the clients
The best quality real agent services are included in the cases when one thinks of purchasing a house.
Lessons Learned from Years with Resources


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This year we feature several special events:
Opening Event at the Bliss Mansion and at the Governor's Mansion (details pending) – Rocky Tatarelli band at the Bliss Mansion, followed by Cherie Shipley with the Take This band at the Governor's Mansion, Fri. 8/9/2019
We welcome the return of Urban Renewal Project to the Capitol Amphitheater – Sun. 8/11/2019
Scot Marshall presents a presentation, performance, and lecture, All About The Bass, at the Nevada State Museum – Thur. 8/15/2019
A Day at the Ranch – Three bands and more at Silver Saddle Ranch – Sun. 8/18/2019
Reno Jazz Orchestra, Sun. 8/25/2019


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Communication and language
Language permeates children's actions – everywhere and at all times. Children sing, make up rhymes, ask questions, negotiate rules and listen enthralled as they enjoy bedtime stories. Language is the key that enables children to discover the world and is the motive force of childhood development..
Language competence is one of the key skills to personality development and one of the most important prerequisites for success at school and work. It is likewise equally important for social integration. Language is a tool that underpins all learning processes in life..
Language helps children realise their needs, feelings and thoughts. It enables them to discover and make sense of their immediate environment and understand what other people think and feel. Language helps children collect and sort information, it enables them to orientate themselves within their immediate environment and become part of that environment..
The acquisition of language competencies enables children to understand the world, play an active role in society and shape society.
For a complete version of PDF , a single range or multiple ranges:


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The basics of the ACTION VERB brush stroke: Do not use linking verbs, but action verbs instead.
Linking Verbs:
am, is, are, was, were, be, being, been, have, has, had, seems, appears, etc.
Sample: The child was enraptured with Christmas.
-The problem is that the author TOLD me about the kid, but didn't SHOW me the truth of the matter.
Instead, the author should write something like this:
**The boy gleefully ran to hug his Grandmother when she walked in the door for Christmas dinner.
The following excerpt is from Treasure Island, but some of the words have been changed into linking verbs for the purpose of this exercise. Your job is to rework this paragraph using ACTION VERBS instead of the words in bold.
I remember him as if it were yesterday. He was tall, strong, heavy, nut-brown man. What was noticeable was his jet black pigtail and his soiled blue coat. He had a handspike. His hands were rugged and scarred with black broken nails, and there was a cut across one cheek of a dirty, livid white.
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Come to our office
Italian Cultural Institute
43A Beach Road, Level 2
Evershine & Century Complex
Singapore 189682
tel: +65.63363705
fax: +65.63365305
Email: firstname.lastname@example.com
Office Hours
Monday – Thursday: 9 am – 5 pm
Friday: 9 am - 3 pm
Registration Period
Registration for all levels opens one month before the session starts.
Italian Language trimester course $420
Early bird rate at S$390 is applied from the registration opening date until a specified dateline.
Membership fee (non refundable) for all new students is $10 per annum.
Textbooks: S$60.00 (Affresco Italiano) / S$75 (Nuovo Contatto)
Affresco Italiano
Nuovo Contatto
Fill in your registration form ONLINE at: http://www.iic.org.sg/db/users/log/p_login.php then print it and send it together with crossed cheque (s) payable to "Italian Cultural Institute" and issued separately for course fee, textbooks fee and membership fee to the following address:
Italian Cultural Institute
43A Beach Road, Level 2,
Evershine & Century Complex, Singapore 189682.
Payment can be made also via internet bank transfer upon request sent by email to:
Fees paid are not refundable or transferable, except for the case in which the course does not start due to the lack of the minimum number required of enrolled students.


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Steam Gets Mobile Apps For iOS & Android
Valve's ever-popular content delivery platform Steam has taken its first steps into the mobile world with the launch of two apps for iOS and Android users. Despite both being available for anyone to download on the App Store and Android Market, Valve have so far only allowed a small number of users use the service.
Currently in beta, both apps provide quick access to friend statuses, chat and the store front where games can be purchased using saved credentials. In addition to this there is a "Friend Activity" area that logs purchases, achievements and other events and news sections for updates from blogs and Valve themselves.
As it stands these news sections are pretty bare, but the game catalogue is complete and fully functional, allowing for the purchase of full titles from your Android or iOS device. Valve's president and co-founder, Gabe Newell, said:
"Seeing which of your friends are online and playing a game, sending quick messages, looking at screenshots for an upcoming game, or catching a sale — these are all features customers have requested. Mobile is changing way people interact, play games and consume media, and the Steam app is part of our commitment to meet customer demands and expand the service functionality of Steam."
Don't worry if you're not in the beta just yet, simply by downloading one of the apps and logging in (as well as providing the Steam Guard code sent to your email address) Valve will add you to the list of users awaiting beta entry.
If you've been lucky enough to get beta access already then let us know what you think!
Download: Steam for iOS @ App Store
Download: Steam for Android @ Android Market
Source: Steam


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