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In the course of writing a new play, Lynn Nottage sat in despair at her Brooklyn apartment as she looked over reams of research she had accumulated. The playwright had just spent two months at a Uganda refugee camp, interviewing women who had been raped and brutalized in the fierce Civil War that has wracked the neighboring Democratic Republic of the Congo for decades.
"I thought to myself, 'This play will be the ruin of me,' " she recalls of the process of wrestling the material into a dramatic narrative. "I knew I wanted to tell a story that was not agitprop, that was universal, epic and unabashedly theatrical. Something truthful and yet joyful. And I didn't know how I was ever going to do that."
The enthusiastic critical reception for Nottage's drama, aptly titled "Ruined," indicates that she has succeeded. Life is brimming, if hanging by a slender thread, among the denizens of a Congolese bar/bordello: war profiteers, Kalashnikov-bearing rebels, a half-dead parrot and a hard-charging madam and her girls. The latest additions to Mama Nadi's "house" are two grim casualties: Salima, a young woman repeatedly raped and cast out by her husband, and her friend, Sophie, a literate, sad-faced 18-year-old who has been genitally mutilated by rebel soldiers, "ruined" in the parlance of the day. While Nottage unflinchingly tells what she calls their "undertold stories," there is nonetheless joy, humor, music and, perhaps most controversially, romance in "Ruined."
"A journey into the deepest, darkest disquietude . . . this remarkable drama has the density of lived experience, rare for a play in any era," Michael Feingold wrote in the Village Voice in February when "Ruined" opened off-Broadway at the Manhattan Theatre Club after a world premiere at Chicago's Goodman Theatre. The limited engagement has since been extended until May 10. For the 44-year-old Nottage, it is arguably the high point in an eclectic career that has included dramas revolving around a turn-of-the-century New York seamstress ("Intimate Apparel"), a high-toned public relations executive on the skids ("Fabulation"), political activists bombing an FBI building ("Por'knockers"), and a romance between Queen Marie-Therese and a black dwarf in the court of Louis XIV ("Las Meninas").
"I'm a schizophrenic writer," says the affable Nottage over lunch at the West Bank Cafe, a theatrical Manhattan hangout. Married to filmmaker Tony Gerber, she is balancing motherhood (they have a young daughter, Ruby), social activism and a prolific career in the course of which, she notes, she always writes two plays at the same time. She concurrently wrote "Ruined" and "By the Way, Meet Vera Stark," a play about an aging starlet and her black maid in 1930s Hollywood who seek validation in a "Gone With the Wind"-type epic. "I need a release from whatever I'm writing," she explains.
A common thread throughout Nottage's disparate works is the celebration of strong, forceful women, a genetic coding she inherited as a fourth-generation African American Brooklynite. In fact, the death of her mother, Ruby, a schoolteacher, in 1998 and the birth of her daughter marked an emotional sea change in Nottage that led to "Ruined." "I always thought of my mother as a warrior woman, and I became interested in pursuing stories of women who invent lives in order to survive," the playwright says. "I felt part of a larger community more than ever."
Nottage says that as she read reports of the impact on women in the Congolese conflict, she was moved to bridge the gap between the awful headlines and the safety and comfort of her Brooklyn Heights apartment. To that end she traveled to a refugee camp in Uganda in 2004 and again in 2005 with Kate Whoriskey, a frequent collaborator and the director of "Ruined."
African issues
The playwright and director interviewed more than 30 Congolese women, most of whom talked because they felt it might provide a catharsis. "It was important to unburden themselves," she says. "They wanted to go on record and they wanted to visualize a better existence for themselves. It was about healing and having the courage to go on."
Nottage's original concept was to update "Mother Courage," Brecht's drama of a stoic 17th century European profiteer. Yet once stateside, she fretted that the idea was no longer valid. The stories she heard demanded their own context, the specific world of the Congo. Yes, with its Brechtian opportunists but also poets and singers. As such, she was also determined to avoid the "pornography" she thinks has pervaded much of the Western press' reporting on Africa: the exploitive and exclusive picture of a continent lashed with intractable despair, poverty and violence. "There was no way I was going to write about Africa and not include the triumphant continuity of life that had also been part of my experience there. It's not just war and famine all the time," Nottage says. "I knew that the audience would have to hear the horrific stories. But I didn't want to be sensationalistic. The audience had to be ready to hear the horrors, otherwise it would be too easy to dismiss them. I knew I had to seduce them first."
A good part of that seduction lies with the character of Mama Nadi (Saidah Arrika Ekulona), a force of nature who loves lipstick and Belgian chocolates and rules her fiefdom with an iron hand. Her survivor's rule is simple: "If things are good, everybody gets a little. If things are bad, mama eats first." But the crusty facade harbors a gentle heart. And it's the discovery of this hard-boiled character's great capacity to love for which some critics took Nottage to task.
"My response?" says the playwright briskly. "They have never been to Africa. They have never spent time with these women to understand that you can be brutalized and still find a way to heal. It was very important for me to be optimistic about that and still tell the truth." Nottage pauses.
"Maybe some people wanted a 'Blasted'-type play," she says heatedly, referring to Sarah Kane's unrelentingly grim wartime drama. "But I can tell you, that woman killed herself. And that's the difference between her and me!"
Artists' calling
Nottage, who was named a MacArthur fellow in 2007, gets similarly exercised about the failure of her generation of playwrights to engage in the social and political issues of the day. She was reminded of that recently while watching a television interview with filmmaker Werner Herzog ("Fitzcarraldo"). "It sounds basic, but he said, 'Our job as artists is to literally keep our eyes open while everybody else's are shut,' " she recalls. "And we've fallen down very badly in the last couple of decades. We're in a really unique position to have a conversation with an audience. But we are not challenging them, not their morality, their religion, their politics, liberal or conservative. We are not shaking them to the core."
The flashes of anger and passion are not atypical. Most people who have worked with Nottage consider her a "warrior woman." Doug Aibel, artistic director of off-Broadway's Vineyard Theatre, presented in 1995 the premiere of the playwright's controversial "Por'knockers." The drama, about domestic terrorists who bomb an FBI building and inadvertently kill schoolchildren, had the misfortune of a scheduled opening just after the Oklahoma City bombing. Aibel and Nottage forged ahead and were rewarded with what the playwright describes as "the most reviled" reception in the theater's history. "I think of Lynn as a 'Shavian writer,' someone who's not afraid to provoke debate," Aibel says. "She has brilliant theatrical instincts and an ability to explore issues of both politics and the heart."
Nottage hopes to continue to stir audiences out of their complacency with "By the Way, Meet Vera Stark," a co-commission from South Coast Repertory and Baltimore's Center Stage. It sounds like she's having a lot of fun with it, given that its two main characters are "warrior women" making their way through 1930s Hollywood. The white starlet hopes to resuscitate her flailing career by nailing the Scarlett O'Hara-type role in an antebellum epic. Her maid sees her salvation in a supporting role in the film. "Vera's surprisingly strong," says Nottage of the African American character. "And sassy. But not in a 'Mammy'-type sassy way."
Nottage's brilliance has put her on the short list for the Pulitzer Prize this year, a position that she doesn't really want to talk about. "It's not helpful," she says with a laugh, adding that what she really wants is not a plaque but the attendance at "Ruined" of Michelle Obama and/or Oprah Winfrey. "I would like to see them take up the plight of women in the Congo as their special cause," she says. "That would be the prize."


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Financial Aid Programs
Bridgewater State University participates in a wide variety of federal, state, institutional, and private financial aid programs. These programs can be grouped into three categories: grant, work and loan.
For financial aid purposes, the term "undergraduate"refers to students who are pursuing their first undergraduate degree. Enrollment levels are as follows: full time: 12 or more credits; three quarter time: 9 to 11 credits, half time: 6 to 8 credits; less than half time: 1 to 5 credits.

subset: commoncrawl


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Definitions of ochre
n. - A impure earthy ore of iron or a ferruginous clay, usually red (hematite) or yellow (limonite), -- used as a pigment in making paints, etc. The name is also applied to clays of other colors. 2
n. - A metallic oxide occurring in earthy form; as, tungstic ocher or tungstite. 2
n. - See Ocher. 2
The word "ochre" uses 5 letters: C E H O R.
Direct anagrams of ochre:
chore ocher
Words formed by adding one letter before or after ochre (in bold), or to cehor in any order:
a - chorea ochrea orache b - broche d - chored ochred e - cheero cohere echoer reecho i - coheir heroic k - choker hocker l - choler m - chrome s - chores cosher ochers ochres t - hector rochet rotche tocher troche u - rouche y - ochery
Shorter words found within ochre:
cero cor core echo eh er he her hero ho hoe hoer oe oh or orc ore re rec rho roc roe
List shorter words within ochre, sorted by length
Words formed from any letters in ochre, plus an optional blank or existing letter
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Maybelline New York Forever Strong Pro (Nagellack) - 786 Taupe Couture (10ml)
Designed with a patent formula, this Forever Strong Pro by Maybelline New York gives you nails an all over, even coverage with an unbeatable shine. Featuring a precision curved brush for easy and precise application, the rich colour and high shine will give you a show stopping look that lasts. With a formula that's enriched with Iron and Calcium to keep your nails strong and supple, this nail varnish is a must have. K.D.


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Author Notes: When you dip asparagus in hot oil, you won't recognize it. After an oily plunge, its skin ripples and shines like the skin of a striped bass. The tips frizzle and the stalks turn vivid green and tender in just a minute or two under the oil. Note: This will make more dressing than you need, so feel free to increase the quantity of asparagus, or save the dressing for other uses. The dressing and leeks can be made ahead, but the asparagus should be served immediately after frying. Recipe adapted from Nobu's Vegetarian Cookbook by Nobu Matsuhisa (PIE Books, 2012) —Genius Recipes
Serves: 2-4 as a starter or side
ounces (90 g) white miso or red grain miso (akatsubu miso)
A dab of garlic paste (or one small garlic clove, grated)
teaspoon soy sauce
cup (100 ml) grapeseed oil
cup plus 2 tablespoons (90 ml) rice vinegar
A little sugar syrup (optional)
3 inches (about 8 cm) white part of leek
Oil for deep-frying (grapeseed, peanut or even olive oil -- just enough for 2 inches depth in a pot wide enough to hold the asparagus)
(or more) large spears green asparagus, about 9 oz. (270 g)
- Make the Miso Dressing: Combine the miso with garlic, soy sauce, grapeseed oil, and vinegar. Check the taste and add the sugar syrup to taste, if desired.
- Slash the leek lengthwise to open, and discard the inner core. Wash off the sand between the layers under running cold water. Cut into thin shreds. Pat dry well.
- Heat the oil for deep-frying to about 300°F (150°C). Deep-fry in low-temperature oil, about 300°F (150°C), until it begins to brown. Drain on a wire rack in warm spot in the kitchen for up to 1 to 2 hours.
- Bring oil up to 320°F (160°C) to 340°F (170°C). Trim hard bottom off each asparagus and deep-fry in the oil for 1 to 2 minutes. For serving, you can cut each length in half crosswise, or leave them whole.
- Spoon the Miso Dressing on a plate and stack the asparagus on it. Top with the fried leek. Serve immediately.
- This recipe is a Community Pick!
More Great Recipes:
Japanese|Asparagus|Leek|Soy Sauce|Vinegar|Miso|Vegetable|Fry|Mother's Day|Memorial Day|Spring|Gluten-Free


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Foley: Woman would have helped ticket
Republican Tom Foley said Friday that he would likely have beaten Dannel P. Malloy in the 2010 gubernatorial race -- which he lost by about 6,400 votes -- if he had a woman as his running mate instead of Danbury Mayor Mark Boughton.
Foley, who has said he will run for governor again in 2014, but has not yet officially announced his candidacy, also said Friday that he believes Boughton will be one of his competitors for the GOP nomination.
"I would have had the best chance of winning if I had a woman as a running mate, and I had encouraged several women to run," Foley said. "But Mark was an excellent running mate, he's an attractive guy, and he has an excellent record of running the city of Danbury."
Boughton said his addition bolstered the Foley's candidacy.
"Part of the reason I believe we did so well in Danbury and western Connecticut was the under-ticket," Boughton said. "We won Danbury by 2,000 votes and that wouldn't have happened if I wasn't on the ticket."
Foley said one of the women he encouraged to run was Lisa Wilson-Foley, a businesswoman from Simsbury who lost a primary against Boughton in 2010 for the GOP's lieutenant governor nomination.
"She is a woman who I thought had done a good job up to that point in the campaign and I thought she might be a good candidate," he said.
Foley also noted the "strange system" the state has of allowing the party rather than the candidate to decide on their running mate in the gubernatorial matchups.
Boughton, however, noted that Foley could have chosen a running mate early in the race before the party's conventions in May, adding that he had teamed up with former Lt. Gov. Michael Fedele, who eventually lost the party's nomination.
"You can make that choice, but you have to commit to bring that person through the convention and eventually the primary, if there is one," Boughton said. "Having said that, it was an honor to be on the statewide ticket, and we came very close."
Asked if he believes Boughton will again enter the gubernatorial race, Foley said, "It's been pretty clear that he intends to run. Shortly after our loss in 2010, he told me he was going to run again."
Boughton said, however, that he remains committed to the city of Danbury and plans on running for his seventh term in office, come November.
"The city is my passion, and it's an honor to lead it," he said. But he also said that "if an opportunity came up, I wouldn't say no" to another run for governor.
"A lot of people have called me and encouraged me to run," Boughton said, adding that it would be a handicap to his potential gubernatorial campaign if he announced late in the year or early in 2014.
"It's nice to have my name mentioned, but for me to be a candidate, a lot would have to happen," Boughton said.


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OVERVIEWWith an exclusive focus on retail and retailers, The Retail Connection navigates its clients through the real estate market with unmatched industry knowledge, experience, relationships and a total commitment to their success. Our primary objective is to continually create value for our clients by helping them maximize the connection with their customers.
Our core focus is and always will be driving the expansion plans of ou...
Read More »
HISTORYSteve Lieberman and Alan Shor joined together in the summer of 2003 with a shared vision to build a company that would embody their high standards and team-oriented approach. On January 2, 2004, they launched The Retail Connection, L.P. ["TRC"], immediately attracting and engaging top professionals throughout the industry.
TRC combined Lieberman's strategic vision with Shor's operating and management stren...
Read More »
LEADERSHIPWith roots deeply entrenched in the retail industry, The Retail Connection's leadership has established long-standing relationships within the retail and real estate communities. Our reputation, experience and ongoing work with major retailers is widely recognized and offers an unparalleled source of market knowledge and insight, as well as the benefit of invaluable relationships with owners and developers.
The Retail Conne...
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LOCATIONSThe Retail Connection, L.P. with its roots and headquarters in Dallas, also has offices in Austin, Houston and San Antonio. The Southwest continues to be a strategic target for the company, and its business relationships and retailer expansions have grown exponentially since its inception.
Read More »
EMPLOYMENTFinding the best talent is our first mission. Our people and clients are the absolute keys to our business. We want our employees to wake up each morning knowing that what they do is important, that their contributions count, and that they are doing something they really enjoy.
We offer competitive employee benefits, encourage mentoring and professional development and reward employees based on results, attitude, and commitment to the te...
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COMMUNITYThe Retail Connection has great appreciation for the generations that came before us and everything they did to provide us with the platform on which we live today. We live great lives built on awesome sacrifices and commitment by so many others, and the opportunity to carry the torch of their vision any step is a great privilege. Our focus includes enriching the health, education, and quality of life of our elderly and children and helping othe...
Read More »
PJ Kaminer is a Vice President with The Retail Connection brokerage in Austin. He focuses on Landlord Representation, Investment Sales, and Tenant Representation of retail & resta...See Full Profile
One thing experience has clea...
This article first appeared o...
D CEO is proud to announce th...
A partnershipbetween The Reta...
Tyler, Texas
Arlington, Texas
Katy, Texas
Carrollton, Texas
-300-acre master-planned development
-Currently 10,000 employees in 11 Billingsley-owned buildings
-At full build-out, IBP will have 35 buildings serve over 150 companies and 21,000 employees
-Sloane Street, our new multi-family development planned 500 units
-Steps from The Shops at Willow Bend
-Great visibility and signage opportunities on a highly-traveled thoroughfare


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Get Em': Floyd Mayweather Gettin At Shane Mosley For Trying To Play Him While Gettin Interviewed! (Shane vs Floyd Might Be Going Down Soon)
After the Mayweather vs Marquez fight. Floyd got interviewed and Mosley's name came up
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.


text:
Consumer Reports 1999 Buying Guide
Consumers Union of United States
Consumer Reports Books, 1998 - Reference - 357 pages
An updated, classic consumer handbook contains prices, reviews, repair history, and ratings information on a broad spectrum of brand-name products, ranging from home appliances to automobiles to electronics, and includes manufacturers' phone numbers and a complete multi-year index. Original. 125,000 first printing.
What people are saying - Write a review
We haven't found any reviews in the usual places.
Other editions - View all
Common terms and phrases
ACURA Integra adjust bass battery Best Buy better BMW 5-Series Body rust Brakes Briggs & Stratton Btu/hr cable camcorders cameras channels Chevrolet choice Chrysler Cirrus clean color Consumer Reports convenience cost CR Best Buy dealer Discontinued Dot pitch electronic Excellent Ford Frigidaire front seats grills Hampton Bay handling handset hard Hardware Honda inches install Kenmore Kenmore Sears KitchenAid Last CR report Last report/lax Last time rated less machine mendation model number moisture removal monitor motor mowers Noise optional oven Overall score Paint/trim Panasonic performance Pickup pints/hr Price range printers Quiet rear Recom Recommendation repairs and serious replace ride satellite shelf Similar model Slide-out chassis snow sold Sony sound speakers speed Subaru Legacy tests tires Toyota Toyota Camry trans TROUBLE SPOTS TV set typically VHS-C warranty Whirlpool White-Westinghouse window zoom


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Teen nearly killed by trash compactor after sleeping in a dumpster
A runaway teenager sleeping in a dumpster was nearly crushed when a garbage company emptied the container early Tuesday morning.
Stamford Police Sgt. Robert Shawinsky said the 16-year-old Connecticut boy was lucky the garbage truck driver heard his cries for help and stopped the compactor. The boy emerged from the hopper with some scrapes and bruises.
"The employees from City Carting garbage company explained that after they picked up the dumpster and dumped it into the truck and began compacting it, they heard someone screaming from inside the truck's hopper," Shawinsky said.
Shawinsky said the boy told police he got into an argument with his mother on Monday night when she asked him to clean up the dishes. He left and jumped into the dumpster to sleep, Shawinsky said.
The mother said she waited up for him but she fell asleep. She said her son has never run away before.
City Carting's Vice President of Operations Kevin Walton said his driver, Kevin Whitaker, and another employee got one of the scares of their lives.
"He was pretty shook up. It was a great save," Walton said.
"It is a good eight-foot drop onto the metal floor of the hopper. They both heard the screams. The young fellow was able to climb up the blade and jump out of the hopper."


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MarketGraphics® Research Group, Inc. provides new home market research information for builders, developers, banks, city governments and others. We offer a 20/20/20 perspective: with over 20 years of experience, gathering data in over 20 states, and delivering reliable, up-to-date information on over 20,000 subdivisions throughout the country.
The HBA of Greater Springfield won the NAHB Excellence Award for Best Service Delivered to Members because of the MarketGraphics relationship.
MarketGraphics Corporate Office | P.O. Box 1071, Brentwood, TN 37027-1071 | firstname.lastname@example.com | 615.371.2282 |
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| Privacy Statement
Copyright 2017 MarketGraphics Research Group, Inc.


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- Product info
- Delivery info
Superpharmacy Orders will be packaged in plain, impervious packaging that is unmarked for security and privacy reasons. Orders will be dispatched as soon as possible once payment is received. For Orders containing prescription items please see the prescription processing procedure. Orders for both prescription and non-prescription items will most likely be delivered separately, unless otherwise directed, where we do not hold the prescription paperwork at the time of placing the order.
Australia Wide shipment details
We offer Standard Delivery for $8.95 with appoximately 3-6 business days of transit time after dispatch from our warehouse. *This is based upon your location within Australia.
We also offer an Express Delivery Service for $14.95 with approximately 1-2 business days of transit time after dispatch from our warehouse. *This is based upon your location within Australia.
These estimations of based upon transit time once dispatched from our locations
All Australian orders $50 or more in value (and under 3kgs) will qualify for FREE Standard Delivery
Any orders over 3kgs will have our Online Team be in contact with further information regarding shipping.
All orders of Prescription items will receive FREE Express Delivery regardless of order value.
All orders of compounding items will qualify for FREE Express Delivery
Orders for prescription items can only be processed once we physically receive your prescription paperwork. Prescription product orders will be dispensed and dispatched on the business day the prescription or valid repeat authorisation is received at the SUPERPHARMACY registered premises.Please send your prescription paperwork to the appropriate store
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QLD: Superpharmacy 187 Days Road, Grange QLD 4051
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Ensure to allow sufficient time for the delivery of your prescription or repeat authorisation paperwork to us and the subsequent order delivery via our specialised delivery network. We recommend considering a total of up to 7 days for metro areas or 10 days in remote areas. If we do not already hold your prescription paperwork, it will be necessary for you to send the prescription paperwork to us before we can dispatch your order. Please also allow appropriate time for the prescription to reach us and for the order to be sent back so as to avoid running out of your ongoing prescription medicine.
We partner with well-known and trusted delivery services to minimise delivery times. These include:
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The end goal is to get your order to you as fast and as securely as possible.
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Superpharmacy will dispatch most orders within ONE business day on Monday to Friday assuming all items are in stock. All other orders will be dispatched as quickly as possible thereafter. It may be necessary for some orders to be shipped in more than one box from different distribution sites and therefore you may obtain these parcels at different times. We will notify you via email if there is a delay in the delivery of an item in your Order and what action we have taken. Please contact our Customer Service on 13004MEDICINE during business hours if you would like an alternative product or arrangement. Order processing and delivery times may vary in peak times with special arrangements during peak volume times such as Christmas, Mother's Day and Superpharmacy promotions. Contact our Customer Service on 1300 4MEDICINE during business hours or email email@example.com for more information.
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text:
Best of Soul Train, The
Best of Soul Train, The Previous Broadcasts
KQED 9: Sun, Feb 9, 2014 -- 2:00 PM
This special celebrates more than 35 years of iconic performances from soul superstars and highlights classic musical and dance moments from the series. Featured songs include: "I Heard It Through the Grapevine" (Aretha Franklin), "Dance to the Music" (Sly and the Family Stone), "I Want You Back" (The Jackson Five), "Let's Get It On" (Marvin Gaye), and a medley of hits by Stevie Wonder.
Repeat Broadcasts:
- KQED Channel 9: Sun, Feb 9, 2014 -- 2:00 PM


text:
|Registration Deadline:
|May 11, 2002 almost 17 years ago
|To apply for Funding you must register by:
|February 09, 2002 about 17 years ago
|Parent Program:
Show List of Speakers
- I. Allen
- Douglas Altman
- Charles Anello
- Betsy Becker
- An-Wen Chan
- Jonathan Deeks
- Kay Dickersin
- Vanja Dukic
- William DuMouchel
- Kyle Fahrbach
- Cynthia Gorney
- Sander Greenland
- Scott Haughie
- Paul Holland
- John Ioannidis
- Thomas Louis
- Sally Morton
- Michael Ortiz
- Madhukar Pai
- Michael Pignone
- Phil Poole
- John Pope
- Michael Stoto
- Gary Strauss
- Norma Terrin
- Stephen Walter
This symposium is designed to address current issues in meta-analysis. There will be reports on four topics: meta-analysis for policy decisions, publication bias, heterogeneity models, and equating of medical outcome measures. In addition, there will be other topics related to the methodology of meta-analysis or systematic reviews. CALL FOR ABSTRACTS Abstracts for oral presentations or poster sessions are invited on the above or related topics. The closing date for abstracts is March 15, 2002. Abstracts of one to two pages in length may be submitted electronically to firstname.lastname@example.com or by hard copy to Meta-Analysis Symposium, Mathematical Sciences Research Institute, 1000 Centennial Drive, #5070, Berkeley, CA 94720-5070. REGISTRATION INFORMATION The registration fee is $250 before March 15, 2002, and $400 thereafter. This fee may be adjusted or waived in special cases. To pay the fee, please send a check made out to "MSRI" to Meta-Analysis Symposium, Mathematical Sciences Research Institute, 1000 Centennial Drive, #5070, Berkeley, CA 94720-5070. Visa and Mastercard accepted at the door. For more information about MSRI, please see Mission and Governance STRUCTURE OF THE MEETING (note, revised 4/5/02) Wednesday, May 8 For those arriving in time for dinner there will be an informal get-together, meeting at the Durant Hotel at 6:30pm (no-host dinner). This is by registration only: By April 20 please send email to firstname.lastname@example.com indicated you wish to attend. Thursday, May 9 8:00 - 8:45 am Registration 8:45 am - 5:00 pm Sessions Friday, May 10 8:45 am - 5:00 pm Sessions 6:00 pm Banquet dinner Saturday, May 11 9:00 am - 12:00 pm Sessions 1:30 - 5:00 pm Special session on "Reporting of medical data in the media." This will be a panel discussion with journalists and epidemiologists and statisticians. Group photo of participantsShow less
Show Funding
To apply for funding, you must register by the funding application deadline displayed above.
Students, recent Ph.D.'s, women, and members of underrepresented minorities are particularly encouraged to apply. Funding awards are typically made 6 weeks before the workshop begins. Requests received after the funding deadline are considered only if additional funds become available.
Show Lodging
A block of rooms has been reserved at the Hotel Durant. Reservations may be made by calling 1-800-238-7268. When making reservations, guests must request the MSRI preferred rate. If you are making your reservations on line, please go to this link and enter the promo/corporate code MSRI123. Our preferred rate is $129 per night for a Deluxe Queen/King, based on availability.
Additional lodging options (short term housing page - Short Term Housing
Show Directions to Venue
Show Visa/Immigration
May 09, 2002
May 10, 2002
May 11, 2002


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South Beach Cop Vs Thugs: Miami Officer Uses Tazer Twice Then People Jump In.. Punching The Cop!
" Patrons get harassed by officer over $12 bill at Wet Willy's (South Beach). Officer tazers the person" - Rhymeratic
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Child sexual abuse
West Green Drive
This course looks at the whole topic of child sexual abuse, the impact on the survivor, how to work therapeutically with it, and if and how recovery is possible. Combining personal experience with research and neuroscience, this day is suitable both for stable survivors, and all types of professionals working with them.
"Child sexual abuse is when you're powerless and betrayed, and you're all alone and you mustn't tell, and there's confusion and pain and deep down inside there's the fear that it's all your own fault, that there's something wrong with you, something terribly and toxically wrong with you, and there's nowhere to go, and no one to run to, and no way to stop it because you're small and weak and stupid and if only! If only! If only you had known, if you only you hadn't been there, if only you hadn't said what you'd said, or done what you'd done, or felt what you'd felt… that's what child sexual abuse is."
About START Counselling
The training day is run by PODS, a sister project of START Counselling and a leading provider of CPD training on trauma, dissociation, sexual abuse and attachment. We run around 20 training days a year, throughout England, all of them led by Carolyn Spring, Director of PODS and author of Recovery is my best revenge. www.pods-online.org.uk/training


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Saipov, editor of the independent Uzbek-language weekly Siyosat (Politics) and contributor to several regional news outlets, was shot three times at close range at around 7 p.m. in downtown Osh, a city bordering Uzbekistan, by an unknown gunman using a silencer, according to news reports and CPJ sources. He died at the scene.
Saipov, 26, covered Uzbekistan's political and social landscape for Radio Free Europe/Radio Liberty, Voice of America, and the Central Asia news Web site Ferghana. He had interviewed members of the banned Islamic groups Hizb-ut Tahrir and the Islamic Movement of Uzbekistan, according to local CPJ sources. Exiled opposition activist Shakhida Yakub, who was close to Saipov, told The Associated Press that the journalist had recently become politically involved with Uzbek opposition groups.
An ethnic Uzbek, Saipov lived in and reported from the southern Kyrgyz city of Osh, just across the border from the Uzbek city of Andijan. Saipov covered the aftermath of mass killings in Andijan in May 2005, when government troops shot at crowds of civilians protesting President Islam Karimov's regime. He reported on Uzbek refugees who fled and resettled in Kyrgyzstan. The Uzbek government put the Andijan death toll at 187; human rights groups say more than 700 were killed.
Prior to his murder, Saipov had received anonymous threats warning him to stop his press and political activities, a local source close to the journalist told CPJ. A state television channel in the Uzbek city of Namangan had recently aired a program smearing Saipov as a provocateur who tried to destabilize Uzbekistan with his reporting. Several state publications ran similar articles, the same source told CPJ.
Following the Andijan killings, Uzbekistan moved aggressively to expel, drive into exile, imprison, and harass independent journalists, human rights defenders, opposition activists, representatives of international nongovernmental groups, and witnesses. Many found refuge in neighboring Kyrgyzstan, but Uzbek security services infiltrated the area and continued harassing them there, according to human rights groups. Local press reports said that Uzbek security agents had been spotted in the heavily ethnic-Uzbek city of Osh.
Saipov had helped scores of Uzbek refugees in southern Kyryzstan, assisting them with lodging and linking them with resettlement agencies, AP said. He had also reported on the fate of Uzbek refugees in Iran for Ferghana, the news site said.


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Friday, June 08, 2007
It was a bad idea then, it's a bad idea now
A friend put a book by Marie Corelli into my hands the other day, and it's provided me with a passage that seems to me the absolute template example of why you shouldn't try to answer your critics.
Marie Corelli (a pen name intended to imply a family connection between her and the composer Arcangelo Corelli) was an extremely successful and profoundly eccentric author of the late nineteenth and early twentieth century, whose improving works met with popular acclaim and critical contempt. It's hard to blame the critics, as she was a genuine crank, convinced she was a genius comparable to Shakespeare and a moral examplar second to none; among other things, she wrote a book that attempted to rewrite the gospels and prove Judas Iscariot had a sister called Judith, and ended her days sailing about Stratford-upon-Avon in a gondola setting herself up as a Shakespearian authority/successor. She was also prone to using fiction to proselytise her opinons as to such evils as the library system, feminism and modern thought, with its 'lax morals and prurient literature'. She did tell a good story, if you can swallow her views. However, it is not of her books but of her reaction to reviews that I wish to speak today.
After several pannings, she decided to take matters into her own hands. Refusing to allow critics to get review copies unless they paid for them, she wrote a novel called The Sorrows of Satan, in which Lucio (the Devil) is condemned to be exiled from heaven until all human beings can resist him. Well, obviously nobody can, except for Jesus, and one other person: a writer called (note the intials) Mavis Claire.
Mavis Claire is a genius whose novels are given cruel and nasty reviews by critics who are generally failed writers motivated by profound envy of her talent. Our narrator is a reviewer, and says as much himself; as Corelli remarks: 'Common sense points out the fact that the novelist "reader" who has a place to maintain for himself in literature would naturally rather encourage work that is likely to prove ephemeral, than that which might possibly take a higher footing than his own.' (The idea of both reading and writing because you love the higher good that is literature, and wish to serve it and better your understanding by daily contact with it, does not seem to have occurred to her. But unpleasant people often assume others are motivated by the same malice as themselves.)
These reviews obviously don't trouble Mavis. Of course they don't. She really doesn't care; she laughs. Merrily. In fact, they trouble her so little that she makes a positive fetish of them. I'm about to quote a pretty long passage (but still slightly abbreviated, as I realise your patience may not be infinite), to stand as an out-of-copyright, author-too-dead-to-mind-I'm-using-her-as-an-example demonstration of a basic rule of writing:
If you don't like your reviews, keep it zipped. You'll only make yourself look bad trying to get the last word.
(I should possibly say, in case anyone is wondering, that I'm not posting this piece in response to any particular reviews of my own; Bareback came out last year and hasn't had any professional reviews in a while. Also because I'm still sick and this is a piece I copy-typed a while ago. But in the interests of full disclosure, because I'm an honest little toaster: yes, it had reviews; most of them were positive, a couple were negative, which is never enjoyable but I'm a big girl and reviewers have a right to their own opinions. This is the normal position of most writers.) The reason why it's worth reading Corelli's piece is that it's one of the best examples I've ever seen of how an attempt to get the last word with reviewers can have, let's say, a different effect from the one you were intending. Lucio and our narrator are shown by the graceful Mavis into her garden:
Passing under an arching grove of budding syringas, we presently came to an open courtyard paved with blue and white tiles, having in its centre a picturesque dovecote built in the form of a Chinese pagoda. Here pausing, Mavis clapped her hands. A cloud of doves, white, grey, brown, and opalescent answered the summons, circling round and round her head, and flying down in excited groups at her feet.
'Here are my reviewers!' she said laughing - 'Are they not pretty creatures? The ones I know best are named after their respective journals - there are plenty of anonymous ones of course, who flock in with the rest. Here, for instance, is the "Saturday Review"' - and she picked up a strutting bird with coral-tinted feet, who seemed to rather like the attention shown to him - 'He fights with all his companions and drives them away from the food whenever he can. He is a quarrelsome creature!' - and here she stroked the bird's head - 'You never know how to please him - he takes offence at corn sometimes and will only eat peas, or vice versa. He quite deserves his name - go away, old boy!' and she flung the pigeon up in the air and watching it soaring up and down - 'He is such a comical old grumbler! There is the "Speaker"' - and she pointed to a fat fussy fantail - 'he struts very well, and fancies he's important, you know, but he isn't ... Whenever I get a bad review I name a pigeon - it amuses me. That draggle-tailed one there with the muddy feet is the "Sketch" - he is not at all a well-bred bird I must tell you! - that smart-looking dove with the purple breast is the "Graphic", and that bland old grey thing is the "ILN", short for "Illustrated London News". Those three white ones are respectively "Daily Telegraph", "Morning Post", and "Standard". Now see them all!' and taking a covered basket from a corner she began to scatter corn and peas and various grains in lavish quantities all over the court. For a moment we could scarcely see the sky, so thickly the birds flocked together, struggling, fighting, swooping downwards, and soaring upwards - but the winged confusion soon gave place to something like order when they were all on the ground and busy, selecting their favourite foods from the different sorts provided for their choice.
'You are indeed a sweet-natured philosopher' - said Lucio smiling, 'if you can symbolize your adverse reviewers by a flock of doves!'
She laughed merrily.
'Well, it is a remedy against all irritation' - she returned; 'I used to worry a good deal over my work, and wonder why it was that the press people were so unnecessarily hard upon me, when they showed so much leniency and encouragement to far worse writers - but after a little serious consideration, finding that critical opinion carried no sort of conviction whatever to the public, I determined to trouble no more about it - except in the way of doves!'
'In the way of doves, you feed your reviewers' - I observed.
'Exactly! And I suppose I help to feed them even as women and men' she said - 'They get something from their editors for "slashing" my work - and they probably make a little more out of selling their "review copies". So you see the dove-emblem holds good throughout. But you have not seen the "Athenaeum" - oh, you must see him!'
With laughter still lurking in her blue eyes, she took us out of the pigeon-court, and led the way round to a sequestered and shady corner of the garden, where, in a large aviary cage fitted up for its special convenience, sat a solemn white owl. The instant it perceived us, it became angry, and ruffling up its downy feathers, rolled its glistening yellow eyes vindictively and opened its beak. Two smaller owls sat in the background, pressed close together - one grey, the other brown.'
'Cross old boy!' said Mavis, addressing the spiteful-looking creature in the sweetest of accents - 'Haven't you found any mice to kill today? Oh, what wicked eyes! - what a snappy mouth!' Then turning to us, she went on - 'Isn't he a lovely owl? Doesn't he look wise? - but as a matter of fact, he's just as stupid as ever can be. That is why I call him the "Athanaeum"! He looks so profound, you'd fancy he knows everything, but he really thinks of nothing but killing mice all the time, - which limits his intelligence considerably!'
Lucio laughed heartily, and so did I - she looked so mischievous and merry....
[She shows them into the house and they examine her charming workroom for a while.]
'Miss Clare', I said, now speaking with unaffected sincerity - 'I assure you, on my honour, I am very sorry I wrote that article against you. If I had only known you as you are -'
'Oh, that should make no difference to a critic!' she answered merrily.
'It would have made a great difference to me' - I declared; 'You are so unlike the objectionable "literary woman"'...
'I am very pleased to hear that,' she said simply - 'I am always glad when I succeed in winning somebody's approval and liking.'
'Does not everyone approve and admire you?' asked Lucio.
'Oh no! By no means! The "Saturday" says I only win the applause of shop-girls!' and she laughed - 'Poor old "Saturday"! - the writers on its staff are so jealous of any successful author. I told the Prince of Wales what it said the other day, and he was very much amused.'
'You know the Prince?' I asked, in a little surprise.
'Well, it would be more correct to say that he knows me,' she replied - 'He has been very amiable in taking some little interest in my books. He knows a good deal about literature too - much more than people give him credit for. He has been here more than once - and has seen me feed my reviewers - the pigeons, you know! He rather enjoyed the fun I think!'
And this was all the result of the 'slating' the press gave to Mavis Clare! Simply that she named her doves after her critics, and fed them in the presence of whatever royal or distinguished visitors she might have (and I afterwards learned that she had many) amid, no doubt, much laughter from those who saw the 'Spectator'-pigeon fighting for grains of corn, or the 'Saturday Review'-pigeon quarrelling over peas! Evidently no reviewer, spiteful or otherwise, could affect the vivacious nature of such a mischievous elf as she was.
Well, you get the idea. Corelli's piece shows something that she didn't intend: by the very act of announcing you don't care about your reviews, you show that you do. Otherwise, why bother to memorialise them and tell every passing visitor just how little you care? Clearly it's novelist's logic, arguing by analogy: saying that the bird named after a paper is stupid (and a fictional bird at that) proves absolutely nothing about the actual paper, but by such devices you can suggest a magic link - which is pretty dishonest. But aside from the dishonesty, there's also something quite disturbing there: while Mavis laughs gaily and flaunts her charitable forgiveness, it's actually a profoundly spiteful thing to do. Somebody writes you a bad review. (Possibly because they genuinely didn't like your book and felt they had a moral duty to tell the truth, but Corelli doesn't consider this option.) So what do you do? Name a bird after them, show that bird to all your visitors and dwell at great length on how unimportant the bird is. Which is to say, you take the opportunity to insult them in effigy, daily, for years, as long as the bird lives - and quite possibly you replace that bird when it dies so you can carry on insulting them, who knows? Leaving aside the cuteness of the doves and the apparently magical way they take after the papers as Corelli sees them, it's no different from making dummies of the reviewers and putting them all in dunce caps.
There are certain things one shouldn't do in public: sneer at the people who give you bad reviews, try to get a clever last word over them and flaunt just how incredibly little you care about their opinions. Mary Sue threatens, for one thing (Corelli apparently denied that Mavis Clare was a self-portrait, but I'm not sure who she thought she was kidding); your own prejudices and blind spots show through when you try to guess why other people act as they do. And joking when upset is like joking when drunk: you're never as funny as you think you are.
Most importantly, it's dishonourable. Fiction is a sacred trust: it's one of the most intimate ways one mind can speak to another, sometimes speaking down centuries of time, across language barriers and culture clashes, always speaking to the best of our ability of what it is to be human. That is incredibly important. We all have our limitations of talent and wisdom, but if we're going to presume to write, we have to be as honest as we can, otherwise we're misusing something that's essential to our sense of humanity. Fiction is for telling the truth, not for telling yourself gratifying lies, and right at the bottom of the list of things you should do is using fiction to settle scores. It's using a beautiful painting to break your neighbour's windows.
If you ever feel the urge to send up negative reviewers, don't. Just don't. They will not be the ones who end up looking bad.
By chance, did the earlier scene involve the characters snorting white lines off the backs of these doves? I've never seen so much merry laughter before and...oh, the exclamation points!
But all seriousness aside...
You've got a great point. If/When reviews do come by some day, I've often wondered if the ignorance-bliss route is the best one to take, just to avoid all the headaches I've heard it can cause. I'm sure I'll give in to the temptation some, but maybe there's an inverted relationship between how much you rely on those reviews for writing ego-boosts and how much you can simply enjoy the writing process...
I think it's a superhuman who can resist the impulse to at least read your reviews. The issue really is being sensible about them. Reviewers are individuals, not everybody likes the same stuff, so it's almost inevitable that you won't please everyone - and, convenient though it might be, unfortunately they're under no moral obligation to provide you with useful quotes. (The fact that a review does or doesn't provide you with a quote you can put on your publicity is one of the main reasons why you care what it says, once you're published. Quotes can affect your success.)
Inevitably if you've waited anxiously for a review and it doesn't give you anything useful, it's frustrating. Some reviewers will condemn a book because it's not the kind of book they like, which can feel very unfair; some reviews contain factual mistakes which suggest that the reviewer didn't read the whole book, or didn't read it carefully. All of which is annoying.
But that's your own business; what you shouldn't do is take it public. You've already made your appeal to the public with the book you wrote, and that's your side of the argument. If you don't like a review, you cuss about it in the privacy of your own home, you tell your partner/spouse/mother/goldfish exactly what you'd like to say to that reviewer - and then you don't say it to anybody else. Reviewers don't owe you anything - and frankly, they have to read books they may not like at great speed with tight deadlines all the time; it's a difficult job, and the right to say what they think is the payoff for that. They're entitled. I have occasionally said that through gritted teeth, but it has to be said.
As to the ego-boosts ... well, reviews are like everything else to do with writing. You get a good one, you're up for a while; you get a bad one, you're down for a while. Then you get on with writing. Everything associated with writing is bound up with ego somehow, but there's nothing to do but keep ploughing. It's never going to be relaxing!
In "Time enough for love", Robert Heinlein had a swipe at the critics, accusing them of being people with no creativity who spend their energy attacking people with creativity. If I remember right, he goes on to imply that if you haven't got the brains/balls to attempt to create art, you have no right to attack others who do. I remember feeling quite convinced at the time.
It's only two paragraphs in a hard sci-fi novel of probably 150,000+ words, but, although I last read it 20 years ago, it's that bit which sticks in my memory way more than the characters or plot...
As of today though, if I could I'd make a pact with the devil to trade getting published for a couple of crappy reviews*
*(subject to withdrawal if I ever actually do get published, mind)
That's the thing. I haven't read much Heinlein, but just by you telling me that I can spot that critics, ie educated people who read a lot, evidently disliked his books enough to say bad things about them. It kind of advertises the fact that you're getting negative feedback.
Anyway, I don't agree with him. If you follow the logic of that argument, nobody but an artist is allowed to have any opinions about art at all - unless they're worshipping at the temple of other people's creativity. And while I'd love to have lots of acolytes bowing before me and fetching me another cup of tea, I don't think that's workable. It wouldn't be a very nice world for most people.
I can't compose, but I can tell when a pop song is trite; I can't draw, but I can tell when a painting is bad. So can lots of people. You do need brains and balls to produce good art, but you also need talent. Not everyone has it, and it's not their fault if they don't. I don't know whether Heinlein means that if you don't have talent you can't identify quality, which is wrong, or whether he means that if you don't have talent you should just shut the hell up and respect your superiors, but either way, I'm not hearing common sense or respect for humanity there.
Saying that someone can't write doesn't mean they can't read. It's just a way of sticking your fingers in your ears and saying, 'La la, I can't hear you, you non-writing critic!'
Thinking about it, there's only one situation in which I'd say the fact that someone can't write means that their criticism is less valid: when they start attributing authorial intentions too freely. If you haven't the practical experience of writing a book, you're missing some crucial information that would inform your guesswork as to what the author was thinking; it's like trying to speculate why an engineer used steel rather than iron when you don't know anything about metallurgy. But that doesn't have a bearing on whether the finished product is good. I don't know what metals make the best bridge, but I can tell if the bridge shakes when I walk on it.
Fair enough, as I say I did read it a long time ago. Maybe if I have a root around at home and can dig it out and report it a bit more accurately...
But I think there is something if you think the critic has another agenda, for example if a critic slags your book but then praises something which you know is crap. In such a case you have no comeback - you can't get the critic to publicly debate with you his/her views. Maybe if that happened enough times it could send an otherwise reasonable person a bit do-lally?
Ho-hum, this is all hypothetical for me anyway... *sniff* Probably I'll never know what it's like to get a bad review... *sob*
-reaches for another kit-kat-
I think I'm usually more disappointed when someone doesn't "get" my stuff than when they don't like it. Heck, I read stuff I don't like all the time. Bad habit, I know--I'm trying to break it!
(extra punctuation courtesy of the kitten)
Oh, cheer up! You never know when good luck is around the corner :-)
I'm not that convinced by the idea that critics have agendas. (Not trying to quarrel, but it's an interesting discussion :-)). I think that critics who, to an author's mind, slag off a good book while praising a bad one, are most likely nothing more sinister than individuals whose taste and priorities differ from the author's. As they review many books, yours is not going to be as special to them as it is to you, so you may simply run afoul of their preferences and get a casually dismissive write-up. It's tiresome, but it's just one of the risks of the business. I'll always back bad luck over conspiracy if a reviewer seems to get something backwards.
Have a chocolate frog:
So true Kit, thanks for reminding me! That's one of my personal mantras: you never know what's around the corner. Another one is: The light at the end of the tunnel is the headlamp of an oncoming train... :-)
I suppose it IS all so subjective. I wonder if less-than-perfect reviews aren't the grown-up equivalent of submission rejection letters.
Anyway, thanks for frog, that was yummy!
Having to defend your writing against someone's critique who didn't "get" the writing is like having to explain a joke. It never turns out to be funny, and it's often a wasted effort. I find that those who are determined to pick out something wrong with one's writing can conjure all the flaws they want..and since it is their opinion, the only defense you can have against it (aside from totally ignoring it) is discerning those with vendettas versus those who actually want to help improve the writing. Even the most wretched feedback can have good advice in it.
It's a strange thing to be saying but I found that passage that you quoted to be really engaging. Precisely because there was obviously a contradiction between what the author was saying and what they were feeling.
I agree with you that writing, or good writing, needs to be about truth (not so sure about the sacred responsibility bit) but in a way this does tell a truth. A complicated truth about the contradiction between intent and execution.
I found the passage really creepy in an engaging way. It was the writer who came across like the devil, oddly and demoniacally happy whilst she taunted these animals she considered to represent people.
In terms of feeding the birds, that does seem an apt analogy for the writer-critic relationship. I agree with you that often critics are just putting forward there opinion (though sometimes they are petty minded or have other interests). But still there relationship with writers is dependent. They rely on artists work to make their own money. Their oppinion
is certainly as valid as anyone else's, though the fact that they are in a position to have there opinion published does give them an odd advantage.
Either way, whilst they do have a partly vampiric relationship with writers, writers also depend on them in many ways. Just as people who feed birds get many things from watching and feeding the birds.
It certainly is wise not to have big rants at your critics, but I think many writers have done so in engaging and entertaining ways, ways that had aspects of truth in them, as both sides of an argument tend to do. And even doing it really badly as your example shows can lead to unintended consequences. Often I think it is unintended consequences that make the best art. Tolkien didn't intend the lord of the rings to have a darkness about the bleakness of human existence, the power of the atomic bomb and life in the trenches, but that it has these connotations is a deep and moving thing.
As to attacking critics for assuming that they understand what the writer is feeling/thinking, that seems to be having your cake and eating it a little, since we are all assuming what Mavis Whatsit was intending. Maybe we should believe her when she says the character wasn't based on her. We don't know for definite do we? But we think we are right. Often the critics may be right on what the author feels, often they'll be wrong.
Certainly as a rule its lazy and presumptuous to assume you know anything about the author when writing a review. But like all rules it can often be broken justifiably.
Anyway, I really enjoyed this blog, it really got me thinking. And as for reviews of Bareback, I think I've said it here before, but I'll say it again: My review of Bareback is completely positive. I really really enjoyed it. Not a very literary review, but an honest one.
'It was the writer who came across like the devil'
Now I'm laughing. I've got to tell the friend who lent me the book that - it hadn't even occurred to me, but I think you've got a good point. Certainly there's an air of happy sadism going on...
You do need some ability (talent? training? both?) to be able to accurately assess a book or a piece of art. Which is why my reviews mostly boil down to "I liked this, you should read it", and why I review books only on my blog and to friends.
Authors can say they intended anything, but to say "and therefore the book is not about anything else" is absurd. Also, people do tend to revise their memories to suit themselves, so though an author may be telling the truth about their memories, it may not be the truth in the sense of "these intentions really never crossed my mind". (The Fahrenheit 451 issue that popped up recently is a good example.)
Many bridges are supposed to move somewhat, as they can withstand high winds etc better if they do.
Well, the bridge is only an analogy; feel free to substitute another image. In my experience, the ability to judge art and the ability to create it are linked, but they're not synonymous. All I meant was that it's unreasonable to say critics aren't allowed to say anything about novels because they don't write them themselves. It sounds more like the last resort of a writer who's pissed off with his reviews than like a completely sound artistic position.
As far as authorial intentions go - I never said that the author's intentions should be the boundaries of the work. All I was really thinking about was occasions when I've been surprised by critics saying 'Whitfield clearly intends to do such-and-such', when I'm fairly sure I intended no such thing. Possibly I misremember, but as I was there when I wrote the book and they weren't, I still feel entitled to consider my opinion better informed.
It doesn't mean people aren't entitled to see things in the book that I don't think I put there; I just think they're wrong when they say I personally put them there on purpose. They're welcome to their opinions, but I don't have to back them up, any more than I have to agree with anyone I think has got it wrong.
Obviously there's a degree to which you have to use common sense - after all, I've just said I don't believe Marie Corelli's claim that Mavis Claire isn't a self-portrait, but at least in that case I think I have some evidence on my side (identical intitials, identical professions, identical opinions and a tendency on Corelli's part to overpraise Mavis). But in cases where the evidence is less overwhelming, I always find the author's opinion at worth worth considering.
Similarly, there are occasions where I think that critics are, if not forbidden from pronoucning opinions because dammit they haven't the brainsanballs to produce art themselves, likely to mistake an author's intention because they haven't the practical experience of writing a novel. Critics will assume you're making a theoretical point about the morass of vice by having your hero jump out of a window into a waiting swamp, when actually you put a swamp there because you couldn't think of another way to get him out of the building, you needed a soft landing, and, um, his town has some swamps, doesn't it? Where's my atlas?
In all these cases, there's a need for balance. Critics live by writing pieces that are designed to express a single coherent point, and are likely to attribute greater intended coherence to other kinds of writing because that's their own experience of it. We all tend to use ourselves as yardsticks when we judge others. Hence, a critic who assumes a work of fiction was written entirely and deliberately to express a certain theoretical point may be attributing more planning than they should.
There's also the possibility that an author might flat-out lie about their intentions when writing a book, of course. The ability to finish a novel doesn't necessarily prove an inability to ever tell stretchers. And critics can lie as well.
It's always a dicey business trying to work out what other people are thinking. Often we're wrong. But to conclude from that that we should never try at all would be to shut down a natural, reasonable and necessary human impulse: the impulse to understand, and have opinions, about other human beings. And we can't live that way. All we can really do is listen to other people and use as much wisdom as possible when trying to understand them.
Oh, I wasn't meaning to say intentions are never valuable. They are. But limited. I hold this for everything, really; what I *intend* when I do or say something is much, much, much less important than what I actually do or say. (I also think people are, generally, mistaken about their own intentions, or blind to many of them.)Post a Comment
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Hotel restaurants are often quite pricey and the food is frequently mediocre. With a few exceptions, like the Montage, locals tend to dine elsewhere. However, the Californian at the Hyatt in Huntington Beach is a surprising contradiction to this popular assumption. This huge, imposing hotel overlooking the ocean boasts a restaurant that has very tasty food at reasonable prices, while daytime diners have the benefit of a spacious terrace, complete with towering palms, gurgling fountains, large fire pit and a beautiful view.
On a chilly evening, the capacious dining room offers a roaring fire and cozy upholstered armchairs. The décor is "classic hotel" patterned carpets, potted palms and traditional-style furnishings.
Our first clue that dinner was not going to be run-of-the-mill was the presentation of the best focaccia we have had in years. Actually house-made, rather than just house-warmed, the hot bread came in two varieties, garlic and olive rosemary. Both had a real crust and a dense chewy interior, and both had excellent flavor, one with subtle garlic overtones and the other with robust green olives and a pretty sprig of pungent rosemary.
Good bread always puts us in a good mood, as did the very generous pour of our well-priced glasses of wine. Sipping and munching as we looked over the menu, we noticed that it, like the décor, is fairly traditional, but on a more careful reading, we were pleased to see some creative touches such as the appetizer of chili spiced lamb chops, served with Greek yogurt and sumac; while the green salad is embellished with dried cherries, toasted pumpkin, seeds, pickled red onion and a honey, white truffle vinaigrette.
We warmed up with chicken tortilla soup. The charming presentation featured a bowl with a tangle of thin, crispy tortilla strips, avocado, pico de gallo and slices of roasted chicken. The server then poured the hot broth from a ceramic carafe, so that the chicken was not overcooked and the chips remained crunchy. The thickened soup had a wonderful flavor that left a lingering heat on the tongue without being too spicy.
Our enjoyment continued with the mushroom ravioli, which may be ordered as an appetizer or entrée. These plump packets were perfect, amply stuffed with a subtle mixture of savory mushrooms and ricotta in very refined pasta dough; it was thin with great texture. They were smothered in a buttery wild mushroom ragout that was absolutely luscious. The addition of a generous slathering of truffle oil didn't hurt either, nor did the shavings of Parmigiana Reggiano on top.
What made the pan-seared scallops something out of the ordinary was the sweet corn hash with tiny, diced potatoes and chopped porcinis. This interesting combination made a richly flavored accompaniment, somewhere between refined and rustic. The scallops had a serious crust, yet were moist inside. A red wine and balsamic reduction swipe on the plate tasted somewhat burnt, but it was superfluous in any case.
The catch of the day was swordfish, and it was the only disappointing dish of the evening in that it was bland and uninteresting. A simple piece of grilled fish was paired with some broccolini and an over-salted avocado risotto, creamy but not distinctive. The fish was made more palatable by the fresh herb garnish, but the dish paled in comparison to what had come before.
Unable to face yet another molten chocolate cake, we opted for apple tart. The puff pastry was quite good, but the apples themselves had very little flavor. The caramel was a bit too light to compensate for the pallid apples, and the vanilla ice cream was just ordinary.
Our advice is to put together a dinner from the amply portioned selections from the starter menu. That's where the creative hand in the kitchen seems to be best expressed, while the prices are moderate, particularly for a hotel restaurant.
ELLE HARROW and TERRY MARKOWITZ were in the gourmet food and catering business for 20 years. They can be reached for comments or questions at firstname.lastname@example.com.
The Californian
Where: Hyatt Regency, 21500 Pacific Coast Hwy., Huntington Beach
Breakfast and lunch: 6:30 a.m. to 2 p.m. Monday through Friday, 6:30 a.m. to noon Saturday and Sunday
Dinner: 6 to 10 p.m. daily
Appetizers: $6 to $13
Entrées: $16 to $32
Desserts: $6 to $8
Bottles: $30 to $230
Half bottles: $20 to $24
By the glass: $8 to $18
Corkage fee: $15
Information: (714) 845-4776 or http://www.huntingtonbeach.hyatt.com


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Alabama, Medicaid Approved Tamper Proof, Tamper Resistant Prescription Pads
|We at Minute Man Printers, Inc. are a Security Printer, producing Tamper Proof Prescription Pads and EMR safety paper which are Medicaid Compliant. Our Prescription pads not only meet the three guidelines set forth by CMS (Centers for Medicare and Medicaid Services) but exceed them.
Our High Security Prescription Pads contain up to 11 features that make them virtually impossible to duplicate and or modify, yet they are easily verifiable by the pharmacy as an original document.
List of Security Features
1. A Void/Copy Pantograph
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3. Erasure protection
4. A Micro printed line which cannot be photocopied
5. A printed watermark
6. A batch number for tracking and control
7. Sequentially numbered for tracking and accountability
8. Solvent Reactive Properties
9. A reverse R/X pattern which cannot be photocopied
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11. Coin reaction for easy verification
The watermark on the reverse side, the thermochromatic patch and the coin reaction are for the pharmacist to quickly and easily verify that the script is genuine.
We also manufacture a line of Safety Paper than can be used for Checks, Coupons, Gift Certificates, Legal Documents, School Transcript Paper, and just about any type of job that you want to keep secure.
Minute Man Printers, Inc. is a Pre-Approved Security Printer for the State Of California (#SP-140) for the production of controlled substance prescription pads. In addition, we are an Approved Security Printer for the production of Florida Medicaid Prescriptions (Code MMP). We are also an approved Security Printer for the State of Wyoming for controlled substance prescription pads.
Please feel free to contact us toll free at
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or email us at


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Pac-12 M5: 10.29.13 EditionPosted by Andrew Murawa on October 29th, 2013
- You know, it has come to my attention that we haven't addressed the big news last week that Houston transfer Joseph Young has been declared eligible by the NCAA to play this season at Oregon. After averaging 18 highly efficient points per game last season (26th in the nation in offensive efficiency, according to Ken Pomeroy), his presence is going to mean huge things for the Ducks. With Dominic Artis and Damyean Dotson returning for their sophomore seasons, and with Jonathan Loyd back for his senior year, and with Detroit transfer Jason Calliste – another prolific and efficient scoring guard – now eligible, the Ducks are on the very short list for the best backcourts in the nation. If Mike Moser, Ben Carter and Waverly Austin can hold down the fort up front, the Ducks are going to be extremely dangerous.
- But despite all that talent in the backcourt, we'll be interested to see exactly what head coach Dana Altman can hammer out as a rotation. The best five players on the team are probably Artis, Dotson, Young, Calliste and Moser, but that combination would leave the Ducks with four guards and a forward in Moser who, while a skilled defender and rebounder, is not exactly your typical low post player for a team hoping to contend for a conference title in a major conference. And with all those guards and more, Altman will have a fun time trying to distribute shots between them all. Stay tuned.
- Continuing our all-Oregon themed M5, it is no secret that Altman has made Oregon the grade-A landing spot for the best of the best transfers in Division I basketball. In his three seasons in Eugene, Altman has welcomed in seven transfers who had previous experience at D-I schools (Moser, Young, Calliste, Arsalan Kazemi, Devoe Joseph, Olu Ashaolu, and Tony Woods), as well as junior college transfers like Carlos Emory, Waverly Austin, Richard Amardi, Elgin Cook and Jalil Abdul-Bassit. Along the way, Altman has also become known as a welcome landing spot for "basketball refugees," as Percy Allen of the Seattle Times calls them. Better yet, while other coaches have shied away from these players, Altman has succeeded in turning around a program that was in the dumps when he took over and having the Ducks back in the national conversation.
- Let's take a brief little jaunt up the I-5 to peek in with Craig Robinson and Oregon State in Corvallis. In a year where Robinson, once a media darling with the Beavers, finds himself in dire need of a productive season in order to hold on to his job, the brother-in-law-in-chief is talking up his sophomore class. Between Olaf Schaftenaar, Langston Morris-Walker, Jarmal Reid and Victor Robbins, there are loads of minutes available, what with Eric Moreland and Devon Collier due to each serve suspensions upon the start of the year. While none of these four should be expected to line up along the front line like their temporarily-departed brethren, each is capable of providing some punch from the wing for the Beavers. And, frankly, Robinson will need some major contributions out of that quartet in order to stabilize his own professional prospects.
- Lastly, let's jump out of the state of Oregon and head somewhere much drier to get a report on the conference favorite Arizona's exhibition game last night against Augustana. T.J. McConnell stole the show in the opening game at his new school, scoring 12 points, handing out eight assists, snatching three steals, and getting his team rolling as the floor general for the top-10 Wildcats. Three other players scored in double figures against their Division II opponent in a 32-point win. Sure, it means absolutely nothing, but it is basketball and it was on TV. If you missed it the first time, you can watch the replay on the Pac-12 Networks this morning at 9:00 AM.


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A new generation of Software Rendering Engines.
We have been busy with side projects, here at PC Perspective, over the last year. Ryan has nearly broken his back rating the frames. Ken, along with running the video equipment and "getting an education", developed a hardware switching device for Wirecase and XSplit.
My project, "Perpetual Motion Engine", has been researching and developing a GPU-accelerated software rendering engine. Now, to be clear, this is just in very early development for the moment. The point is not to draw beautiful scenes. Not yet. The point is to show what OpenGL and DirectX does and what limits are removed when you do the math directly.
Errata: BioShock uses a modified Unreal Engine 2.5, not 3.
In the above video:
- I show the problems with graphics APIs such as DirectX and OpenGL.
- I talk about what those APIs attempt to solve, finding color values for your monitor.
- I discuss the advantages of boiling graphics problems down to general mathematics.
- Finally, I prove the advantages of boiling graphics problems down to general mathematics.
I would recommend watching the video, first, before moving forward with the rest of the editorial. A few parts need to be seen for better understanding.
Click here, after you watch the video, to read more about GPU-accelerated Software Rendering.


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Seriously Delicious Holiday Giveaway: Case of Pat LaFrieda Burgers
Time for another holiday giveaway! Today we're teaming up with Pat LaFrieda to give away a case of burger patties (24 per case). Patties will be shipped fresh anywhere in the U.S. (sorry, international readers!), perfect for throwing a giant burger party or for cooking burger-centric meals at home.
To enter this week's contest, just tell us in the comments section below: What burger do you most want to try that you haven't yet?
(And even if you don't win, Pat LaFrieda's online store is offering free shipping to 10 states and new lower shipping prices to the rest.)
Contest will end and comments will close at 3 p.m. ET on December 17th. One entry per community member. Winners are limited to U.S. residents. Standard Serious Eats contest rules apply.


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Being away from your home, with pleasure we introduce our Home stay, a cottage nestled inside a coffee estate, It is the culmination of my long cherished dream to provide the best homely stay and indigenous cuisine, while you away from family.
Our home is located in a small village called Paravur, just 6 Kilometers towards south from Alleppey Town. Alleppey known as The Venice of East. Alleppey is located centrally in state of Kerala, Kerala popularly known as Gods Own Country in World Tourism map. You can reach the Home with in two hours drive from Cochin International Air Port and 10 minutes travel from both Alleppey bus station and Railway station. When you live with my family you really feel and enjoy the calm and serenity of rustic life of Kerala. Our home is just three kilometers away from the State water way and coconut palm fringed canals and shores which leaves a picturesque depiction of day to day life of Kuttanadu, the rice bowl of Kerala.
Why you want to confine yourself as a mere spectator ? Untie the KAYAK and simply explore my village through the narrow canals which open a vista of real life depiction of the local people, Farmers, Women harvesting the golden paddy field, Fishermen nesting on the Punnamada lake and so on,Enjoy the freedom to become one among us.
Have you ever thought of rowing a traditional boat, equipped with a local fishing net ,Knife, clay pot, to make the traditional fish curry, the spices powdered in my home, coconut oil and tapioca?
CheersBye © 2019


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For students, it's a little nice to know that teachers aren't perfect.
On Friday, 22 teachers from all over the country took to a boardroom at the ATLAS Institute on the University of Colorado campus to learn about computer programming. Part of that was creating a version of the classic video game "Frogger."
When it came to having moving logs for their 2D frogs to jump on, some of the teachers struggled. Some frogs fell into the virtual rivers, other teachers just had their logs get stuck next to each other.
Perfection? Probably not, but on the first day of a three-day workshop called "Computer Science for High School," the goal was to help teachers take away a better understanding of computer programming.
"Rather than saying, 'Well, everybody ought to be interested in computers,' what we feel is people should understand what computers can do," said Clayton Lewis, one of the faculty members of the workshop and a professor at CU.
The workshop is put on by Google and the Scalable Game Design Initiative, whose mission is to educate students in computer science starting at the middle school level. The initiative is headed by CU staff, including Lewis and Alexander Repenning, who created the AgentSheets software used in the initiative.
Valerie Salas, who teaches special education, science and English at a high school in Bernalillo, N.M., is involved with a technology club and felt like she didn't have the knowledge to help lead her students.
"I'm doing all different kinds of computer conferences over the summer, hoping to get the skills I need to help my students because (technology) is the future," Salas said.
The hope is that when teachers such as Salas leave, they can use the technology to enhance the classroom experience. As an example, Lewis has a program that simulates the foraging patterns of ants, which leave pheromone trails after they've found food, making it easier for other ants to follow.
"The type of thing that could be done in a science classroom is use a model like this and then start experimenting with different aspects of this behavior," Lewis said.
Salas wasn't sure how she would incorporate the technology into her classroom but knew that she would at least use it to help out the technology club. Late in the first day, she was having a good time.
"If I can enjoy it, my students, who probably have a better knowledge base than I, will really enjoy it," Salas said. "I'm hoping, anyway."


text:
AbeBooks Seller Since October 23, 2001Quantity Available: 1
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About this Item
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Title: GEDEON DANS LA FORET
Publisher: HOEBEKE
Publication Date: 1998
Binding: Hardcover
Book Condition: Very Good
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text:
I applied to Cooley and I am awaiting a decision.
I just took the Feb. LSAT and I applied for Summer (May) 2010 admission to the Cooley Ann Arbor campus, among other schools. I emailed Cooley's admission office on Monday and received a response that stated I can expect to receive notice on my admissions decision in about two weeks. So, it'll be the week of March 22 when the news hits. I am anxious--entering law school is very exciting! It helped calm some of my anxiety when I received the first piece of good news, accepted at UDMercy, yesterday via email. It also made me hungry for more. I will be going to Cooley's Ann Arbor open house March 25.


text: Minnesota Fishing Licenses Back On Sale wfn Some Minnesota state parks will open for day and overnight use as soon as Friday, July 22, but other facilities will not be open until the weekend, Minnesota Department of Natural Resources (DNR) officials said today. DNR employees returned to work Thursday, July 21, after the agency and state government was shut down July 1 due to a state budget impasse. For state parks and trails employees, the first day of work will be focused on making sure parks and trails are safe for public use.For some parks, a best-case scenario means they will reopen for day and some overnight use within 24 hours of staff returning to work. For overnight use, it may take two days or longer for staff to make campgrounds and facilities suitable for customers, which includes clearing away storm debris, turning on utility systems and cleaning restrooms.Up-to-date information on park operations and other DNR functions can be found on the agency?s website at www.mndnr.gov/reopen . A red, yellow or green symbol will indicate the closed, partially open or open status of individual parks, trails and forest recreation areas on the website. The availability of specific facilities within parks will be noted as well. Customers will not be able to get reservation information by telephone from the ReserveMN system until July 26, but they can call individual parks starting Friday to check their specific reservations.The biggest challenge for state parks and trails is making sure downed trees are cleared, trails and campsites are safe and water, electricity and restrooms are available. Numerous storms across Minnesota in July left debris and otherwise damaged parks, said Courtland Nelson, director of the DNR?s Parks and Trails Division.?We ask for the public?s patience as we reopen state parks after being closed for nearly three weeks,? Nelson said. ?We want to make sure parks are not only safe for the public, but that they can provide the high-quality experience our customers have come to expect.? Anglers and hunters are now able to purchase their licenses as well. The DNR?s Electronic Licensing System (ELS) is operational, which means boat and other licenses can also be renewed. Licenses can be purchased through one of the DNR?s ELS vendors, which include sporting goods stores and bait shops. Licenses can also be purchased by telephone and online at www.mndnr.gov.?We wanted to make sure that was one of our first operations to start up,? said DNR Commissioner Tom Landwehr.Information on the status of other DNR functions, such as managing hunting seasons; water, mining and other permits; state timber sales; state forest campgrounds; and environmental review projects will be available on the DNR website on Thursday.State parks that may require more time to reopen are Afton, Lake Bronson, Camden, Upper Sioux Agency, Flandreau, Blue Mounds, Wild River and St. Croix. Those parks sustained facility and tree damage that will take longer to clean up.St. Croix State Park will be closed indefinitely while staff assess building and other damage from a July 1 windstorm.Current overnight reservations will be honored at individual parks as they reopen. New reservations will not be accepted until July 26 at 8 a.m. The DNR?s reservation system has a backlog of shutdown refunds that must be made to customers before new reservations can be accepted.Landwehr said DNR employees are eager to return Thursday and restart the agency?s business. ?We?ll be happy to be back in business and ready to serve the public,? he said.For more news on regulations, click here.


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Dec 04, 2004
Dec. 4, 2004
CAMBRIDGE, MASS. - The MIT women's basketball team snapped a two-game losing streak by defeating Polytechnic University, 46-42, on Saturday afternoon. With the victory, the Engineers improve to 3-3 heading into the holiday break.
Christa Margossian tallied 12 points and 11 rebounds while Adrianne Hee added seven points, five boards, and two steals. Kimberly Eri Soo Hoo registered a game-high five steals and notched eight points and six caroms.


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Here are the winners of the Panoramio monthly Contest for February 2009 edition. Those photos were uploaded in February and voted in March. The sponsor ATP (Mike Chean) will contact the winners via e-mail during the next 30 days in order to send the prizes.
First Prize of Scenery category
taken in Romania by Bubu-Pescar
First Prize of Heritage category
taken in Spain by Sonia Navas-Aranda
First Prize of Travel category
taken in France by Faydoner
First Prize of Unusual Location category
taken in Ukraine by Lada Stupina
Full list of winners


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Most folks are familiar with Fr. Thomas Merton, OCSO. On 19 March 1949 he was ordained a deacon, and he wrote the following reflection shortly after his ordination. As you read it, please keep in mind that in 1949, the Latin Church still had the longstanding "cursus honorum" ("course of honors") by which a man entered the clergy through a rite known as Tonsure, then progressed up the "minor orders" of porter, lector, exorcist and acolyte. He then moved on to the major orders of subdiaconate, diaconate and priesthood. The fact that the diaconate was known as one of the "major" orders explains the starting point for Merton's reflection, but as you will see, it doesn't exhaust its meaning for him.
The first thing about the diaconate is that it is big. The more I think about it the more I realize that it is a Major Order. You are supposed to be the strength of the Church. You receive the Holy Spirit ad robur, not only for yourself, but to support the whole Church.So diaconal service, far from being focused on menial "tasks" can be seen in quite a different light. I believe that it ties in nicely with our earlier reflections on the servant-leadership to which the deacon is called and ordained.


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6/27/2011 We are making major changes to website structure. We're adding a long over-due database which will improve search and make page loading much faster.
6/27/11 8:50 pm EST We are experiencing technical difficulties with the Google Search engine. Please be patient.
Google has special search instructions just for genealogy researchers. Ancestor Search page.
Do you have historic documents that might help another researcher?
Please consider sharing with our Bartow researchers. If you've scanned the document please send that with or without the typed transcript so it can be added to this website.
Feb 4, 2006 - Marriage Record Transcripts and 15,024 Images online!!!
Volunteers from all over helped with this project.
Check out the transcripts (and marriage record photos!) now online under "Records" on the navigation bar at top of page.
It's amazing what can be done when we work together!!
Queries/Mailing List
If you've checked out the pages on this site, and still have research questions, or need a look-up, we suggest that you subscribe to the Bartow County mailing list. As a list subscriber, you can easily post questions to other Bartow researchers.
To subscribe to the Bartow County mailing list send an email to firstname.lastname@example.com with"subscribe" (without the quotes) in the subject line and in the body.
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Check out the Newspaper Index to see everything, or the Obit / Wedding Indexes to see just those items.
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Bartow GenWeb Coordinator:
Georgia GenWeb State Coordinator: Vivian Saffold
©2002 - 2010 Arlene Woody


text: On Tue, Sep 23, 2008 at 07:43:19PM -0400, Perry E. Metzger wrote: > As for the daemons, remember that with a proper scheduler, you will > switch straight from an incoming network interrupt to a high priority > process that is expecting the incoming packet, and that even works > correctly on some (but not all) Linux kernels. A user process cannot > take priority over other tasks, at least not without someone being > quite deliberate about it. You realize that most big HPC systems are using interconnects that don't generate many or any interrupts, right? It doesn't seem that you've bothered to read the papers that several people have pointed you at. Daemons are a significant problem on these tightly-coupled, non-interrupt-using systems. -- greg


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I find it interesting that the five stages of accepting an illness are the same five stages of accepting requests for new technology to be added to a game denial, anger, fear, grief, and acceptance. Sufficed to say, it was an emotional time building King Arthur as we had to push the abilities of our engine in many ways for it to handle the action we wanted to represent in the game.
Firstly, we wanted some long levels with a high level of detail in the terrain. Since we had horses to consider, we wanted them to have a good long track of diverse terrain to follow. The memory on the console is finite so it was obvious that some terrain streaming technology would need to be integrated into the engine. We tried denying the necessity; were angry at the need; feared the complexity; grieved for the simple days when a level was just a level; and eventually, accepted our fate and crafted a simple streaming system that would allow us to stream in any part of the game world at need. We put in place data structures so any camera position would map to the set of terrain chunks that need to be loaded and the whole process went reasonably smoothly.
Next we needed to be able to move over 20 characters around the landscape in a fraction of a game frame. Our previous movement systems were devised for platforming games, and while flexible, were very expensive on collision as they tried to exist in an arbitrary 3d world. As we were doing a very focused fighting game, we identified speedups that could be made and Shane Lontis (a fellow programmer) was tasked to write a new, unified and simplified collision system, comprised of invisible 2d wall lines, cylinder collisions for the characters, and box collisions for the horses. Five emotions later and Shane had successfully come up with a system that ran about 20 times faster than our previous work and there was much rejoicing.
The King Arthur animators were very keen to make the animations look as real as possible. They had captured and cleaned a large base of motion data from the stunt doubles in the movie and this needed to look perfect in game. In previous games our characters were animated on the spot, but in Arthur we needed their forward motion to come from the animation data so that feet would stick to the ground and the characters would give a real sense of weight and inertia. Some key-hole surgery on our animation system gave us the movement we needed, and again there was rejoicing and much drinking of beer.
The landscapes in Arthur are mainly outdoors and grass and shrub filled. Luckily, our engine has excellent support for dynamically generated geometry. This "grass tech" allows artists to paint grass and shrubs onto polygons, and the game dynamically generates where the individual grass blades need to be when you are near that part of the geometry. The grass vanishes smoothly from vision as you move away from it, ensuring that we never get bogged down drawing more grass than we need to.


text: "The Liver Building Canvas Print" From £85 "The Liver Building Canvas Print" From £65 Jo Gough - Liver Building with flowers Canvas Print From £85 £85.00 Canvas Prints: [Choose]Canvas Print (80x80cm) £125 (+£40.00)Canvas Print (60x60cm) £85 Hand Finished (+£75.00): [None]Hand Finished Quantity: at £85.00 each Add To Basket 5 in stock. *** Please note Canvas orders take up to 7-14 working days to process *** Quality canvas print with 40mm border Available in 3 canvas sizes: 60x60cm - £85 80x80cm - £125 100x100cm - £175 Hand Finished Option: My original art work is heavily textured as I apply the paint to make the flowers stand out from the canvas. A canvas print is a flat print of my original image but if you'd like it to resemble an original painting then I can hand finish the canvas print by applying paint to emboss the flowers. This costs an additional £75.


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Hi everyone, I hope you all are doing well.
I would like to purchase a nebulizer or ultrasonic nebulizer for aromatherapy purposes. Which do you guys prefer, which one works better. I have read that both break up the EO into microparticles that are able to stay in the air for you the breathe in, cleanse the air...etc.
My understanding on the nebulizer is that it can get clogged & you have to replace the glass "tube" . Whereas the ultrasonic diffuser- you wipe out.
Any thoughts?