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Hospital Steps Up Care for 'Warriors in Transition,' Families
By Elaine Wilson
Special to American Forces Press Service
FORT SAM HOUSTON, Texas, Aug. 24, 2007 - Since June, Brooke Army Medical Center here has implemented a series of sweeping changes designed to improve the quality of care for "warriors in transition" and their families.
The changes are driven by the Army Medical Action Plan, an Army initiative designed to eliminate bureaucratic roadblocks for warriors in transition so they can focus on recovery and have a smooth transition back to military duty or civilian life.
The first and perhaps most dramatic change is the formation of a Warrior in Transition Battalion. The battalion, which stood up June 15, replaces the former active-duty Medical Hold and reserve Medical Holdover companies. Reserve and active-duty warriors in transition now are combined in three companies under the battalion.
All battalion soldiers are in a transitional status, meaning they are wounded or ill and undergoing treatment at Brooke.
"We're all one team, so it makes sense to keep everyone under the same umbrella," said Army Master Sgt. Scott Waters, senior operations noncommissioned officer for the Warrior in Transition Battalion.
Reserve and active-duty soldiers were separated in the past to ensure familiarity with administrative processes, which differ for each component. However, the Army Medical Action Plan "gives us the resources we need to accommodate all soldiers without differentiation," Waters said. "We now have the extra help we need to successfully manage and track our warriors in transition without separation."
Since the plan was introduced, the ratio of soldier to platoon sergeant has reduced dramatically. Whereas before there were 50 soldiers to each platoon sergeant and no squad leaders at Brooke, there are now 12 soldiers per squad leader and about 30 soldiers per platoon sergeant.
But with myriad issues, ranging from severe injuries to family problems, there's "a lot to be done even with that ratio," Waters said. To ensure warriors in transition have top-notch care, the Army created the "Triad of Care" concept, which is an integral part of the battalion.
Each triad comprises a case manager, primary care manager and squad leader or platoon sergeant. Each warrior in transition is assigned to a triad, which ensures consistency and continuity of care for soldiers and their families.
"It eases the process for both the soldiers and the health care providers," said Army Lt. Col. Donna Rojas, chief of case management. "There's no confusion about who to call when there's a question or concern. The providers know exactly which squad leader to call and vice versa. And, the soldier knows exactly who to contact, as well."
Rojas provides oversight for case managers, who serve as a pivot point for the triad. Responsible for just about every aspect of a patient's health care plan, case managers ensure warriors in transition attend appointments, understand their treatment plan and are on hand to aid with everything from housing issues to family dilemmas.
Case managers meet with warriors in transition weekly and then touch base with soldiers' platoon sergeant or squad leader and primary care manager to ensure the soldiers' recovery is progressing smoothly.
"Successful treatment takes a lot of collaboration," said Army Lt. Col. Mary Burns, chief of medical management. "Case managers, PCMs and squad leaders are all looking out for the best interests of the soldiers; the key is to meet regularly and catch issues early."
Prior to the new plan, each case manager had about 35 warriors in transition assigned. But thanks to an influx of resources, 10 case managers now are assigned to each company, and the ratio has reduced to about 18 soldiers per case manager.
Primary care managers also have reorganized to provide better continuity of care. Before the Army Medical Action Plan, several PCMs unofficially were designated for warriors in transition but didn't have a space dedicated for care, and their time was divided with regular patients. Brooke Army Medical Center now officially has assigned three health care providers and a designated area of the Family Medicine Clinic to better serve wounded and ill servicemembers. In addition, the ratio of patients to PCM has changed from 1,200-to-1 down to 200-to-1. The reduction in patient load allows PCMs to spend more time with each servicemember, increasing from 20 minutes to more than an hour.
"A PCM meets with every warrior in transition within 24 hours of arrival and conducts a head-to-toe evaluation," said Dr. Sara Pastoor, chief of primary care. "We assess every aspect of the patient's health care needs, including any specialty care that may be needed, as well as preventive health care, such as tobacco cessation.
"I'm overwhelmingly impressed with and proud of everyone providing warrior in transition services at BAMC," Pastoor added. "It can be emotionally draining to provide the amount and type of health care needs involved, but it is a privilege to be exposed to the sacrifices and heroism. It's a challenging job for the PCMs, because it takes not just a thorough knowledge of medicine, but also a thorough administrative knowledge of the system."
Squad leaders and platoon sergeants, the last branch of the triad, serve as "enlisted NCO boots on the ground," Waters said. "We are there 100 percent for the soldiers and their families from the time we're notified a soldier is coming."
Squad leaders take care of everything from picking up soldiers or family members at the airport or emergency room to transporting them to medical appointments, "everything that doesn't involve medical care," Waters said.
The process starts as soon as the battalion is informed a servicemember is incoming or checking out of the hospital. "We help the soldiers get situated, and then the next morning we pick them up, introduce them to the case manager and start in-processing," said Waters, adding that U.S. Army Garrison Fort Sam Houston also provides ongoing support with transportation as well as barracks maintenance and upgrades to accommodate varying physical needs.
The NCOs work closely with case managers to ensure an open flow of communication. "We overlap in a lot of areas," Waters said. "Sometimes the soldier feels more comfortable talking with a case manager or vice versa. We keep each other in the loop to ensure all needs are being met."
Help is ongoing as squad leaders stay abreast of developments that may hinder care, such as family problems back home or a pattern of missed medical appointments. "Most warriors in transition are on some type of medication and may forget an appointment," Waters said. "They may just need a simple reminder, and we're here to do that."
As the war continues, each branch of the triad will continually seek ways to improve processes and programs to ensure warriors in transition receive the best care possible, said Army Col. Barry Sheridan, chief of warrior in transition services. "BAMC has always cared about its warriors in transition," he said. "But now, AMAP is giving us the resources we need to do what we do even better."
(Elaine Wilson works for the Fort Sam Houston Public Information Office.)
Hospital Steps Up Care for 'Warriors in Transition,' Families [ http://www.defenselink.mil/news/newsarticle.aspx?id=47175 ]


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Walter Benjamin, in his great essay "The Storyteller," written in the nineteen-thirties, argues that classic storytelling is structured around death. It is the fire at which listeners warm their hands. But these days, he suggests, that hearth is cold and empty. Benjamin notes that death has disappeared from contemporary life, safely shuffled away to the hospital, the morgue, the undertaker. Instead of the news of death, there is just news—the "information" that we get so easily in newspapers. "If the art of storytelling has become rare, the dissemination of information has had a decisive share in this state of affairs," Benjamin writes. I sometimes think that the old leather couch Tolstoy kept in his study would be a good symbol of the mortal pulse that Benjamin was talking about. Tolstoy's mother had given birth to him on this couch. She died when he was nearly two years old. Most of his thirteen children—five of whom died in childhood—were born on it, too. Was it not possible that one day he might lie on that same piece of furniture, and die there? It would be hard to write in such a study while oblivious of death as a life rhythm, of life as a death cycle.
A fair amount of contemporary prose seems to have been written by people who, like Tolstoy's Ivan Ilyich, refuse to accept that they will die; there is a puerile or evasive quality in many new novels (not to mention movies), especially in America, where infinite information promises to outlive us, and dazzle down the terminality of existence. Are there serious contemporary writers who remind us of our mortality? The forty-three-year-old Norwegian novelist Karl Ove Knausgaard is certainly one. His long, intense, and vital book "My Struggle" (Archipelago; translated by Don Bartlett) is so powerfully alive to death that it sometimes seems a kind of huge, ramshackle annex to Benjamin's brief thesis.
"My Struggle" is not really a novel but the first book of a six-volume autobiography that is now notorious in Knausgaard's native country. The Hitlerian title ("Min Kamp," in Norwegian) refers not only to the usual stations of the bildungsroman but also to two fierce battles. One is with the author's father, a morose and distant schoolteacher who left the family when Knausgaard was a teen-ager, and then drank himself to death. The more pervasive struggle is with death itself, in which writing is both weapon and battlefield. Writing promises to rescue moments from the march of time, but serious writing also lays bare, examines, dramatizes—and, in this sense, seems to prolong—that death journey.
Early in "My Struggle" (which was published in Norwegian in 2009), Knausgaard introduces his immediate context: it is March, 2008, just after eight in the morning, and the Norwegian novelist sits at his desk in his Stockholm apartment, "listening to the Swedish band Dungen and thinking about what I have written." This narrator (named Karl Ove Knausgaard and, apparently, indistinguishable from the real-life author) is in his late thirties, married with three children; he has just dropped two of them off at their nursery. He refers to a previous marriage, and to "that uncontrollable, unproductive, often degrading, and ultimately destructive space where I lived for so many years." When he came to Stockholm from Norway, he spent, at first, a lot of time thinking about this troubled past, "which meant that I not only read Marcel Proust's novel À la recherche du temps perdu but virtually imbibed it." Now, however, that destructive time is hardly ever in his thoughts. He writes, "I believe the main reason for that is our children, since life with them in the here and now occupies all the space," and goes on:
For, while previously I saw time as a stretch of terrain that had to be covered, with the future as a distant prospect, hopefully a bright one, and never boring at any rate, now it is interwoven with our life here and in a totally different way. Were I to portray this with a visual image it would have to be that of a boat in a lock: life is slowly and ineluctably raised by time seeping in from all sides. Apart from the details, everything is always the same. And with every passing day the desire grows for the moment when life will reach the top, for the moment when the sluice gates open and life finally moves on. At the same time I see that precisely this repetitiveness, this enclosedness, this unchangingness is necessary, it protects me. On the few occasions I have left it, all the old ills return. So he cherishes the stability and the repetitive banality of his existence, but he chafes at these things, too, because "the ambition to write something exceptional one day," an ambition that "has kept me going for the whole of my adult life," is threatened by the busyness of his routine:
Inside, it is a question of getting through the morning, the three hours of diapers that have to be changed, clothes that have to be put on, breakfast that has to be served, faces that have to be washed, hair that has to be combed and pinned up, teeth that have to be brushed, squabbles that have to be nipped in the bud, slaps that have to be averted, rompers and boots that have to be wriggled into, before I, with the collapsible double stroller in one hand and nudging the two small girls forward with the other, step into the elevator, which as often as not resounds to the noise of shoving and shouting on its descent, and into the hall where I ease them into the stroller, put on their hats and mittens and emerge onto the street already crowded with people heading for work and deliver them to the nursery ten minutes later, whereupon I have the next five hours for writing until the mandatory routines for the children resume.
He feels that he is racing against time, that it is slipping away from him, "running through my fingers like sand": "Soon I will be forty, and when I'm forty, it won't be long before I'm fifty. And when I'm fifty, it won't be long before I'm sixty. And when I'm sixty, it won't be long before I'm seventy. And that will be that." Knausgaard apprehends everyone else's mortality, too: "Until now, I thought, observing the crowds circulating in the concourse below. In twenty-five years a third of them would be dead, in fifty years two-thirds, in a hundred all of them. And what would they leave behind, what had their lives been worth?"
About halfway through this book's four hundred and thirty pages, Knausgaard reflects, rather like Walter Benjamin, on the hiddenness of death. On the one hand, it is all around us, as pictures and horrifying news—but this is death as a concept, death without a body. On the other hand, actual death, "that which belongs to the body and is concrete, physical and material, this death is hidden with such great care that it borders on a frenzy, and it works, just listen to how people who have been involuntary witnesses to fatal accidents or murders tend to express themselves. They always say the same, it was absolutely unreal, even though what they mean is the opposite. It was so real. But we no longer live in that reality. For us everything has been turned on its head, for us the real is unreal, the unreal real." After a break in the page, Knausgaard announces, "I was almost thirty years old when I saw a dead body for the first time. It was the summer of 1998, a July afternoon, in a chapel at Kristiansand. My father had died."
This prolonged précis, necessary because of the large scale of his project, demonstrates some of the strengths and weaknesses of Knausgaard's book. There is a flatness and a prolixity to the prose; the long sentences have about them an almost careless avant-gardism, with their conversational additions and splayed run-ons. The writer seems not to be selecting or shaping anything, or even pausing to draw breath. Cliché is not spurned—time is falling through Knausgaard's hands "like sand"; elsewhere in the book, the author tells us that falling in love was like being struck by lightning, that he was head over heels in love, that he was as hungry as a wolf. There is, perhaps, something a little gauche in his confessional volubility. But there is also a simplicity, an openness, and an innocence in his relation to life, and thus in his relation to the reader. Where many contemporary writers would reflexively turn to irony, Knausgaard is intense and utterly honest, unafraid to voice universal anxieties, unafraid to appear naïve or awkward. Although his sentences are long and loose, they are not cutely or aimlessly digressive: truth is repeatedly being struck at, not chatted up.
Above all, this is a kind of writing that accommodates variety—narrative and essay, the concrete and the theoretical, the general and the metaphorical (that image of our lives like boats in a lock, waiting for the sluice gates to open). As in Proust, we get surprising and vivid shifts when we move from reflection to example (that quick narrowing, from thinking about the sociology of death to an actual corpse, the author's father). There is something ceaselessly compelling about Knausgaard's book: even when I was bored, I was interested. This striking readability has something to do with the unconventionality of "My Struggle." It looks, at first sight, familiar enough: one of those highly personal modern or postmodern works, narrated by a writer, usually having the form if not the veracity of memoir and thus plotted somewhat accidentally, concerned with the writing of a book that turns out to be the text we are reading. In addition to Proust's "À la Recherche du Temps Perdu," Rilke's "The Notebooks of Malte Laurids Brigge" may stand behind Knausgaard's book: Malte is a Danish poet living in Paris, and he describes in detail, as Knausgaard does, the experience of viewing his father's corpse, and his urge to write. Closer to home, in the same year that Knausgaard published "Min Kamp," the Norwegian writer Tomas Espedal published "Against Art," a complex, and clearly Rilkean, novel about the struggle to write, presented in the style of an author's notebook or diary.
But "My Struggle" is stranger than these strange books. Knausgaard seems unable to leave anything out. In interviews, he has said that almost ten years after the death of his father, and with two novels to his name, he felt compelled to unburden himself of his past, of all his family stories, to get everything about his life on paper. He wrote rapidly, between five and twenty pages a day, and he ends the sixth volume of his autobiography (not yet translated into English) with the relieved declaration, as if now self-annulled, "I am happy because I am no longer an author." In Norway, nearly half a million people have read the book, and it has generated a great deal of extra-literary commentary. Knausgaard's family fiercely objected to the portrait of the author's grandmother, and threatened to sue both the publisher and the writer.
The first half of "My Struggle" is densely ordinary. As a teen-ager, Knausgaard is no Malte Laurids Brigge. He's a regular Norwegian, who goes to school in Kristiansand, tries to get drunk as often as possible, falls in love with one of his classmates ("It was as though I had been struck by lightning"), and plays in a crappy band. Most writers would get through this banality as quickly as possible, but not Knausgaard. A description of a New Year's Eve party, to which the teen-age writer attempts, with great difficulty, to transport some beer, occupies (admittedly with a few substantial divagations) something like seventy pages. "Getting drunk required careful planning," it begins. "Alcohol had to be procured safely in advance, a secure place for storage had to be found, transport there and back had to be arranged, and parents had to be avoided when you got home." Yes, that would seem to cover all the bases.
When Karl tells us about how much he liked playing the guitar, and how much he liked the equipment, he lists all of it:
I also loved all the accessories guitar-playing involved, the fuzz box, the chorus pedal, the leads, the plugs, the plectrums, and the small packets of strings, the bottleneck, the capo, the lined guitar case and all its small compartments. I loved the brand names: Gibson, Fender, Hagstrøm, Rickenbacker, Marshall, Music Man, Vox, and Roland. A cup of tea gets the same treatment:
After a while I picked up the teapot and poured. Dark brown, almost like wood, the tea rose inside the white cup. A few leaves swirled and floated up, the others lay like a black mat at the bottom. I added milk, three teaspoons of sugar, stirred, waited until the leaves had settled on the bottom, and drank.
Everything is tagged, logged, diligently invoiced: "We went out that night, with three girls he knew, and I borrowed his deodorant, Old Spice."
After a few hundred pages of this, I started to grumble: I understood that this was "My Struggle," but did it also have to be my struggle? David Mitchell's captivating novel "Black Swan Green" has crossed this territory (roughly: the hideousness of a Northern European adolescence in the nineteen-eighties) with greater liveliness and comedy than Knausgaard summons. And if we must have hundreds of pages of autopsied minutiae, then let them be as well written as the last two enormous volumes in Adam Mars-Jones's unfinished project in novelistic micro-realism.
But Knausgaard's omnivorousness proves anything but accidental. Again, the banality is so extreme that it turns into its opposite, and becomes distinctive, curious in its radical transparency. The need for totality that brings pages about playing the guitar, about drinking tea, about wearing his Doc Martens and listening to his Walkman, about how his brother, Yngve, has always thought the music of Queen unfairly underestimated, about the name of the band that he later formed with his brother (named, rather wonderfully, Kafkatrakterne), also brings superb, lingering, celestial passages, like the one in which Knausgaard cannot sleep, and paces his apartment. While his heavily pregnant wife, Linda, is in bed, he looks out the window, and sees a group of people standing outside a concert hall; watches the police raid a porn video store farther down the street; talks to his wife (who has woken up); and then flicks through a book of Constable paintings. And suddenly he is in tears, arrested by "an oil sketch of a cloud formation from September 6th, 1822," and unable to explain his reaction. What is he feeling? "The feeling of inexhaustibility. The feeling of beauty. The feeling of presence." He has always been unsettled by paintings, but has never found it easy to describe his experience of them—"because what they possessed, the core of their being, was inexhaustibility and what that wrought in me was a kind of desire. I can't explain it any better than that. A desire to be inside the inexhaustibility." The moment he looks back at the Constable sketch, "all my reasoning vanished in the surge of energy and beauty that arose in me. Yes, yes, yes, I heard. That's where it is. That's where I have to go. But what was it I had said yes to? Where was it I had to go?"
Knausgaard has his own artistic commitment to inexhaustibility—a prosaic rather than a painterly one, which manifests itself as a kind of tiring tirelessness. But it can be as vivid, in its way, as those clouds by Constable. He wants us to inhabit the ordinariness of life, which is sometimes visionary (the Constable sketch), sometimes banal (the cup of tea, the Old Spice), and sometimes momentous (the death of a parent), but all of it perforce ordinary because it happens in the course of a life, and happens, in different forms, to everyone. He notices everything—too much, no doubt—but often lingers beautifully. There are long, sublime descriptions of what it is like to experience the awakening of spring after a Nordic winter; of how a regular day elapses in Stockholm (he patiently watches the crowds coming and going); of the random human activity in a Norwegian airport; of the experience of reading Adorno; of buying fish at the market with his grandmother, when he was a boy. He gives thanks to trees, for existing: "These motionless, foliage-laden, air-bathing beings with their boundless abundance of leaves. . . . For whenever I caught sight of them I was filled with happiness." And to cranes: "There were few things I found more beautiful than cranes, the skeletal nature of their construction, the steel wires running along the top and bottom of the protruding arm, the enormous hook, the way heavy objects dangled when being slowly transported through the air, the sky that formed a backdrop to this mechanical provisorium." At the fish market, he sees a crateful of live crabs: "From the top they were dark-brown like rotten leaves, underneath yellowish-white bones. . . . It was a marvelous adventure that they came from the deep, and had been hauled up here, as all live fish had."
The plenitude of detail that clogs the first half of the book makes its second half morbidly compelling, and is crucial to the memoir's power. For in this section Knausgaard and Yngve receive the news of their father's death, and travel to their grandmother's house, the place to which he retreated as his alcoholism consumed him, and where he died. They find a shocking scene of decrepitude and decay, which Knausgaard records in lucid litanies of fact. There is mold and urine everywhere, and excrement on the sofa. Bottles, and bags filled with more bottles, are strewn about: "Most were plastic 1.5 liter bottles and vodka bottles, but there were a few wine bottles as well." There are piles of rotting, odorous clothes. The bathrooms are appalling. At the weak center of this mortal anarchy is the grandmother, who reeks of urine, and who appears to be losing her mind. She has clearly been not just the enabler of her son's drinking but an eager co-conspirator, and, though dazed and sometimes incoherent, is also obviously desperate for a drink. It was she who found her dead son, sitting in a living-room chair. But she can't remember if it was morning or evening when she did so. Knausgaard notes, "Her detachment was as hard and lean as the body in which it resided."
Knausgaard could have mentioned the Randy Newman song "I Want You to Hurt Like I Do"—it is the operating principle of this section's immersive lyricism. He and his brother clean every inch of this hellish place, and the reader is forced to share the experience, room by room. The process—with time-outs for some longish digressions and flashbacks—stretches across about a hundred pages, and proceeds like this: "We took Jif for the bathroom, Jif for the kitchen, Ajax all-purpose cleaner, Ajax window-cleaner, Klorin disinfectant, Mr. Muscle for extra difficult stains, an oven-cleaner, a special chemical product for sofas, steel wool, sponges, kitchen cloths, floor rags, two buckets and a broom. . . ." And so on. By the time it is over, we have cleaned that house with these brothers; the experience is extraordinarily vivid and visceral and moving. Of course, it is also the narrator's tide of mourning that we are being drowned in: we experience this housework as the necessary transference that it is. The labor of our reading merges with the labor of Knausgaard's writing, which is the very labor of grief. A complicated grief, too: horror, recoil, regret, shame, indifference, relief. Above all, the habitual, fortifying Knausgaardian honesty: "But Dad had got what was coming to him, it was good that he was dead, anything in me that said otherwise was lying."
In the course of this Augean task, Knausgaard has a moment of Proustian retrospect, prompted not by tea and a madeleine but by the smell of Klorin (the Scandinavian equivalent of Clorox): "The smell of Klorin and the sight of the blue bottle took me back to the 1970s, to be more precise, to the cupboard under the kitchen sink where the detergents were kept. Jif didn't exist then. Ajax washing powder did, though, in a cardboard container: red, white, and blue. It was a green soap." Could anything be more prosaic? Yet Knausgaard pauses to think aloud at this moment, and wrings a distinctively flat, rigorous poetry out of the Klorin and the Ajax. He thinks about regression, and how one used to stand in front of the bathroom mirror while holding a mirror behind one's head, and see the receding dance of images—"becoming smaller and smaller as far as the eye could see. But what happened behind what the eye could see? Did the images carry on getting smaller and smaller?"
Gradually, he seizes his elegiac theme. Isn't this, he asks, the fate of everything we once knew and experienced? All the sounds and smells and tastes reappear, but now nostalgically, "utterly irresistible, as indeed everything you have lost, everything that has gone, always does." He dwells on some of these lost sensations: the smell of grass "when you are sitting on a soccer field one summer afternoon after training, the long shadows of motionless trees, the screams and laughter of children swimming in the lake on the other side of the road," the salt in your mouth when you swim, the rocks you climbed as a kid, the taste of a particular energy drink. None of this has changed, he writes, and all the objects and palpabilities of childhood are still available to you:
You could still buy Slazenger tennis rackets, Tretorn balls, and Rossignol skis, Tyrolia bindings and Koflach boots. The houses where we lived were still standing, all of them. The sole difference, which is the difference between a child's reality and an adult's, was that they were no longer laden with meaning. A pair of Le Coq soccer boots was just a pair of soccer boots. If I felt anything when I held a pair in my hands now it was only a hangover from my childhood, nothing else, nothing in itself. The same with the sea, the same with the rocks, the same with the taste of salt that could fill your summer days to saturation, now it was just salt, end of story. The world was the same, yet it wasn't, for its meaning had been displaced, and was still being displaced, approaching closer and closer to meaninglessness.
Once again, it is important to quote at length in order to convey a sense of the author's loping play of mind. But also because the passage holds a key to this long book. Knausgaard's world is one in which the adventure of the ordinary—the inexhaustibility of the ordinary as a child once experienced it ("the taste of salt that could fill your summer days to saturation")—is steadily retreating; in which things and objects and sensations are pacing toward meaninglessness. In such a world, the writer's task is to rescue the adventure from this slow retreat: to bring meaning, color, and life back to the soccer boots and to the grass, and to cranes and trees and airports, and even to Gibson guitars and Roland amplifiers and Ajax. And that is why, I think, Knausgaard finds it necessary to see his father's corpse twice. The first time, he goes with his brother to the undertaker's chapel. His father seems still to be alive. Outside, someone is mowing the lawn, and the expectation that the noise will waken the corpse is so strong that he can't help recoiling. The second time, he is alone, and his father is becoming a thing, an object. This appears to bring the author some consolation:
Now I saw his lifeless state. And that there was no longer any difference between what once had been my father and the table he was lying on, or the floor on which the table stood, or the wall socket beneath the window, or the cable running to the lamp beside him. For humans are merely one form among many, which the world produces over and over again, not only in everything that lives but also in everything that does not live, drawn in sand, stone, and water. And death, which I have always regarded as the greatest dimension of life, dark, compelling, was no more than a pipe that springs a leak, a branch that cracks in the wind, a jacket that slips off a clothes hanger and falls to the floor.
These are the concluding sentences of the book—placid, plain, achieved. They have what Walter Benjamin called "the epic side of truth, wisdom." Mourning, for Knausgaard, involves an acceptance that we are all things in the end, and that, like things, even the people we have known and loved and hated will slowly leak away their meaning. Death and life finally unite, married in their ordinariness. ♦


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Row v. Wade: Rafting bill gets initial OK
A river rafting bill took an unexpected turn today when two clever Republicans offer a tongue-in-cheek amendment.
House Minority Leader Mike May of Parker and Rep. B.J. Nikkel of Loveland proposed the following substitute language:
"Included in the right of navigation as recognized by the United States Supreme Court in the case commonly referred to as the 'Row v. Wade' Law, 150 U.S. 1501 (2010)."
Of course, Roe v. Wade is the landmark abortion case.
Row v. Wade was intended for House Bill 1188, which would give commerical river rafters the right to float rivers without fear of being sued for trespass by landowners. It is sponsored by Rep. Kathleen Curry, U-Gunnison.
The House gave initial approval to the measure on Friday after a lengthy debate on private property rights. A final vote is scheduled for Monday.
As for the amendment, it was withdrawn after lawmakers had a good laugh about it.


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- Each knife is precision forged using Zwilling's Sigmaforge process, resulting in an exceptionally hard yet flexible blade.
- Zwilling's Friodur ice-hardening technique results in a harder, sharper blade that is corrosion resistant and highly elastic.
- Precise lasers are used to ensure each blade's edge is at the optimal cutting angle for maximum sharpness.
- Arched bolster perfectly supports the thumb for ultimate comfort, safety and precise handling. Also allows the full length of the edge to be sharpened, from tip to end.
- The sleek ABS resin handle is triple riveted to the blade and contoured for a secure, comfortable grip.
- 8" knife: 8"-long blade, 5 1/2"-long handle; 9 oz.
- 10" knife: 10"-long blade, 5 1/2"-long handle; 10 oz.
- Made in Germany by Zwilling J.A. Henckels since 1731.
- Use & Care
- Always use caution when handling sharp objects.
- Avoid cutting on hard surfaces such as stone, metal or glass.
- It is not advisable to use any knife but a meat cleaver to cut through bone, as other blades can be easily damaged.
- Hand-wash with warm water and a mild detergent. Rinse and dry immediately.
- Maintain the knife's cutting edge by regularly using a honing steel.
- Sharpen as needed. With regular use and honing, your knife should not need sharpening more than once or twice a year.
- Sharpen knife at home using a whetstone or knife sharpener, or have it sharpened by a professional.
- Store knife in a safe place to protect its edge and prevent injury.
- Shipping
Shipping Information
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For an additional charge of $26 per address, we can expedite delivery to most destinations. This service is not available for some oversize items, items shipped directly from the supplier (including perishable and custom-manufactured items), out-of-stock items and items to be shipped outside the contiguous 48 states.
Orders received by 9:00 p.m. ET Monday through Thursday will arrive the next business day; orders placed Friday through Sunday will arrive on the following Tuesday.
Return Policy
At Williams Sonoma, we take great pride in the quality and craftsmanship of our products. Attention to design, materials, safety and construction are our priority. Upon receipt, please inspect your purchase and notify us of any damage; we will arrange for a prompt replacement.
If within 30 days, you are dissatisfied for any reason, you may return your purchase for a refund of the merchandise value. An original receipt or gift receipt is required for all returns and exchanges. Returns with a gift receipt will be refunded in the form of a Merchandise Credit for the amount indicated on the gift receipt. Returns with original receipt will be refunded in the original form of payment, cash and check refunds over $100 will be issued as a company check (may take 14 business days from time of request).
For all cutlery returns (knife sets, single knives, cutting boards, knife sharpeners and knife storage), please contact us at 888.922.4108 to initiate the return.
We cannot accept returns on monogrammed, personalized, special-order items, custom upholstery, food, items shipped direct from the vendor or on items damaged through normal wear and tear. Final sale items ending in .97 or .99 cannot be returned.
Made to Order and Final Sale Furniture items are non-returnable and cannot be cancelled once the order is placed.
For returns of items purchased from your Williams Sonoma Gift Registry, we will gladly provide a refund or exchange for the merchandise within 90 days of your event or within 90 days of purchase, whichever date is later. View Full Returns Policy.
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Working with a sharp knife is safer, more effective and much less tiring than trying to cut and slice with a dull one. To ensure top performance, bring your favorite knife into your local store and one of our cutlery experts will give it a fresh, new edge using our precision equipment. The first knife is free; each additional knife is just $5.
Our stores also offer knife demonstrations to teach you the correct grip, positioning and basic knife techniques and can help you find the perfect cutlery for your needs – just ask a store associate for assistance.
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Rated 5 out of 5 by whatscookin from LOVE the comfort! Absolutely love and enjoy the comfortable grip. I didn't know I was holding my knives incorrectly, but after being shown by the rep a better way... It makes so much sense!! The knife is really well balanced, has a great cutting edge and is easy to sharpen with the full length open. Once I got used to holding the knife the correct way, my old knives just don't feel as good. I'll be replacing them with more of these, whenever I can, to get that curved area where the handle and the blade meet.Date published: 2017-07-18Rated 5 out of 5 by CMCM49 from Fabulous Knife I debated endlessly between this 8 inch chef's knife and the Wusthof Classic Ikon. What finally tilted me towards this one was the angled bolster, which for my female hand allowed the perfect pinch grip and great control. This knife has a substantial weight and balance, which I prefer, and Matteo's unique bolster design makes it very comfortable and easy to use. Incredible blade, and a recent special offer made it a very good buy. It fits perfectly in one of the wider slots on my Zwilling block. Beautiful knife in all ways, I'm very pleased with this choice.Date published: 2015-08-08Rated 5 out of 5 by ChristopherC from 10 inch chef's knife--wow! I've had this for about a month, it fits my hand exactly and works like magic. It slices and chops everything beautifully, the 10 inch size is great. I was afraid it was going to be too big, but it isn't, just take your time and learn how to use it. It does whatever I ask of it and does it perfectly.Date published: 2015-07-26Rated 5 out of 5 by BobN from Fantastic All Around Knife From dicing, slicing, or chopping garlic to carving a Venison roast....this knife is becoming my favorite tool in the kitchen and worth every penny! Great product!Date published: 2012-12-14Rated 4 out of 5 by SlicenDice from A better than average chef's knife How much you like this knife will depend on your experience and expectations. If you've never used a great knife and you compare it to the average knife you'd find at a mass merchandizer you'll probably be thrilled. It's razor-sharp, sturdy, holds an edge, is comfortable to hold for long periods, and has a wide blade that's great for scooping up what you've chopped. What it lacks is the subtle balance and refinements in the curve of the blade and handle that would make it a GREAT knife. Also keep in mind that this particular knife is currently available only from Williams-Sonoma. It has the handle of the older TWIN Pro-S line mated to the blade and bolster of the new TWIN Profection line. In short, it's worth the price but there are better knives available for only a bit more money. I exchanged it for Wusthof 8" Classic Ikon which I find delightful. Try before you buy, though. You may feel differently.Date published: 2012-02-14


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This monograph is written by Josiah McC. Heyman and is number seven in the American Ethnologist Society Monograph Series.
Finding Moral Heart for U.S. Immigration Policy: An Anthropological Perspective
Contents: Acknowledgments Summary of the Immigration Policy Proposal and its Rationale Anthropology, Morality, and Immigration: An Overview of the Monograph Values, Activism, and Anthropology Foundational Values and Real World Challenges Recent Immigration to the United States: From Superficial Debates to Underlying Disorders Anti-Immigrationism The Basic Plan: Recruitment and the Receiving Situationb Local Compacts: Basic Format, Process, and Examples Long Term Settlement Via Local Compacts Border Control in a New Immigration Policy A New Policy, A New INS Foreign Relations Unresolved Challenges and Dilemmas Concluding Observations References Cited.
Purchase your print copy today! Available at a special AAA member price of $12.50 at the AAA Online Store.


text: New Era Workstation Engine for Superior Graphic & Computing Choices On Demand Intel® Core™ i7 Processor Extreme Edition / Core™ i7 Processor / Xeon® 3500 Series Processor Intel® X58 / ICH10R Nvidia® nForce 200 6 PCI-E Gen2 x16 IO onboard True @16 3-Way SLI True 16+2 Power Phase Design ASUS EPU 6-Engine & TurboV ATI CrossFireX & NVIDIA SLI Support 2 onboard SAS ports G.P. Diagnosis Card Bundled ASUS Express Gate 100% High-quality Japan-made Conductive Polymer Capacitors!VRM 5000hrs lifespan @105°C, 500,000hrs @65°C Shop Modal header A Powerful Workstation Engine Essential in Your Professional Studio The ASUS Workstation Series is the ideal foundation for a powerful PC. It delivers awesome power, dependable performance and unparallel multiple I/O scalability for the most demanding tasks and future upgrades. Also, it provide extreme power saving experience with EUP 6 Engine function. 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LGA1366 Intel® Xeon® processor This motherboard supports the latest Intel® Xeon processors in LGA1366 package with integrated memory controller to support 3-channel (6 DIMMs) DDR3 memory. Supports Intel® QickPath Interconnect (QPI) with a system bus of up to 6.4GT/s and a max bandwidth of up to 25.6GB/s. It can support DDR3 ECC un-buffered memory. SLI Technology NVIDIA SLI™ (Scalable Link Interface) takes advantage of the increased bandwidth of the PCI Express bus architecture and features intelligent hardware and software that allows two GPUs to efficiently work together to deliver earth-shattering, scalable performance. For some applications nearly 2X performance! (From www.NVIDIA.com) X58 Chipset The IntelR X58 Express Chipset is the latest chipset designed to support latest IntelR Core?7 processors and Intel's next generation system interconnect interface, IntelR QuickPath Interconnect (QPI), providing improved performance by utilizing serial point-to-point links, allowing increased bandwidth and stability. It also supports to 36 PCI Express 2.0 lanes providing better graphic performance. PCIe 2.0 This motherboard supports the latest PCIe 2.0 devices for double speed and bandwidth which enhances system performance. ATI CrossFireX Technology ATI's CrossFireX boosts image quality along with rendering speed, eliminating the need to scale down screen resolutions to get the high image quality you want. CrossFire ignites with the higher antialiasing, anisotropic filtering, shading, and texture settings you desire. Adjust your display configurations, experiment with your advanced 3D settings, and check the effect with a real-time 3D-rendered preview within ATI's Catalyst? Control Center to rule your CrossFireX system. Memory Features Triple-Channel DDR3 1600(O.C.)/1333/1066 The motherboard supports DDR3 memory that features data transfer rates of 1600(O.C.)/1333/1066 MHz to meet the higher bandwidth requirements of the latest operation system, 3D graphics, multimedia, and Internet applications. The triple-channel DDR3 architecture doubles the bandwidth of your system memory to boost system performance, eliminating bottlenecks with peak bandwidths of up to 25.6 GB/s. Furthermore, the supply voltage for the memory is reduced from 1.8 V for DDR2 to just 1.5 V for DDR3. This voltage reduction limits the power consumption and heat generation of DDR3 which makes it an ideal memory solution. ASUS Power Saving Solution AI Nap Minimize noise and power consumption when temporarily away! With AI Nap, users can instantly snooze your PC without terminating the tasks. System will continue operating at minimum power and noise when user is temporarily away. It keeps downloading files or running applications in quietest state while you´re sleeping. Simply click keyboard or mouse, you can swiftly wake up the system in few seconds. ASUS Quiet Thermal Solution ASUS True 16+2 Phase Power Design The breakthrough technology of 16+2 phase VRM design is bringing to the ASUS motherboards. 16+2 phase power design (16-phase to vCore; 2-phase to vDRAM/QPI controller inside CPU) can reach high power efficiency, dispel heat generated by VRM module effectively, and lower more temperature compared to other VRM solution. With the high quality power components such as low RDS (on) MOSFETs, Ferrite core chokes with lower hysteresis loss, and 100% Japan-made high quality conductive polymer capacitors, ASUS 16+2 phase VRM design also ensure longer component life, minimum power loss, and help to reach the superior overclocking score ever than before. ASUS TurboV System Level Energy Saving Feel the adrenaline rush of real-time OC - now a reality with the ASUS TurboV. This extreme OC tool lets you set new ambitions on the OC stage with an advanced and easy-to-use interface - allowing you to overclock without exiting or rebooting the OS. With micro adjustments of the CPU PLL, NB, NB-PCIe, and DRAM voltages in 0.02v intervals, there are no limits - only extreme results to break new OC records! ASUS EPU-6 Engine The new ASUS EPU - the world´ s first power saving engine, has been upgraded to a new 6 engine version, which provides total system power savings by detecting current PC loadings and intelligently moderating power in real-time. With auto phase switching for components (which includes the CPU, VGA card, memory, chipset, drives and system fan), the EPU automatically provides the most appropriate power usage via intelligent acceleration and overclocking - helping save power and money. ASUS Express Gate 5 Secs Bootup to onlineTaking only 5 seconds to go online from bootup, Express Gate is the one-stop gateway to instant fun! It´s a unique motherboard built-in OS. You can utilize the most popular Instant Messengers (IM) like MSN, Skype, Google talk, QQ, and Yahoo! Messenger to keep in touch with friends, or quickly check on the weather and e-mails just before leaving your house. What´s more, the user-friendly picture manager lets you view your pictures without entering Windows at anytime! Best Quality Power Components 100% High-quality Japan-made Conductive Polymer Capacitors!(5000 hrs VRM)Low RDS (on) MOSFETs with min. switching loss & lower temperature, Ferrite Core chokes with lower hysteresis loss, and 100% Japan-made high quality, long life conductive polymer capacitors. ASUS Power Saving Solution AI Nap Minimize noise and power consumption when temporarily away! With AI Nap, users can instantly snooze your PC without terminating the tasks. System will continue operating at minimum power and noise when user is temporarily away. It keeps downloading files or running applications in quietest state while you´re sleeping. Simply click keyboard or mouse, you can swiftly wake up the system in few seconds. ASUS Quiet Thermal Solution Up to 20°C(36°F) Cooler - Stack Cool 2 Effective Fanless Heat Dissipation at 0dBStack Cool 2 is a fanless cooling solution offered exclusively by ASUS. It effectively and noiselessly transfers heat generated by the critical components to the other side of the specially designed PCB (printed circuit board) for effective heat dissipation - making temperatures cooler by up to 20°C. Aesthetic Heat-pipe Lowers Temperatures by up to 10°CThe aesthetic heat-pipe design effectively directs the heat generated by the chipsets to the heatsink near the back I/O ports - where it can be carried away by existing airflows from the CPU or a bundled optional fan. This innovative and groundbreaking fanless heat pipe design effectively lowers temperatures by up to 10°C without having lifetime problems that a normal chipset fan has. Furthermore, it provides options for users to install side-flow fans or a passive cooler. This Heat Pipe design is the most reliable fanless thermal solution to date. Fan Xpert Active Quiet & Cool ASUS Fan Xpert intelligently allows users to adjust both the CPU and chassis fan speed according to different ambient temperature , which is caused by different climate conditions in different geographic regions and system loading.Built-in variety of useful profiles offer flexible controls of fan speed to achieve a quiet and cool environment. ASUS Crystal Sound Noise Filtering Eliminate background noise while recording This feature detects repetitive and stationary noises like computer fans, air conditioners, and other background noises then eliminates it in the incoming audio stream while recording. ASUS EZ DIY Q- Shield Easy and Comfortable InstallationsThe specially designed ASUS Q-Shield does without the usual "fingers" - making it convenient and easy to install. With better electric conductivity, it ideally protects your motherboard against static electricity and shields it against Electronic Magnetic Interference (EMI). CrashFree BIOS 3 Simply restore corrupted BIOS data from USB flash disk The ASUS CrashFree BIOS 3 allows users to restore corrupted BIOS data from a USB flash disk containing the BIOS file. This utility saves users the cost and hassle of buying a replacement BIOS chip. O.C. Profile Conveniently store or load multiple BIOS settingsFreely share and distribute favorite overclocking settingsThe motherboard features the ASUS O.C. Profile that allows users to conveniently store or load multiple BIOS settings. The BIOS settings can be stored in the CMOS or a separate file, giving users freedom to share and distribute their favorite overclocking settings. Q-Connector Make connection quick and accurate! The ASUS Q-Connector allows you to connect or disconnect chassis front panel cables in one easy step with one complete module. This unique adapter eliminates the trouble of plugging in one cable at a time, making connection quick and accurate. EZ-Flash 2 Simply update BIOS from a USB flash disk before entering the OSEZ Flash 2 is a user-friendly BIOS update utility. Simply launch this tool and update BIOS from a USB flash disk before entering the OS. You can update your BIOS only in a few clicks without preparing an additional floppy diskette or using an OS-based flash utility. TPM Trusted Platform Module (TPM) system, which can securely store keys( for encryption/ decryption), digital certificates, passwords, and data. A TPM system also helps enhance network security, protects digital identities, and ensures platform integrity.*The TPM module is purchased separately Industry Standard SATA on the Go The motherboard supports the next-generation hard drives based on the Serial ATA (SATA) 3Gb/s storage specification, delivering enhanced scalability and doubling the bus bandwidth for high-speed data retrieval and saves. The external SATA port located at the back I/O provides smart setup and hot-plug functions. Easily backup photos, videos and other entertainment contents on external devices. Dual Gigabit LAN The integrated dual Gigabit LAN design allows a PC to serve as a network gateway for managing traffic between two separate networks. This capability ensures rapid transfer of data from WAN to LAN without any added arbitration or latency. S/PDIF-out on Back I/O Port This motherboard provides convenient connectivity to external home theater audio systems via coaxial and optical S/PDIF-out (SONY-PHILIPS Digital Interface) jacks. It allows to transfer digital audio without converting to analog format and keeps the best signal quality. Dual RAID The Intel ICH10R chipsets incorporate Six Serial ATA connectors with high performance RAID functions in RAID 0, 1, 10 and 5. The JMicron controller provides another two Serial ATA connectors for RAID 0, 1, and JBOD functions. This motherboard is the ideal solution to enhance hard disk performance and data back up protection without the cost of add-on cards. High Definition Audio Enjoy high-end sound system on your PC! 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More than a year after Tokyopop pulled the plug on its publishing division, the one-time manga giant is returning from the dead to release the first three volumes of Hidekazu Himaruya's popular series Hetalia: Axis Powers through an arrangement with distributor Right Stuf and Japanese publisher Gentosha Comics.
This will mark the first time the third volume has been published in English; production had just been completed on the book when Tokyopop shut down its North American operations.
"The North American publishing market has been changing rapidly, and I am proud to partner with Right Stuf and Gentosha Comics to finally bring the long-awaited latest volume of Hetalia to our fans," Tokyopop founder Stu Levy said in a statement. "Thanks to everyone for your patience!"
The return of Hetalia doesn't come as a total surprise, as Levy began teasing the possibility in September, saying that the series could be released through limited channels. It was even suggested last night on the Tokyopop Twitter account that similar arrangements may be made with other titles. ("But no promises yet!")
Reprints of the first two volumes will be available immediately on the Right Stuf website for $15.99 each (they originally sold for $10.99). The third volume will be released in late June, also with a $15.99 cover price; however, fans who pre-order can get theirs for $10.99 for a limited time.
Hetalia: Axis Powers debuted as a Japanese webcomic personifying the countries of the Axis and Allies of World War II as cute boys in spiffy military uniforms. The original comic, and subsequent manga and anime, use satire and lighthearted comedy to reinterpret historical events and poke fun of cultural stereotypes.


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Rock climbing and abseiling in the Brecon Beacons National Park
If you enjoy climbing, why not take a look at things from a different angle and reach new heights on the cliffs of the Brecon Beacons?
The National Park offers plenty of natural challenges for climbers and abseilers, including sheltered crags, old quarries and rocky escarpments with stunning vistas. In the sheltered areas, you can climb all year round – on a sunny winter's day you might be moving over warm rock in just a t-shirt, if you're lucky. There are also all-weather indoor options.
What to do
1. Tasters (for beginners)
Book a taster session with an experienced, qualified instructor who will show you the ropes and give you a taste of the challenge of rock climbing and abseiling.
2. Improvers (for returners and skills builders)
If you've tried it, liked it and are keen to do more, then a Mountaineering Instructor can guide you on the best routes the area has to offer, or teach you the skills needed to become an independent climber. The Association of Mountaineering Instructors website lists local instructors.
3. Independent experiences (for enthusiasts and experts)
Are you already a climber? If you're looking for a little adventure and some quality rock then you're in the right place. Just sure you know what you're doing.The Brecon Beacons National Park has a variety of traditionally protected routes, bolted sport routes and excellent bouldering, all in beautiful settings. The South Wales Mountaineering Club publishes a local guide, Gower and SE Wales, which covers the area. Their website provides information for experienced climbers planning a trip.
Where to go
The best outdoor spots are along the limestone belt on the southern side of the National Park.
At Llangorse Multi Activity Centre, east of Brecon, there's an indoor climbing centre with real rock, artificial climbing walls, bouldering, indoor caving and a café. Other nearby indoor climbing centres include Aber Rocks in Abergavenny, Summit Centre near Merthyr Tydfil, Dynamic Rock in Clydach near Swansea and Boulders just outside Cardiff.
Local Businesses6 of 14
Hawk Adventures
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Mountain and River Activities
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Llangorse Multi Activity Centre
Llangorse Multi Activity Centre is Wales' Premier Award-Winning Indoor and ...


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Transitions Art Gallery Shows
Posted on Monday, June 20, 2005 by Rob
Transitions Art Gallery ShowsWords by Rob Meronek, Photos by Rob Meronek and Matt Welch
I wouldn't put any stock in an opinion from a musician about something as complicated as brain surgery or software engineering, so I don't know why a lot of them think their opinion on politics involving millions of people and cultures matters. Somehow, too many musicians have decided that they're experts in this very, very complicated field. That's pretty much my only complaint from the last two shows I checked out back in Transitions Art Gallery. You don't see people going around dropping their opinions on the intricacies of the medulla oblongata and current research on the best practices for surgery involving that part of the brain because they know damn well they aren't educated enough to discuss that. But when it comes to politics, everyone's their own expert and unfortunately it's spilled over into many talented artists' music, including some clueless film makers. I personally can't stand it.
Outside of that, we had two great shows here this weekend. Ian MacKaye was here with his girl on Friday. They're The Evens and sound nothing like Ian's former band that I have all the lyrics memorized to – Minor Threat. 200 people back there in that small room completely cashed the air conditioner, which made it brutally hot back there, but people seemed to not care with The Evens playing. Ian's got some political opinions that I plugged my ears for.
On Saturday, we had the first hip hop show in Transitions and it was damn good. Buck Tooth Will and crew had the place going pretty good, although the crowd was a little thin due to this being the first show. I was definitely feeling this one dude named Breakdown. Even he had a political song about Iraq that I had to tune out to, though. Update: Click here to check out a sample track from Breakdown.
Check TransitionsArtGallery.com for the latest in what's happening in the Gallery.
A few photos Matt Welch and I took at the last couple of shows are on your right.


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I found this story when I was perusing newpaperarchive.com with my surname and town names. I wasn't looking for one particular person, but I was trying to see if there were any stories about WILKINSONs in Maine, New Hampshire or Massachusetts. Wow, I found this story about a cousin who does not appear in any birth record, so I didn't know he existed. As you read about Ivory Wilkinson, you'll be surprised, too!
From The Biographical Directory of the Railway Officials of America, edited by E. H. Talbott and H. R. Hobart, Chicago: The Railway Age Publishing Co, 1885.
T. W. Peirce was a wealthy railroad tycoon in the 1800s. Thomas Wentworth Peirce (16 August 1818 – 1885), was the second son of the eleven children of Andrew Pierce, the first mayor of Dover, New Hampshire. He made his money investing in the Galveston, Harrisburg and San Antonio Railway. Peirce drove the Silver Spike uniting the second transcontinental railway between his railroad and the Southern Pacific Railroad in Val Verde County, Texas. His ancestor was John Peirce of Watertown, Massachusetts, and he was a cousin to the only US President from New Hampshire, Franklin Peirce. His lineage was John, Anthony, Benjamin, Benjamin, Benjamin, Andrew, Andrew Peirce his father. Thomas Peirce's mother was Betsey Wentworth, daughter of Thomas Wentworth and Mary Roberts.
As a millionaire he donated school s and churches, both in New England and out west in Galveston. He was a summer resident of Topsfield, Massachusetts. His summer estate had over 700 acres. A railroad spur was brought up to the house with a private car for his last years when he was in ill health. He had two wives, Mary Curtis of Boston, and Cornelia Cook of Galveston. He died in 1885 at the Sanitarium at Clifton Springs, New York and was buried at Mount Auburn Cemetery near Boston. His estate was valued at $8 million and his more than 700,000 acres of Texas land were sold by his executors.
The settlement of Thomas Wentworth Peirce's will was national news. The news was especially interesting when an unknown man entered a lawsuit at Salem District court contesting the will. Ivory Wilkinson Moulton Peirce of Lynn, Massachusetts was a shoemaker born in Sanford, Maine. He claimed that Thomas Peirce was his father, and that his mother, Julia Ann Wilkinson, would testify for him in court.
As a young man, Ivory Peirce left Maine. As Ivory W. M. Peirce he enlisted in the Civil War in the Massachusetts Infantry, 2nd Regiment, Company F on 25 August 1861 and mustered out on 28 May 1865. In his 1863 marriage record in Lynn, Massachusetts, Ivory Pierce, age 24, is listed as a "gentleman", and gives his father's name as Thomas Pierce. On his daughter's birth record in 1878 his occupation is listed as "leather cutter". In the 1880 census he was listed as as "works in shoe factory". Apparently he either fibbed about being a "gentleman" or lost his fortune. Can you believe what you see on a marriage or birth record? Do you take into consideration the truthfulness of the person reporting the information to the town clerk?
During the trial, several people testified about his family, including Ivory himself. Their testimony listed lots of family members I didn't know about, entire branches of new relatives! Most of the names and dates listed matched up with public records. I've had fun comparing the testimony in the newspapers of 1885 to the Maine vital records to build new branches of my family tree.
In the end, I never found a marriage or divorce record between Julia Wilkinson and the millionaire Thomas W. Peirce, and neither did the judge in 1885. The case was thrown out being that "illegitimate" meant he could not inherit, which was more important back then than now. A child found to be born out of wedlock today could still inherit, but that was not the case in 1885. Even DNA would not have helped Ivory Wilkinson Moulton Peirce in those days.
To be continued tomorrow, when I'll show some of the testimony that reads like a soap opera! And once I had Ivory Wilkinson Moulton Pierce's name, I found his story in over three dozen newspaper stories, from over a dozen states coast to coast.
For more information:
Peirce Genealogy, by Frederick Clifton Perice, 1880.
John Mason Hart, "PEIRCE, THOMAS WENTWORTH," Handbook of Texas Online (http://www.tshaonline.org/handbook/online/articles/fpe17), accessed July 31, 2012. Published by the Texas State Historical Association.
Click here for Part II of this story:
Click here for Part II of this story:
Copyright 2012, Heather Wilkinson Rojo


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Words by Mr Jeremy Langmead
Hopping from city to city across the globe, sometimes even across one state, it's always curious to see how guys in their early 20s choose to dress. Locations - influenced, obviously, by industry and climate, as much as by attitude - have their own unwritten dress codes. The more urban, edgier metropolises such as London and New York, for example, have their skinny-jeaned, bow-tied, shoe-scuffed dandies, while more beach-oriented hubs like Sydney or Los Angeles favour a more dressed-down - or sometimes barely dressed at all - approach to their wardrobe. And money or upbringing usually has little to do with it: it's more about looking as if you're bucking the trend not spending the bucks - even if the ripped jeans you're wearing cost a fortune and the hippie-like hoodie is made from fine cashmere from The Elder Statesman.
One young actor who favours this surf-sprayed, sun-kissed West Coast laissez faire fashion approach is 20-year-old Mr Hopper. He's one of those lucky men whose nonchalant approach to style looks enviably good. When he turned up for his MR PORTER shoot, near his home in Venice Beach in LA, he was sporting trainers with holes in the sides and the backs all trodden down, an odd pair of socks, scraggy jeans and a nondescript T-shirt. And, well, it worked a treat.
Mr Hopper, like his late father - the legendary actor Mr Dennis Hopper, famous for his iconic roles in everything from Easy Rider and Apocalypse Now to Blue Velvet and Speed - is making waves in the movie industry. His father died of cancer a year ago last Sunday and in that time he has filmed a Mr Gus Van Sant film, Restless, which premiered to mixed reviews in
Cannes two weeks ago. He turns up for our shoot with his mother, Ms Katherine LaNasa, and seems both nervous and shy - until, that is, he steps in front of the photographer Ms Tierney Gearon's camera. The two know each other, and have a rapport, and so it isn't long before he's jumping in the air, wading into the water - and despite the bitter wind - even laughing.
Mr Hopper has always been interested in the arts, but until recently hovered between painting and acting - much like his father, whose photography was critically admired. Mr Hopper Jr took weekend acting classes at the Lee Strasberg Theatre & Film Institute in his early teens, did some theatre work in LA, studied painting and sculpture at CalArts and disappeared to Berlin for a while to make films and art. And despite being approached for various big-screen roles over the years, he resisted until the Mr Van Sant project came along.
Restless is an offbeat tale of a teenage girl (Ms Mia Wasikowska) suffering from terminal brain cancer who meets a recently-orphaned boy, Enoch, at a funeral; their shared obsession with funerals and death brings the two close together. The role must have resonated with Mr Hopper as he had only just lost his father from cancer. He says of the experience: "I lost a friend early on in shooting, unexpectedly, and that kind of framed what I was doing. I was dealing with death in two different dimensions."
Mr Hopper, who looks the spitting image of his father at the same age, and whose ease and charisma in front of the camera - both in Restless and in our fashion shoot - reveals a raw talent that, if he chooses to let it, could take him far. And as for his natural ability to make some weathered denims and a pair of espadrilles (see above) look so easy and cool, well, that just isn't fair.


text: Lisa Murkowski with sign wavers By barber_dvkst8|2017-06-13T02:03:41+00:00April 7th, 2017|0 Comments Like it? Share it! FacebookTwitterPinterestVk About the Author: barber_dvkst8 Leave A Comment Cancel replyComment Save my name, email, and website in this browser for the next time I comment. Notify me of new posts by email. This site uses Akismet to reduce spam. Learn how your comment data is processed.


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Ice Rink Projects
Danforth has completed many Ice Rink projects since its founding in 1884. Each project has its unique challenges and we are continuously looking for new methods and technologies to apply. Our goal is not just to complete a project but to build a solution for our clients. We have assembled case studies of many of our projects and you can view some of our key completed projects below.


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Tag Archives: Karen Muntean
Ides of May
Close enough. Jon Guy packed it April 16. Long time islander first came to these shores in 1978. Didn't know him but saw him around and knew who he was. He was a central figure in the island community. He … Continue reading
Posted in Certainties Tagged Erich Hoyt, John Giorno, Jon Guy, Karen Muntean, Marcus Aurelius, Orca Tour 2014, Paul Spong, Richard Blagborne, saturna island 5 Comments


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|22nd September 2016, 14:21
Junior Member
Join Date: Jun 2016
Posts: 16
Is there somehing like a "note detection"?
Hi all,
I (as a musician) wonder if there is something like a note detection, like the beat detection, but for certain notes or ranges only.
I would like to write some music that integrates well with Milkdrop, and different actions or developments in music would surely benefit from Milkdrop reacting to this.
Like, e.g. 2 different movements in the lower and higher frequencies, one visualized on the left, one on the right, each with its own special pattern. Or 2 concentric circles maybe.
I am looking for presets that have this. (if at all possible)
|22nd September 2016, 19:38
Major Dude
Join Date: Mar 2008
Location: Erlangen
Posts: 868
There are two ways to discriminate between frequencies, either by using the bass, mid and treb signals, or the continuous spectrum. Many presets use some of these signals although not necessarily in a way as to clearly separate them on the screen. But "spectrum" presets usually do, the left part of the spectrum representing the low notes and the right hand side the higher notes. So this can be done easily but it takes a bit more to make a good preset.
To see what I mean I attach a sample preset which simply shows the spectrum as yellow line in 32 steps, and a circle representation of the spectrum.
|25th September 2016, 13:20
Junior Member
Join Date: Jun 2016
Posts: 16
Hey...this looks quite good. It is technically what I was looking for.
I am playing a 12-stringed-monster like this (although with a different hairstyle):
6 strings for tha bass and 6 strings for the melody, like a normal guitar. Separated in stereo...bass is left, melody is right.
Can you divide the spectrum between left and right? So the bass part is displayed in a different way than the guitar part?
Can you divide the spectrum into as small parts as single notes?
|25th September 2016, 19:29
Major Dude
Join Date: Mar 2008
Location: Erlangen
Posts: 868
Impressive. Never seen anything like that ! Are you sure you got enough fingers to play it ?
Milkdrop can divide the spectrom on the basis of either:
Stereo channel, i.e. left / right. I guess this is not what you mean.
Frequency. It should quite well be possible to separate a bass line from the guitar part. I should say however that milkdrop's spectrum function is quite limited and it might not be possible to detect really low frequencies. In technical terms, the FFT window length is too bloody short.
Frequency ratio between single notes is approximately 5%, milkdrop's FFt provides realistically 128 lines within a bandwidth of approximately 16kHz, i.e. distance between lines is 125Hz. The A' is 880Hz, and 125 Hz is more than 10% of that, therefore - no, not in general. It might however work for the overtones. A custom made FFT might also do the trick but that would be quite a bit of work.
I attach a spectrogram preset so you can test this for yourselves. I shows all signals from milkdrops inbuild FFT over time. Try it out with your guitar, and you'll quickly understand how it works.
|6th October 2016, 10:37
Junior Member
Join Date: Jun 2016
Posts: 16
Hi. Sorry...new Job and not enough time for music right now. (This will change...)
WIll try your preset later and tell you if the really low notes (the ones that kick ass) are being caught by the spectrogram.
The big guitar is actually quite easy to play if you start with one finger per hand. No need to play all possible notes at the same time.
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Rye GB
Angry Englishman
- Joined
- Mar 14, 2006
- Messages
- 2,254
- Reaction score
- 1
So, I was cleaning up my iphoto albums today and came across photo's from the past 5 or 6 years. Some of them encapsulated the way I dressed in the past and before joining this community. I figured it could be a laugh for us to be brave enough to show how we dressed before having the balls to show our threads here. Here goes.............. Fall 03: Helmut Lang x HG x Salvage sample x Con x Wife Summer 2004: Vintage Honda x Levi 501 x Cutler & Cross


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Ellsbury, Napoli among Sox's free-agent decisions
Drew, Saltalamacchia round out World Series champs' potential departures
BOSTON -- They were all trying to enjoy the moment, spray the champagne, pour the beer and jump into the most embracing of hugs.
But four of the key contributors of the 2013 World Series champions did so knowing they could be in different uniforms by the time Spring Training rolls around. The Red Sox have until 5 p.m. ET on Monday to decide whether to issue qualifying offers to their free agents: Jacoby Ellsbury, Jarrod Saltalamacchia, Mike Napoli and Stephen Drew.
Free agency won't begin until Monday, but the Red Sox can negotiate with their free agents before then. For each free agent they present with a qualifying offer of $14.1 million for one year who ends up with another club, the team will receive compensation in the form of a pick at the end of the first round of next year's First-Year Player Draft. The players have until 5 p.m. on the seventh day after receiving the offer to make a decision.
Red Sox general manager Ben Cherington and his brigade have decisions to make almost immediately.
"Poor Ben," said Red Sox chief operating officer Sam Kennedy. "He needs to get to work right away on that. It'll be busy. That's the hard part of playing deep into October, is you have to go to work right away."
Ellsbury is expected to receive the most lucrative contract of Boston's free agents. A CBS Sports report in September indicated that agent Scott Boras will be seeking more than the seven-year, $142 million deal the Sox gave Carl Crawford after the 2010 season, so a qualifying offer to Ellsbury, who stole 52 bases while hitting .298 this season, would almost certainly be declined.
"I haven't thought about that right now," Ellsbury said. "I'm just going to celebrate with my teammates and just enjoy the moment."
Napoli made the transition from catcher to first base look almost too easy. He led Major League first basemen in most defensive metrics during his first year in the field, despite missing time due to plantar fasciitis in his left foot. The streaky hitter finished with 23 homers and 92 RBIs. Napoli has hit at least 20 home runs in each of the past six seasons.
"I want to be here," Napoli said of his potential return to the Red Sox. "I love this place. They treated me so good here, the way they've taken care of me has been unbelievable. When the time comes, we'll have some conversations. I hope to be back here next year."
Saltalamacchia had a complete turnaround at the plate in 2013, taking a different approach that resulted in a decrease in home runs from 2012, going from 25 to 14, but an increase in doubles from 17 to 40 and batting average from .222 to .273. He ended up losing playing time to a hot-hitting David Ross in the World Series, but Saltalamacchia has been lauded for his work with Boston's pitching staff.
"He was unbelievable," said Red Sox pitching coach Juan Nieves. "He's a grinder. He works hard. He reads the game so well. Any information we give him, he took it to the next level."
After studying the team's pitchers and maturing as a catcher over the 3 1/2 years he spent in Boston, Saltalamacchia really wants to return.
"Yeah, I mean, I would love to," Saltalamacchia said. "And they know that. They know where I want to be. They know this has been home to me for the past four years. There's always going to be a special place in my heart for Boston. I hope something can happen and I end up staying here."
At shortstop, the Red Sox might have the most debatable dilemma. Drew began the year slowly after suffering a concussion in Spring Training. He also dealt with an injured hamstring during parts of the season. Despite extended slumps, Drew hit 29 doubles and 13 homers to go with a .253 average and a .777 OPS.
Drew felt like he was capable of more.
"It was tough," he said. "I had a concussion, a hamstring [injury]. Offensively, yeah. Defensively, I had a great year. But it doesn't matter. This year is about this World Series and this team, and it was fun to be a part of it."
Some teams may want to sign Drew to play second or third base, but he wants to continue to play shortstop.
"When I got drafted [by Arizona in 2004], they were like, 'Oh, you're going to play second base,'" Drew said. "I was like, 'No, I won't play second. I'll play short.'"
Boston also has Xander Bogaerts at the position, and Bogaerts showed incredible poise during the postseason, though he was playing third base. He spent the majority of the season playing shortstop in the Minors.
The good news: The Red Sox won the World Series, and Kennedy said the team still believes in the theory, "You have to spend money to make money."
Cherington will just have to figure out where to spend it.
"They really believe in investing in a first-rate product," Kennedy said. "And tonight is a good demonstration of that."


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プロ・専門家の海外ボランティア 南米ペルーで医師
- Placement Location: Cusco
- Requirements: Full qualifications as a doctor and intermediate to advanced level of spanish
- Accomodation: Host family
- Length of placement: From 4 weeks
- Start Dates: Flexible
This volunteer medical project helps treat patients in hospitals in and around Cusco, Peru.
There is a huge demand for medical care in Peru and not enough doctors. You can help ease the workload, treat patients and train local staff.
This project is perfect for anyone qualified interested in volunteering and doctors on a career break.
Here you will find answers to the following questions:
How can volunteer doctors help in Peru?
What will I gain from this project?
What will Projects Abroad PRO provide?
What skills or qualifications do I need?
How can volunteer doctors help in Peru?
You can use your knowledge and training to help local staff as a volunteer doctor. You can work on tasks such as:
- Helping existing staff treat patients, including:
- Diagnosing medical conditions and planning/providing appropriate treatment.
- Assisting with surgeries.
- Organizing preventative medical programs for individual patients.
- Providing advice on medical care and immunization etc.
- Working on medical outreach programs within nearby towns and villages.
- Helping existing staff come up with a plan for improving hospital care.
- Observing and assessing the work of local trainee doctors.
- Helping with training clinics for Projects Abroad volunteers working with other hospitals (optional).
We work with a variety of medical institutions in and around Cusco. You could work with one of two government hospitals. These are large facilities and you will be expected to work for around 6 hours per day, from Monday to Friday. Alternatively, it may be possible to perform some work at a smaller health centre.
This project runs all year round. You decide how much time you can spare and we will help you get the most out of it.
What will I gain from this project?
This voluntary work abroad will help you gain experience of working in the developing world. You will see methods, diseases, and treatments that you have not encountered before in your home country. You will also be able to share ideas and learn from fellow staff.
You will spend a lot of time with local staff and patients. This will teach you about their culture and way of life. They will all want to hear about your life back home and your family and friends. We call this "cultural exchange" and we think it helps our volunteers gain a new perspective on life.
What will Projects Abroad PRO provide?
We have over 25 years' experience of running volunteer projects. We provide you with the following support to make sure your time in Peru is successful and enjoyable:
- Safe accommodation with a Peruvian family close to your project.
- Friendly and dedicated local staff available to help 24 hours a day.
- A member of staff to meet you at the airport when you arrive.
- Comprehensive medical and travel insurance.
What skills or qualifications do I need?
You need to be fully qualified as a doctor and have a relevant license to practice in your country of residence. You will also need to speak intermediate to advanced level Spanish.
Please contact us if you think your knowledge may be useful on this project but do not have the required qualifications.


text:
Love is conditional
I never knew that Mary'd put a hole in my fishing boat
I got to tripping more, she went to bitching more
The court of Universal Law said it wasn't permissable
She went to forte, I stayed pianissimo
Then I went to forte and she went to physical
Should I go should I stay and withstand
The additional attacks on the mental and the physical
It's gone get dangerous
Why waste time in these child-like exchanges
Why waste time with these child-like games, it's make up to break up
Crying all the time baby messing up your make-up
Try and scratch my face up
She said "I need communication Jay but you dont say much"
I know it ain't okay but
I from where niggas keep they mouth closed and the gate shut
It seem like only yesterday that I was just a kid
In Christian Dior velour, ballies and a shape-up
Spinning on cardboard and trying to rip a break up
Life comes at you fast, I went from sleeping in class
To sleeping in the streets forgetting where I wake up
When I was hit with trial, I went in to survival mode
And did a lot of shit a nigga wasn't proud of, so
When I be sittin on the couch with a blankhead
I be at the homeless shelter jefferson and bankhead
A Jack sippin dankhead
Making sure niggas don't steal my clothes
Trying to make a path so I fufill my goals
Trying to take a bath so I can heal my soul
A little bit of laughter to conceal my woes
Who gone save me?
The song samples Who's Gonna Save My Soul, the final single off of Gnarls Barkley's second album. The sample was also used by Kid Cudi on his A Kid Named Cudi mixtape.