text: After opening this autumn in Sheung Wan, London import Soho House – a members' club for the creative community – has quickly become the go-to place to hang out, thanks to its glamorous vintage-inspired interiors and versatile social spaces. The 28-storey building has a screening room, bar, brasserie, gym, local artwork collection and co-working space – not to mention a rotating roster of insightful talks, workshops, live music and events nearly every day of the week. If you're in Hong Kong this holiday season, phone a friend to get on the guest list for the Casino Royale-themed New Year extravaganza.


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This report describes the identification and purification of a novel mismatch repair stimulatory factor from HeLa cell extracts. This activity copurifies with a proliferating cell nuclear antigen-dependent 5′ → 3′DNAexcision activity during several purification steps but is resolved from the excision activity during gel filtration chromatography using Sephacryl S-300. After purification to near homogeneity, the stimulatory factor is associated with three polypeptides with apparent molecular masses of 68, 36, and 30 kDa. Peptide sequencing analysis by tandem mass spectrometry identified the stimulatory factor as the heterotrimeric regulatory factor X (RFX) complex, which regulates transcription of the class II major histocompatibility complex by facilitating histone acetylation and is defective in the human hereditary immunodeficiency syndrome called bare lymphocyte syndrome. This conclusion was confirmed by the facts that purified recombinant RFX stimulates mismatch repair in an in vitro reconstituted mismatch repair system and that depletion of RFX from nuclear extracts or RFX knockdown in cells reduces mismatch repair activity. As expected, RFX knockdown cells display instability in microsatellite sequences. The possible role of RFX in human MMR repair is discussed.
|Original language
|English (US)
|Pages (from-to)
|Number of pages
|Journal of Biological Chemistry
|Issue number
|Published - May 9 2008
ASJC Scopus subject areas
- Biochemistry
- Molecular Biology
- Cell Biology


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Governor Branstad announced late this morning during a taping of IPTV's Iowa Press program that he'll sign the redistricting plan into law as soon as he gets an official copy of the bill from the legislature. Congressman Tom Latham, a Republican from Ames, announced about half an hour before Branstad's declaration that he, Latham, would be moving into the new third congressional district. Congressman Leonard Boswell, a Democrat from Des Moines, lives in the third, so that sets up a General Election show-down between the two incumbents in 2012.
Read Latham's statement about moving (he doesn't mention where, exactly, just that he'll be moving into the third district):
Dear Friend:
Thank you for your dedication, support and hard work on behalf of the great State of Iowa, the Republican Party and common-sense candidates at every level of government. It is heartening to see the positive changes that are taking place in Iowa and in Washington, thanks in large part to your efforts in the successful elections of 2010.
Spending binges, massive debt, deficits and failed government stimulus experiments have left our country in a dire situation that continues to require tough choices. Even after only a few short months, it is clear that the status quo of the past few years in Des Moines and Washington is over.
In the Iowa Capitol, the Governor's office and the United States Congress, the rush down the path of unsustainable spending, stifling economic mandates and overregulation has been reversed, putting us on a path back towards fiscal sanity. I know that Governor Branstad, Republicans in the Iowa Statehouse and Republicans in Congress are as committed as I am to changing the culture of the recent past. We are committed to addressing our nation's fiscal challenges by ending the spending binges to give Iowa and American families, farms and businesses the economic certainty they need and deserve to get our economy moving again.
There is no doubt that still too many Iowans wake up each day with their hearts and minds burdened with deep uncertainty as America works to recover from one of the most difficult economic periods in our lifetimes. We must all be committed to working for and finding real solutions that will help – not hinder – Iowa main streets, farms and families to bring long-term growth to our economy and job market.
I am energized and dedicated to working hard to find common-sense solutions to the many challenges we face in Iowa and America because I know that the next generation of Americans deserves nothing less than a total commitment from us. Our nation's future depends on the actions we take today. Kathy and I have all the hopes and prayers any parent and grandparent has for the safety and success of future generations. That's what keeps me motivated to work every single day I am on this earth to preserve, protect and expand the promise of the American Dream for every one of our country's children and grandchildren.
As you know, Governor Branstad has announced that he will sign the state legislature's approved redistricting map for the State of Iowa. This new map significantly alters the Congressional boundaries for the 2012 general election.
I have never let map boundaries block the great honor I have felt in representing the interests of all Iowans in the United States Congress. And, after thoughtful discussions with my family, friends and supporters over the past two weeks, I am writing to share with you my decision that I will be a candidate for Congress in Iowa's new Third Congressional District in 2012. (This district includes Adair, Adams, Cass, Dallas, Fremont, Guthrie, Madison, Mills, Montgomery, Page, Polk, Pottawattamie, Ringgold, Taylor, Union and Warren Counties.)
This election is over a year-and-a-half away and I assure you that the time for campaigns and politics is not now – it is in the distant future. More important than any campaign or election ahead is the work I and others will be doing in the coming weeks and months to ensure the economic, health and retirement security of all Americans. Our top priorities must be promoting policies that protect and grow jobs in Iowa, rein in government debt and spending, and protect the promise of the American Dream for current and future generations.
I look forward to talking with you in the near future to discuss this decision and personally ask for your support of this decision. In the meantime, please be assured that I will continue to do what I have always done during my service to Iowans in Congress – making sure that I actively listen to your voice, your opinions and your ideas. I have always held the belief that if more of our government's leaders in Washington, Iowa and at the local level actually listened to and worked with the people they represent, we would accomplish so much more as a whole.
Working together I know that our great state's and nation's best days lie ahead.
Tom Latham


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25 comments:
Thankyou for thinking of me. SS and I will have to put our thinking caps on to comply with the rules of this award.ReplyDelete
We LOVE your post, Fin!!! Some people (crazy ones of course) actually think us cats are color blind. Sheesh. Now, alot of men are color blind, go figure, but I see the world and all my friends in living color.ReplyDelete
Congratulations to your colorful friends! We can't wait to read about their colors too.
Katie & Glogirly
Such a great award (not just saying that cause it's covered in Katie either!)ReplyDelete
What a pawsome award! Congratulations!ReplyDelete
- AnonymousMarch 22, 2010 at 3:03 AM
We love your take on the colours Fin! Never thought of green in the desert but guess it's rare indeed. We got that award too but haven't had the chance to pass it on yet. . .ReplyDelete
Congrats on the nice award Fin, I think you described your colors purrfectly!ReplyDelete
Oh thank you for sharing your award with me Fin! I love all your answers too.ReplyDelete
Cool award...more original than the other ones currently circulating.ReplyDelete
Concatulations on winning that pawsome award!!! What fun!ReplyDelete
Wot a pawesome award. Well done.ReplyDelete
Congrats on that cool award, Fin! And we loved your colors!!ReplyDelete
Congratulations on your award!ReplyDelete
Congratulations on your award. That is really a great way to do it with the colors. You did super with the different colors. Loved how you put all those with something.ReplyDelete
What a great award! We think you look great in any colour, Fin!ReplyDelete
Great awardie, Fin! I felt all mushy when you included Momo and me. Chilli is overjoyed too! We have to ponder about this one a bit.ReplyDelete
Loving noselicks, LSIF & LSIHF
Congrats on the award....that is a neat award!ReplyDelete
Contratulations on your award! Well done!ReplyDelete
~Lisa Co9T
Congratulations on your award...Have a great week...xo...Calle, Halle, SukkiReplyDelete
What a great award! Congratulations!ReplyDelete
Concats on your great award.ReplyDelete
WANT TO BE IN THIS YEARS BLOGGER AWARDS Fin U did Really Good Last Year I will add it CONGRATS on the NEW Book Hope u Write Me Threw Email!ReplyDelete
What a fun award!!!!ReplyDelete
I love your answers!! Thanks so much for thinking about me. I'll have to work on this one!
Purrs Banshee
Yay, yay...I got PINK!!!ReplyDelete
Thank you, Fin. I'll pass it along.
Your friend
What a fun new toy, Fin. Thanks for giving us instructions on what to do.ReplyDelete
Congratulations to your colorful friends! We can't wait to read about their colors too.ReplyDelete
home jobs india


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The NBS attributed the gain mainly to an unusual increase in vegetable prices during that month as low temperatures and scarce rainfalls disrupted supplies.
In April, food prices, which account for nearly one-third of weighting in China's CPI, increased four per cent year on year, with the prices of vegetables rising 5.9 per cent, NBS data showed.
Thursday's data also showed China's producer price index (PPI), which measures wholesale inflation, fell 2.6 per cent year on year in April, marking the 14th straight month of decline and the steepest drop in six months that pointed to continued weak market demand.
China aims to hold this year's consumer inflation at around 3.5 per cent.
China's GDP is expected to expand by about eight per cent this year with CPI growing moderately at 3.4 per cent, according to a new report by the Chinese Academy of Social Sciences (CASS).


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The best way to get around the islands is to plan ahead
Whatever your favorite activity, from hiking and kayaking to biking from lunch to dinner, there's a map that shows you how to get there, stay safe and have fun. Here is a list of all the available maps of Lopez, Orcas and Friday Harbor/San Juan Island that might help you plan your trip:
Following our bicycling itineraries is easier if you have a map for the island you are visiting. These maps show the best routes, ways to stay safe, and other details for your trip.
Cyclist's Guide to Lopez Island Map
Cyclist's Guide to Orcas Island Map
Here you'll find a list of hiking maps from the SJC Land Bank, Preservation Trust, National Historical Parks, State Parks and more.


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Dirt in Water Update
The dirt originated from a well at a depth of approximately 500 feet, which is a zone that does not contain harmful contaminants. Be assured that our crews have been working diligently to flush the lines affected. We apologize for the inconvenience and appreciate your patience.


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The Northern Kentucky Children's Advocacy Center (NKCAC) wants to empower adults to protect children and has begun a campaign to reach out to all adults in Northern Kentucky with an educational program, Darkness to Light's Stewards of Children.
90 percent of child abuse incidents involve an adult known by the child and/or the child's family. You can help lower those numbers and protect these children. As adults, it is our responsibility to protect the children in our community from sexual abuse so that they can grow up to lead healthy, productive lives.
Developed by the national organization, Darkness to Light, the program is research-based, recognizing that it is the responsibility of adults to keep our children safe. Each adult will receive an Interactive Workbook with practical ways to prevent, recognize and react responsibly to child sexual abuse.
NKCAC offers this three-hour training at no cost to your company or organization, although we do suggest a small donation of $10 per participant to cover the cost of the workbooks.
For more information or to schedule a program for your group, please contact us, 859-442-3200.
For more information about Darkness to Light, click here.


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Biltwell Moto 2.0 Goggles - Bolts Black/White
Biltwell Moto 2.0 Goggles - Bolts Black/White
Sale Sold out
Regular price ₱3,500.00 PHP
Regular priceUnit price per
Sale price
Keep the wind and dust away from your eyes while looking retro cool with the Biltwell Moto 2.0 Goggles. Made with a lean and clean injection-molded frame with a wide peripheral arc for better visibility. Combine this with a flexible, impact resistant polycarbonate lens and you are protected from the elements. Adjustable woven strap with anti-slip silicone strips completes the over-all feature and function. Comes standard with a clear anti-fog lens. While tinted and mirrored lenses are available and sold separately.
Collapsible content
Metro Manila via Lalamove (cut-off 3pm)
Provincial via LBC (cut-off 12nn)
No shipping on Sundays and Holidays.


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Unemployment Makes Men in Ukraine, Belarus, Moldova Vulnerable to Human Trafficking
Ukraine - An IOM study on trafficking in men from Ukraine, Belarus and Moldova, shows that the risk of falling prey to traffickers does not depend on victim's education and place of residence.
Over half of the surveyed male victims of trafficking assisted by IOM in Ukraine, Moldova and Belarus* have vocational education and 24 percent have higher education. Some 71 percent of them come from urban areas, according to the study, which was commissioned by IOM and funded by the Ministry of Foreign Affairs of Norway.
From 2010 to 2015, the IOM Missions in Ukraine, Belarus and Moldova provided assistance to 3,330 men who were trafficked for labour exploitation. Some 2,417 male victims were identified in Ukraine, 774 in Belarus and 139 in Moldova. In both Ukraine and Belarus, there have been more male than female victims of trafficking identified by IOM since 2012.
"The number of men who are falling prey to traffickers in the region may be significantly higher than reported, as many do not ask for assistance," said Manfred Profazi, Chief of the IOM Mission in Ukraine. "The aim of the research was to better understand the situation with trafficking in men in Ukraine, Belarus and Moldova, in order to enhance their response to the issue."
The study shows that the main push factor for men from all three countries to take risky job offers is widespread closure of the factories where a significant part of local population traditionally worked.
Another push factor is the significant difference in wages offered in the local job market, compared to those in the Russian Federation – a major destination country for trafficking victims from Ukraine, Moldova and Belarus which accounts for 80 percent of trafficking cases examined in the study.
More than half of male victims of trafficking surveyed by IOM were exploited in the construction sector. One-fifth of the respondents worked in agriculture – at greenhouses and seasonal vegetable and fruit picking (Ukraine and Belarus), as well as shepherding (Moldova).
The majority of the respondents (78 percent) indicated that they were exploited only once, 14 percent twice and 8 percent three times. One out of five respondents confirmed their readiness to leave home again if promised employment, however in a different country.
The main source of information about job offers that later ended in exploitation were relatives, friends, and acquaintances of victims. "When men accept doubtful job offers from friends and acquaintances, they are less diligent about checking up on the employers and the terms and conditions," said Nataliia Gusak, Head of School of Social Work at the National University of Kyiv Mohyla Academy, the author of the study.
The results of the study confirm the need for large-scale prevention campaigns, targeting men as an at-risk group, and raising awareness of their rights, the implications of crossing a border, requirements for working in countries of destination, and safety measures that can be taken before departure to avoid falling into the human trafficking trap.
For more information please go to: http://www.iom.int/sites/default/files/press_release/file/IOM-Ukraine-Trafficking-in-Men-for-Labour-Exploitation.pdf
*In total 153 men victims of trafficking for labour exploitation, assisted by the IOM Missions in Ukraine, Belarus and Moldova from 2010 to 2015, were interviewed in 2016.
For further information please contact Varvara Zhluktenko at IOM Ukraine. Tel. +38 044 568 50 15, 067 447 97 92 Email: email@example.com


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The Hoʻomāhua initiative
Harnessing Smart, Regenerative, Community-Based Tourism to create thriving communities
OUR VISION to create a thriving community
13FEB23: Mayor Richard Bissen fully executes the Grant Agreement G5717 to establish the Hoʻomāhua Initiative - Maui Pilot Project!
28APR22: County Council Members Shane Sinenci, Kelly King, and Tamara Paltin set aside funds to launch a pilot project of the Smart Tourism system! In total $85k has been slated for FY23 in the budget but still must pass a vote. Funds projected - $10k East Maui, $25k South Maui, $50k West Maui. Project sites are being identified and consultations are underway!
21MAR22: After months of hard work to apply for County funds for a grant writer to apply for the EDA ARPA grant, we, unfortunately, lost too much time and must wait for the next round of funding. In the meantime, we will work to identify a pilot project that can help in proving the concept of Smart Tourism to better our community.
16NOV21: The Ohana Ekolu team met with Maui Mayor Victorino where he pledged his support for the Initiative! We will be working with his staff members and applying for a grant with the county to hire a grant writer so that we can apply for the EDA ARPA Indigenous Community grant! Partners In Development Foundation (PIDF) will come on board as the project fiscal sponsor.
05NOV21: The Maui County Council unanimously adopts CR21-97 supporting the implementation of The Hoʻomāhua Initiative
resolution passes FULL COUNCIL VOTE!
On Friday, November 5, 2021, The Maui County Council voted unanimously to pass CR21-97, the County Resolution in support of The Hoʻomāhua Initiative!
We would like to thank the guidance of Councilmembers Kelly King and Shane Sinenci in the process to make this happen. We would like to especially acknowledge past Councilmember Elle Cochran who during her term prepared the way four years ago so that a proposal like ours may be approved. Elle has been a great supporter and stakeholder of The Hoʻomāhua Initiative as well.
resolution passes CARE committee
On Wednesday, September 29, 2021 The Maui County Council's Climate Action, Resilience, and Environment Committee (CARE) Chair Councilmember Kelly King invited Ohana Ekolu LLC to formally present The Hoʻomāhua Initiative to the committee and drafted a resolution from the committee urging Mayor Michael Victorino to support the initiative.
After receiving public testimony and presentation, the committee than deliberated the resolution and voted 7-0 in unanimous support of the resolution "Urging Mayor Michael Victorino to support The Hoʻomāhua Initiative".
Perpetuate Native Hawaiian culture, create Native Hawaiian economic opportunities, and grow a Hawaiʻi circular economy.
Harnessing Smart, Regenerative Tourism to create thriving communities
Delivering Smart Tourism™ solutions with community, nonprofit, business, and government stakeholders.
Smart Tourism?
Smart Tourism™ is a blending of web and mobile applications featuring software using artificial intelligence, Internet of Things (IoT) devices, Global Positioning Systems (GPS), Geographic Information System Mapping (GIS) for use in software development, machine learning, and spatial and location recognition for the tourism industry.
In short, Smart Tourism™ is a holistic data-driven concept built on proven technology delivering a tool connecting tourists to the community.
regenerative Tourism?
Regenerative Tourism is the positive contributions made by tourists while vacationing. It is a relationship where tourists volunteer and make purchasing decisions to support indigenous communities and locally owned businesses that contributes to the cultural perpetuation, beautification, and resources of an area.
Circular economy?
A circular economy is when money stays in Hawaiʻi and circulates within the community going from tourists and flowing in a circle between local businesses and residents.
By keeping money in Hawaiʻi and shopping locally owned businesses, more wealth will stay home creating opportunities for creative growth, jobs, and prosperity to areas.
data-driven solutions?
Objective data is trustworthy, transparent, and unbiased. It provides the intelligence required for planners and decision-makers to make relevant and timely decisions that address needs within communities and enables pro-active solutions.
# Objectives: Defines the goals with intended outcomes
∎ Measures: Quantitive or qualitative measures to define the objectives and evolve based on resources
advance native hawaiian economic resiliency
Objectives & Measures
Encourage and support Kanaka Maoli-Native Hawaiians to economically benefit from the tourism industry
Increase the number of Kanaka Maoli owned businesses marketed to tourists through the web, social media, and Smart Tourism™ app.
Increase business literacy and business support services for established Kanaka Maoli owned businesses.
Increase the number of community or ahupuaʻa related events that connect tourists to cultural experts and authentic cultural experiences.
Increase the number of existing Kanaka Maoli owned businesses
Increase the number of sold items produced by Kanaka Maoli owned businesses
perpetuatE native hawaiian culture
Objectives & Measures
Ensure Kanaka Maoli youth see their culture as valued and encourage cultural growth
Increase the number of Native Hawaiian youth participating in perpetuating their cultural heritage as a result of benefit from tourists participation in regenerative tourism and purchasing local
Increased promotion of ʻōlelo ʻōiwi-Native Hawaiian language through events, promotions, and marketing
Increase the number of all youth and residents participating in activities that perpetuate the Native Hawaiian culture
Provide meaningful, engaging educational content for authentic cultural learning
Increase the number of visitors who appreciate authentic Native Hawaiian culture
Increased the number of residents who feel a deeper connection to Hawaiʻi from learning about their communities
improve Tourism management & community planning
Objectives & Measures
Establish the world's first Smart Tourism™ real-time data holistic approach to effectively manage tourism and resources
Establish Smart Tourism™ sites across the islands to report real-time data in partnership with community stakeholders
Decrease the number of persons congesting hotspots
Decrease the burden on community resources from tourist overcrowding
Increase the number of persons using the Smart Tourism™ app to understand real-time conditions
Empower decision-makers to address community needs based on objective data
Work with government planners and decision-makers to support their work with intelligence gathered by the Smart Tourism™ network
Increase Public Safety
Provide access to the Smart Tourism™ network to public media outlets that are able to share real-time conditions of congested or full areas
Provide data identifying the number of vehicles, people, vessels, animals, and shoreline marine life that have traveled within a given area
grow THE hawaiʻi circular economy
Objectives & Measures
Connect tourists directly to (Kanaka Maoli owned and Hawaiʻi domestic owned) - "local" businesses
Increase the number of local businesses marketed to tourists through the web, social media, and Smart Tourism™ app.
Increase the number of tourists and residents visiting local businesses
Promote the growth of the circular economy
Increase the number of local businesses purchasing from other local businesses
Increase the number of products for sale through the app and internet from local businesses
positively impact communities
Objectives & Measures
Support nonprofit and community-serving organizations with resources
Increase donations to nonprofits and community-serving entities that facilitate volunteer opportunities through the web, social media, and Smart Tourism™ app
Grow Regenerative Tourism opportunities
Establish a network of stakeholders offering volunteer opportunities that can be reserved through the Smart Tourism™ app
Increase number of tourists participating in volunteer activities perpetuating the Native Hawaiian culture
Increase the number of visitors who form a meaningful connection with the Native Hawaiian community
Increase the number of residents who appreciate tourists participating to care for their community
5 phase plan to launch and grow the initiative.
Support Phase
Objective: Gain support and necessary stakeholders to develop the initiative.
Purpose: Build a team of stakeholders and grow support to launch the initiative and strive for the vision of harnessing smart, regenerative tourism to create thriving communities.
In Progress
TASK 4. Gain Public Support. SEP 29, 2021: On this day, a presentation will be made to the Maui County Council, Climate Action, Resilience, and Environment (CARE) Committee where Ohana Ekolu LLC on behalf of all Hoʻomāhua Initiative stakeholders will formally present the plan to gain public support. Our goal is to receive a resolution of support from the County Council that will enable us to apply for Federal grant funding and to receive funds of up to $45k that will enable us to hire a grant writer, gather data for grant applications, and launch the initiative with Smart Tourism™ technology at Honolua Ahupuaʻa.
Breakdown of anticipated expenses related to the request of $45k
$15K: Professional grant writer services for the EDA ARPA Indigenous Communities grant
$25K: Installment of Smart Tourism™ technology at Honolua Bay to monitor vehicular, human, and maritime traffic
$5K: Support funds for the establishment of an education app and education tables at the Honolua Ahupuaʻa to continue the work previously started by the Save Honolua Coalition and Makai watch providing visitor education and volunteer opportunities to the area.
TASK 1. Ideation & Team Building. JUL 12-AUG 2021: With an inspired vision of how Ohana Ekolu can address the need of tourism management in Hawaiʻi, they brought together industry leaders in the LiDAR, Artificial Intelligence (AI), and Geographic Information System Mapping (GIS) space and brought to light the concept of Smart Tourism™.
TASK 2. Live Demos and Presentations. Aug 17-18, 2021: We conducted live Smart Tourism™ presentations at Twin Falls, Maui, and the Hawaiʻi Convention Center's Executive Board Room A. Participating were representatives from the Hawaiʻi Tourism Authority (HTA), Maui Visitors & Conventions Bureau (MVCB), Maui Airport, and HI Department of Transportation (HIDOT).
TASK 3. Grow initial Stakeholders. AUG-SEP, 2021: Throughout this time we held meetings at key locations in which we sought to launch the initiative, East Maui and Honolua. The Ohana who manage Twin Falls were especially generous to allow us to conduct live demonstrations from their area where we were able to count over 300 vehicles entering East Maui from 8-9 AM on that day! The Honolua community members expressed favorable interest and shared the immediate need to understand how high levels of visitors are impacting their area. Talks resulted in forming a plan to launch the concept of The Hoʻomāhua Initiative at Honolua where we look to develop a modular and scalable plan that can be replicated to support other communities.
Research Phase
Objective: Gather research necessary to strengthen grant applications and gain support for the initiative.
Purpose: Continue the work started by Save Honolua Coalition and Makai Watch to educate visitors on the marine preserve, flora and fauna, area history, and Kanaka Maoli-Native Hawaiian culture. We will look to identify best practices in order to replicate our success in other areas.
Task 1: Start initiative at Honolua Ahupuaʻa with two education tables at the entrance and shoreline of Honolua Bay.
Education Table:
Educate visitors to the Honolua ahupuaʻa:
Provide learning tablets for visitors to take a self walking tour of the Honolua trail leading to the shoreline.
Answer questions visitors might have
Provide cultural activities and workshops
Conduct surveys to identify key points of the Hoʻomāhua Initiative:
The number of tourists who will use an app with real-time data to make vacation decisions.
The number of tourists interested in learning Native Hawaiian culture.
The number of tourists who would pay to participate in activities with Native Hawaiians.
The number of tourists who would volunteer to do regenerative tourism.
The number of tourists who would buy locally to support a circular economy.
Beta test learning app key features:
GPS Audio walking tour
Educational Story Maps
Engage visitors with links for donation, volunteer, & activities
Data gathering with Smart Tourism™ technology:
Operate IoT devices to account for the traffic of people, vehicles, and vessels to the area.
Test real-time data capabilities in a remote environment
Identify best practices to transmit data
Compile & Report
Data shall be put into a dashboard for public viewing on the www.hawaiithriving.com website.
develop phase
Objective: Develop the required partnerships and logistics necessary to launch and sustain the initiative.
Purpose: Enable a successful launch and sustainment of the initiative through adequate funding, in-kind donations, and volunteer services.
Task 1: Apply for the EDA ARPA Indigenous Community grant, additional grant opportunities, and conduct donation campaigns.
EDA ARPA Indigenous Community Grant:
Work with a grant writer to apply for this extensive grant
Idenfity a fiscal sponsor with the capacity to apply for the grant.
HTA Grant through Hawaii Community Foundation:
Apply through HCF for the HTA grant.
Additional Grants:
Continue to seek additional grant funding as identified needs are established.
Donation Campaign & Activities:
Develop and launch a donation campaign through Nā Mea ʻIke ʻIa to support the initiative.
Identify key fundraising activities to sustain the initiative.
IMPLEMENT phase
IMPLEMENT: With funding and resources, deliver on the goals, objectives, and measures.
Grow phase
GROW: Sustain and expand initiative with grants, donations, and revenue generation in partnership with nonprofits, businesses, and government.
A 501(c)(3) Native Hawaiian serving, youth development nonprofit organization. NMII has taken the lead to develop the initiative and work with stakeholders to see it through.
Formed to protect Honolua and preserve its natural resources. SHC was successful in its key goal to establish the area as a preserve.
Hawaiian Islands Professional Pannel of Experts providing financial and business literacy
The Kanaka Economic Development Alliance is formed to grow relationships between Native Hawaiian businesses and resources to grow their business. KEDA features a valuable searchable website for the public to easily find Native Hawaiian businesses.
bay park data solutions
Our app development partner with over 30 years of experience in the GIS field and is an official Esri Nonprofit service provider.


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Hello, K-fan world! I'm Lady G.
My foray in the Wonderful World of Kdrama started in December of 2012. I was eager to see the new movie "A Werewolf Boy" playing in Manhattan. Long story short – I loved it, cried, and nearly booed at the bittersweet ending. I ultimately loved it and came home dying to know who this adorable Song Joong Ki was.
I revved up Google and was immediately taken to a website called Drama Fever. (Sadly it has gone out of business as of 2018)
Wow! Drama Fever was filled with tons of Korean…Dramas? What's that? Back to Google. Oh how cool! Foreign Television programs. Back to Drama Fever, and I clicked on "Nice Guy."
Fast Forward to the present, and I've seen over 100 dramas, counting many Japanese, a smattering of Taiwanese, Chinese and Thai. It would probably be closer to 200 if I count how many shows I started and stopped. If fans are interested in what I like to watch, here are my Drama list pages for
Korean Dramas & Japanese Dramas
Please don't pay too much attention to my ratings, I don't always keep up. But if it's on my list, it means I watched the drama in full and most likely enjoyed it.
I also watch many Korean and other Asian films, but the dramas suck me in the most. They're far different from American Television. In 2012 I was at a loss. I had literally quit TV. I found solace in watching classic shows from the '60s-'90s. I was burned out from fan-fiction writing since 2006. For once I wanted someone to tell ME a story.
Kdramas blew my mind so far that I rarely turn on my American stations anymore. For years if I wasn't watching Kdrama, Jdrama, or Asian movies, I read or wrote and brainstormed ideas for them, blogged, and listened to the marvelous soundtracks every day. (Well, before you think I was cuckoo, that's in between everything else I have going on in life!)
I'd slowly ingratiated myself into the Kdrama fandom. I tend to do that sometimes with my…ahem…obsessions and have participated in many exciting ventures. I've had the privilege of writing blog post reviews both here at The Fangirl Verdict and most recently become a permanent writer for Stuck on Hyuk. A blog dedicated to the great actor Jang Hyuk. I've always liked reading many of the Korean themed blogs out there and still keep up when time permits.
I'd gotten to a point where I felt lost watching something in English. I expected subtitles to pop up because my brain expected to hear Korean, and the English sounded foreign to me. It's incredible how much you pick up by watching the dramas and listening carefully to dialogues. To me, language is first about sound. (Unless of course you use Sign Language.) I think Hangul is beautiful, and I hope I can take the time to seriously study it. Learning a language is fun, challenging, and expands the mind!
If you'd like to know more about my different online activities, check out these sites I run:
Voyagers Guidebook: The Ultimate Picture Fansite
My Voyagers Guidebook Youtube page.
Like reading Fan Fiction for sometimes obscure American Retro Television shows? Check out:
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Take a moment and imagine the following: You want to go on a mountain trail on a perfect weekend day and watch as the horizon unveils in front of you. Or, you need to finish an important task at the other end of the city. Or, you feel as if you're in dire need of exercise and want to go on a ride.
How is all of this related, you might ask yourself? Seemingly, it isn't.
But when the Cannondale Quick Neo e-bike hops in, it suddenly is. This is a well-rounded e-bike that is great for any purpose that you may want to throw at it - be it a hike, regular urban rides, or commuting to your job, even.
The Cannondale Quick Neo review will get you acquainted with this e-bike from the renowned Quick Neo series. After evaluating different aspects of this bike, we confirmed that the company has hit a home run - and let's dissect them, step by step.
Of course, these are all just letters and numbers unless you read more about them, and find out how this e-bike actually performs.
That's precisely what we did. After you read the full review, there will be no space for guesswork on whether this is precisely the e-bike that you need.
Here's the official visual presentation of Cannondale Quick Neo:
Read next: Best Cannondale e-bikes
The beautiful emerald Cannondale Quick Neo frame is made of alloy aluminum that we know equals durability and stability, but this time around, it also looks better than it ever has.
Just look at that beautiful, shiny frame! Everybody will envy you if you own the Cannondale Quick Neo e-bike.
Add to the equation the light carbon fiber fork, and you get a bike made out of premium materials that don't come at the expense of its weight.
We measured its weight to approximately 33.9 pounds, which is impressive for an e-bike that packs such a tremendous amount of power.
The fact that the frame is sturdy, yet not heavy, means that you won't have any trouble with the transportation of the bike and that its weight won't interfere with the speed that you can attain.
Design-wise, the frame is utilized to get the most out of it: the top tube is slightly ascending, but in its core, it is a classic diamond frame. This shape is comfortable for all kinds of terrain, and even steep ascents and descents that you may want to travel.
Extra Features
Two things we missed are the mudguards and a pannier rack that would additionally strengthen the versatility of this e-bike, but we are ready to forgive it when we weight out everything.
Besides, there are dedicated points on to attach them, if that's something that is of prime importance to you.
So, it's definitely not a deal-breaker.
The manufactures also had your safety in mind, and that's one of the paramount factors we assess.
Namely, there are numerous reflective details attached to the frame that reflect light in the dark and thus account for your safe experience during night rides.
Speaking of the lights, we were in two minds about the grade that we'll give to the whole system. The cheapest version has a rear light that is located under the saddle, but there is no headlight. Yes, there are reflective markings - but we still wish that it came with the front light, as well.
The newest and upgraded version, Cannondale Quick Neo SL 1, does come with the light in question, so that's something you might want to consider when making a decision.
Read next: Cannondale Adventure NEO All Road S review
The powerful Bosch drive does not require any special introduction: it is a well-known lightweight yet powerful unit that offers a silent performance even on the most ambitious rides.
You can easily control the power assistance of the motor that you need as you keep track of the battery level on display.
After four weeks of testing, we've calculated the average battery range, and it is around 55 miles. So, not quite as advertised 72 miles, but we really abused it. If you were to use it less frequently, that range could probably be achieved.
The full recharge of the Bosch Power Tube 400Wh takes about five hours.
The battery is very easy to remove from the bottom bracket in case it needs a replacement.
Speed & Brakes
The traditional Shimano's mid-mount drive system is ideally utilized in the Cannondale Quick Neo to shift between 9 gears.
The highest pedal assist stands at 20mph, so the speed that you want to reach beyond that is on you.
In any case, you'll have a flawless control of the bike at any speed due to the high-quality brakes system, and the suspension fork is there to decrease the impact of the road on your ride.
The Schwalbe Energizer Plus tires were made in 700 x 38c size, which strikes a perfect balance in a couple of areas.
First and foremost, their thickness allows them to alleviate the holes on the road and enable a generally comfortable experience, but they are also built with sporty characteristics in mind. This means that they can reach a considerable speed without compromising on stability.
Post-Test Summary: Cannondale Quick Neo Pros & Cons
Regardless of terrain, the Cannondale Quick Neo will rise to the challenge.
Its wide tires, micro-suspension, and smooth handling all deserve applause.
Also, it is built for maximally safe user experience, thus allowing the rider to enjoy the road without having to worry about road conditions too much. It provides a confident stop even when the road is wet, and the Cannondale Urban Pedals don't have any visible drawbacks.
Some users have claimed that 5 hours for a recharge is too long, but considering the distance the bike can cover before it needs one, we don't see this as a disadvantage.
There's the elephant in the room that we've been avoiding for the whole time, though: the Cannondale Quick Neo is expensive.
The question that comes naturally after this statement is: Do you need it? Should you buy it?
If you're a commuter who needs an every-day bike, or you need a fitness e-bike to go with you on your mountain trails, this will be a good investment.
What Do We Like About Quick Neo?
What Don't We Like About Quick Neo?
Quick Neo Family
Bottom line - is the Cannondale Quick Neo worth it?
When we sum up everything we've presented to you in this Cannondale Quick Neo review, it's safe to say that this e-bike justifies its high price.
It can easily fit into your idea of the best electric mountain bike, but it's also a great every-day road companion, and that's why it stands out in the whole market.
You know how they say that something is a jack of all trades, but master of none? Well, the Cannondale Quick Neo is both - the real master of sporty geometry, mountain trails, woodland tracks, and high-speed stability!
Our Rating - 91/100
The Cannondale Quick Neo thrives on a sturdy-frame, power, and speed that makes it near the ranks of some other world-class models that have been on the market for years. This relatively new e-bike is definitely worth your time, so give it a chance to win you over!


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The University of Jordan (UJ) President Prof. Azmi Mahafzah conducted a 3-day visit to UJ's branch in Aqaba (UJ Aqaba) last week and met with the university's local partners.
According to Mahafzah, UJ Aqaba is looking to achieve new levels of collaboration with its partners.
During the visit, Mahafzah met with Chief Commissioner of the Aqaba Special Economic Zone Authority (ASEZA) Nasser Shraideh and discussed further prospects of joint cooperation in support of the branch.
Shraideh uttered ASEZA's willingness to harness all its potentials to support UJ Aqaba.
Mahafzah also met with the Aqaba Ports Corporation Director General Mohammad Mubaidin.
Mahafzah discussed with Mubaidin promoting Joint Corporation, commending the corporation's current support for the branch.


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It has always saddened me that the artform that chose me as its mistress did not make people cry. Music does. Books do. And bad movies do it even better. But not paintings.
There are some good explanations for this. Paintings don't move. They don't have the same type of narrative structure or succession of time as the moving pictures. There's no build-up of tensions and release, like in a thriller. You see too much, all at once. Good paintings are made by the grace of their well-measured sense of distance. This distancing of affections makes them tough enough to outlast their time, but also too cool and controlled for the cheaper sensational thrill of moving someone to tears. When I saw the Prado for the first time, I stood in awe in front of Velazquez and I could see why he is considered the greatest European painter.
But I did not cry.
Then I walked into the room with Goya's black paintings, they put their spell on me. I covered my mouth as if to prevent the devil from entering. The Fates does away with the abstraction versus figuration discussion. Everything is flat and deep simultaneously. The four sexually ill-defined figures are unsympathetic. They are forces, not human beings. It is as if he painted not the screams of humanity, but rather the silence of God.
I felt so alone and yet so at home. I bathed in this sensuous, ominous brew of ritualism and exorcism. I felt the Gypsies, Islam, Christianity and Africa, all at the same time.
And then I cried.
Atropos or The Fates (Spanish: Átropos or Las Parcas) is one of fourteen black paintings by Francisco de Goya, painted between 1819–23.
Goya's The Fates. Originally published as 'A brush with Genius: Marlene Dumas on Goya's The Fates', The Guardian, 04-06-1996, p.10; and included in Marlene Dumas, Sweet Nothings. Notes and Texts, first edition Galerie Paul Andriesse and De Balie Publishers Amsterdam, 1998; and second edition (revised and expanded) Koenig Books London, 2014.


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- In a study of 185,000 people, 35 genes were found in which variation influences cannabis use. Those genes can also be found in heavy drinkers and people with schizophrenia. People who have smoked cannabis have, more then people who don't smoke…Continue Read
- Coca-Cola is considering venturing into cannabis drinks. The soft drink producer is speaking with the Canadian marijuana maker Aurora Cannabis to develop the drinks, according to Bloomberg. It would be drinks that contain…Continue Read
- Categories: NewsPeople who invest in cannabis manufacturers are currently in high spirits. Leading up to the legalization of cannabis for recreational use in Canada, on October 17th, the share prices of manufacturers as Tilray and Aurora have currently gone up…Continue Read


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Very funny in spots, now seems more contrived in others. Little Miss Sunshine predates the 2008 financial crash though there is still a mourning for a past ideal of America that the film values, longs for, and represents as now lacking. Steve Carrell is very convincing as the gay brother; the relationship between him and his sister (the marvelous Toni Collette who is wasted but nonetheless very good here) made touching in small details: the holding of hands, the looks. The film is a bit crude; the jokes mostly revolving around pretending to find scandalous and funny what comes out of Alan Arkin's mouth and what the little girl (Abigail Breslin) does. I found the scenes with the policeman chuckling at the pornography rather forced and somewhat sad. I would say it was an easy indictment of contemporary America except so few films attempt any critique at all that any effort must be appreciated. It was a big box-office hit.
José Arroyo


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Skid Row Still Lapping North America
February 27, 2008
Hair metal stardom and drag racing go together like Motley Crue and drug abuse. However, few people actually get to live the experience of kickstarting the hearts of 20 000 screaming fans in an arena and also blazing past the finish line in a dragster. But Rachel Bolan, bassist for veteran hard rock act Skid Row, is both a seasoned rocker and racer. His passion for driving started around the same time as his passion for music, and it hasn't slowed–even after being on the road for two decades.
"My older brother was into [racing]; he always took me to drag races and stock car races when I lived in New Jersey when I was a kid," the laid-back Bolan explains over the phone. "I became a Dale Earnhardt fan through him and got into NASCAR, which I still love. It's cool now because I know a lot of the drivers."
Born James Southworth, Bolan founded Skid Row in 1986 with current guitarist Dave "The Snake" Sabo. The band was one of the last hair metal acts to find success in the mainstream music market, as their self-titled debut went multi-platinum, and the followup Slave to the Grind was also a major hit in the US.
Following some internal skirmishes that led to several lineup shuffles, the departure of singer Sebastian Bach, a hiatus period, and a number of drummer changes that Bolan describes as "very Spinal Tap-ish," the band has settled into a relatively stable lineup in the past few years, albeit with fewer terminal cases of '80s hair. The group has toured with some of the biggest names in rock, including Aerosmith, Guns 'N Roses, Tesla, and a certain group of face painted rock stars that Bolan describes as very influential.
"Doing the KISS tour–nothing has to be said about that, growing up as a KISS fan," Bolan notes enthusiastically. "[Gene Simmons] was one of my biggest influences. I mean, I didn't even know what the bass was [growing up], but I wanted to play with the guy that spit blood. We did, I think, 130 shows with them, and I must have watched them in the majority of those shows. It was great."
Unlike KISS, Skid Row remains an active band, releasing a new album, Revolutions Per Minute, in 2006. The group continues to tour and is writing a new album at the moment, and despite Bolan's continual involvement with the band, he finds time to act as a producer, and is also currently writing a book based on his experiences on the road, containing his memoirs and stories about the numerous rock stars he's met and celebrities he's almost partied with.
"The most interesting person that I almost partied with was David Lee Roth," Bolan recalls with a laugh. "I met him back in the day [at a club]. It was just a chance meeting, and he offered to buy me a drink. He ended up walking away without paying for the drink."
When not on tour with the group, Bolan devotes most of his time to his other hobby: burning rubber and capturing the checkered flag. His fondness for racing inspired him to start his own motorsports company, which allowed him a chance to go beyond his stage presence to connect with fans.
"I started Rachel Bolan Motorsports so that Skid Row fans could see what I do outside the band. I race cars called legend cars. I also race thunder roadsters and go-karts. Whenever I get a chance to race, I always put my schedule up so fans can hang out and watch me race. I still make a lot of noise, but they can see me do something other than jump around on stage."
After 22 years of high-octane performances, playing music still hasn't gotten old for Bolan. He says that he still gets the same thrill as he did when he started, and in that, there's a certain familiarity between his two lifelong loves.
"Racing and playing are so similar. Putting on my fire suit is like putting on my stage gear. Walking down the hallway is like getting ready to go onto the race track.
"It's the same thing: you hit that pedal, and it's like, 'Ladies and gentlemen, Skid Row.' Except I don't have to worry about flipping when I'm onstage."
Two decades of skidding out
* While Skid Row's self-titled debut went quintuple platinum and had three hit singles, the success was bittersweet: they'd waived their publishing royalty rights to Jon Bon Jovi's Underground Music Company. Bon Jovi, along with associate Richie Sambora, got most of that cash, though Sambora gave it back after a very public dispute. Bon Jovi did not.
* In 1989, the band's then-vocalist, Sebastian Bach, was heavily criticized for donning a shirt that read "AIDS kills fags dead" during a concert. A fan had tossed it onstage, and Bach put it on without looking. He later apologized and made a large donation to an AIDS charity.
* In 1996, Bach was fired, and a few months later, so was drummer Rob Affuso. Though Skid Row never officially split, the remaining members toured under the name Ozone Monday for a while, eventually reforming Skid Row in 1999 with new members. Bach went on to play in a few other bands and dabble in Broadway theatre, playing Riff Raff in a stage production of Rocky Horror Picture Show and Jesus in Jesus Christ Superstar. He was fired from the latter for his diva-like demands.
* Despite releasing two post-Bach albums, the band's still waiting for that next hit. Although Bach's gone on record saying he'd welcome an original line-up reunion, the rest of the band seem adamantly opposed.
Courtesy of www.thegatewayonline.ca


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By Audrey Conklin
Facebook CEO Mark Zuckerberg said he "understands" 2020 Democratic presidential candidate Sen. Bernie Sanders's opinion that billionaires shouldn't exist during a Thursday town hall.
The Facebook founder's comments came after Sanders said, "I don't think that billionaires should exist," while explaining his wealth tax proposal in a Sept. 24 interview with The New York Times.
"I don't know if I have an exact threshold on what amount of money someone should have, but on some level, no one deserves to have that much money," Zuckerberg — the fifth richest person on the planet with a net worth of nearly $70 billion — said during the town hall after being asked about Sanders's billionaire comments, according to CNN Business.
Mark Zuckerberg, the fifth-richest person in the world, says some of the wealth that has been accumulated by the very richest is "unreasonable." https://t.co/GHaBBOrMKW pic.twitter.com/gXJXR3pqsa
— Bloomberg (@business) October 4, 2019
He added that if people do good acts, they get rewarded, which is why he and his wife have pledged to give away 99% of his Facebook shares, now worth $45 billion, according to Business Insider. But "some of the wealth that can be accumulated is unreasonable," he continued during the town hall.
Sanders, a millionaire, said his wealth tax would aim to eliminate just that.
"What we are trying to do is demand and implement a policy which significantly reduces income and wealth inequality in America by telling the wealthiest families in this country they cannot have so much wealth," the Vermont senator told The NYT, adding that he hopes "the day comes" when billionaires don't exist.
"I don't think that billionaires should exist," Sanders told The NYT. "This proposal does not eliminate billionaires, but it eliminates a lot of the wealth that billionaires have, and I think that's exactly what we should be doing."
His plan would implement an annual 1% tax on net worth over $32 million, and that percentage would increase by marginal rates until it reaches 8% on net worth over $10 billion.
Fellow 2020 Democratic presidential candidate Sen. Elizabeth Warren has posed another threat to Zuckerberg and his social media brainchild.
We have to fix a corrupt system that lets giant companies like Facebook engage in illegal anticompetitive practices, stomp on consumer privacy rights, and repeatedly fumble their responsibility to protect our democracy. #BreakUpBigTech https://t.co/c0qWuRb9NN
— Elizabeth Warren (@ewarren) October 1, 2019
Warren, a big tech adversary, is campaigning largely on ideas to break up tech giants like Facebook, Google and Amazon to "promote more competition," as the Massachusetts senator wrote in a March Medium post announcing her proposal to impose new rules on tech companies that make $25 billion or more in annual ad revenue.
"If [Warren] gets elected president, then I would bet that we will have a legal challenge, and I would bet that we will win the legal challenge," Zuckerberg said in July in leaked audio The Verge originally published, adding, "Look, at the end of the day, if someone's going to try to threaten something that existential, you go to the mat and you fight."
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Neruda, Pablo (Vol. 7)
Last Updated on June 7, 2022, by eNotes Editorial. Word Count: 6062
Neruda, Pablo 1904–1973
Neruda, born Ricardo Eliecer Neftalí Reyes y Basoalto, was a Nobel Prize-winning Chilean poet, internationally renowned not only for the brilliance of his surrealistic poetry, but also for his intense involvement with political and social causes. (See also Contemporary Authors Permanent Series, Vol. 2.)
In a post-apocalyptic Eden set in Patagonia, [in La Espada Encedida], the last two human survivors join in an elemental love. Rhodo the patriarch, who had seen seventy wives turn to pillars of salt before the wars that did away with humanity, heads south—leaving behind his complicity in the cataclysm—and becomes the new first man, el refundador. The young virgin Rosía flees the destruction of the golden city of the Caesars and finds her way to Rhodo's territory. Their couplings are fierce and mighty…. Expelled from the garden, the lovers escape on a boat crowded with jungle animals. Rhodo and Rosía are shipwrecked on a new shore where, now conscious of their own divine nature, they will recreate the race.
Fin de mundo (1969), a gloss on events of the sixties, was a gloomy assessment of planetary possibilities. In La espada encendida, Neruda projects new hope into a seemingly autobiographical allegory. The narrative material brings forth refurbishings of Biblical myths and a Chilean legend of El Dorado. The image of man is Promethean, weighted with neo-romantic hubris. Such archetypes are difficult to sustain nowadays, even with the support of Neruda's characteristically inventive, earthy vocabulary and his mastery of ceremonial rhythm. Often the celebration of rebirth and passion is attenuated rather than enhanced by the poem's necessarily self-conscious allusiveness to tradition. Thematic stereotypes are also in evidence in the new Eden. Yet another time woman is cast in the role of pure and fragrant matter, taking her form and her identity from man, who in turn receives inspirations from her…. As implicit autobiography, this long poem approaches the grandiose; its apotheosis à deux, distanced from the complexity of the world, seems facile. Considered intrinsically as poetic surface, the territory is overly familiar. Love's ecstasy deserves a fresher dramatization. (p. 669)
John Deredita, in Books Abroad (copyright 1971 by the University of Oklahoma Press), Vol. 45, No. 4, Autumn, 1971.
[Neruda's] first book in which a really personal voice emerges is 20 poemas de amor y una canción desesperada ('20 love poems and one song of despair', 1924). For one, the poems are statements of Neruda's personal experience as a lover. A specific story emerges from them about a man who tried to fulfil himself through love and failed….
Many of the poems are nostalgic evocations of an impossible hope that has long been abandoned. In short: 'Es tan corto el amor, y es tan largo el olvido' ('Love is so short, forgetting is so long').
This is not, needless to say, the first time a poet has told such a story. The originality of 20 poemas lies rather in the manner in which the story is told. For in this book, the first attempt is made by Neruda to sustain a deeply personal pattern of imagery. (p. 40)
[In] 20 poemas , an alienated man is battling for fulfilment in a woman. His alienation has been effected by the hostile environment of the capital city, and by the fact that in venturing there he has uprooted himself from the land of his birth, from the 'branches' and the 'drops' of the south. It is not surprising therefore that the woman is to become indistinguishable from the very earth he has abandoned, from the very branches that he cannot...
(This entire section contains 6062 words.)
locate in the city's 'miserable alleys'. As he fingers the woman's body, it is the landscape of the south of Chile he is groping for. The woman becomes Mother Earth, the possibility of a southern pine forest germinating from the city's relentlessly paved streets. (p. 41)
In 20 poemas Neruda journeys across the sea symbolically in search of an impossible port. In 1927 he embarked on a real journey, when he sailed from Buenos Aires for Lisbon, ultimately bound for Rangoon where he had been appointed honorary Chilean consul. Neruda travelled extensively in the Far East over the next few years, and it was during this period that he wrote his first really splendid book of poems, Residencia en la tierra, a book ultimately published in two parts, in 1933 and 1935.
In 20 poemas one can discern the burgeoning of a conflict between nature and the city. In a damp city room the poet searches in a woman for the smell and sound of the earth. Orgasm is like a rain forest glimpsed in a room bound by four relentless walls. Residencia en la tierra is perhaps the ultimate expression of the failure of this quest. For it is very much a book of closed, claustrophobic rooms, of stifling Asian cities made all the more squalid by the tropical Asian heat that envelops them.
Many poets have felt liberated by the East: the most notable Latin American example is Octavio Paz…. Such poets for Neruda are ultimately phoney, pseudomystics, who in the end concoct bad parodies of the real thing. And what is the real thing? Not the dazzlingly liberating Buddha, not the wisdom of Confucius, but rapacious poverty, jaded English colonialists, and as far as mysticism is concerned, the same priestly treachery and inhumanity that he had witnessed in the West. (pp. 42-3)
Residencia is the expression of a desperate struggle—a struggle to avoid mediocrity and a struggle with time and with death. [Gallagher comments in a footnote: "For a description of the damp, elusive, and amorphous death that infests these poems, see 'Solo la muerte' ('Death alone'): one of the most horrifying litanies of dying ever written."] It is the story too of a struggle to glimpse the apocalypse in a damp room. But above all it is a book of images, images that attempt to convey the elusive nature of the moods and attitudes we have already described.
Neruda's images are never gratuitous or merely private. The choice of image is dictated by its compatibility with whatever it is being designed to signify…. [There are] the flying bird or the butterfly that signify dynamic release, the pigeon of hope, the all-embracing sea, the optimistic bell. Others include the copa—the cup or goblet, a life-enhancing sign of plenty and well-being; fertile horses, grapes, bees, and bread; the rose suggesting beauty; the sword suggesting virility, heroism, adventure; the poppy suggesting mystery and passion. All these images clearly depict positive qualities. None are abstruse, being the dictates of conventionally collective associations, not private ones. Other images, equally obvious, suggest negative qualities: ashes, dust, the salt that corrodes, the suspended wheel that moves but gets nowhere, dampness, and so on. Others, like the flame, or fire (llama, fuego), are double-edged, for they uplift or destroy with equal vigour. The images occur obsessively, but they are not mere keywords: they are always placed dynamically in a context, and the context modifies their significance.
Usually, the optimistic images predominate, but they are often savaged by the adjectives or adjectival phrases that qualify them or by the verbs they are governed by. Thus we have 'useless swords', 'dead bees', or, in 'Estatuto del vino' ('Statue of wine'), 'soaked wings'. The latter is a typical example of Neruda's frequent use of a synecdochic version of a key image, another being the petal for the rose. The synecdochic version of course contributes to the poems' general mood of decomposition. (What use a wing without a bird or a petal without a rose?) so that the sense of a statement like 'soaked wings' is that there is at best a glimpse of flight in the air, a very tenuous, dismembered flight that is not going to get very far. This particular phrase has an added significance in that it is the 'soaked red wings' of wine that are being referred to. The ultimate aim of the image is therefore to pay a very back-handed compliment to wine. It may make us fly, but if it does, it is with soaked wings and without a body!
The result of this adjectival or verbal annihilation of positive noun signs is to suggest an original substantival paradise savaged by the movement of time. For most of the adjectives used (like 'soaked' for instance) suggest the modification of an original state produced by an event. Indeed most of the adjectives are past participles that suggest decomposition: derretido (melted), gastado (wasted), podrido (rotten), and so on.
Very often, in the dynamic context in which they are inserted, Neruda's favourite signs are fused or confused: thus we have a 'rose with dry wings'. One comes to expect roses to fly (badly), birds to flower (jadedly), and cups to ring out (opaquely) like a bell. Sometimes the positive images have so little chance from the start that they are nothing more than a fleeting glimpse of what they might have been. Thus a bird makes an appearance in 'Estatuto del vino' but as the mere bone of a bird with which drunkards knock on a coffin. Other times they are splattered with surrealist horror: thus the 'Estatuto's' goblets are full of 'dead eyes'. Sometimes, they are left stranded in the very syntax of the poem. (pp. 50-2)
Residencia en la tierra is ultimately a dance of images: images listed, rejected, and reintroduced, images in conflict with each other, images in dialectical play, images that are fundamentally conventional but which acquire their dynamism through contact with each other, pigeons with ashes, swords with salt, bells with poppies, horses with fire; images that are commonplace nouns erected as signs of hope yet lacerated by vicious adjectives and verbs. Verbal and adjectival time has destroyed innocence (the rose, the pigeon); and it has also destroyed spontaneity: adventure, fertility, passion, and mystery (the galloping horse, the butterfly, the sword, the grape, the bee, the goblet, and the poppy). Time has destroyed these elemental, organic, tellurian qualities by driving them into the city, or into the tragedy of history. The adjective reveals what history, what the city, what time in general have done to them, so does the verb when they are its object. Sometimes, they are the subject of the verb, and then the verb reveals what time has made them do. It has made bells ring for the dreary faithful from a church, horses gallop for the army, birds look for prey, and grapes inebriate drunkards. Later, in Canto general, Neruda is to search for a prehistoric paradise, a world unruined by history, a dance of original nouns, and he is to search for a man defined by nothing but the earth that made him. (pp. 52-3)
The first fruit of his … political commitment [to communism] is the long sequence called 'España en el corazón' ('Spain in the heart') which was eventually included in Tercera residencia (1947) but which was first published in Chile in 1937. It is an extraordinary poem, different from anything Neruda had written before. It is the work of a once intensely gloomy man who had desperately sought to be absorbed and shaken by women, by the sea, by the very violence of his poetry, and, who suddenly found an all-absorbing passion on his doorstep in Madrid: Spain, not the woman of 'Barcarola', had reached his heart. It is a poem of stirring political propaganda, a wholly public, declamatory poem from a man who had never before really written about anything but himself. Yet there is no reason to doubt its sincerity, and it is not as inconsistent as it seems at first sight. After all, if Neruda is gloomy in Residencia, it is mostly because he is unwilling to accept mediocrity. He despairs because he wants something big, too big. Why should critics grudge his finding it? All too often they have, and it is the critics who are inconsistent, unless they do not perceive the extent to which his despair in Residencia is the consequence of a rather splendid ambition that man be excellent and happy, not a drab notary.
There is much consistency too in the way his imagery develops from Residencia. For Neruda sees the Republic, as he is later to see socialism in general, as the assertion of the tellurian and the organic. This may seem anomalous politically, since socialism has normally aimed at rapid industrialization. Yet Neruda might argue that it was the alienating effects of capitalist industrial society that disturbed him in Residencia. Maybe socialist industrialization can be organic. Anyway, it is as much his poetic right to see the Republic as a force of the earth as it was Esenin's poetic right, for example, to see the Russian Revolution (however improbably) as the reaffirmation of the ethos of the Russian village and therefore as a pastoral sanctuary from the urban debauchery in which he, like Neruda, had been gloomily immersed. Certainly, the fact that Neruda sees the Republic as a tellurian force is evidence of the extent to which his reaction to it is a personal one, and not an exercise in bad faith made to order, as his political poetry is often supposed to be. (pp. 53-4)
In 'España en el corazón' the historical solution aimed at is fairly tenuous. On the one hand it is recommended that Franco be confined to a hell where among other inconveniences blood will fall upon him like rain and where he will slip eternally on a river composed of the eyes he has gouged out. On the other hand, there is the hope, manifested in the last lines of the poem, that nature will summon its secret forces for the achievement of a 'mineral victory'. It is of course in a way an impotent hope. It is reminiscent of the conclusion to a novel by Miguel Angel Asturias, Viento fuerte (1950, 'Strong wind') where, when all efforts to fight an exploiting American company have failed, nature, having been summoned by the local witch-doctor, saves the day: a cyclone destroys the hated plantations. It is as though nature were the only weapon of the weak against the strong, or worse, as though it were merely an image of the fulfilment of impossible wishes. As such, however, it is a powerful image, comfortably menacing.
The spectacle of Franco slipping eternally in a river of gouged-out eyes marks the burgeoning of an art in which Neruda was to excel with particular relish in the Canto general, the art of savage invective. To begin with this aspect of his vast and diverse epic of the American continent might seem unfair to some, but only because his denunciatory poems have been too readily dismissed, on the grounds that they are not 'real poetry', or on the grounds that they are viciously biased. This seems absurd. We often accept a passionate poem about a woman as 'great poetry', and although we suspect that the woman in question was probably nothing like her description in the poem, we do not object that the poem is biased. And anyway, if the poem is a good one, it will carry the conviction that the passion was genuine and the poem will impress us as a true manifestation of passion…. [Hate] has just as much a right to be the subject of poetry as love. Even if Neruda, having latterly become a far more benign man, may now himself laugh at these poems, they remain the expressions of a hate he once truly felt. They are good hate poems, and the targets—third-rate rapacious politicians that have always infested the Latin American political scene—deserve what they get. Also one is so conditioned to see poets (and to have seen Neruda) in the doldrums that it is refreshing to encounter a man so sure of himself now that he can stand up to accuse others rather than accuse himself. The Canto general is a good antidote say to American confessional poetry and it is a good antidote to Residencia, however splendid that book was. (pp. 55-6)
The exaggerated goriness of Neruda's insults is itself within a readily recognizable tradition: one can find it as far back as Hilario Ascasubi's gauchesco denunciations of Rosas in Paulino Lucero. (p. 56)
Neruda uses many conventional clichés to denote hope, too, which can be found in the rhetoric of Latin American national anthems and military marches, or in the independence poems of, say, Andrés Bello and Jose Joaquín de Olmedo. They are the quickly recognizable clichés that children meet, as Pring-Mill points out, in the 'schoolroom context of conventional patriotism'….
Of course, there is much more in the Canto general than propaganda…. Indeed, the fact that there is so much excellent poetry in the book serves as a guarantee that the frequent bathos of the propaganda passages is intentional, not the result of ineptitude.
The fundamental purpose of the Canto general, of which the denunciatory poems mentioned are a symptom, is to write, or rewrite, the history of Latin America—to write a poetic version of the continent's historical trajectory and to refute the official version, the one imposed upon school-children in the classroom. Thus for one, Neruda aims to view history from the point of view of people who do not normally figure in the heroic tales of the textbooks, for instance, miners, peasants, or private soldiers. (p. 57)
Neruda's rewriting of history has a deeper significance though, one which is wholly consistent with the tellurianism we discerned as far back as 20 poemas de amor y una canción desesperada. Working on what we can presume to be the assumption that the written history of the continent is a lie from the very beginning, he attempts to return to its origins, not only to its pre-Columbine, indigenous origins, but also to its primeval ones, before the emergence of man…. Neruda returns to the primeval in order to trace the original tellurian nature of man, to rediscover and resurrect the vital, tellurian energies of a race originally created, as in the book of Genesis, from earth. (p. 58)
'La lámpara en la tierra' is, indeed, Neruda's Genesis. It is about the lighting of the earth's first lamp, the opening of the first quivering eyelid. It is a search for the 'green uterus' of the jungle, a search therefore for maternal nature in order thence to retread the steps of a historical trajectory trampled by the sins of the wreckless father—the Spanish conqueror. (pp. 58-9)
Yet curiously it is here that Neruda misses a splendid opportunity. He does not sufficiently renew his language. It remains too much tainted with the legacy he would appear to be endeavouring to overthrow. (p. 59)
The Odas mark a new departure for Neruda. They are brutally simple poems, strings of lines sometimes only three syllables long, sometimes containing only one word. The effect is to force breath stops on the rhythm where they would not normally occur, sometimes for suspense preceding a surprise image, always in order to maintain a fresh pace. Yet the originality of the poems does not lie in their metre—such strings of short lines had after all been deployed by Apollinaire or Mayakovsky many decades before. The originality of the Odas lies in the new vision of the world Neruda manifests in them. (p. 63)
One begins to detect a hedonistic vein in the Odas which is to become increasingly predominant in Neruda's poetry. It is as though Neruda had decided finally to jettison his early gloom with a vengeance and quite blatantly to assert his right to enjoy himself. The very titles of some of the odas ('To happiness', 'To love', 'To a happy day', 'To wine', 'To life') indicate the extent to which his neuroses have been finally, euphorically given the sack. Maybe those descents to the 'green uterus' of nature, those returns to the beginning of time, served as a sort of therapeutic recall, whereby not only the history of the continent was retraced in order to stamp out its agonies, but also Neruda's life. (p. 65)
[Neruda's later poems] are a far cry from all those damp rooms and drab notaries of Residencia. The poetry is now far less tense, far less dramatic, but it is equally valid, and it is written by a man who has never known his trade better. (p. 66)
D. P. Gallagher, "Pablo Neruda," in his Modern Latin American Literature (copyright © 1973 by Oxford University Press, Inc.; reprinted by permission), Oxford University Press, 1973, pp. 39-66.
There is a cosmic intensity throughout [Alturas de Macchu Picchu], an intermittent awareness of totality that gives the miniscule a special importance, one I would call Blakean were it not for the inevitable associations with mysticism. Neruda is no mystic, certainly. But his vision of the earth, of its evolution and engendering of man with his own peculiar, tragic history, makes the terrestrial sacred. Neruda loves the earth as Lorca did: not its rose gardens and seascapes alone, but first its minute creatures and basic elements—ants, seeds, sand, quartz, water, air, and of course stone…. (pp. 139-40)
Isolation, complexity, and disorder are the facets of man's soul that Neruda feels have always existed…. Touching, more than seeing, hearing, smelling or tasting, is the sense which discovers most in [Alturas de Macchu Picchu] and it is understandable that tactile qualities should attract Neruda as he explores part of the earth. What gives this book its peculiar radiance is that the poet never abandons his faith in touching, even when he is trying to 'touch' what is completely intangible: a thread of continuity from primitive to present man. The link, he suggests, is the earth; knowing and loving the only live presence which our forebears also experienced. The rest is dead: beliefs, artifacts, entire races of people, countries…. Architecture, whether mental or physical, is destructible, leaving only ruins to be studied, whereas the earth in obeying a cosmic order lives on. The substance of man, throughout its changes, is what the poet hopes to find. (p. 140)
Dealing with the most intimate area of each man, the soul, the poet must tread questioningly. This for me is one of the book's supreme achievements: Neruda reveals a prodigious amount about his soul, respects the mystery of others and gradually fuses us all in a vision of mankind. Neruda the lyricist has triumphed over Neruda the politician, the latter of whom in lesser poems makes immediate assumptions about what we are or should be, but who supplies only stereotypes. The issue is pertinent, I believe, for too often the political and the poetical have been mistaken in Pablo Neruda. Political implications may be detected in these poems, true; but politics is not necessary, nor even relevant really. (p. 141)
Like a pre-Columbian sculptor, Neruda insistently exaggerates hands, feet, eyes. Through the torrential metaphors that characterize his poetry, these three features recur again and again, as if obeying an instinct, or a wish to keep alive in verse the first South American man…. (p. 142)
Into the realm of the untouchable and indeed, the intangible, Neruda persists in his quest: to touch, even in disappearing matter, man. His insistently physical probing reveals a poet convinced of the power of every atom of life on the earth and determined to stay close to the organic matter that nourishes him. (pp. 144-45)
He, the living, hopes to perpetuate those gone; and as poet, hopes to unite us with them. He offers his words and his body to join men. The closing line of Alturas de Macchu Picchu is:
Speak through my words and blood.
A testimony to Pablo Neruda's concept of art and life. (p. 145)
Agnes Gullon, "Pablo Neruda at Macchu Picchu," in Chicago Review (reprinted by permission of Chicago Review; copyright © 1975 by Chicago Review), Vol. 27, No. 2, 1975, pp. 138-45.
[We] already have many translations of Neruda and if [Five Decades: A Selection (Poems 1925–1970), translated by Ben Belitt], is a retrospective showcase for the poet, which it clearly and delightfully is, it is also one for the translator….
Here there is none of the blatant politicism Neruda sometimes wrote—although the notorious poem on the United Fruit Company is included—and here there is relatively little of the beautiful obscurity of Residence on Earth. Mostly there is a poetry of things asserting
The real? It is there, Never doubt it—the power of the real to augment and enlarge us, to make our teeth chatter, still able to write on the card of our hunger an order of bread and an order of soul for the table.
Reality, for us Westerners, the etymologists remind us, is things (Latin res meaning thing is the root of the word) and Neruda is consistently real, in this sense. And so this time through the vast and varied poetry of Neruda I have been most pleased by poems like "Piano," "Elephant," "Horses," and "To the Foot from its Child"—all poems which are truly about those vital, organic things and not, as in so much modern poetry, about the poet's ability to make images from things….
With another poet it would be an ignorant disservice to single out such an apparently simple strain in his work; but with Neruda there is so much, one can afford to be prodigal. (p. 376)
Ronald Christ, in Commonweal (copyright © 1975 Commonweal Publishing Co., Inc.; reprinted by permission of Commonweal Publishing Co., Inc.), August 29, 1975.
Pablo Neruda once confessed that writing clearly had been one of his most difficult poetic achievements. Fully Empowered … is gratifyingly clear, even luminous. It is a full book, rich in experience alternately groping and sweeping, and a joy to read—a book that seems to chart an upward path for itself even when it looks back into the past. It celebrates life insistently from a perspective which radiates self-assurance. Though it touches on emotions as disparate as joy at the progress of a flower and sadness at the ebbing of a human life, the accent here is on reconciliation of opposites—life-death, light-shadow, love-hate, etc.—as integral, complementary parts of existence.
Fully Empowered, which appeared in Spanish in 1962, belongs to the serene, reflective latter period of Neruda's work. In the maturity, capacity for self-criticism, and occasional sense of humor which it reflects, Fully Empowered is a logical successor to Extravagaria and an augury of the somewhat recapitulative Memorial de Isla Negra. As in Extravagaria, the Neruda of Fully Empowered is one keenly aware of the passage of time and of the paradoxes inherent in life. In Fully Empowered he explores these paradoxes and brings them to a happy symbiotic synthesis. As he does so, he reflects on the poet's role, and traces a relationship between the reconciliation of paradox and the art of poetry even as he demonstrates it….
Neruda gives us an impressive sampling of emotions and experiences, ranging from the "occasional" poem to the universal. The tone, too, varies widely…. [Optimism] predominates…. Throughout, the poet stresses continuity, whether it be in the life process itself or in the art of poetry, as in "For Everyone." Everything, including ephemerality, has a reason for being in the context of Fully Empowered. The mortal stab of the sun in "The Tower," for example, only enhances the beauty of the dew. And from the height of his tower, the poet conscious of the "sword" of time, counters finality with expression. (pp. 35-6)
Gloria M. Ortiz, in The New Republic (reprinted by permission of The New Republic; © 1975 by The New Republic, Inc.), November 1, 1975.
In the poem "Perdón si por mis ojos …" from "The Sea and the Bells" the major motifs of Neruda's posthumous poetry meet: solitude as an inalienable right, the sea as the embodiment of the poet's secret self, death as a reconquered unity, as a "sunken song" … which joins the total song of the great ocean. From these motifs a fourth one derives—silence—which, although already present in his later poetry, fully unfolds in his posthumous books. In the poem "El golpe" (The Blow) from Las manos del día (The Hands of the Day) Neruda despairs of language, of that long river of ink and countless voices, and proposes "just one dark blow without words"…. It is therefore a silence which contains all the words, the same silence with which the minute oceanide (a word Neruda recoined to mean sea creatures) and the tiny coleopteros build themselves with materials extracted from their own essence—a silence which rejects names and forms, interpretations and explanations, in order to realize itself in an absence which nonetheless comprises all presences. Here also, as in other instances, Neruda coincides, in a subliminal choice, with some recurring images of the Upanishads. In Svetasvatara Upanishad a silence of many is mentioned, a silence which is "pure radiance of beauty and perfection" and through which a cosmic consciousness is expressed, a silence whose substance is the peace of all. Another image from the Vedantic text, tantamount to that of silence, represents God's unifying principle as "a white radiance which contains all the colors of creation," reminiscent of the image of the ink stain in "The Blow." (pp. 40-1)
Neruda despairs of the so-called "language of communication" which has resulted in clogging communication, a language of alienation with which we understand each other and yet do not understand: knick-knacks, practical commodities, clothing which we put on and take off every day. In contrast to these signals and countersignals, which take us everywhere without taking us anywhere, Neruda suggests: "one must hear what is voiceless, / one must see those things which do not exist"—a language which resolves itself in silence and whose realization is the negation of language. (p. 41)
Libro de las preguntas (Book of Questions), another post-humous book, is a collection of about 400 questions on those enigmas of creation for whose secrets the poet has neither explanations nor answers…. The entire book is a new effort to show that the secrets of life defy the capabilities of human intelligence, that those marvels and miracles to which we have become accustomed are more powerful than our fragile logic…. Life wins also through death, because with its powers life recycles death into its own nourishment. In the vital cycle of nature, the wastes and excretions of death are life-sustaining. Being and not being are equally materials of a great kitchen; life and death mix together and complement each other as essential ingredients of a broth from which we are all fed. (pp. 44-5)
The word "winter" appears insistently again and again throughout his posthumous poetry, [as well as] supplying the title to the most intense book of the group [Jardín de invierno]…. Neruda feels it as a final season, a season of introspection and solitude, a season on whose bare branches a cycle of permutations dies and a circle of days, months and seasons closes. But winter is also the season which defines itself in the life of the poet as a reencounter with a solitude once unwanted but now welcome as a return to home—the old and long unvisited house of the self—and as an immersion into the great silence, where death is perceived as a liberation and as an act of final integration. From the center of his winter garden Neruda proclaims an irrevocable faith in the arrival of a new season, a new spring which converts the residue of the winter into the roots of new resurrections. Like nature, the poet recognizes himself as part of the same regenerative process, in which to die is also to be born, or reborn. (p. 45)
Jaime Alazraki, "Music as Silence in Neruda's Eight Posthumous Books of Poetry," in Books Abroad (copyright 1976 by the University of Oklahoma Press), Vol. 50, No. 1, Winter, 1976, pp. 40-5.
With Neruda, the question of identity is the starting-point: born Neftali Reyes, his disowning of the name signified a refusal to become identified with his regional background and an ambition instead to become a truly national poet. In the end, however, it was not merely a matter of writing for a wider readership, but of radically reworking the whole material relationship between poet and audience. Neruda's deep political involvement in Spain in the 1930s, and his rediscovery of public and oral modes of poetic production, are aspects of a single break which laid the foundation for his epic masterpiece Canto general. As such, his work finely exemplifies Walter Benjamin's case that political commitment in art lies not simply in injecting "committed" content into received forms, but in reconstructing the very productive forms of art themselves. So Canto general deploys oratorical and polemical language, calculatedly mixing genres in its intricate totalisation of Latin American history; and some of the later poems, written to be declaimed at public meetings, move towards the immediacy of song. What is most striking about Neruda (as opposed, say, to Brecht) is his ability to do all this without losing creative contact with the lyrical and mythological, with elaborated modes of poetic discourse saturated in the sensuous delicacies of personal experience. (p. 79)
H. B. Mallalieu, in Stand (copyright © by Stand), Vol. 17, No. 2, 1976.
Pablo Neruda is fecundly dead. His poems keep coming into English, sometimes bruised and tattered by the translator's egotistical ineptitude and sometimes decently clad…. Almost always enough survives the metamorphosis to serve as an invigorating example of how a truly universal poetic consciousness goes about its business. (p. 100)
Quite early, Neruda seems to have realized that an integral poetry, more like Rimbaud's than Baudelaire's, must aim to reproduce or represent that level of authenticity below censored consciousness at which mind operates in endless alternations and concatenations of contraries. These are [what Neruda termed] differing rhythms and conflicting currents…. Fidelity to his own feelings had forced Neruda to do violence to the niceties of language and to defy the logic of identities which, because it ignores time, can maintain that A is always A…. In Twenty Poems, love and unlove, trust and mistrust, Mary-sunlight and Mary-shadow alternately beat out a rhythm which is locked in time and which cannot come to rest in any permanent essence because nothing of the sort exists in time and nothing at all can exist outside it…. Intellect, Neruda [says, in explaining Residence on Earth,] has deprived poetry of its substantiality, has removed it from the arena of existential struggle so that it can no longer give sustenance. Neruda wants to re-endow the poetic message with substance and sustenance. He wants to "penetrate life and make it prophetic." But for the time being he can do no more than establish an authentically self-expressive language that accurately registers a relentless and desperate attempt to refloat a monstrously barnacled universe of human aspirations that has foundered in time. He has the language now, but no credible and life-empowering dream to make it fully intelligible, and the only form is the pressure of the effort itself. Forget this, and the pre-political poems of the Residencias (1925–47) seem opaque and aphasic; remember their intention, and they become unbearably articulate in a way as yet unavailable in English.
Canto General (1950) jubilantly records Neruda's release from the anxiety-laden nightmare quest of a bourgeois poet into the energizing dream of Historical Inevitability…. From now on Neruda's inexhaustible sensibility has a channel and a goal. His job is to speak to and for every downtrodden Jack and Jill, to bring everything in this world into relation with everything else through them, and to celebrate with a bridegroom's irrefragable optimism the coming consummation of History.
What is most moving about the later Neruda is not his occasional political stridency, but the enormous generosity of his vision and his unfailing sense of humor. "You learn poetry," he said in 1956, "moving step by step among things and beings, never isolating, but rather containing them all within a blind expansion of love." Fully Empowered (1962) is a triumphant expression of this all-encompassing expansiveness. Here is the house, whimsically built from the stars down; here is a child that needs washing; here are thistles and clocksmiths, friends and enemies, all have a place in this finally convincing Nerudian universe where, as Rilke has it, song is existence itself. You read these poems and you ask yourself sometimes: "Didn't Brother Pablo say this better somewhere else?" And the answer is, "Maybe, but never mind, no one ever said it better, ever." (pp. 101-02)
Luis E. Yglesias, "Out of Some Rumbling Wholeness," in Review 76 (copyright © 1976 by the Center for Inter-American Relations, Inc.), Spring, 1976, pp. 100-02.


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General Motors has rolled out a new brand identity as part of a drive to increase adoption of electric vehicles. It claims its new look – created by in-house designers – is more "modern and vibrant" than the previous blue square. But is it up to the job?
The rebrand swaps out the old logo's dark blue background with a white lettered uppercase monogram for a light blue lowercase 'gm' with a gradient, which sits in a white box outlined by the same light blue. Instead of having an underline on both letters, there's now a line under just the 'm'.
This change of emphasis makes us think we're supposed to change the way we say it too – General MOTORS instead of just General Motors. But is there something else to it? Either way, we're not convinced it's up there with our list of the best logos. And when compared to the other big rebrand so far of 2021 – Burger King – it feels like even more of a missed opportunity.
According to General Motors executive director of Global Industrial Design, Sharon Gauci, there most definitely more to that 'm' than you might have immediately noticed.
"The underline of the 'm' connects to the previous GM logos as well as visually representing the Ultium platform [GM's tech that powers electric vehicles]. And within the negative space of the 'm' is a nod to the shape of an electrical plug."
Whether or not the negative space looks like a plug to you will probably depend on which country you're from, and what plugs look like there. We definitely think this hidden Easter egg gives the logo more weight, but it's not enough to have us fully on board with the new look.
The blue iteration of the logo isn't the only one, either. There are further iterations in blue and black. We think the black is the strongest.
Gauci also elaborates on the colour scheme choice of the main logo: "The new GM logo features a colour gradient of vibrant blue tones, evoking the clean skies of a zero-emissions future and the energy of the Ultium platform. The rounded edges and lower-case font create a more modern, inclusive feel."
Perhaps it's the typeface choice that's the sticking point for us, coupled with the gradient, which somehow dates the logo. Together, it doesn't feel strong or enticing enough to really draw us in. The accompanying campaign for this piece is labelled 'Everybody In', and although we're certainly up for ways to make driving less damaging to the environment, we wonder whether a U-turn on the logo might be needed before it's full steam ahead for this one.
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The Development of the Canon of the New Testament
Gospel of the Hebrews (Egypt, mid 2nd century CE)
All that survives to us from the 'Gospel of the Hebrews' are several quotations made by Clement, Origen, Jerome, and Cyril of Jerusalem. Jerome took a lively interest in this book, an Aramaic copy of which he found in the famous library at Caesarea in Palestine. More than once he tells us (and with great pride) that he made translations of it into Greek and Latin. Unfortunately, these translations have been lost. According to the Stichometry of Nicephorus, it comprised 2200 lines, which is only 300 fewer than the length of the Gospel according to Matthew.
The time and place of origin are disputed, but since Clement used it in the last quarter of the 2nd century, it is usually dated to about the middle of that century. Egypt is indicated as its place of origin by the fact that its principal witnesses are the Alexandrians Clement and Origen, by the religio-historical character of two of the fragments, and by the conception of Jesus as the Son of the Holy Spirit, which is documented for Egypt by the Coptic Epistle of James. The original language of the gospel suggests that it was drawn up for Hebrew and Aramaic-speaking Jewish Christians in Palestine and Syria.
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