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The novelist Jules Verne is the most translated writer ever and one of the best-selling of all time.1 We all know his most popular novels—or at least think we do. In fact his works have largely been ignored by university departments of literature, and knowledge of them still remains limited. The manuscripts, in particular, are virgin territory, with no general studies to date of how the famous works came to be written, even for a masterpiece like Twenty Thousand Leagues under the Seas.2
Many English-language commentaries have concentrated on the workings of the Nautilus, but Verne emphatically did not introduce the idea of travel by submarine or make any predictions. His reputation as father of science fiction is erroneous, I believe, being both anachronistic and based on a misunderstanding. It has, above all, distracted attention from serious literary study of his novels.
In March 1868, on the rebound from writing the arid, half-million-word Géographie illustrée de la France (Illustrated Geography of France), Verne began creating his most ambitious book. Over the next eight months, his letters revealed mounting excitement at the ideas of what he called "l'homme inconnu" ("the unknown man") and the "absolute" subject:
Mon cher père ... Je suis en plein dans le "Voyage sous les eaux" ... j'y travaille avec un plaisir extrême. (March 10, 1868)
Ah! Mon cher Hetzel, si je ratais se livre-là, je ne m'en consolerais pas. Je n'ai jamais eu un plus beau sujet entre les mains ... certainement, on n'a jamais fait cela. (March 28, 1868; end of August 1868)3
(My dear father ... I'm deep in "Journey under the Waters" ... I'm working on it with tremendous pleasure.
Oh, my dear Hetzel, if I don't pull this book off, I'll be inconsolable. I've never held a better thing in my hands ... certainly, no-one has ever done it before.)4
However, following submission of the manuscript in autumn 1868 and March 1869, the novelist's world was turned upside down. The publisher Hetzel didn't like the book very much. And he wanted the best parts removed.
It is clearly important to determine (a) what Hetzel did not appreciate and (b) what Verne did about it, questions not considered to date.
Twenty Thousand Leagues, first published in serial form in 1869-70, recounts a circumnavigation, with Captain Nemo as the somber hero. Although it includes many dramatic episodes, much of the interest comes from the intense if distant relationship between Nemo and his passenger, Dr Aronnax, and from the anguish gripping the captain. Aronnax is the narrator, meaning we see all
The enigmas come together at the end of chapter 20 of Part Two (henceforth II§20), as the novel builds to its crescendo. After much searching, the submarine locates a ship on the Atlantic seabed, the Vengeur, sunk in 1794 and of great significance to the brooding captain. Then, in the following chapter, a warship attacks Nemo, who retreats overnight but finally sinks it. As the submarine disappears into the Maelstrom (II§22), Aronnax and his companions escape to the Norwegian coast. Even in the "Conclusion," however, the climax remains mysterious, and it is not clear whether the captain survives.
All these mysteries had a disreputable raison d'être: Hetzel's censorship. Because of the market the publisher aimed for, Verne was not allowed to deal with politics, sex, or violence; fundamental alterations were imposed on such works as The Voyages and Adventures of Captain Hatteras, Around the World in Eighty Days, and The Mysterious Island.
There are two known manuscripts of Twenty Thousand Leagues, MS1 and MS2. Although the latter undoubtedly served for the proofs, Verne generally corrected several sets, and the second manuscript presents many variants with the published versions, albeit of a stylistic nature. However, MS2 itself contains numerous corrections: the crossed-out sections, often still legible, conveniently comprise the parts not read to date. MS1, in contrast, is written in a scrawl and the corrections, especially, often cannot be made out.
In another study,5 I explore several passages deleted from II§22. In the published version we have little information about the submarine's route to the Arctic, a frustrating gap since Verne was deeply attached to the waters around Britain. He visited the British Isles at least fourteen times and, from 1865, when he bought his first boat, sailed along the French coast at every opportunity. Having gone round the world, the writer returns to the English Channel, but creates a geographical vacuum at the very area where he is composing his masterpiece.6 These obliterated descriptions are significant in presenting the Channel coast—and in constituting the only extant description of France in Verne's first forty novels. In one, Nemo and Aronnax explore the Channel floor; in another, the narrator conjures up medieval visions from dark cliffs near Le Havre; and in one especially fine seascape, finally, the Nautilus floats on a tranquil and harmonious North Sea.7
In the present article, the focus will be on II§21 and §23.8 These twin chapters represent the heart of both the plot and the ideological and ethical debate. Scores of commentators have pored over the texts and "meta-texts," the intensive, sometimes bad-tempered, epistolary debate about the closing chapters. However, all commentary to date has been based on the version bowdlerized by Hetzel, not on what Verne actually wrote.
I will work from the final version, via the correspondence, to MS2 and thence to MS1. The image of a palimpsest, where layers of paint mix and
In the known version of II§20, entitled "Par 47°24' de latitude et de 17°28' de longitude" ("47° 24' N, 17° 28' W"), the Nautilus follows the Transatlantic Cable and passes Land's End to port. At midday on "31 juin [sic]" ("31 June") it locates the Vengeur and Nemo declaims the glory of the scuttled ship's cause. In the next chapter, "Une Hécatombe" (II§21—"A Massacre"), a warship attacks the submarine, which lures it eastwards. Nemo intones "Je suis le droit, je suis la justice! ... Je suis l'opprimé, et voilà l'oppresseur!" ("I am the law, I am the justice! ... I am the oppressed, and they are the oppressor!")—then sends his submarine clean through the vessel. As a horrified Aronnax watches the drowning sailors' death-throes, the chapter closes dramatically:
Je vis le portrait d'une femme jeune encore et de deux petits enfants. Le capitaine Nemo les regarda pendant quelques instants, leur tendit les bras, et, s'agenouillant, il fondit en sanglots.
(I could see the portrait of a woman, still young, with two small children. Captain Nemo looked at them for a few moments, stretched out his arms to them, and then knelt down sobbing.)
One question is the position of the sinking, although the persistent exegete can calculate it to be at least 350 miles west of Finistère. But the biggest mystery remains Nemo's motive. The warship may perhaps be British, French, Italian, or American, but elsewhere in the book Nemo is implied to be Polish, in which case his enemy would be Russian. In The Mysterious Island (1875), Verne claims that the captain has been Indian all along, but the idea simply does not make sense at this stage. In sum, the nationality of the ship, of Nemo himself, and hence his possible motive for the attack cannot be deduced in the published book.
The main reason for this was the publisher's expurgation of the work. One bone of contention for many of Verne's novels was the title, and the underwater epic was no exception, being successively called Journey under the Waters, Twenty-Five Thousand Leagues under the Waters, Twenty-Five Thousand Leagues under the Seas, and Twenty Thousand Leagues under the Oceans.
Another irritation was that, after Verne had finished the book, Hetzel casually suggested adding a new volume to increase its length by half, rather like a butcher measuring out sausage. To achieve this, he wrote on April 25, 1869, episodes could easily be added, such as the escape, capture, and reconciliation of one of the guests, an episode involving John Brown, the famous abolitionist murdered in 1859, or a scene where Nemo could save a few Chinese boys from Chinese pirates and keep one on board, thus "egay[ant] le Nautilus" ("cheering things up on board")! Fortunately, the ideas were not implemented.
For seven months from March 1869, when the novel started coming out, Hetzel rejected the closing chapters. The publisher insisted that Verne delete his cherished idea of making Nemo a Pole whose country had been wiped out following the 1863 insurrection—because the idea would upset the Russian government. Furthermore, Hetzel claimed that the captain's attacks were intolerably violent and morally unacceptable.
Verne tries first to circumvent the problem, using gentle persuasion on the publisher:
Si Nemo eft été un Polonais dont la femme fft morte sous le knout et les enfants morts en Sibérie, et ... se fft trouvé en face d'un navire russe ... tout le monde admettrait sa vengeance. (May 8, 1869)
Quant à un navire négrier, corsaire, pirate, vous savez bien qu'il n'y en a plus ... Le mieux, c'était Nemo luttant contre la société tout entière. Situation belle, mais difficile à faire admettre parce que le motif d'une telle lutte manque.
Moins bien, il y avait la lutte d'un proscrit contre les proscripteurs, d'un Polonais contre la Russie. C'était net. Nous l'avons rejeté pour des raisons purement commerciales.
Maintenant, s'il n'y a plus que la lutte d'un Nemo contre un agresseur chimérique, aussi mystérieux que lui, ce n'est plus qu'un duel entre deux individus. Cela rapetisse singulièrement la chose.
Non, comme vous le dites, il faut se tenir dans le vague, et nous y arriverons. (May 15, 1869)
(If Nemo had been a Pole whose wife died under the scourge and children perished in Siberia, and ... had found himself faced with a Russian ship ... everybody would admit his revenge.
As for a slaver, corsair or pirate vessel, you know well that they don't exist any more.... The best was Nemo fighting against the whole of society. A fine situation but difficult to make people believe in, since there was no motive for such a fight.
Less good, there was the outlaw's battle against those who had made him an outlaw, a Pole against Russia. That was forthright. We rejected it for purely commercial reasons.
But if it's now just a battle by Nemo against a chimerical enemy as mysterious as him, it's not a duel between two individuals any more. It singularly reduces the whole thing.
No, as you say, we need to keep it vague, and we'll manage to.)
In the face of Hetzel's insistence, Verne details why the proposed changes are unacceptable. His own words convey the scope of the recommendations, the extent of his indignation, and the strength of his logic:
Je vois bien que vous rêvez un bonhomme très différent du mien ... Il suffit que je justifie l'action terrible du capitaine par la provocation dont il est l'objet. Nemo ne court pas sur les navires pour les couler ; il n'attaque pas ; il répond aux attaques. Mais, nulle part, quoi qu'en dise votre lettre, je n'en ai fait un homme qui tue pour tuer. C'est une nature généreuse dont les sentiments s'exercent à l'occasion dans le milieu oj il vit. Sa haine de l'humanité est suffisamment expliquée par ce qu'il a souffert en lui-même et dans les siens. (May 17, 1869)
Je ne vous écrirai point la lettre en question à propos du capitaine Nemo; si je ne puis expliquer sa haine, ou je garderai le silence sur la cause de cette haine comme sur toute l'existence de ce héros, sa nationalité etc.—ou, s'il le faut, je changerai le dénouement.
Vous dites: mais il commet une infamie! Je réponds non; supposez toujours ce qui était l'idée première [sic] du livre, un seigneur polonais, dont les filles ont
page 47été violées, la femme tuée à coups de hache, le père mort sous le knout, un Polonais dont tous les amis périssent en Sibérie et dont la nationalité va disparaître de l'Europe sous la tyrannie des Russes! Si cet homme-là n'a pas le droit de couler des frégates russes partout oj il les rencontrera, alors la vengeance n'est plus qu'un mot. Moi, dans cette situation, je coulerai et sans remords. Pour ne pas sentir comme je sens à ce propos, il faudrait n'avoir jamais haï! (June 11?, 1869)
(I can see full well that you're picturing a very different fellow from mine.... All I need to do is justify the captain's terrible action in terms of the provocation he undergoes. Nemo doesn't run after ships to sink them, he responds to attacks. Nowhere, whatever your letter says, have I made him a man who kills for killing's sake. He has a generous nature and his feelings are sometimes brought into play in the environment he moves in. His hatred of humanity is sufficiently explained by what he has suffered, both he and his family.
I refuse to write the letter for you concerning Captain Nemo;xe if I cannot explain his hatred, either I will stay silent about the reason for the hero's hatred and life, his nationality, etc., or, if necessary, I will change the ending.
You say: but he performs an evil act! I reply no; imagine again—this was the original idea for the book—a Polish noble whose daughters have been raped, wife killed with an axe, father killed with a scourge, a Pole whose friends all perish in Siberia and whose nationality will soon disappear from Europe under the Russian tyranny. If that man doesn't have the right to sink Russian frigates wherever he finds them, then revenge is but a word. In such a situation, I myself would sink unremorsefully. In order not to feel like me on this matter, you'd need to have never hated!)
Reading the correspondence, of which the above is only a small selection, one must side with the author, "tourmenté" ("tortured"), as he says, by Hetzel's blind obstinacy. The publisher fails to understand the book or Nemo's character. He falls into the elementary trap of judging the captain's violent actions without looking at the reasons behind them. The quick-fix changes, made for basely "commercial reasons," do seem absurdly wrongheaded.
In the end, however, Verne is forced to take on board most of the publisher's ideas. He does manage to subvert some of them, so subtly as to have taken in many readers, and indeed critics. But the final effect on Nemo's agenda and the meaning of the novel is to make both less convincing. Nemo is not allowed to be French, or Polish, or any nationality at all. His rebellion cannot strike at any governmental authority, only all the great powers, with a mishmash of evasive hints at Confederate, Russian, British, French, and even Turkish ships. It is a sad result for Verne's greatest hero.
All is not irremediably lost, though, for the novelist kept the evidence, just in case posterity might be interested. Here we will explore the two earlier drafts and hence what Verne really intended when he wrote his finest masterpiece.
In the manuscripts, a debt to Alexandre Dumas fils, Verne's friend, protector, and collaborator, is acknowledged. Aronnax is Nemo's "prisonnier" ("prisoner") rather than "hôte[s]" ("guest"), and has to formally undertake never to escape; however, at the end the doctor claims the moral right to leave, and Nemo shouts back: "Well, leave then!" The location of the captain's home
We see, above all, a different personality, more independent and more intransigent. In addition to being an engineer, naturalist, collector, writer, and freedom-fighter, the original Nemo is a composer, preferring his own music to all others'. Iin place of Da Vinci's Virgin, there is a half-dressed woman. The absurd Christian element disappears, especially Nemo's published cry "Dieu tout puissant ! assez ! assez !" ("God almighty! Enough! Enough!"). When hundreds of wild Papuans invade his ship, the captain electrocutes them, deliberately and without remorse.
The climax of II§21 has not yet undergone its harrowing political
cleansing. We immediately observe in MS2 that Nemo corrects Aronnax's
mealy-mouthed identification of the ship: "
Mais rendez-lui son vrai
nom:Le Vengeur du peuple!" (" But give it its real
name: Le Vengeur du peuple!") Again, "la glorieuse
épave" ("the glorious wreck") of the published version here lies in a
"grande tombe heroïque," part of "la légende républicaine" ("grand heroic
tomb"; "the Republican legend"). Clearly Nemo is emphasising his support
for the people: the underdog, Republicanism, and left-wing values in the
specific context of the French Revolutionxe "French Revolution, the". The
deletion of such radical ideas conformed to the publishing house's
policy, for the two R words are absent from Verne's collected works, even
though he was to serve Amiens City Council on a Republican list for
fifteen years.
Another significant phrase in the draft, "ne s'était-il pas attaquéB un
d'une certaine nation qu'il poursuivait de sa haine?" ("had
he not attacked some ship of a certain nation which he pursued with
his hate?"), implies that Nemo's attacks are against a particular
country—although it already is not considered prudent to name it.
Before Nemo's attack, his interchange with Aronnax is franker and less
courteous in MS2. Thus the doctor claims that sinking the warship
serait le fait d'un barbare" (" would be the act of a
barbarian"), provoking Nemo to respond, "d'une voix irritée" ("in an
irritated tone"), "L'attaque est venue! d'eux! ... Descendez ,
je vous dis" ("The attack has come! from them! ... Go down ,
I tell you"). The "from them!" vitally emphasizes Nemo's policy of
only responding to, rather than initiating, attacks. An important
self-justification then follows:
Savez-vous qui vous implorez? Un homme chassé de son pays, exilé despotiquement, loin de sa femme, loin de ses enfants que la douleur a tués, ... Pour la dernière fois taisez-vous!
Do you know whom you're imploring? A man thrown out of his country, despotically exiled, far from his wife, far from his children, dead of suffering ... For the last time, keep quiet!)
Then, after the submarine has passed through the ship, a horror-stricken
but fascinated Aronnax observes the underwater death-throes. The
manuscript again contains more melodrama: "
Là, dans une dernière
convuls un pauvre petit mousse, comme enchaîné dans la flamme livide, se
tordait dans une dernière
The chapter's closing words are also different. In place of the sentiment involving Nemo's dead family, added in the margin, aggression is here the dominant emotion:
l'oeil ardent, fixé du côté, les dents découvertes sous sa lèvre relevée, son corps raidi, ses poings fermés, sa ïLte rentrée entre les épaules. Véritable statue de la haine, telle que je l'ai qu'il était déjà apparu à mes yeux dans les mers de l'Inde.
his eye shining, fixed to one side, his teeth uncovered under his raised lip, his body stiff, his fingers clenched, his head hunched in his shoulders. A veritable statue of hatred, such as I had he had already appeared to my eyes in the seas of India.)
It is interesting to compare these variants with the correspondence.9 First, Verne promises that he will take out
l'horreur que Nemo inspire à la fin à Arronnax [sic], [et] ... cette attitude de haine que prend Nemo en voyant couler le navire. Je ne le ferai même pas assister à ce coulage. (April 29?, 1869)
(the horror Nemo inspires in Aronnax and ... that attitude of hate Nemo adopts on seeing the ship sink, and will not even make him present at the sinking.)
Verne's concession involves the epiphenomena of what the doctor observes and feels, rather than the captain's actions. Nor does he entirely keep his promise, for, although Aronnax does not attend the attack (how could he, since it is underwater?) and the cabin-boy's convulsions are sacrificed, the good doctor does devour every gruesome detail of the ship's descent.
Perhaps predictably, MS1, where it can be deciphered, is more forthright. Perhaps surprisingly, however, it appears less complete than both MS2 and the published version. II§21 is now entitled "An Attack"—possibly a reference to the unprovoked one by the warship.
The vessel is duly sighted, but only here is it "un trois-mâts," "du type Solferino," "teigna[nt] le fond du ciel" ("a three-masted ship," "of the Solferino class," "darkening the depth of the sky"). In the following folio, Nemo ascribes it to "une nation maudite, disgraciée" ("a cursed, disgraced, nation"). "Solferino" meant a type of armoured battleship, at the time the last word in naval aggression. It was, above all, French.
In the earliest version of the climactic episode, then, Nemo is an ardent supporter of the French Revolution and Republicanism—and a fierce opponent of the current regime and what it has done to France. The phrase "darkening the depth of the sky" surely indicates Verne's own dislike of Napoleon IIIxe "Napoleon III" 's government. Given the absence of politics in Verne's novels, the warship's French nationality and the condemnation of the catastrophic state of the nation are crucial.
Only now does the wrongheaded Aronnax surmise:
Eh, ami Ned, que voulez-vous qu'il puisse faire au Nautilus! xxx l'attaque[r] sur les flots, et d'ailleurs pourquoi l'attaqueront-ils ? Le Nautilus n'est en guerre avec personne que je sache.10
(Hey, friend Ned, what do you think it can do to the Nautilus! xxx attack it on the surface, and in any case why would they attack? The Nautilus isn't at war with anyone as far as I know.)
Showing the value of the doctor's prognoses, the warship immediately fires on the submarine. Aronnax now speculates that the vessel has guessed Nemo's mission:
[Le navire n'était-il pas] d'une certaine nature qu'il poursuivait de sa vengeance? ... ne poursuivait-il pas sur toutes les mers, non plus un Ltre chymerique, mais un engin formidable manoeuvré par quelque homme qui avait voué à l'humanité une haine formidable?
([Was the ship not] of a certain nature that he was pursuing with his vengeance? ... was it not pursuing over all the seas, no longer a chimerical being, but a formidable machine controlled by some man who had sworn a formidable hatred of humanity?)One possibility is that the "formidable hatred of humanity" represents Nemo's attitude at the stage before he becomes a Pole, "fighting against the whole of society," as we saw Verne writing to Hetzel, a motive he calls "the best." However, the doctor may have again got the wrong end of the stick, uncannily like Hetzel, in extrapolating from the mere existence of a submarine and its defense when attacked, to such a broad existential position. The ship, after all, has little way of knowing Nemo's political or social agenda. It is certainly fascinating to see in the text what we only knew from the correspondence, namely Nemo's earliest position, fighting everyone. Given, however, the danger of equating Verne's thought with the ideas ascribed to the warship by Aronnax, we should be prudent. There may in any case be further shadows, like Banquo's ghosts, lurking below the surface of MS1.
As for the actual scene where the two men watch the mariners' death-throes, the closing twenty words of MS1 vitally differ from MS2. Given the lack of information about Nemo's crowning action, this passage constitutes perhaps the most important in the novel. After the lines showing Nemo as a "statue of hate" appears a partly illegible passage, apparently as follows: "Horrible. / ... hurla ... de se demander ... nous avons causé un contretemps. / Malheur! Malheur!" ("Horrible. / ... screamed ... to wonder ... We have caused a slight problem. / Damn! Damn!")
Nemo's dominant sentiment is, then, regret rather than remorse; he shouts rather than sobs; and the idea of revenge may be present, albeit understatedly and confusingly expressed.
After this brief analysis of chapter 21, the difficulties of studying variants over an extended text may have become apparent. For reasons of space and, sometimes, legibility, one cannot cite the manuscript versions in extenso. However, listing the changes in isolation may undermine the continuity of the literary text. One alternative, of course, is to accept the discontinuity, to
It is this latter solution that I now attempt for MS2, encouraged by the
brevity of the last chapter of Twenty Thousand Leagues. (In the
following passages, italics in the manuscript have been ignored, text
only in the published version is in italics, text only in the
manuscript is underlined, additions in the margin are indicated as
{ }, text crossed out in the manuscript is indicated as
text not deciphered is indicated as xxx, and spelling and capitalization,
but not punctuation, have generally been corrected.)
Voici la conclusion de ce voyage sous les mers. Ce qui se passa pendant cette nuit, comment le canot échappa au formidable remous du Maelstrom, comment Ned Land, Conseil et moi, nous sommes sortis sortîmes du gouffre, je ne saurai le dire. Mais quand je
sorsrevins à moi, j'étais couché dans la cabane d'un pêcheur des îles Lofoden Loffoden. Mes deux compagnons étaient près de moi et me pressaient les mains. Nous nous embrassâmes avec effusion.
J'étais fort éprouvé.En ce moment, nous ne pouvons songer à regagner la France. Les moyens de communications entre la Norvège septentrionale et le sud sont rares. Je suis donc forcé d'attendre le passage du bateau à vapeur qui fait le service bimensuel du Cap Nord.
Donc, c'est parmi ces braves gens qui nous ont recueillis, que j'ai revu je revois le récit de ces aventures; elles me donnent le. Il est exact. Pas un fait n'a été omis, pas un détail n'a été exagéré. C'est la narration fidèle de cette invraisemblable expédition sous un élément inaccessible à l'homme, et dont le progrès rendra les routes libres un jour.
Me croira-t-on? Je ne sais. Peu importe, après tout. Ce que je puis affirmer maintenant, c'est mon droit de parler de cette ces mers sous laquel lesquelles, en moins de dix mois j'ai franchi vingt mille lieues{, de ce tour du monde sous-marin qui m'a révélé toutes ces merveilles à travers le Pacifique, l'Océan Indien, la mer Rouge, la Méditerranée, l'Atlantique, les mers australes et boréales}!
Mais qu'est devenu le Nautilus? A-t-il résisté aux terribles étreintes du Maelstrom? Le capitaine Nemo vit-il encore? Poursuit-il sous l'Océan ses effrayantes représailles, ou s'est-il arrLté devant cette dernière hécatombe? Les flots apporteront-ils un jour cette bouteille ce manuscrit qui renferme toute l'histoire de sa vie? Saurai-je enfin le nom de cet homme? Le vaisseau disparu nous dira-t-il, par sa nationalité, la nationalité du capitaine?
Je l'espère. Je crois aussi, je crains{,
plus encore—car dois-je l'esperer?}—que sa puissante machine aitait J'espPre également que son puissant appareil a vaincu la mer dans son gouffre le plus terrible, et que son le Nautilus ait a survécu là oj tant de navires ont péri! S'il en est ainsi, s'il habite encore cette vaste mer, sa patrie d'adoption, puisse la haine s'apaiser dans ce coeur farouche! Que la contemplation de tant de merveilles éteigne enfin en lui cet esprit de Vengeances vengeance! Que le justicier s'efface, que le savant continue la paisible exploration des mers! CarSi sa destinée est étrange, elle est xxx aussisublime aussi. N'ai-je pas compris par moi-mLme? N'ai-je pas vécu dix mois de cette existence extranaturelle? N'est-il pas le seul homme qui puisse répondre "Moi" à cette demande de l'Ecclesiaste: Qui a jamais sondé les profondeurs de l'abime?{Et à cette demande faite il y a six mille ans par l'Écclésiaste: "Qui a
page 52jamais pu sonder les
secretsprofondeurs de l'abîme?" deux hommes seuls entre tous les hommes peuvent ont le droit de répondre à voix haute: maintenant. Le capitaine Nemo et moi.}
This is the conclusion of the journey under the seas. What happened that night, how the boat escaped from the formidable undertow of the Maelstrom, how Ned, Conseil and I got out emerged from the deep, I cannot say. But when I come out, I was lying in the hut of a Lofoten Loffoten Islands fisherman. My two companions were safe and sound beside me, squeezing my hands. We embraced warmly.
I was in a bad state.At this moment, we cannot think of returning to France. There are not many means of transport between the north and south of Norway. I am therefore forced to wait for the steamship which makes the fortnightly run to North Cape.
So it is here, in the midst of the good people who saved us, that I have revised am revising the tale of these adventures; they give me the. It is accurate. Not a single fact has been omitted, not the slightest detail exaggerated. It is the faithful narration of an incredible expedition through an element inaccessible to man, although progress will open it up one day.
Will I be believed? I do not know, but it is not that important. What I can proclaim now is my right to speak of this these seas through which I covered twenty thousand leagues in less than ten months{; and to speak of that submarine journey around the world, which has revealed so many of the marvels of the Mediterranean and Red seas and of the Pacific, Indian, Atlantic, Arctic and Antarctic oceans}!
But what became of the Nautilus? Did it resist the terrible embrace of the Maelstrom? Is Captain Nemo still alive? Is he continuing his terrifying reprisals under the ocean, or did he stop at that last massacre? Will the waves one day wash up the bottle themanuscript containing the entire story of his life? Will I finally discover his name? Will the nationality of the vessel sunk tell us Captain Nemo's own nationality?
I hope so. I also believe, I fear{,
still more—for should I hope}—that his powerful machine may havemay haveI also hope that his powerful vessel has overcome the sea's most terrifying deep and that his the Nautilus survived where so many ships have perished! If this is the case, if Captain Nemo does still inhabit his adopted oceanic homeland, may hate die down in that wild heart! May the contemplation of so many marvels finally extinguish his desire for Vengeancesvengeance! May the lawgiver disappear and the scientist continue his peaceful exploration of the seas! ForIf his destiny is strange, it is xxx alsosublime. Do I not understand it myself? Have I not lived ten months of that extra-natural existence? Is he not the only man who can reply "I have!" to that question of the Book of Ecclesiastes, "hast thou walked in the search of the depth?"{And so, to that question which the Book of Ecclesiastes posed 6,000 years ago, "hast thou walked in the search of secretsthe depth?," two men, alone amongst all men, now have the right to reply out loud. Captain Nemo and I.}
The importance of the final chapter of any novel is of course to pull the threads together, to resolve the enigmas, to effect the transition from the fictional to the real world. It is no coincidence that Roland Barthes, in a famous
Some of the details help clarify points that exegetes have long puzzled over. Thus the "Loffoten" of the published version is here the more correct "Lofoten" (Verne's texts are riddled with mis-spellings, often the fault of the editor). Verne may be citing the closing Biblical quotation from memory—which would explain why it is so difficult to place.
The two changes of tense are a delicate balancing act, with narrative and fictional time precariously converging. Since Aronnax is using the present to describe his own writing process, what events can he narrate without disappearing up his own temporal vortex, how can the narration present its own demise? This is a problem of much fiction, but the good doctor's claim to be revising the manuscript of his adventures renders it more complex here. The past tense, in contrast, makes Aronnax the author of the book the reader is holding.
Many changes are significant in the light of Hetzel's baleful influence. Our ultimate assessment of Nemo is surely colored by the insertion of the words "that last massacre." The complexities of Aronnax's feelings appear in the hesitation between believing, fearing, and hoping in the successive versions. The corresponding subjunctive form, crossed out but replaced with an identical phrase, seems to imply that the submarine did escape, an idea reinforced by the more emphatic expressions, "finally," "alone," and "out loud." Having Nemo take the curtain solo may similarly imply he is still alive, and we may accordingly regret the doctor's writing himself into the closing sentence of the book version.
The reason Aronnax hesitates about Nemo's fate may be his vacillation between Verne's and Hetzel's views, both of them ambivalent. The publisher may not have wanted to kill the captain off, not because of any affection for him but because he may already have been planning a sequel. Although Verne later stated he had no plans to bring him back, Nemo was in reality resuscitated after only four years, in a very late draft of The Mysterious Island. The fact that the captain was absent from Verne's planning and was unrecognizable implied that the idea came from Hetzel. Given that the publisher censored many of the deaths, even accidental ones, in Verne's works, he may have been doubly opposed to Nemo dying in Twenty Thousand Leagues. As for Verne, despite his sympathy, he may have considered that underwater burial was the kindest fate for his massacred character—and the best way to avoid him being dug up again.
Above all, Aronnax's plea for "the lawgiver [to] disappear" constitutes the most direct criticism of the captain's behavior in the published book. It thus provides a key to the most important misunderstanding about the novel, for many more naive readers, especially in America, have taken the captain to be a villain. But this is a narrative trap. Elsewhere in the works, although we often read Hetzel's half-baked ideas, they are invariably expressed by the characters—and refuted before the end. My claim, then, is that this criticism of Nemo is Hetzel's rather than Verne's, and that, like most European readers, we should mistrust Aronnax's final condemnation and instead support the captain's freedom-fighter side.
Fortunately, my idea is supported by MS1:
Ce qu'il se passa, je ne sus pendant la nuit, ni xxx sortait du gouffre. Mais nous en sortîmes.
Mais le matin, nous étions à terre, et je revenais de mon évanouissement dans la cabane d'un pêcheur de Lofoden.
xxx faire, je restai long-temps xxx digne Ned et Conseil qui avaient xxx que moi.
Et c'est de là que j'ai écrit ces charmantes xxx, et c'est de là que je les adresse à Paris. {qui compléteront les connaissances sur les fonds de la mer}
Et maintenant qu'est devenu le Nautilus? a-t-il succombé. Peut-Ltre! Mais peut-Ltre aussi sa formidable constitution lui a-t-elle permis de résister et de sortir du gouffre. {ayant fait 20000 lieues, tour du monde}
Qu'est devenu le capitaine Nemo? Personne je pense ne le saura jamais; peut-Ltre mouru-t-il [sic].
Quant à la frégate disparue, on saura bien à quel gouvernement elle manque, et on saura sa nationalité, et d'oj il vient{mais qu'on le sache bien, il est imprenable!} et oj il va!
Et moi qui ai assisté a tant de scènes comment l'oublierai-je.
Et lui, vit-il encore, avec son Nautilus et les siens, l'homme des eaux, dans sa demeure fabuleuse. L'homme libre!
What happened, I did not discover during the night, nor xxx emerging from the abyss. But we did get out of it.
But in the morning, we were on dry land, and I was coming out of my faint in the hut of a Lofoten fisherman.
xxx doing, I remained for a long time xxx good Ned and Conseil who had xxx as me.
And it is from here that I have written these charming xxx, and it is from here that I am sending them to Paris. {which will complete our knowledge of the depths of the sea}
And now what became of the Nautilus? Did it succumb. Perhaps! But perhaps also its formidable construction allowed it to resist and to emerge from the abyss. {having done 20000 leagues, circumnavigation}
What became of Captain Nemo? I do not think anyone will ever know. Perhaps he died?
As for the vanished frigate, it will easily be discovered which government has lost it, and its nationality will be known, and where it/he comes from {but, one should take careful note, he is unassailable!} and where he is going!
As for me, who have assisted at so many scenes, how can I forget him.
As for him, is he still alive, with his Nautilus and his companions, the man of the waters, in his fabulous abode. A free man!)
In this ur-version, shown here without the published variants, Aronnax again self-centeredly talks of "his" book "completing" knowledge of the depths and generally emphasizes his own role. The survival of the manuscript, even after the death of the narrator, constitutes an important topos of the adventure story; here we may note that Paris is the location of Hetzel's publishing house. By alluding in this way to the real-world publishing of the book, Aronnax is half-
In an interesting slip, one sentence starts off talking about the sunk frigate, but then switches to where "he" comes from and "where he is going," meaning that the captain is being discussed.
As we might imagine from the later draft, MS1 envisages Nemo's survival. Above all, it does not criticize his actions, and indeed closes with a resounding support for his way of life, "still alive, with his Nautilus and his companions, the man of the waters, in his fabulous abode. A free man!" The idea of Nemo's "unassailability" or "impregnability," deleted because of bourgeois values, sounds very much like an ultimate defiance thrown at Hetzel and all conformists.
On the basis of our examination of two manuscript chapters of Twenty Thousand Leagues, we have found, in very brief summary, that in them Captain Nemo supports the French Revolution and Republican ideas, and the ship he attacks, in legitimate self-defense, is French. In the original "Conclusion," Nemo survives and is not criticized by the egregious Aronnax, but rather praised as the ultimate free being.
Several general conclusions follow on. The novel where, with Hatteras, Verne most revealed his soul, one of the great masterpieces of western literature, only saw the light of day in hacked-about and censored form. Nevertheless, the question of whether MS1 and MS2 should be considered superior to the final version is a complex one, involving considerations of style, structure, and ideology. Given the confusing published book, the good doctor's wild speculations in the earlier versions may actually clarify matters, for they pose the essential questions but also, by their very wrongheadedness, show how unreliable his thinking always is. This logic applies especially in the Conclusion, but with the additional observation that the original versions are clearly superior in many respects, especially in producing an accurate interpretation of Nemo's actions and way of life.
Would it be better, then, to publish the novel by reinstating the passages lost due to the publisher's pressure? The answer must take into account the stylistic improvements Verne made, of his own free will, over the successive drafts. Some of the substantive changes may also fall into the category of spontaneous changes of mind. Some of Hetzel's suggestions may actually be beneficial—and often Verne adapts them to his own ends. But we shall probably never know which of the categories most of these changes fall into. Even if we wished to use the earliest draft, it is not clear if it can ever fully be deciphered. Might it not then be advisable to mix and match from the later versions? Also, can the correspondence be adduced as evidence? Can new sections be written in to improve "continuity"? It would be dangerous, in sum, to conclude that MS2 or, a fortiori, MS1 should always be used for future editions of the novel.
To reverse the underlying question, it would seem clear that the Hetzel text can no longer be accepted as accurate or authentic. Knowing the harrowing cuts made in the other novels, with the additional evidence of the correspondence, and aware as we are now of major variants, we can no longer accept the
Equally clearly, all future interpretations of the novel must take the manuscripts into account. It is no longer possible to study the Nautilus's route, the protagonists' minds, and the interchanges between Aronnax, Nemo, and the assailants without referring to the original versions. The sandy bed of the English Channel, the medieval cliffs of Le Havre, and the sea where the beloved submarine bathes in perfect harmony henceforth form part of our vision of Nemo. The image is obsessive, of the Man of the Waters as a Republican hero sinking the cream of Napoleon the Little's fleet in self-defense and thereafter prowling the oceans as the Free Man.
The final conclusion concerns the urgency of establishing a reference edition of Vingt mille lieues. All the current French texts contain obvious faults of logic, fact, and spelling. That Verne's nineteenth-century publisher edited so poorly provides no excuse for reproducing the problems in the twenty-first. A properly researched and annotated French edition is essential.
At the end of our journey to the center of the text, then, we have rescued the true Nemo and the conceptual core of Twenty Thousand Leaguesxe "Twenty Thousand Leagues" , before Hetzelxe "Hetzel" 's eviscerating and Aronnax's moralizing. What we should remember of Nemo is not the Hollywood version, betraying a truncated mistranslation of a bowdlerized text. We should think instead of a musician playing his own compositions in his self-constructed submarine. We must allow him a politically incorrect self-defense in line with his Scottish motto, "Nemo me lacessit impune" ("No one attacks me scot-free"), the right to imprison the egregious, invasive Aronnax; to execute the savages assailing him; to unhesitatingly sink his enemies' ships. We must permit him the consolation of Le Crotoy's sands and one last sunny, peaceful dawn. It is a shame, though, that the journey has taken 126 years.
In some dark corner of the French National Library, Nemo still freely rides the ocean. Let us hope that a publisher will, one day, be brave enough to let him out.
"La journée menaçait d'Ltre très chaude. Le ciel n'était déjàni gris ni bleu. Il était blanc. Le temps calme; la brise ne soufflait pas comme déjà dxxxrée; sur la mer, de petites rides régulières formaient des losanges qui s'entrecroisaient. Le soleil les piquait de points brillants. L'eau était verte émeraude, et formait de larges ondulations bien étendues que le Nautilus ne sentait même pas. Quand une légère risée arrivait, la mer se ridait un peu. Elle avait l'air de veiller.
"Au loin dans la grande brume, quelques chaloupes de pèche, ou chasse-marées [sic], aux voiles flasques et pendantes, ou une fumée de steamer qui s'xxxait dans le ciel." (MS1 II§22)
("At this moment, The Nautilus was floating on the surface of the billows. I went up to the deserted platform. It was keeping a few miles from a low land off xxx of Holland, scarcely shaded through the thick mist of the horizon.
"A hot day was in store. The sky was already neither grey nor blue. It was white. The air calm; the breeze did not blow, as if already xxxed; on the sea, small regular ripples formed intersecting diamond shapes. The sun picked them out in sparkling points. The water, like liquid emerald, heaved in broad, extended waves the Nautilus did not even feel. When a small gust arrived, the sea would ripple slightly. It seemed to be on the lookout.
"In the haze in the distance, a few fishing smacks, or coastal luggers, with flaccid, hanging sails, or the smoke from a steamer xxxed in the sky.")
Butcher, William. "Introduction," "Inception of the Novel" and "Notes." Jules Verne. The Mysterious Island. Trans. Sidney Kravitz. Ed. Arthur B. Evans. Introduction and critical material by William Butcher. Middletown, CT: Wesleyan UP, 2001.vii-xxxii, xxxv-xlvii, and 637-52.
─────, "Introduction," "Note on the Text and Translation," and "Explanatory Notes." Jules Verne. Around the World in Eighty Days. Trans.and with an introduction and notes by William Butcher. Oxford: Oxford UP, 1995. vii-xxxi, xxxii-vi, and 213-47.
─────, "Introduction," "Note on the Text and Translation," and "Explanatory Notes." Jules Verne. Twenty Thousand Leagues under the Seas. Trans. and with an introduction and notes by William Butcher. Oxford: Oxford UP, 1998. ix-xxxi, xxxi-ix, and 385-445.
─────, "Introduction," "Note on the Translation," and "Explanatory Notes." Jules Verne. Journey to the Centre of the Earth. Trans. and with an introduction and notes by William Butcher. Oxford: Oxford UP, 1992; rev. ed. with new material 1998. vii-xxx, xxxi-ii, and 219-32.
─────, "Introduction," "Note on the Translation," and "Explanatory Notes." Jules Verne. The Adventures of Captain Hatteras. Trans. and with an introduction and notes by William Butcher. Oxford: Oxford UP, forthcoming 2005.
─────, "Les Episodes fantômes de Vingt mille lieues." Europe 909-10 (2005): 119-34.
─────, "Long-Lost Manuscript." The Modern Language Review 93.4 (October 1998): 961-71.
─────, "Un Espace vierge." Studi Francesi 142.1 (2004): 108-17.
─────, "Verne en version originale: Les Véridiques aventures du capitaine Hatteras." Jules Verne cent ans aprPs. Ed. Jean-Pierre Picot and Christian Robin (forthcoming Terre de Brume, 2005).
Compère, Daniel. "Le Jour fantôme." Revue des Lettres Modernes, Série Jules Verne, 1.456 (1976): 31-51.
Dehs, Volker. "Les Manuscrits des Voyages extraordinaires: Répertoire des noms disparus." Bulletin de la Société Jules Verne [BSJV] 109 (1994): 20-35.
─────, "Le Premier dénouement des Cinq cents millions de la Bégum." BSJV 123 (1997): 37-41.
Destombes, Marcel. "Le Manuscrit de Vingt mille lieues sous les mers de la Société de Géographie." BSJV 35-36 (1975): 59-70.
Dumas, Olivier. "Hetzel censeur de Verne." Un Editeur et son siPcle: Pierre-Jules Hetzel (1814-1886). Textes et iconographie réunis et présentés par Christian Robin. Saint-Sébastien: ACL Edition, 1988. 127-36.
─────, "Jules Verne retrouvé ou le héros vernien trahi par Hetzel." Modernités de Jules Verne. Ed. Jean Bessière. Paris: Presses Universitaires de France, 1988. 11-20.
─────, "La Mort d'Hatteras." BSJV 73 (1985): 22-24.
─────, "Le Manuscrit d'Une Ville flottante, au destin contrarié." BSJV 99 (1991): 36-41.
─────, "Le Choc de Gallia choque Hetzel." BSJV 75 (1985): 220-21.
─────, "Le Monstre de Cabidoulin en version manuscrite." BSJV 121 (1997): 16-20.
─────, Piero Gondolo della Riva, et Volker Dehs, eds. Correspondance inédite de Jules Verne et de Pierre-Jules Hetzel (1863-1886) Vols 1-3. Geneva: Slatkine, 1999-2002.
Gondolo della Riva, Piero. "A propos des oeuvres posthumes de Jules Verne." Europe 595-96 (nov.-déc. 1978): 73-88.
Guermonprez, Jean-H. "Découverte de L'Oncle Robinson." BSJV 105 (1993): 9-10.
─────, Handwritten notes on The Mysterious Island kept in the Centre International Jules Verne (Amiens).
Marcetteau, Agnès, Annie Ollivier, and Claudine Sainlot. Catalogue des manuscrits de Jules Verne. Nantes: Bibliothèque Municipale, 1988.
Martin, Charles-Noël. "Recherches sur la nature, les origines et le traitement de la science dans l'oeuvre de Jules Verne." Doctorat d'Etat thesis, Sorbonne (Université de Paris 7): June 23, 1980.
Picot, Jean-Pierre et Christian Robin, eds. Jules Verne cent ans aprPs (forthcoming Nantes: Terre de Brume, 2005).
Robin, Christian. "Textes rares et inédits." Un Editeur et son siPcle: Pierre-Jules Hetzel (1814-1886). Textes et iconographie réunis et présentés par Christian Robin. Saint-Sébastien: ACL Edition, 1988. 331-59.
─────, "Les Manuscrits de Jules Verne conservés à la bibliothèque municipale de Nantes." Cahiers des amis de la bibliothPque 20 (1979): 17-26.
Scheinhardt, Philippe. "Une Ville flottante." Jules Verne, écrivain. Nantes: Bibliothèque municipale, 2000. 35-49.
─────, "Le Tour du monde en quatre-vingts jours." Jules Verne, écrivain. Nantes: Bibliothèque municipale, 2000. 99-115.
Barthes, Roland, "Nautilus et Bateau ivre." Mythologies (Paris: Seuil, 1957): 80-82.
Bradbury, Ray, "The Ardent Blasphemers." Jules Verne. Twenty Thousand Leagues under the Sea. Trans. Anthony Bonner. New York: Bantam, 1962, 1981. 1-12.
Chelebourg, Christian, "Préface." Jules Verne, Vingt mille lieues sous les mers. Paris: Livre de poche, 1990. iii-xxxviii.
Delabroy, Jean, "Préface." Jules Verne, Vingt mille lieues sous les mers. Paris: Presses Pocket, 1991. 5-17.
Gagneux, Jean, "Le Nautilus pouvait naviguer." La Nouvelle revue maritime 386 (1984): 99-111.
Helling, Cornélis, "Le Capitaine Nemo, ce grand inconnu!" BSJV 19 (1971): 59-61.
Martin, Andrew, The Knowledge of Ignorance: From Genesis to Jules Verne. Cambridge: Cambridge UP, 1985. 150-59 and passim.
Miller, Walter James, "Jules Verne in America: A Translator's Preface." Jules Verne, Twenty Thousand Leagues under the Sea. Trans. Walter James Miller, assisted by Judith Ann Tirsch. New York: Washington Square Press, 1966. 7-22.
─────, "A New Look at Jules Verne," "Jules Verne, Rehabilitated," and "Notes." The Annotated Jules Verne: Twenty Thousand Leagues under the Sea. Ed. Walter James Miller. New York: Crowell, 1976. 7-22, 356-62.
───── and Frederick Paul Walter. Translation. introduction, and notes. Jules Verne. Twenty Thousand Leagues under the Sea. Annapolis: Naval Institute Press, 1991. vii-xxxii.
Pividal, Rafaël, Le Capitaine Nemo et la science. Paris: Grasset, 1972.
Sigaux, Gilbert, "Préface." Jules Verne.Vingt mille lieues sous les mers. Lausanne: Rencontre, 1966. 7-19.
Vierne, Simone, Jules Verne, une vie, une Éuvre, une époque. Paris: Balland, 1986. 197-218.
─────, Introduction and notes. Jules Verne. Vingt mille lieues sous les mers. Paris: Garnier-Flammarion, 1977. 5-48, 519-35.
Dumas, Olivier. Jules Verne. Lyon: La Manufacture, 1988.
─────, Piero Gongolo della Riva, et Volker Dehs, eds. Correspondance inédite de Jules Verne et de Pierre-Jules Hetzel (1863-1886). Vols. 1-3. Geneva: Slatkine, 1999-2002.
Verne, Jules. Vingt mille lieues sous les mers (first published in serial form in the Magasin d'éducation et de recreation, 1869-70, then, in slightly revised form in octavo ed. Paris: Hetzel, 1870-71). Manuscripts MS1 and MS2 are located in the Société de Géographie collection at the Bibliothèque Nationale, Paris.


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IMO...a Sanke keg is the solution. I have two and I just treat them like giant carboys. A drilled #10 stopper fits perfectly. Pros-- Stainless-Cheap (Find them on Craigslist for 50 bucks)- Unbreakable/Indestrucible- Easy to Clean (just build a ghetto keg washer with a bucket and a fountain pump)- Easy to sanitize ( Boil a few gallons of water in it for 10 minutes)- Can transfer using CO2Cons- Heavy when full ( I put mine on wheeled tray)
For my Belgian beers, I use the 13 gallon "Vittles Vault" (I think it's marketed as a 55 pound container). I honestly think 2 carboys/better bottles are easier in general. Unless you can fill it in place or wheel it to your fermentation chamber, carrying 10 gallons is very difficult. I love the wide container for Belgian brews, though, but I add the second 5 gallons once it's in place.

subset: commoncrawl


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Posts Tagged 'Marvel vs Capcom 3'
- In: Conventions
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For dubbing our San Diego condo "Hive Five Headquarters," we sure were quiet during the actual convention. Surely, the other blogs were covering all of the actual news stuff (OMG EYE-STABS) while we were out, you know, having fun and stuff. But we wouldn't be much of a comic blog if we didn't talk about San Diego Comic-Con itself, so here's the day-by-day goings on through the eyes of us High Fivers.
Wednesday, July 21
Not much really goes on at Preview Night, but it's always nice to get the lay of the land. Early access to the floor and first pick of whatever is for sale is cool and all, but that's more or less all that happens. The highlight of Preview Night (for me) was definitely getting Bill Willingham to sign my copies of Ironwood #7-10 (pfft, don't judge me). He was shocked when I pulled them out of their bags, and for a minute I thought the whole exchange was going to be super-awkward, but then he jovially asked for our I.D. cards and starting sharing some insider information with us, like how his former studio mates' mugs are hidden in the cover art of issue #10.
Maggie's Preview Night highlight? Shaking Michael Dorn's hand and mumbling "Thank you," like a big dumb fangirl.
Aside from that, I managed to pick up Power Man and Iron Fist #50, Flash Volume 1 #289 (first Firestorm back-up, the first thing George Pérez ever did professionally) and DC Comics Presents #17 (Superman and Firestorm team-up, a huge hole in my Ronnie Raymond collection). Hell yes.
Thursday, July 22
All the other blogs are putting in their two cents about this, so we might as well follow suit. Yes, Westboro Baptist Church protested Comic-Con and it's "worship of false idols." While High Five! unilaterally agreed with Warren Ellis' plan of "ignore, ignore, ignore," some attendees opted to counter-protest. Whatever, go for it. My biggest problem was that while most of the signs mocked religious intolerance (I did laugh at "the Cylons destroyed the 12 Colonies for your sins" and Maggie loved the "Kill All Humans!" sign wielded by a Bender), some of the signs in the counter-protest (namely "Fuck God") were just as offensive as Westboro's signs, more or less giving Phelps and crew exactly what they wanted. Oops.
Inside the convention center, we got Hava all badged up and headed straight for the "BOOM! Irredeemable/Incorruptible" panel. Highlights included the potential for character-specific one-shot tie-ins and listening to Waid and Peter Krause discuss their writing process. Oh, and the Irreedemable perfumes by Black Phoenix Alchemy Lab (friends of Hava's, plug plug plug).
Later we hit up the "Mondo Marvel" and "DC Comics 75th Anniversary" panels. Holy shit, I could listen to Dennis O'Neil (Green Lantern/Green Arrow!) and Jerry Robinson (creator of Alfred, Robin, and the freakin' Joker!) talk all day. Fun Fact: According to Jerry Robinson, Batman's sidekick was NOT named after the bird, but after Robinson's own childhood nickname.
Maggie and Hava tried to hit up the "Geek Girls Exist" panel but the place was well over capacity and half-full of dudes. Bummer! Still, rather than pout, the girls gave up getting in and held their own Geek Girls panel at a bar on Fifth Street, because this is San Diego Comic-Con, and you can always find something awesome to do when your original plan falls apart. Big congratulations to the Geek Girls' Network for hosting a massively successful panel!
Later on, Maggie went over to w00tstock and met Wil Wheaton and Aaron Douglas and Matt Fraction while Hava, Jon, and I went to the BOOM! Studios' Fifth Anniversary Drink-Up and spent upwards of an hour and a half chatting up Peter Krause. Hell of a way to end a night.
Friday, July 23
Friday was Room 6DCE day. After sitting through the "Marvel Video Games" panel (and, I'll admit, "Marvel vs. Capcom 3" looks pretty rad), the barrage of DC panels began.
First up was "Spotlight on Grant Morrison" and, my god, that was entertaining. Between his bajillion impressions, he announced the release of an Absolute We3 and revealed that Seaguy: Eternal will be coming sooner rather than later.
Next up was the "Batman: The Return" panel. The stage was packed, with Grant Morrison, Bryan Q. Miller, Gail Simone, Paul Dini, Paul Cornell, Judd Winick, Scott Snyder, Frazer Irving, David Finch, Dustin Nguyen, and Mike Marts (I probably forgot somebody). Biggest news was that Morrison will be replaced by Peter Tomasi on Batman and Robin while Morrison starts a new Batman team-up book called Batman Inc. Paul Cornell will also write Knight and Squire (which we're all pretty psyched for) and a Batman Beyond ongoing was hinted at. Also, the whole panel kept joking about how Dick Grayson is about to get "a bullet in the brain" meaning that I'm pretty sure Jon and I were right (at least about something).
Next was the "Superman: Man of Tomorrow" panel with J. Michael Straczynski, Jeff Lemire, Sterling Gates, Shane Davis, and Paul Cornell. Straczynski discussed his upcoming run on the "Grounded" storyline in Superman (nothing we didn't already know) and the Superman: Earth One graphic novel he's writing, with art by Shane Davis. Cornell revealed that Neil Gaiman's Death will be a major character in Action Comics #894. The biggest news (to us, at least) was that the Phantom Stranger would be a major character in an upcoming Superboy book by Jeff Lemire. YES.
The last panel of the day was "DC Nation." Dan DiDio, Straczynski, Geoff Johns, Grant Morrison, and Jim Lee (flanked by fans in costumes, including a Darkseid who stayed frighteningly in-character) revealed a few future projects, but nothing too crazy. Mostly that Geoff Johns will write a book starring Bart Allen and the other speedsters called Flash: Speed Force, that he's writing a Dex-Starr Valentine's Day special, and that he has an upcoming secret project with Grant Morrison.
On the way out, after nearly six hours parked in 6DCE, we ran into fellow blogger Kelson from Speed Force. Who'd have thought people from the internet have, like, faces and stuff!
Maggie and Hava headed over to the Geek Girls Tweet-Up while Jon and I went to Tweet House Party on the U.S.S. Midway and watched William Shatner, Brent Spiner, and LeVar Burton promote a website they knew nothing about and then run away to a VIP area. At least we got to be serenaded by Alice Cooper's son's band (Oh God. No).
Saturday, July 24
By this point, we were exhausted, and we still needed to get a ton of shopping done. The only panel we attended on Saturday was "Avatar Press and Max Brooks" where they talked endlessly about Crossed and Lady Death before casually mentioning that Warren Ellis is working on a second volume to Ignition City and that Supergod #4 is fiiiiinally ready to ship next Wednesday. While there wasn't much news on the Ellis at Avatar front, listening to Max Brooks riff for 45 minutes was a hoot. He even touched on inter-fandom animosity, saying, "Everyone gets to have something, even teenage girls who are afraid of penises. Suck my blood, but don't touch my tits!"
The rest of the day was dedicated to buying books and gathering sketches (we'll share those in a separate post) and autographs. Jon managed to track down a sweet copy of October 1976's Captain Britain #1 (complete with mask) and Maggie got June 1967's Strange Adventures #201 (featuring an old Animal Man story that's screaming for the Silver Age Recap treatment).
The most awesome thing of all, however, was talking extensively with Frazer Irving (who drew a three-second Batman for Maggie even though he wasn't supposed to) and getting a bunch of books signed by Grant Morrison. Oh, and this.
Sunday, July 25
I guess Hall H had nothing going on because the Exhibit Hall was fucking packed. Everybody walking past the immense line to get signatures and sketches from Ivan Reis, Joe Prado, and Francis Manapul asked what the deal was and then walked away, unimpressed by some of the best artists in the business.
Maggie gathered 3 out of 4 signatures for her copy of 52 #1 last weekend, with a bit of Con luck on Sunday. We were talking with Greg Rucka at the Oni Booth about some of his upcoming books, including the next issue of Stumptown and a new Queen & Country novel. As Rucka signed some comics for Maggie, up walked Geoff Johns. Rucka signed 52, then turned around and handed it to Johns for her. The two writers shared an "Aw! Remember the good old days!?" moment, and Maggie did a fist pump because in case you didn't know, now that Johns is running half the DCU, his signing lines are enormous.
The only panel we attended on Sunday was the "DC Town Hall Meeting." Dan DiDio and Jim Lee really, really wanted to know what we thought of digital comics. (Answer: We like them, but don't you dare fuck with our weekly books.) Also, Maggie may have terrfied poor Mr. DiDio. He brought it on himself though, when he asked (albeit jokingly) if she didn't mean to be at a Harry Potter panel instead. Sorry, DiDio. You mess with the bull, you get the horns.
We've got more San Diego news in store, including some reviews and the High Five! Sketchbook, San Diego edition. Stay tuned!


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【Material Size Description】
Leather: Embossed leather European imports of detailed leather
Sheepskin inside the first layer of shoes
With high: 1 before / 9.5 after
Size: 34 ~ 40 (normal size)
Color: red
Sole material: CASTER outsole imported from Spain (wear non-slip)
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You can step on the foot plate will be drawn on a blank outline,
With the feet feet the longest and widest point, the longest cm for the feet long cm,
Control size can be.
The normal leg width of 8-9.6 cm,
9.7-10.5 cm recommended to choose the length of more than 0.5 cm in size,
Large or small size automatically select the size of a larger size.
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【Product packaging - shoes
Out-of-stock items are removed from the list but no additional gift wrap is provided.
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【Product after-sales service & return instructions】 ◎ detailed return shipping can refer to the design shop trading policy
◎ Products sent, if the size is correct and no flaws can not be returned.
◎ shoes size order error or flaw replacement, acceptable size and change a new pair, but the shoes please send back within 3-5 days.
If the shoes fall through the floor, can not be returned, please try to confirm the size of the interior,
The seller received the shoes found that the sole has worn can not be returned goods,
Will contact the buyer to send back the goods (return shipping costs paid by the buyer to pay).
◎ Because the shoes are custom-made service orders, the buyer if the goods received after the order does not like the requirements of the return or re-payment, the seller will not accept returns and re-payment.
Origin / manufacturing methods
Taiwan design, made in Hong Kong


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Spirited Away
Locker 13
Blue Like Jazz
Almost an Angel
Dragonlance: Dragons of Autumn Twilight
Robot Jox
How to Make a Monster
Hocus Pocus
A Goofy Movie
An Extremely Goofy Movie
Movies.com, the ultimate source for everything movies, is your destination for new movie trailers, reviews, photos, times, tickets + more! Stay in the know with the latest movie news and cast interviews at Movies.com.
Copyright © 2018 FANDANGO MOVIES.


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Samsung ATIV S Neo
Samsung ATIV S Neo True to its word, Sprint is finally getting on board with the Windows Phone 8 platform and announced the Samsung ATIV S Neo earlier today, with plans to release it sometime this summer.
The ATIV S Neo was one of two Windows Phone 8 smart phones announced by Sprint today that are planned for a summer release, the other being the HTC 8XT. Powered by a 1.4 GHz dual-core processor, the ATIV S Neo will be on Sprint's LTE network and will have a 4.8-inch "high-definition display" (no word on the type of display technology or whether it will be true high-def), 1GB of RAM, and a 2,000 mAh removable lithium-ion battery.
NFC Technology
The NFC technology on the ATIV S Neo uses Samsung's "ATIV Beam" branded software to transfer files, not unlike S Beam on Android. The ATIV S Neo will be able to share files via NFC with all other Windows Phone 8 devices and "select" Android devices. Other features include an 8-megapixel camera with LED flash, a 1.9-megapixel front-facing camera, and a variety of shooting modes like Beauty Shot and Manga Camera.
Like the 8XT, Sprint is not currently saying when the ATIV S Neo will be released other than sometime this summer, but it has been priced at $149.99 with a new two-year contract and a $50 mail-in rebate.
The Samsung ATIV S Neo is a new mid range smart phone that runs on Windows OS. This smart phone is specific to US telecarrier Sprint and it won't be launched in other markets across the world. This smart phone carries many mid to high range features and it is priced accordingly.
OS & Processor
This smart phone runs on Windows Phone 8 OS, which is similar to that of the recent models in Samsung's ATIV series. The Samsung ATIV S Neo has a 1.4 GHz dual core processor to provide smooth computing performance. This device also incorporates 1 GB RAM in it to aid the processor.
Camera & Memory
There is an 8 MP primary camera loaded in this device and it comes with a range of supporting features in it. This handset also has a 1.9 MP front camera in it. When it comes to memory capability, the Samsung ATIV S Neo has 8 GB internal memory space. There is a micro SD slot that supports up to 64 GB memory expansion.
Media & Connectivity
The Samsung ATIV S Neo comes with a range of media features loaded in it. New Windows based applications can be downloaded in this device and it can be customized according to the preference of users. All the usual connectivity features including 3G, Wi-Fi, Bluetooth, micro USB and 2G etc. are also available in this handset.
This handset comes with a 4.8-inch display screen that has HD (1280 x 720 pixels) declaration. The display screen of this handset offers visuals at 306 ppi pixel density. The Samsung ATIV S Neo also has a 2000 mAh battery loaded in it.


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PY04 Younger Youth Retention Rate State RankingsThis map shows the Retention Rate rankings for the WIA Younger Youth program in PY 04. The rate ranges from a high of 84.8% in Connecticut to a low of 49.4% in New York. The map highlights the ten highest and lowest states on this measure. The top ten in order are Connecticut, North Dakota, Arkansas, the District of Columbia, Idaho, Georgia, Iowa, Minnesota, Wisconsin, and Wyoming. The lowest ten from top to bottom are Pennsylvania, Tennessee, Arizona, Virginia, New Jersey, West Virginia, Massachusetts, New Mexico, Hawaii, and New York.
Table 1


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Voting now commences for Round One, Group F of the Vegetarian Bento Contest [1]!
As I explained previously [2], I have divided the entries for the Vegetarian Bento Contest [1] into slightly more manageable groups. Here are the voting rules again:
This is the penultimate group.
Deadline for voting for Group F: 23:59:59 CET on Thursday, June 11th
Once again, you'll see multiple entries from participants, but remember you are strictly judging the bento itself!
Once again: submit your top 2 selections per group, to contestvote [at] justhungry [dot] com.
(Voting for Groups A, B C are now closed.)
Deadline for voting for Group D [16]: 23:59:59 CET on Monday, June 8th
Deadline for voting for Group E [17]: 23:59:59 CET on Wednesday, June 10th
Deadline for voting for this group, Group F: 23:59:59 CET on Thursday, June 11th
(One more group to go in Round 1!)
The Big Onigiri.
- Wherever you go, there you are. -
[1] http://justbento.com/forum/may-theme-vegetarian-bento-contest
[2] http://justbento.com/forum/may-vegetarian-bento-contest-voting-round-one-group
[3] http://kitchenrollplay.blogspot.com/2009/05/bento-with-bumblebee-11.html
[4] http://www.flickr.com/photos/37198067@N08/3571305301/in/photostream/
[5] http://www.flickr.com/photos/34000296@N05/3569189714/
[6] http://www.flickr.com/photos/erisgrrrl/3571681827/
[7] http://www.flickr.com/photos/37198067@N08/3571305455/in/photostream/
[8] http://www.flickr.com/photos/hapabento/3571890261/
[9] http://www.flickr.com/photos/25352100@N04/3572851290/
[10] http://www.flickr.com/photos/38895497@N06/3572857979/in/pool-justbento
[11] http://www.flickr.com/photos/hapabento/3572743038/
[12] http://www.flickr.com/photos/hypothermya/3575544128/in/pool-justbento
[13] http://www.flickr.com/photos/hapabento/3574701017/
[14] http://kitchenrollplay.blogspot.com/2009/05/gyoza-bento-12.html
[15] http://www.flickr.com/photos/hypothermya/3574734721/in/pool-justbento/
[16] http://justbento.com/forum/may-vegetarian-bento-contest-voting-round-one-group-d
[17] http://justbento.com/forum/may-vegetarian-bento-contest-voting-round-one-group-e


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Planning Applications
Planning permission is required for many forms of development and also includes changes in the use of buildings and land. Planning permission is not needed for work that only affects the inside of a building, although, if it is a Listed Building you may need Listed Building consent for this.
Why control development ?
Planning decisions affect everyone. They have an impact on the quality of the environment and on the financial value of the land. Planning decisions can also be controversial and arouse considerable public interest, so it is vital that these decisions are made openly and impartially.
Some of the benefits of properly controlled development are:
- Ensuring that new houses are connected to roads and sewers, and have shops and schools nearby.
- Keeping noisy or dirty industry away from residential areas.
- Ensuring that new buildings are well laid out and at home with their surroundings.
- Conserving nature, the countryside and good farmland.
- Ensuring that the road system can handle new developments.
Who's responsibility is it to get planning permission ?
It is your responsibility for seeking planning permission. If planning permission is required then work should not start until planning permission has been granted.
Submitting a Planning Application
If you are interested in applying for planning permission and need some advice and assistance, please contact a member of the planning team to discuss your proposals, on 01786 233660 or e-mail Planning
Applications may be made for a number of purposes, including:
- Full planning permission.
- Planning permission in principle.
- Listed Building consent - for works to alter, extend or demolish a listed building, including internal works.
- Conservation area consent - to demolish the whole of an unlisted building within a Conservation Area.
- Advertisement consent - for certain types of advertisement and signage.
- Certificate of Lawfulness - for proposed or existing use.
- Tree works - for proposed tree works to trees within a conservation area or subject to a tree preservation order.
- Mineral extraction or waste disposal.
- Hazardous substances consent.
Planning Application Forms can be downloaded, or alternatively, you can now submit a planning application online. Find out more at the ePlanning site, where you can make an application or an amendment to an existing consent online.
How much will it cost me ?
Hierarchy of Developments
Recent reforms to planning legislation created a new hierarchy of developments. The Town and Country Planning (Hierarchy of Developments) (Scotland) Regulations 2009, created a classification for all developments across Scotland. The three categories in the hierarchy of developments to which all developments will be allocated are:
- National Development;
- Major Development; and
- Local Development.
The top tier of developments is national developments and these are contained in the National Planning Framework published by the Scottish Ministers in June 2009. The National Planning Framework may be viewed at www.scotland.gov.uk.
Below national developments are major and local developments. Whether a development is a major or local is determined by whether the development falls above or below certain thresholds.
There are 9 thresholds. Where a development meets or exceeds the following thresholds the development will be classed as a major development. Any development below the thresholds will be local development. The thresholds are:
- All development under Schedule 1 to the Environmental Impact Assessment (Scotland) Regulations 1999.
- Housing where the development comprises 50 or more dwellings or the area of the site is, or exceeds 2 hectares.
- Business of general industrial, storage and distribution with a gross floor space of 10,000 sq.m., or the area of the site exceeds 2 hectares.
- Electricity Generation where the generating capacity is or exceeds 20 megawatts.
- Waste Management Facilities where the capacity of the facility is, or exceeds 25,000 tonnes per annum, or for Sludge Treatment Facilities where the capacity to treat more than 50 tonnes (wet weight) per day of residual sludge.
- Transport and Infrastructure projects where the length of road, railway, tramway, waterway, aquaduct or pipeline exceeds 8 kilometres.
- Fish Farming where the surface area of water covered is, or exceeds 2 hectares.
- Mineral Extraction where the site area is or exceeds 2 hectares.
- Other development not falling wholly within one of the above classes, where the gross floor space is or exceeds 5,000 sq.m. or the area of the site is, or exceeds 2 hectares.
How your application will be decided
Legislation sets out the way in which your planning application will be determined, and the target periods that we have to determine applications.
We now have two months to decide local applications (this includes applications form householders) and four months to determine major applications.
|Guidance Note on deciding 'Local' applications
|Guidance Note on deciding 'Major' applications
The Council has a Scheme of Sub-Delegation, which sets out how applications will be determined in the Stirling Council area. The guidance notes on Deciding Local Planning Applications and Deciding Major Planning Applications provide information on how the Council will determine your application.
Under current regulations, your rights to challenge the Council's decision have changed. Whether you can seek a review or make an appeal depends on the classification of your application and the method in which it was determined:
- 'Local' applications - If you have been refused permission for a 'local' application, you can seek a review from the Local Review Body.
- 'Local' applications determined by the Council's Planning Panel - If your application was a 'local' application, but was determined by the Council's Planning Panel, you have the right of appeal to Scottish Ministers.
- 'Major' application - If your application was a 'major' application, you have the right of appeal to Scottish Ministers.
For further information on the appeals process.
Contact Your Local Councillor
You may wish to contact your local Councillor in connection with any aspect of a Planning Application, either as an applicant or an objector. Councillors can ask that certain applications be referred to the Planning Panel for consideration provided there are sound planning reasons for doing so. Contact details for all Councillors.
Applicants and Contributors - How we use your information and personal data.
- As part of the planning process, your application or comments on an application will be published on the internet.
- Your information will not be used for any other purpose unless required by law, to prevent or detect crime or to protect public funds.
- You will not be asked for any unnecessary information and in order to protect personal data, we will not publish individual signature's, telephone number's, or e-mail addresses on the internet.
- We will rectify inaccurate information within 24 hours of being advised during normal business hours.
- We will not keep your information on the internet any longer than is required by legislation.
- We will process your personal data in accordance with the rights of data subjects under the Data Protection Act. You can access the personal data that Stirling Council holds about you by contacting the Information Compliance Officer at firstname.lastname@example.com
- We will take all reasonable precautions to protect personal data from accidental or deliberate loss or unauthorised disclosure.
- If you have any concerns about information placed on the Internet by Stirling Council, please contact the Information Compliance Officer (contact details as per point 6).
Plans, drawings and materials submitted to the Council are protected by the Copyright Acts (section 47, 1998 Act). You may only use material, which is downloaded and/or printed for consultation purposes, to compare current applications with previous schemes, or to check whether developments have been completed in accordance with approved plans. Further copies for any purpose must not be made without the prior permission of the copyright owner.
While every effort is made to ensure that the information shown in Public Access is accurate this can not be guaranteed and some data sets, particularly constraints, are incomplete. You should check with Officers before making important decisions that rely on the data viewed. Documents viewed under the 'Associated Documents' tab are only available for Planning Application files from 2006 onwards.


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Solid Hardwood Restaurant Stool #JW111
Excellent quality hardwood commercial restaurant chair imported from China. We finally found a great Chinese chair worth offering to our customers. Made using nuts and bolts and properly kiln dried for an exceptionally durable wood chair with excellent pricing. 1 year manufacturers defects warranty. Please allow approximately 1 to 2 weeks lead time. Nice discounts for larger orders. Minimum order 4 chairs.
With Standard Vinyl Seat $90
See Stain Colors
See Standard Vinyl Seat Colors
Upgrade Vinyl or COM Available
This Stool Available only in Walnut
Walnut Dining Height Stool


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scrape Information from Websites
Presupuesto $30-250 USD
Search my keywords we provided,such as 'computer slow', 'application not responding','runtime error', 'no sound from computer'.
All keywords are computer usage related.
scrape information from the result webpage, copy & save data as bellow type:
1, problem description ( eg. describe computer slow)
2, what's the symptom of the issue ( eg. what's the symptom of the 'runtime error')
3, what's the reason of the issue. (eg. what's the reason of the 'runtime error')
4, what's the result of the issue. (eg. computer crash, data loss may be the result)
5, sentence lead to solution
You may save 2-3 sentence per entry, don't copy whole paragrah.
10 entry for $1 usd.
example for keyword 'computer slow':
description:As your computer gets older, it will run slower and slower because of some unwanted programs, lots of useless files generated by Windows, and registry errors.
symptom:My computer takes a long time to start,and web browsing is slow or my web browser takes a long time to start.
reason:Computers slow down for any number of reasons, but most of those boil down to one thing – we using them. As you download programs, install extensions, surf the web, create files and fill your hard drive with movies and music, inevitably you'll build up virtual detritus that will impact your PC's performance.
result:As a result, these problem may cause data loss or computer not stable, and even PC crash.
solution start: It's important to clean your computer up and get it running faster again. we have 10 great quick fixes anyone can perform.
so we got 5 data entry!
no duplicate contents
you can also write entries for this
100-500 characters for one entry.
200 characters long is quite good, and this is the average long of your work. we'll check chis before release payment!
2-3 sentences per entry, don't copy whole paragraph.
don't copy no more than 3 entries from one webpage!
for one keyword, you can get as more entry as you can, such as 10 reasons, 20 results, 15 symptoms, 5 solution starts. that's okay.
but for each keyword we provided, you should collect some data entry.
about the payment:
10 entry for $1 usd.
We need 10000 total data entries. you can do it partly. we pay by entry amounts, not by keywords.
anyone who apply this job, should provide 1-2 samples by these keywords:
computer slow
application not responding
runtime error
no sound from computer
printer is offline
20 freelancers están ofertando el promedio de $135 para este trabajo
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Dear client Let me choose . I may vary fast on it, just let me have this tusk, I'll submit asap. Thank u :)


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Expert Tips: The Best Books to Read About Teaching
Teaching is something that has been around since the beginning of time. It is something that strives mankind to continued learning. There have been many standardized ways of teaching. There are ways to make learning fun and engaging. Over the years educators have created phenomenal ways to bring education to life. Some like visual learning while others want to dive in a book. This list is for all you book dwellers. There are many books that help to create a great learning experience. These books help to create an experience that is both rewarding and captivating.
Weekend Picks: Books For Star Wars Fans
In an establishment far far away, now under Disney, there was the Star Wars Expanded Universe (EU): comic books, computer games, books, and so on. In this article, we will write about the books which are definitely worth the real Star Wars fan's time.
The Best Opening Lines in Literature
It's not that the first paragraph is essential to making a book a bestseller, but the two often go hand in hand. The gift of making the first few lines so compelling that they make the reader continue reading, cannot be just a coincidence. Today, some of the best opening lines in literature.
Leo Tolstoy Books You Need To Read Which Are Not Anna Karenina
Lev Nikolayevich Tolstoy, best known as the nineteenth and twentieth century author Leo Tolstoy, is viewed as one of the greatest novelists who ever lived. In this article, we will review three of his first-rate works, from the epic novels that depicted the Russian society in which he grew up to the non-fiction accounts of his spiritual challenges and subsequent reawakening. Enjoy!
Memoirs You Will Think About Long After You Finish Them
The memoirists highlighted below range from acclaimed writers to former prisoners to humorists to heroes. Their stories are immersing, sad, staggering, and frequently clever. They're straightforward and basic, welcoming you to take in individual lives as you ruminate over your own. They're loaded with life.
Young Adult Novels Every Young Adult Should've Read By Now
We are currenly living in the best possible age for young adult novels. This is a time when books written for teenagers are adored equally by every generation. Many are acquainted with names such as Katniss Everdeen and Harry Potter, who quickly became pop sensations. This article will introduce you to another type of YA novels.
Weekend Picks: Poetry Collections Which Will Mesmerize
In spite of the fact that poetry is frequently rejected, poets today are putting forth the absolutely most crucial work. They write as if they have set their heartbeats to music. Extraordinary artists record their strides as they travel through life. These histories are more genuine and considerably more illustrative of our present time, for it isn't the actualities they report or the philosophies they praise but the musicality of their emotions.
Weekend Picks: Main Works Of Sylvia Plath You Would Be Happy To Discover
Sylvia Plath was an American artist, author, and writer of short stories. Known primarily for poetry, Plath additionally composed a semi-autobiographical novel, The Bell Jar, under the nom de plume Lucas. The book's hero, Esther Greenwood, is a brilliant, yearning young woman at Smith College who experiences a mental breakdown while interning for a magazine in New York. The plot parallels Plath's own experience as an intern at Mademoiselle magazine and her subsequent mental breakdown and suicidal tendencies.
Weekend Picks: 3 Scary Books To Terrify You This Halloween
Diaries You Won't Get In Trouble For Reading
There's something extraordinary about journals. They record our recollections, hold our confessions, and are never judged. These are characteristics that seem out of sync with a time where sharing, tweeting, and posting about each passing idea has turned into the standard. So on the off chance that you can keep a secret, here are four fictional journals. Clever and unfortunate —these journals come in all shapes and sizes.


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Lindsey Richland
All Faculty
lrichland [at] uchicago [dot] edu
Other information
SILC Faculty Member and member of our Spatial Network.
Lindsey Richland is an Assistant Professor in the Department of Comparative Human Development at the University of Chicago. Dr. Richland investigates children's memory and analytical reasoning development. Much of her work explores children's emergent ability to think about relationships and make inferences such as through metaphor and analogy. Dr. Richland also studies everyday instruction in the US and internationally to develop practice-relevant tools grounded in theory for improving student outcomes in mathematics and science domains.
Lindsey E. Richland
Professional Preparation:
Institution Field of Study Degree & Year
Princeton University Anthropology B.A. cum laude 1998
University of CA, Los Angeles Psychology Ph.D., 2003
Assistant Professor, Dept. of Comparative Human Development, University of Chicago, 2011 – present
Assistant Professor, Department of Education, University of California, Irvine, 2005-2011
National Academy of Education/ Spencer, Postdoctoral Fellow
Five Most Closely Related Publications:
Richland, L. E., Stigler, J. W., Holyoak, K. J. (in press). Teaching the Conceptual Structure of
Mathematics, Educational Psychologist.
Richland, L.E., & McDonough, I. M. (2010). Learning by analogy: Discriminating between potential analogs. Contemporary Educational Psychology, 35, 28-43.
Richland, L.E., Kornell, N., & Kao, S.L. (2009). The pretesting effect: Do unsuccessful retrieval attempts enhance learning? Journal of Experimental Psychology: Applied, 15(3), 243-257.
Richland, L.E., Zur, O., & Holyoak, K. (2007). Cognitive supports for Analogies in the mathematics classroom. Science, 316, 1128-1129.
Richland, L.E., Holyoak, K.J., & Stigler, J. W. (2004). Analogy generation in eighth-grade mathematics
classrooms. Cognition and Instruction, 22(1), 37-60.
Five Other Publications:
Richland, L.E. (2010). The development of learning by analogy. In N. L. Stein & S. Raudenbush
(Eds.), Developmental science goes to school. New York, NY: Routledge.
Richland, L. E., Chan, T-K. Morrison, R. G., & Au, T. K-F (2010), Young children's analogical reasoning
across cultures: Similarities and differences. Journal of Experimental Child Psychology. 105, 146–153.
Morrison, R.G., Doumas, L. L., Richland, L.E. (2010). A computational account of children's analogical
reasoning: Balancing inhibitory control in working memory and relational representation.
Developmental Science, 14(3), 516–529.
Richland, L. E., Morrison, R. G. (2010). Is analogical reasoning just another measure of executive
functioning? General Commentary. Frontiers of Human Neuroscience, 4, 1-2.
Richland, L.E., Morrison, R.G., & Holyoak, K.J. (2006). Children's development of analogical reasoning:
Insights from scene analogy problems. Journal of Experimental Child Psychology, 94, 249–273.
Synergistic Activities:
Reviewer: National Academy of Sciences report: The Emergence and Current State of Discipline-Based Education Research
Reviewer: National Science Foundation, Institute of Education Sciences (standing panel member)
Collaborators & Other Affiliations
Margaret Burchinal, University of North Carolina, Chapel Hill; Robert Morrison, Loyola University; Alex Doumas, University of Hawaii, Nate Kornell, Williams College; Terry Au, Hong Kong University
Graduate Advisors: Keith Holyoak, UCLA; Jim Stigler, UCLA
Thesis Advisor and Postgraduate-Scholar Sponsor: Robert Bjork, UCLA; Marcia Linn, UC Berkeley
Thesis Advisor in the Last Five Years :
Janice Hansen, University of California, Irvine (current), Sean Kao, UCI (current), Kreshnik Begolli, UCI (current)


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Were you one of the more than 4,000 costumed guests to grace Spirits & Skeletons 2012 on Friday night?
It was one of the best-attended events in museum history, and we were delighted to have everyone out in full, freaky regalia. We've compiled a few of our favorite snapshots below:
To peruse the full gallery of nearly 500 photos by Catchlight Group and order prints of your favorites, click here!
Rosie finds Scooby Doo riveting!
I went to Prom with these people. No joke here, just the facts.
There's history here, I can feel it.
It's heart not to have a blast at HMNS.
There! There in the world is Carmen San Diego.
Rocket maaan, on his way to Moriannn alone!
If Keeping Up with the Kardashians is what's wrong with America, Duck Dynasty is what's right.
You had me at cat breading.
Fred Flintstone parties in the paleo hall.
Is that a banana on your person, or are you just happy to see us?
Erhmagherd, binders full of women!
In the thumbnail version, I thought this lovely young lady was a narwhal. Maybe next year?
McKayla Maroney is impressed!
Can pandas be the next villains of Gotham? Imagine the pandamonium.
Who doesn't love the story of Little Red Riding Hood and the big, bad Chewbacca?
Do I make you … oh never mind.
Molly & The Ringwalds rocked it.
This guy went as a nevernude.


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This question already has an answer here:
- What hardware does Ubuntu Touch support? 14 answers
ANSWER: I currently have all of the Ubuntu touch apps working on my Dell XPS 12 and although unstable, Unity 8 works well too. So I'd accept that all of the tablet features will be working in due course.
So while there is no actual 'image' the relevant packages seem to have been packaged and ready for a machine running normal Ubuntu.
EDIT/Clarification: I don't think that this a duplicate of the other question. I'm not asking whether I can run it on my laptop specifically, or what specific hardware will work. I'm asking about its compatibility with the Desktop environment and whether the two could be run side by side on some type of hybrid machine. Switching between the two depending on the mode of the hybrid.
So I understand now that QML is the main language used on the touch interfaces. So there is no correspondence between running a QML application in the desktop environment, in a similar way to how you could run a KDE/QT app in a gnome environment?
Please could someone explain a bit more for me on the tablet interface. I've Googled around but haven't had much luck.
My initial understanding was that the tablet interface would be like a new interpretation of unity, but running on the same basic system (with power and driver tweaks etc). With this understanding, would it be likely to find some way to install this tablet interface over the standard desktop interface?
In my case, I have a Dell XPS12 Hybrid - laptop with a screen that rotates and turns into a tablet. The multitouch basics work. So I'm less interested in the ideas of drivers, but more about the touch interface itself. I find the desktop interface perfect when I'm in laptop mode, but very difficult in tablet mode. Is there likely to be a system that allows me to switch between the two on my laptop?
Specific answers about the XPS12 are welcome, but generally I'd like to know if I'm fundamentally off the track on the idea of running the desktop and the tablet interfaces side by side on x86.
Thanks in advance!


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Animal Clip Of The Week: Owner Asks Her Dogs, 'Who Made This Mess?' Dogs Are Shook & Start Snitching Each Other 1 (1 Walks Away)
Credit: persist8732
Please click the "Report" button below if the video on this page is not working properly.
Comments will only be displayed by verified emails. No Spamming or Racism.


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|Me before the show
- takes place during the Great Depression
- features a furry creature
- based on a comic strip
- coined as "Broadway's happiest musical"
- curly, red-headed orphan?
- billionaire, Daddy Warbucks?
If you're in the area or would like to hitchhike your way to San Luis Obispo, come see the show! Mr. John and I will provide lodging. If you're interested, here's how to get tickets: