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Plus, they're better than a store-bought look.
There's something so charming about a children's Halloween costume that's been crafted with love, especially when it's been totally customized to fit their personality. Not only will they be the only ones wearing that look, but these DIY costume ideas are also budget-friendly, meaning you won't break the bank before the holiday season really kicks in.
If you hear little hoots in the night, it's just your kids calling out for more candy.
Get the tutorial at .
What you'll need: brown hat ($7; ), orange fleece ($6; ), two shades of brown fleece ($12; ), brown tutu ($5; ), white felt ($8; )
This patriotic costume shines brighter than Fourth of July fireworks.
Get the tutorial at .
What you'll need: foam chair pad ($6; ), green styrofoam cone ($3; ), mint fabric ($13, )
The only thing missing from this costume is a cup of coffee. Maybe a mother-daughter costume idea?
Get the tutorial at .
What you'll need: foam hair curlers ($13; ), pool inner tube ($5; ), tan spray paint ($14; ), pink spray paint ($4; )
Don't mess with this fierce tyke!
Get the tutorial at .
What you'll need: brown bath rug set ($30; ), viking helmet ($8; ), thor hammer ($8; )
The pun is very much intended with this adorable but comfy baby costume, which uses half of a Styrofoam ball for the yolk and red felt "horns" to make these eggs deviled.
What you'll need: styrofoam ball ($7; ), red felt ($11; ), yellow spray paint ($4; ), white bodysuit ($9; ), white hat ($5; )
A quick trip to the fabric store (and maybe a look around the house) will get you everything you need for this Halloween costume, which pins petal-shaped felt to a sun hat and leaf-shaped felt to colorful ribbon.
What you'll need: sun hat ($12; ), assorted felt colors ($15; ), plastic watering can ($7; ), forest green leggings ($5; ), long-sleeved forest green shirt ($10; )
To champion this costume you'll need gold everything. But that's what makes it easy: Buy white clothes and a sports ball, spray them with gold fabric spray paint and — voila — your kid's a winner!
What you'll need: basketball ($14; ), white sweat headband and wrist bands ($10; ), white sport shorts ($10; ), white tank top ($12; ), gold spray paint ($11; )
Fantasy become reality when your kid transforms into this mythical creature. All you have to do is add a horn, ears, and mane to a white hoodie and leggings.
What you'll need: white hoodie ($16; ), white leggings ($8; ), white felt ($13; ), pink yarn ($9, )
Bundle them up in a red sweatshirt with pipe cleaner antennae eyes and claw-shaped gloves for a crustacean costume that's both cute and cozy.
What you'll need: red zip-up hooded sweatshirt ($26; ), assorted felt colors ($15; ), red pipe cleaners ($6; ), red gloves ($7; )
Who says candy has to be the only sweet treat on Halloween? This costume looks ambitious but is surprisingly simple to pull off. Just cover a laundry basket in wrapping paper, stuff in the frosting, and add a comfy cherry hat on top.
What you'll need: round plastic laundry basket ($20; ), dotted wrapping paper ($5; ), white tights ($14; ), batting ($12; ), white suspenders ($5; ), red beanie ($6; )
Bike helmet? Check. Oven mitts? Check. Rain boots? Check. Put these household items together and watch your kid channel Neil Armstrong on his next trick-or-treating expedition, which (luckily) will not be to a planet far, far away.
What you'll need: bike helmet ($25; ), blue painter's tape ($4; ), oven mitts ($10; ), rain boots (18; ), silver spray paint ($7; ), disposable aluminum roasting pan ($6; ), white sweatpants ($11; ), white sweatshirt ($5; )
Whether your daughter is a fan of The Little Mermaid or just loves the sea, cupcake liners, ribbon, and a blue recycling bag create this pretty fish-inspired tail. Top the look off with a shiny crown and she will be channeling Ariel in no time!
What you'll need: cupcake liners ($9; ), blue recycling bag ($16; ), blue leotard (starting at $6; )
Any child who loves Frozen will appreciate this sweet costume. Just don't be surprised if you have to blast the soundtrack while getting dressed.
Get the tutorial at .
What you'll need: white hoodie ($9; ), orange, black, brown, and white felt ($9; ), brown pipe cleaners ($4; ), white stuffing ($12; )
Change the color of the cape and hat to customize this kids costume into any fruit your little one loves most.
Get the tutorial at .
What you'll need: yellow felt ($12; ), green felt ($13; ), batting ($12; ), leggings ($4; )
In three easy steps you can turn your kid's sweat suit, a few pairs of athletic socks, batting, and bubble wrap into a tentacled creature from the deep, dark sea.
What you'll need: long purple athletic socks ($8; ), purple hoodie ($23; ), batting ($12; ), round white labels ($13; ), bubble wrap ($5; )


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1. Research the world's oceans or the ocean your watershed empties into and identify the role humans are playing, both positive and negative.
2. Reduce, Reuse, Recycle! Litter can easily escape or never make it to collection facilities, where it becomes a danger to coastal and marine habitats and wildlife.
3. Consider a field trip to the coast or to your nearest aquarium.
4. Learn about ocean-friendly seafood choices using the Seafood Watch website and app.
5. Explore careers that have a direct or indirect impact on our coasts and oceans.
6. Pledge to reduce or eliminate your classroom or school's use of plastics.
7. Organize or participate in a beach cleanup.
8. Investigate who protects our nation's oceans. (regulatory body, community groups, non-profit organizations)
9. Research the bird species who rely on healthy coasts, tide pools, and oceans.
10. The United States has several National Marine Sanctuaries. Learn about this system of underwater parks or focus on the one closest to your school and determine ways you can get involved
Connect children to a lifelong affinity for nature, wildlife, and the outdoors with these 10 ideas.Read More
The new Garden for Wildlife™ photo contest yields backyard gems.Read More
The National Wildlife Federation is partnering with colleges and universities to address one of the biggest threats to wildlife.Read More
Place your order today for the themed box that delivers everything you need to create family memories while discovering nature and wildlife.Learn More
You don't have to travel far to join us for an event. Attend an upcoming event with one of our regional centers.

subset: commoncrawl


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The Interfaith Health Network of Schuylkill County
The mission of the Interfaith Health Network is to develop links with the congregations of the county to make a significant difference in the health of Schuylkill County residents.
- The Interfaith Health Network presents two events for ministers and lay leaders each year on issues important to their congregations and communities. In April of 2018 mental health resources were the topic. In fall of 2018 the opioid crisis and addiction was the topic. From this last event a coalition has formed to help congregations fill in the gaps on prevention, treatment access and recovery. Please call the number below for more information.
- If your congregation is interested in information on health programs or on health ministry in Schuylkill County, please call VISION at 570-622-6097.
- Contact person: Jeanne Elberfeld at 570-622-6097.


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Every organization has its core competence which is guarded by its finance team; hence finance person is a goalkeeper of an organization. Financial management is a process to have knowledge of balance sheets, analyzing cost center and expenses of an organization. This program helps the candidate to understand the role of the Finance Manager about how to minimize cost and maximize profit.
It is a program which should be done by candidate who wants to pursue their career in financial services & financial backup of an organization.Virtual Voyage College produces best financial accountants for Central India & are well placed throughout the country. Whether it is a Start-up or MNC or CA Financial Accounting is indispensable to their success. There are many ways to enter into Financial Accounting like pursuing commerce graduation, ICFA, CA or MBA or MFA. We provided best certification & training courses along with regular degree programmes
Financial accountant at Virtual Voyage College, Indore
- The program focuses on developing financial management skills as required in the industry.
- The program has been designed taking into consideration the needs of understanding the basics of finance.
- Eminent and experienced faculty members include experts from the industry and academia
Star Placements
Guest Mentors
Workshop & Seminars
Shows & Exhibitions
Industry Exposure
Students' Testimonials
Students' Projects
Social Media
Media Coverages


text: Hi everybody, I want to shoot a short movie with my iPhone 6, and I would like to improve the quality of the audio of my videos. Do you know any external directional microphone that provides a good sound quality? I searched on the internet but the ones compatible with the iPhone or other smartphones do not seem to improve drastically the audio quality. I was thinking about Rode microphones, but they need an adapter. Do you think that Rode w/ adapter could be a nice solution or do you have other suggestions?


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J.B. Becker 2016 Riesling Kabinett Trocken, Walkenberg, Rheingau
Item Number: 12335
UPC: None
Country: Germany
Region: Rheingau
Vineyard Designation: Walkenberg
Vintage: 2016
Grape(s): 100% Riesling
Type: Wine - White
Bottle Size: 750 ml
Pack: 12
Closure: Cork
Alc by Vol(%): 11.5
Residual Sugar(g/L): 3 g/L
Total Acidity: 7.6
Soil Type: Loess
Vintage Notes: 2016 is a superb vintage. It is classically structured and threaded with a nervy, sinewy acidity that keeps the wines fresh and buoyant. The ripeness levels were overall lower than the 2015s; thus, Becker's production is mainly a compelling collection of Kabinetts and Spätlesen. Becker's Spätlesen taste drier than many winemakers' dry wines, especially in 2016 with its fine acids. 2016 proved to be Becker's smallest harvest since he began producing wine in 1971. The average yields for the estate were about 18 hectoliters per hectare.
Tasting Notes: This Riesling has a perfumed nose that is exuberant, ripe and luscious. This contrasts, somewhat, with the rigor, energy, and precision found on the palate. This is cutting and fresh.


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Animal Management NPTC Level 3 Diploma & Extended Diploma at Grantham College
Course description
The NPTC Level 3 Diploma/Extended Diploma in Animal Management are practical work related courses.
You will progress through the qualification by working in a realistic workplace environment supported by work experience placements and by the completion of assignments. The level 3 Diploma and Extended Diploma in Animal Management is equivalent to 2 and 3 A levels respectively. These courses will give you a broad base of experience to prepare you for work in the industry or for progression to Higher Education if you achieve the required point profile.
Course content
The course covers a variety of related module and may include:
- Animal anatomy and physiology
- Animal behaviour health and nursing
- Animal biology
- Animal nutrition
- Breed development and welfare
- Exotic animal health and husbandry
- Investigating project in the animal management sector
- Managing animal accommodation
- Planning and monitoring animal feeding
- Work related experience in the animal management sector.
- Functional skills in one of the following will be completed during the year; English, maths or IT at Level 2 or 3 depending on ability and suitability of the subject for the planned career path.
Entry requirements
4 GCSEs (Grade A - C to include Science and English) Alternatively, a minimum of a merit in an animal related Level 2 Diploma or equivalent with Science and English.
Practical, written assignments for all units
Financial information
Full Time Further Education courses are free for those who are under 19 on 31 August of the year they start their course. Exam resit fees may apply if and when applicable.
Future opportunities
Students generally progress onto the Extended Diploma in Animal Management with the potential to progress to a Higher Education course, however direct entry to full time employment or an animal based apprenticeship are also possible career paths. Career opportunities within the animal industry on successful completion of the Subsidiary Diploma may include: Kennel/cattery supervisor, Assistant dog groomer, rescue centre supervisor, wildlife rehabilitation officer.
How to apply
If you want to apply for this course, you will need to contact Grantham College directly.


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New Year's Day, also called simply New Year's or New Year, is observed on January 1, the first day of the year on the modern Gregorian calendar as well as the Julian calendar.
In pre-Christian Rome under the Julian calendar, the day was dedicated to Janus, god of gateways and beginnings, for whom January is also named. As a date in the Gregorian calendar of Christendom.
New Year's Day liturgically marked the Feast of the Naming and Circumcision of Jesus, which is still observed as such in the Anglican Church and Lutheran Church.
In present day, with most countries now using the Gregorian calendar as their de facto calendar.
New Year's Day is probably the most celebrated public holiday, often observed with fireworks at the stroke of midnight as the new year starts in each time zone.Other global New Year's Day traditions include making New Year's resolutions and calling one's friends and family.
Other global New Year's Day traditions include making New Year's resolutions and calling one's friends and family.
Best Happy New Year Status/Wishes/Messages
The object of a new year is not that we should have a new year. It is that we should have a new soul
My New Year's resolution is to stop hanging out with people who ask me about my New Year's resolutions.
My new year's resolution is to be more optimistic by keeping my cup half-full with either rum, vodka, or whiskey.
Every year you make a resolution to change yourself. this year make a resolution to be yourself! Happy new year 2017.
May each day of the coming year be vibrant and new bringing along many reasons for celebrations" Happy New Year 2017!
Wishing you a fabulous 2017 with full of great achievements and experiences. A meaningful chapter waiting to be written HAPPY NEW YEAR!
People treat New Year's like some sort of life-changing event. If your life sucked last year, it's probably still going to suck tomorrow.
New year begins, let us pray that it will be a year with peace, happiness and abundance of new friends, God bless us through out the new year.
When I thought about the evils of drinking in the New Year, I gave up thinking. You know it's time for a New Year's resolution to lose weigh.
Merry Christmas and a Happy New Year to everyone. Keep the Christ in Christmas, and share the love, peace and forgiveness! Make Lot Of Fun On Christmas!
May this new year bring many opportunities your way, To explore every joy of life & turning all your dreams into reality & all your efforts into great achievements.
May this new year bring many opportunities your way, To explore every joy of life & turning all your dreams into reality & all your efforts into great achievements.
Years come n go,but this year I specially wish 4 u a double dose of health n happiness topped with loads of good fortune. Have a great year ahead! HAPPY NEW YEAR!!!!
Today is a new day, a day for new beginnings, new starts, old endings, a day to remember, a day to live for. Life has its course & every course is a new chapter. Happy New Year 2017.
New Year is the time when, all your hopes are new, so are your aspiration, new are your resolutions and new are your spirits… so here's wishing everyone a very promising, fulfilling and a very happy New Year!!


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Are you thinking about nursing home placement at Jessie Bowe House ?.
Don't stress - We have been placing residents into nursing homes since 2002, and have knowledge and experience to help you with decisions about Jessie Bowe House.
Why not use this valuable experience prior to making a major decision about which nursing homes for your elderly relative ?Contact Us
Address: 2 Chapel Street , Maldon, 3463, VIC
Phone: n/a
Email: n/a
Contact Person: n/a
Website: Jessie Bowe House
Beds: 12
Category: State Government
Type of Provider: Residential
Registered Provider: Maldon Hospital
Latest Accreditation Report: Search for latest Accreditation Report(Provided by Australian Aged Care Quality Agency)
Permanant Care ? n/a
Respite Care ? n/a
Specialised Dementia Unit ? n/a
Extra Services Available ? n/a
Do you have a question about Jessie Bowe House or need RAD Negotiation ?Contact Us


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A Quarterly Journal
Jeffrey Woodward, Founder & Owner
Ray Rasmussen, General Editor
Volume 12, Number 3, September 2018
Reprint from Atlas Poetica
Tanka Prose, Tanka Tradition:
An Interview with Jeffrey Woodward
by Claire Everett
Jeffrey Woodward founded and formerly edited the journals Haibun Today and Modern Haibun & Tanka Prose. He served in 2010 and again in 2011 as adjudicator for the British Haiku Society's Haiku Awards. His selected poems, under the title In Passing, were published in 2007 and he edited The Tanka Prose Anthology in 2008. In 2013, collections of his haibun and tanka writings were issued under the respective titles Evening in the Plaza and Another Garden.
Claire Everett is the founding editor of Skylark Tanka Journal and a former tanka prose editor for Haibun Today. She is the author of two tanka collections, Twelve Moons and The Small, Wild Places. She is the co-author of Hagstones: A Tanka Journey with Joy McCall and Talking in Tandem with her husband Tony. Claire served on the editorial team for Take Five Best Contemporary Tanka, Volume 4, 2011 and in 2015 she edited the Tanka Society of America's Members' Anthology, Spent Blossoms. Claire's haiku, tanka, haibun and tanka prose have been published worldwide. Her haiku have been featured in award-winning publications such as A New Resonance and the Red Moon Anthology.
one comes now one goes
one is known and one is not
all are travelers here
merely passersby who part
on the road to the capital 1
Tanka, from the eighth century Manyōshū until this day, have often been elicited by other tanka. Your poem, Claire, is an invitation to others to respond. This dialogue in verse can engage two contemporaries or it can reach back in time and link today's poet with one long dead. My tanka that you've so kindly quoted is an example of the latter conversation; it is, in fact, a variation upon Semimaru's poem, preserved as #10 in the thirteenth century anthology Ogura Hyakunin Isshu (100 Poems 100 Poets):
coming from
or going to
the capital
friends and strangers
meet and part
Semimaru's theme is one of universal mutability or transience. Acquaintances and strangers alike, on their way to or from the capital, meet only to part. I am here today and gone tomorrow. That all is in flux is Semimaru's existential certainty; one might say, in fact, that change is his capital. I felt a particular kinship with this tanka and with its depiction of the material absence of any reliable or permanent center. The stability of Semimaru's capital, in the end, is illusory and, in that respect, shares the dubious character of our vain and bustling modern ones.
CE: As editor of Haibun Today, you are doing much to promote the reading and practice of tanka prose. With journals such as Lynx and Atlas Poetica publishing tanka prose, more and more readers and writers are being drawn to the "adventure and promise of a new world." Jeffrey, could you begin by telling us how and when you first became interested in tanka prose?
I was drawn to tanka prose initially as a a practical matter. I wrote haibun and, in my efforts to press the prose half of that equation closer to poetry and farther from journalism, I felt in longer compositions that the sketchy, fragmentary nature of haiku was a liability. I wrote tanka also. Tanka, in my view, has greater definition than haiku as a form; it was logical, if not inevitable, to turn there for a solution.
My interest in tanka prose as a reader precedes this affinity for tanka as a practising poet. I'd studied examples of Japanese tanka prose, particularly from the Heian Period, on various occasions in the years preceding this—Ki no Tsurayuki's Tosa Diary and the Izumi Shikibu Diary in the Earl Miner translations; Tales of Ise, the anonymous An Account of a Journey to the East and Nun Abutsu's Journal of the Sixteenth Night Moon in their Helen Craig McCullough versions. Those few titles are a fair sampling, respectively, of tanka prose's incarnations as diary, memoir, poem tale and travelogue. Tanka prose, as I was to learn subsequently, offers much more.
CE: In its rudimentary form, tanka prose served as a contextual frame for the accompanying waka, taking the form of a preface (kotobagaki) or poem tale (uta monogatari). In The Tanka Prose Anthology (Modern English Tanka Press, 2008), you describe the prose of this stage in the history of Japanese literature as being "rarely more than a handmaiden to the poem." 2 Perhaps you could elaborate on this and explain how these prose accompaniments evolved over time?
A description of early prefaces and poem tales as humble framing devices for tanka is a fair generalization, Claire. Sophisticated exceptions to that rule, nonetheless, can be read in the eighth century Manyōshū.
Many prefaces or kotobagaki are entirely functional and limited to a cursory description of the tanka's occasion or topic. Look at the Kokinshū, 3 for example, where the occasion of tanka 325's composition is perfunctorily recorded as "Composed while stopping for the night on a journey to the Nara capital" while tanka 257's occasion is a social event—"From the poetry contest held at the residence of Prince Koresada." The prefaces in the Kokinshū, often enough, blandly document the conventional topic of the poem: for tanka 336, "On plum blossoms in the snow," or for tanka 339, "On the year's end."
Sometimes greater context is provided, as in the kotobagaki to tanka 589: Tsurayuki sent this letter in the Third Month, when he heard that someone else was visiting and writing to a woman he had known:
my heart is not like
the dew which settles on the
flowers unconcerned— each time you bend before the
wind my torment increases 4
my heart is not like
the dew which settles on the
flowers unconcerned— each time you bend before the
wind my torment increases 4
Here, the reader is provided with the season ("Third Month") and circumstance ("someone else was visiting . . . a woman he had known") that inspired Tsurayuki's tanka; he, furthermore, discovers that the poet's theme is one of naked jealousy. This is nascent narrative, the rudimentary elements for a tale. Even so, the primary purpose of this preface is to explain to the reader the why-and-wherefore of the excellent poem's composition.
Compare the Tsurayuki kotobagaki to Masaoka Shiki's preface to a tanka sequence written in 1902:
Nothing is tastier than horsetails, and nothing is more delightful than gathering them. Hekigoto, who went to Akabane Village on an excursion, brought some back. When he told me he was going there again, a mood came over me to make the following tanka, imagining the scene of horsetail-gathering. 5
Nothing is tastier than horsetails, and nothing is more delightful than gathering them. Hekigoto, who went to Akabane Village on an excursion, brought some back. When he told me he was going there again, a mood came over me to make the following tanka, imagining the scene of horsetail-gathering. 5
The ten tanka that follow Shiki's prose focus upon scenes of horsetail ferns neglected in the fields, of horsetails beside railroad tracks, of recollections of Shiki's pastoral youth and participation in sessions of horsetail-gathering. These are poems of delight in a countryside that the poet, confined to his sickbed and facing imminent death, is now barred from visiting:
those horsetail plants
I once picked in the fields
by my home—
this I now recall
in an alien land 6
those horsetail plants
I once picked in the fields
by my home—
this I now recall
in an alien land 6
Shiki's prose is richer in mood and nuance than the preface I cited to the Tsurayuki poem. However, Shiki's preface does share, in common with the examples above, the transitional declarative statement that links prose to verse—"a mood came over me to make the following tanka . . . ." Greater unity of purpose between prose and verse, of course, can be established by the conscious suppression of these expository connectives that, in one sense, are the trademark of much Japanese tanka prose from the Manyōshū to modern times, these insistent reminders that a poem was written because of this circumstance or that occasion. The reader, in fact, might be left safely to infer as much by the presence of the tanka after the prose. Modern tanka prose in English, therefore, stubbornly eschews such explanatory links and chooses, instead, to blend prose and tanka closely into a harmonious whole.
CE: Following Ki no Tsurayuki's Tosa Diary and the anonymous Tales of Ise, I believe Japanese prose and waka went through an astonishing metamorphosis, flourishing in a wide variety of new contexts, for instance diary, biography and military chronicle?
A rough idea of the extent of this dramatic proliferation of works that combine prose and tanka can be had by a simple enumeration of the classifications that medieval Japanese literary scholars devised to account for its diversity: diary (nikki), biography (denki), travelogue (kiko) and preface (kotobagaki). A tale is a monogatari but distinctions are made with respect to the kind of tale: poem (uta), romance (tsukuri), historical tale (rekishi) and military chronicle (gunki).
Boundaries between the various types of early Japanese prosimetrum, or mixed prose-plus-verse writing, are quite blurred as observed by such influential scholars as Jin'ichi Konishi and Earl Miner; one and the same composition may be termed variously a tale (monogatari), diary (nikki) or poetry collection (shū). The scholarly taxonomist can distinguish further, in those writings classed as nikki, between the diary with dated entries and the memoir with its freer treatment of chronology.
One possible reason no single term was employed for prose-plus-tanka writings is this: from the close of the Manyō period until the rise of renga, waka, our modern tanka, so dominated the Japanese literary landscape that little else was considered worthy of the name poetry. Critical attention, therefore, was not focused upon the verse-type employed with prose, since this verse was invariably waka, but was directed instead toward the narrative or expository model of the prose—tale, memoir, history and so forth. It is only much later, with the rise of haikai no renga and of its offspring haibun, that distinctions between verse-types become necessary in examples of Japanese prosimetrum.
CE: What part did Murasaki Shikibu's Tale of Genji play in the development of tanka prose as a powerful medium that not only established context for the poem, but served to elucidate it to the point that it was no longer subservient to the poem and indeed, that tanka and prose were capable of reciprocal enhancement?
The early elevation of verse or later hegemony of prose are two extremes of the tanka prose spectrum. Murasaki Shikibu's Genji monogatari (circa 1008), one might argue, represents the culmination of the latter development. In Genji, the precise descriptions, absorbing characters and animated style of Murasaki's prose threaten to reduce the accompanying tanka to the incidental role of a lyrical aside.
Murasaki Shikibu, however, is not only the author of Genji. Richard Bowring translated and collected under one cover both her memoir and her annotated poetry collection as Murasaki Shikibu: Her Diary and Poetic Memoirs. The shū consists of 120-plus waka, each preceded by a kotobagaki, and these prefaces range from the merely serviceable or expository sentence to a highly poetic and suggestive wedding of prose and waka that resembles modern English practice. Look, for example, at entry 46, an ekphrastic work on the subject of a painting:
Two or three women had opened up a side door and were sitting there viewing the pear blossom. Everyone else had fallen asleep, but one old woman had her chin in her hands and was gazing intently at the scene.
Hidden in the darkness
Of a spring night
It has no color,
An aged heart
Intent on the fragrance. 7
Two or three women had opened up a side door and were sitting there viewing the pear blossom. Everyone else had fallen asleep, but one old woman had her chin in her hands and was gazing intently at the scene.
Hidden in the darkness
Of a spring night
It has no color,
An aged heart
Intent on the fragrance. 7
Murasaki's nikki, by way of contrast, stands closer to the triumph of prose as exemplified by Genji monogatari than to the general celebration of waka that is demonstrated in her shū. The memoir, in fact, balances lengthy prose passages of exacting description of court costume and court ceremony with digressions that display Murasaki's acute psychological insight. Where do the waka lie in all of this? There are precious few of them (less than twenty, I believe) and they generally function in one of two capacities, either as formal praise for ranking members of the court or, where two waka are joined, as poetic exchanges between court ladies or between the same ladies and their suitors.
CE: Jeffrey, I'd like to talk now about the variety of forms which modern tanka prose may take. How does the basic unit of one paragraph and one tanka differ from its inverted form of one tanka, one paragraph?
When the paragraph leads, the closing tanka caps the prose, Claire, and is the culminating point of the composition, a sign of the work's fulfillment. Placement of the tanka first and paragraph last disrupts our common expectation. In this inversion, the tanka may possess narrative or expository qualities that we ordinarily associate with prose, whereas the paragraph that now concludes the composition acquires, to some degree, the climactic characteristics that we customarily ascribe to tanka. Consider, for example, Dru Philippou's "Sloughing Off":
what blooms
and bones she keeps
they are props
that she will paint
with her mountain
I would walk to Cerro Pedernal and see myself bounding up the flat-topped butte in no time. At the top, where Georgia O'Keeffe's ashes were scattered, I could race along the narrow ridge with the wind's warm handclasp and plunge headlong into the blue, sloughing off my skin among pink hollyhocks, to return home as a stranger. 8
what blooms
and bones she keeps
they are props
that she will paint
with her mountain
I would walk to Cerro Pedernal and see myself bounding up the flat-topped butte in no time. At the top, where Georgia O'Keeffe's ashes were scattered, I could race along the narrow ridge with the wind's warm handclasp and plunge headlong into the blue, sloughing off my skin among pink hollyhocks, to return home as a stranger. 8
The concord of flowers and bones in the tanka, of rejuvenation and death, has many precedents in lyrical poetry; such material, too, is in keeping with the painting of Georgia O'Keeffe, the composition's nominal inspiration. But the tanka, when all is said and done, serves as the necessary backstory for the fantasy flight, if you will, of the paragraph it precedes. The poetic core of Philippou's piece can be found in the closing sentence, in the narrator's acceptance of the "wind's warm handclasp" for her resolute descent, a leap that is meant to secure her "return home as a stranger."
CE: With reference to the response poems and tanka pairings exhibited in the Manyōshū period and the popularity in recent years of tanka sequences in English, what distinct features does tanka prose have over sequences?
The presence of prose—so pliable, so receptive to sudden variations in tempo or style—distinguishes tanka prose from tanka sequences. The contrast of the two modes of writing, prose and verse, is not available to the tanka sequence by definition, and while the sequence is as capable as tanka prose of marked shifts in pace from tanka to tanka, the sequence cannot offer the immediate and dramatic counterpoint of prose and verse rhythms. Tanka prose, too, often incorporates tanka sets or sequences within its broader frame.
In other respects, the tanka sequence and tanka prose have much in common. Both value understatement and ambiguity by design; both have a penchant for episodic development, for leaping over superfluous matter and lingering upon essential detail. Both stem from the same Japanese root, the waka or tanka that first came to maturity in the Manyōshū.
CE: In your essay "Prose and Verse in Tandem," you propose that verse sequences within prose are more prevalent in tanka prose pieces than in examples of haibun and you attribute this less to prescribed traditions within English language tanka and haibun circles and more to ancient Japanese tanka traditions and the very nature of tanka itself. 9 Could you elaborate on this?
Tanka, as early as the seventh and eighth centuries, were exchanged. Custom required that the recipient of a tanka respond in kind. A reply often echoed the original gift by borrowing freely from its language and imagery; such repetition drew the call-and-response poems together in an act of intimate association. These poetic pairings, in the Manyōshū and later imperial anthologies, illustrate tanka's native affinity for integration, for the construction of sequences of two or more poems. Consider the deliberate reiteration in this example, an exchange between the Mother of Michitsuna, author of "The Gossamer Journal" (Kagerō nikki), and Lady Tokihime, where the "water oats" are the court ladies who mutually lament their neglect by the "reapers," their husbands:
Where might be the swamp
in which they can put down roots—
those water oats
the reapers have harvested,
cutting to the very bottom?
soko ni sae / karu to iu naru / makomogusa / ika naru sawa ni / ne o todomuramu
The marsh from which
the water oats have vanished
is this one at Yodo:
people said they had struck root
in the bottom where you dwell.
makomogusa / karu to wa yodo no / sawa nare ya / ne o todomu chō / sawa wa soko to ka 10
Where might be the swamp
in which they can put down roots—
those water oats
the reapers have harvested,
cutting to the very bottom?
soko ni sae / karu to iu naru / makomogusa / ika naru sawa ni / ne o todomuramu
The marsh from which
the water oats have vanished
is this one at Yodo:
people said they had struck root
in the bottom where you dwell.
makomogusa / karu to wa yodo no / sawa nare ya / ne o todomu chō / sawa wa soko to ka 10
The influence of tanka's traditions upon tanka prose can be discerned most clearly in a reading of the Japanese chōka, the long poem of the Manyō period. The body of the chōka consists of alternating lines of five and seven syllables but, from the time of Hitomaro on, the chōka was completed by a hanka—an envoy of one, two or several tanka. Hanka means "verse that repeats" and that is precisely what the tanka in this poetic appendix do; they recapitulate and amplify the chōka's main motifs. Each tanka in the envoy is related not only to the parent poem, the chōka, but to its siblings also. These relationships prefigure how the individual tanka of a sequence within a larger tanka prose composition adhere to the prose body as well as to the other members of their tanka set.
Yamabe no Akahito, in a chōka that commemorates an imperial outing, devotes fifteen verses to a vivid depiction of an elemental seascape and the rustic seaweed-harvesters who inhabit it. His hanka is composed of two tanka that recall the sweeping tide, the "gemlike weeds" and a near island:
When the tide comes in
And the gemlike weeds on the rocks
Of this island coast
Hide themselves slowly in the waves,
Will our thoughts go after them?
When the tide pours in
Across the flats of Waka Bay
The seastrand vanishes,
And the cranes with raucous cries
Fly off to shelter in the reeds. 11
When the tide comes in
And the gemlike weeds on the rocks
Of this island coast
Hide themselves slowly in the waves,
Will our thoughts go after them?
When the tide pours in
Across the flats of Waka Bay
The seastrand vanishes,
And the cranes with raucous cries
Fly off to shelter in the reeds. 11
A simple glance at the romaji transcription of the original will reveal how the reiteration of key words closely links the main poem to the envoy and the two tanka to one another. "Oki tsu shima," "shio," "tamamo," "michi"—they strike repeatedly with force, like the waves against the rocks.
Contemporary tanka prose shares this propensity for employing verses in sequence, whether at the beginning, middle or end of the compositional design. A modern example of tanka prose that parallels the chōka's incorporation of a formal envoy with repeated elements can be found in Michael McClintock's "Before Croissants and Coffee":
Briefly, before the morning commute, before the bakery set out its morning bread to cool on the racks, before the postman's alarm rang beside his bed, and the dog scratched, wanting out, a summer rain fell on the streets and boulevards of Paris.
You slept—I saw a dream tiptoe upon your brow and would not wake you. I watched alone on the balcony the wet, shining pavements mirror the clouds.
From below,
I hear the bread racked
and readied;
across the way a dog
trots from its door.
The postman's van
speeds by in needful haste:
the rain has ceased,
you awake,
and we embrace. 12
Briefly, before the morning commute, before the bakery set out its morning bread to cool on the racks, before the postman's alarm rang beside his bed, and the dog scratched, wanting out, a summer rain fell on the streets and boulevards of Paris.
You slept—I saw a dream tiptoe upon your brow and would not wake you. I watched alone on the balcony the wet, shining pavements mirror the clouds.
From below,
I hear the bread racked
and readied;
across the way a dog
trots from its door.
The postman's van
speeds by in needful haste:
the rain has ceased,
you awake,
and we embrace. 12
Bread, postman, dog and rain rebound and echo from prose to tanka, from tanka to prose.
CE: Again, in "Prose and Verse in Tandem," you point out the prevalence of multiple tanka and tanka sequences within tanka prose. While journals such as Modern English Tanka and Atlas Poetica consistently published such examples of tanka prose, Jeffrey, other journals appeared to be more reticent. It has been suggested that the inclusion of multiple tanka was not always balanced by the "brevity and lightness" of the prose. Do you think these possible criticisms are warranted and that if this was the perception of some editors might it have limited the number of venues receptive to tanka prose of this type?
The tanka and prose elements should balance harmoniously, whether the composition offers one paragraph and one tanka or the complexities of many tanka and many paragraphs. The demand for unity and for subordination of the parts to the whole, however, is not a problem unique to tanka prose; it is an aesthetic consideration, on a smaller scale, of the single tanka and it is a concern of the sonnet and novel as well. Where this balance is wanting, Claire, criticism is justified and I, too, am sensitive to such shortcomings in execution or conception.
You alluded to the possible reservations of various journals with respect to tanka prose. Tanka periodicals, such as Eucalypt, Red Lights, Ribbons and Gusts, are often small format, print-only publications. The mundane practical consideration of space limitations, in such venues, may work against an editor's possible acceptance of tanka prose.
There is also the question of the novelty of this enterprise in English-language practice. Early examples of tanka prose can be found in the '80s and '90s but publication of the same occurred only sporadically. Nor can it be said that much of this early writing commends itself to today's reader; it demonstrates scant cognizance of tanka prose in its classical and medieval Japanese context and therefore the English "translation" loses much. The existence of tanka prose in English was virtually subterranean until its emergence upon a firm footing in 2007; it flew "under the radar" and was invisible not only to many tanka editors but to most practicing tanka poets.
Tanka prose, nevertheless, has an ancient provenance within the tanka genre; it has been present, in one form or another, from the Manyōshū until the present. So the appearance of newness is only that—an appearance. Tanka prose is deeply embedded in tanka's history and shares its aesthetic. The tanka community, therefore, is not without obligation to support tanka prose and neglects it only at its own peril—squandering, thereby, a rich portion of its own inheritance.
CE: In your essay "The Elements of Tanka Prose," the question was posed, does tanka prose suggest prose that is composed in the "spirit of tanka"? 13 From my reading, I have seen the rich diversity of this genre and how the number of tanka and their placement within the piece can influence the overall character and flavour of the prose. For example, in one of your own compositions, "Glass Lake," the opening tanka takes on the role the accompanying prose might often carry, providing a backdrop for the lyrical prose that follows. In many of Patricia Prime's pieces, such as "Wings over Water," we see the use of refrain, the suppression of punctuation and the heightening of lyricism. As tanka poetry has evolved and we have seen the adoption of more minimalist and experimental forms, such as gogyoshi, do you think it is fair to say that the "spirit of tanka" has acquired an air of "anything goes"?
Two temptations beset tanka. The first lies in an appeal to ossified "tradition," in a misinterpretation or falsification of tanka that aims at slavish imitation of Japanese models in subject and form. True tradition, it seems to me, can be deciphered only by serious study of tanka literature and history, by the identification of those vital qualities that transcend generational change as well as by an identification, on the negative side, of capricious trends and stylistic mannerisms. The second temptation arises from a rejection of true tradition as an impediment to artistic freedom and the consequent abandonment of tanka form and aesthetic—license, in other words, or the attitude that "anything goes."
Sanford Goldstein, in his essay "Not Again! Tanka Strings and Sequences," lamented: "The world of tanka is extending beyond its clear definitions . . . . The tendency is to create new worlds in place of an older, more stable order, an increasingly complex world that seems to go along with the complications of modernity. This diffusion includes the writing of . . . short prose pieces with tanka . . . . And so the wayward tanka world continues." 14
Now, I respect Goldstein's work as both tanka poet and translator but his characterization of tanka prose as a modern "diffusion" of an "older, more stable order" and as a reflection of "the wayward tanka world" is curious, if you will forgive my understatement, and flies demonstrably in the face of tanka's history. Sanford did not invent tanka prose when he published his "Tanka Walk" in 1983 nor did I invent tanka prose when I published my essay "The Road Ahead for Tanka in English" in 2007. Tanka prose is as old—or nearly so—as tanka itself.
Look at the Manyōshū only. You will discover numerous examples of eighth century tanka prose sprinkled throughout its pages. One work by Ōtomo no Tabito should be singled out here as an example of the sophistication and artistry of this early tanka prose; it is entitled "An Excursion to Matsura River" and can be readily found in translations of the Manyōshū by Edwin A. Cranston, Ian Hideo Levy and the Nippon Gakujutsu Shinkokai or Japanese Classics Translation Committee. 15 I would like to encourage tanka poets and editors to study it. Tabito's "Excursion" opens with a prose preface that richly describes the chance meeting on the river of an elderly first-person narrator and some provincial maidens; he is so taken by their beauty that he inquires if they are not "immortals," but they, in reply, insist that they are nothing more than "the daughters of fishermen." Allusions to classical Chinese poetry are woven into the flirtatious repartee that completes the prose section. Eleven tanka follow; the first eight continue the dialogue between the narrator and young women that was initiated by the prose preface while a final set of three tanka, in an objective voice, repeats and dwells upon the main motifs of the composition as a whole. Prose and tanka are fully integrated by the many variations played upon the erotic undercurrent of such images as the delicate gem-like fish, the froth of the rapids on the rocks and the wet skirts of the maidens.
CE: In your interview with Ray Rasmussen, "Terra Incognita: The World of Haibun and Tanka Prose," you say "every form has its own tradition, its own set of conventions, and with application, a form and attendant conventions can be learned." 16 Would you say this is true of tanka prose, Jeffrey, or is the genre still—and perhaps destined to remain—in a state of flux?
Tanka prose is one species of prosimetrum; it combines, like other members of that genus, the two modes of writing, prose and verse, but can be distinguished from its fellows by a preference for tanka as its verse component. Tanka prose is constructed upon a building block or basic unit—one paragraph, one tanka—and admits greater complication in structure through compounding of either one or both of these elements. Variation in the number and placement of tanka in relation to the prose is the prime source of its rich formal diversity. That, in brief, is a simple definition of the form of tanka prose.
Broadly speaking, recall that our subject, like the tanka sequence, is a member of the tanka family and therefore operates within the traditions and conventions of that genre as adapted by the English-language tanka community from Japanese models. Some Japanese conventions are applicable to English practice and some are not. Some conventions, too, are victims of history and face extinction due to changes in taste or to the natural evolution of a literary form. A relevant example of this latter circumstance can be cited from the historical development of tanka prose. Common to tanka prose of the classical Japanese period is reliance upon stock explanatory phrases to signal a transition from prose to tanka: "Thus she composed this poem," "He wrote a letter with the following," or "She replied."
Consider this extract from The Tale of Saigyō as translated by Meredith McKinney:
Day and night in his thatched hut he longed for the Buddha's coming. But old friends who did not share his feeling came to see the cherry blossoms, and their talk of old times disturbed his peace of mind. Annoyed, he wrote:
It is
the one sad sin
of the cherry blossom
that people come in such crowds
to see it. 17
Day and night in his thatched hut he longed for the Buddha's coming. But old friends who did not share his feeling came to see the cherry blossoms, and their talk of old times disturbed his peace of mind. Annoyed, he wrote:
It is
the one sad sin
of the cherry blossom
that people come in such crowds
to see it. 17
Here, "Annoyed, he wrote" is a pointer that directs the reader from paragraph to tanka; one can omit this marker without any loss to the total composition and, from the late Heian period forward, poets increasingly do so, abandoning a convention that dominated the earlier tanka prose of the Manyōshū and Tales of Ise. This suppression of the transitional phrase is the norm in modern English practice. Look at Bob Lucky's "Three":
In the village the church bell intones the hour. We arrive just in time to hear the monotonous clanging of noon noon noon noon—like a dotted line dividing morning from the rest of the day. After a long and leisurely lunch, we check into a pensione and go out to explore. The clock strikes three three three. It isinexplicably sad, like a dirge: three three three. Stopping in a café, we have a brandy we don't need, and then several espressos, as we stare at the remainder of the afternoon.
around the steeple
the clamor of bats
gathering dusk
when I touch you
you look at your watch 18
In the village the church bell intones the hour. We arrive just in time to hear the monotonous clanging of noon noon noon noon—like a dotted line dividing morning from the rest of the day. After a long and leisurely lunch, we check into a pensione and go out to explore. The clock strikes three three three. It isinexplicably sad, like a dirge: three three three. Stopping in a café, we have a brandy we don't need, and then several espressos, as we stare at the remainder of the afternoon.
around the steeple
the clamor of bats
gathering dusk
when I touch you
you look at your watch 18
Lucky's work, I believe, shows us how the absence of an overt transitional phrase reflects the tendency, common to modern English practice, of seamless integration of prose and tanka.
CE: In "The Road Ahead for Tanka in English," you describe how early examples of tanka prose in Japanese literature saw the waka enshrined within the prose, an approach which you called the "lapidary style." 19 Do you think in modern English tanka prose the tanka should be capable of autonomy, or with the prose, should it merely serve to contribute to the aesthetic whole?
I'm not unduly concerned about prescribing rules for either compositional element—paragraph or tanka. I strive, instead, to identify and isolate the exemplary tanka prose work for an intimate study of how writing's two modes relate to one another therein. Poetry precedes criticism and, if rules are wanted, prudence requires us to derive our guidelines from an empirical analysis of the best writing that the genre has to offer.
Descriptively, some writers begin with a pre-existing tanka and write prose to its order; some writers compose tanka and prose in one sitting. Some tanka, if extracted from a tanka prose work, might be capable of a meaningful and independent existence; some tanka might not.
Can't we say much the same, however, of the individual tanka that comprise a tanka sequence? Does the reader dwell, in reading the same, on the excellence of one tanka alone? Or is the reader's attention directed by the orchestration of several tanka working in concert toward one end? If the reader, upon finishing the work, is satisfied by the poetic object, is the value of the sequence diminished by a judgment that one tanka can boast of autonomy while another remains a servant to context?
CE: In connection with the previous question, Denis M. Garrison described the "dreaming room" quality of multivalent tanka, i.e., the "empty space inside the poem which the reader can fill with his personal experience, from his unique social context." 20 Jeffrey, do you think the inclusion of prose impinges on the "dreaming room" quality of the tanka within a tanka prose piece, or, conversely, does the tanka devalue the prose?
I view the contemporary example of tanka prose in English as a complete poem in its own right and therefore do not distinguish between this tanka and that prose. I do not set the two modes of writing at odds. If Garrison's concept of "dreaming room" is applicable to our subject, neither paragraph nor tanka can lay exclusive claim to it.
The prose and tanka of a single composition, Claire, mutually influence one another. Many poets write prose "around" a pre-existing tanka. Once they place their tanka in its new prose context, meaning is altered and sometimes radically. The presence of tanka, of course, conditions the prose also, but few commentators, in my experience, have paid attention to that circumstance.
CE: I have been struck by the diversity of subject matter in my reading of tanka prose, from poignant personal accounts of family life from writers such as Bob Lucky, to the lyrical pieces favoured by Michael McClintock, through to the travelogues composed by writers such as Jane Reichhold and Miriam Sagan, or dramatic, historical accounts such as your own chilling "The Trial of Dorothy Talbye, 1638." There is clearly much scope within this versatile genre. Do you envisage any limits to the possible routes it might take?
I share your assessment of tanka prose, Claire, as wide-ranging. Its boundaries, if circumscribed at all, may coincide largely with the breadth, or lack thereof, of the poetic imagination and skill of the form's practitioners. The norm in contemporary practice, to date, has been a composition of modest length that may be most easily characterized as an abbreviated memoir or confessional anecdote, the crystallization of one significant event or experience in the author's life. Departures from that model do not often involve expansion or greater length but, instead, represent a shift away from a focus on the writer's person in favor of a text that is engaged in literary allusion, in ekphrasis or in what, for lack of a precise term, I might call prose poetry.
One noteworthy exception to this observation can be found in the rapid development, in 2008 and 2009, of an English equivalent of the Japanese poem tale—fictions that lie close, in origin, to folklore and children's stories. An inspiration and model for these attempts can be found in the fairytale-like qualities of the ninth century "Tale of the Bamboo Cutter" (Taketori monogatari); they also bear traces of the Brothers Grimm and of the French tales of Charles Perrault and Madame d'Aulnoy. Ingrid Kunschke, in "Thistledown," personifies the wind and, in her brisk opening, establishes a gentle, wistful tone that typifies her contribution to this recent turn in tanka prose:
That night the wind died down.
I've had enough, he said to himself. Who cares anyway? No one does. Not for me, that is. And he lay down to sleep among the thistles at the far end of the meadow. 21
That night the wind died down.
I've had enough, he said to himself. Who cares anyway? No one does. Not for me, that is. And he lay down to sleep among the thistles at the far end of the meadow. 21
Giselle Maya, in "Wild Boars Enchanted," situates the mysterious in the commonplace activities of our daily existence:
As I was painting ochre pigment onto the walls of my little stone cabanon at dusk, I heard some crackling of branches, as though someone were coming to visit. Sometimes Madame Bosio brings me iris roots or comes with her dog to chat a while . . . . 22
As I was painting ochre pigment onto the walls of my little stone cabanon at dusk, I heard some crackling of branches, as though someone were coming to visit. Sometimes Madame Bosio brings me iris roots or comes with her dog to chat a while . . . . 22
This touching, personal revelation of the poet in her garden functions as a prelude to her discovery of a family of wild boars who, magically possessed of the power of speech, plead for refuge. A local hunter later catches sight of the matriarch of this boar clan, is transformed into a boar and pleads with the poet for a kiss to reverse the charm. Such is the world of the poem tale in tanka prose!
To look ahead, however, is often to look behind and, in speculating about new avenues for tanka prose tomorrow, to revisit yesterday. In Japan, there are extended histories and biographies, military chronicles and diaries, travelogues and tales. I see no fixed barrier to the ambition of tanka prose in English, no reason why it cannot parallel or rival its classical ancestor in variety and in scale.
First published in Atlas Poetica, Issue 9, Summer 2011 and reprinted with permission.
1. Jeffrey Woodward, "A Record of Semimaru," Modern English Tanka V2, N2, Winter 2007, p. 174.
2. Jeffrey Woodward, Ed., The Tanka Prose Anthology, Modern English Tanka Press, 2008, p. 10.
3. Laurel Rasplica Rodd, Kokinshū: A Collection of Poems Ancient and Modern, Cheng & Tsui, 1996, pp. 121-143.
4. Ibid., p. 218.
5. Shiki Masaoka, Songs from a Bamboo Village, translated by Sanford Goldstein and Seishi Shinoda. Charles E. Tuttle Co., 1998, p. 247.
6. Ibid., p. 251.
7. Richard Bowring, Murasaki Shikibu, Her Diary and Poetic Memoirs, Princeton University Press, 1985, p. 231.
8. Dru Philippou, "Sloughing Off," Haibun Today V5, N1, March 2011.
9. Jeffrey Woodward, "Prose and Verse in Tandem: Haibun and Tanka Prose," Modern Haibun & Tanka Prose 2, Winter 2009, p. 158, and n. 13, pp. 162-163.
10. Helen Craig McCullough, Classical Japanese Prose: An Anthology, Stanford University Press, 1990, pp. 111-112.
11. Edwin A. Cranston, A Waka Anthology: Volume One The Gem-Glistening Cup, Stanford Univeristy Press, 1993, p. 309.
12. Michael McClintock, "Before Croissants and Coffee," Modern Haibun & Tanka Prose 1, Summer 2009, p. 129.
13. Jeffrey Woodward, "The Elements of Tanka Prose," Modern English Tanka V2, N4, Summer 2008, p. 194.
14. Sanford Goldstein, "Not Again! Tanka Strings and Sequences," Atlas Poetica 5, Spring 2010, p. 65.
15. Cranston, op. cit., pp. 552-554; Ian Hideo Levy, The Ten Thousand Leaves: A Translation of the Manyōshū, Volume One, Princeton University Press, 1981, pp. 371-375; and 1000 Poems from the Manyōshū: The Complete Nippon Gakujutsu Shinkokai Translation, Dover Publications, 2005, pp. 258-259.
16. Ray Rasmussen, "Terra Incognita: The World of Haibun and Tanka Prose," Contemporary Haibun Online V5, N4, December 2009.
17. Meredith McKinney, The Tale of Saigyō, Michigan Papers in Japanese Studies, No. 25, Center for Japanese Studies, University of Michigan Press, 1998, p. 35.
18. Bob Lucky, "Three," in The Tanka Prose Anthology, op. cit., p. 76.
19. Jeffrey Woodward, "The Road Ahead for Tanka in English," Modern English Tanka V2, N2, Winter 2007, p. 181.
20. Denis M. Garrison, "Dreaming Room," Modern English Tanka V1, N3, Spring 2007, p. 4.
21. Ingrid Kunschke, "Thistledown," Modern Haibun & Tanka Prose 1, Summer 2009, p. 71.
22. Giselle Maya, "Wild Boars Enchanted," Haibun Today (Nov. 26, 2008).
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This show was 87th in the global mixlr chart.
Jason Snider and Bob Evans break down each pick of the 1st round of the 2016 NFL Draft LIVE from Scoreboards Sports Grill in Northfield, OH. They are joined by the cast of Total Package and The Quad. This show was produced by Steve Parsons.


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This is one of the blends we use for black espresso based beverages. It is made up of 3 origins, they are:
This is a complex coffee with broad sweetness, bright notes and delicate tones. Mr Black is designed to give the espresso drinker a greater complexity of balanced flavours, while still providing good body and crema. The flavour profile for Mr Black is as follows:


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We are spending on average of about 21 of the 24 hours of the day indoors. Knowing that, it is not surprising that our health is greatly influenced by the quality of indoor air. The swedish innovation company Airwatergreen is a pioneer in the field of humidity control.
Sweden has a long history of working with energy efficiency, and Swedish companies are at the forefront of the energy efficiency sector. One of them is the start-up company Watty, that has developed a sensor that measures how much electricity every gadget uses in the home.
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Festive treats to give as Christmas gifts
Craft festive gifts others will eat, imbibe, appreciate
The holiday season is a time for giving and eating. Choosing a thoughtful gift shouldn't require a nerve-wracking trudge through packed shopping-mall parking lots and endless lines at stores. Instead, look to the taste buds of those on your "Nice" list.
Making tasty bites and liquid refreshments at home may take a little planning and effort, but they add a personal touch straight from your kitchen and they won't burn a hole in your wallet.
Besides, gifting delicious eats and drinks in delightful packaging is an easy way to a loved one's heart — through their stomach.
"This time of year people are focused on food," said Kate-Frost Monroe of San Antonio bakery Kate's Frosting, 2518 N. Main Ave. "This is the time of the year when people are not so concerned with calories. They're really wanting something that tastes good and that's worth the calories."
More Information
With Christmas right around the corner, here are a few ideas to get you into the holiday gift-giving spirit.
For the most part, elaborate meals are the centerpiece to any holiday table. But it's the sweets — cakes, cookies and other sugary treats — that steal the show. So why not give a show-stopping gift that any sweet tooth will love?
Offering a bit of variety is, well, sweet. The book "Holiday Cheer" from the editors of Good Housekeeping, Redbook and Country Living (Hearst Books, $19.95) provides chocolate bark recipes that allow for experimentation with sugary, savory, nutty and fruity flavors. Colorful, candied barks range from chocolate peppermint to pistachio and cranberry white chocolate. If you're pinched for time, these chocolaty bites can be made in a snap. Simply melt the chocolate, spread on a baking sheet, add the desired ingredients and cool. In less than half an hour, it's ready to wrap up and go.
Dress up marshmallows to be more than the white sugar puffs that float in a mug of hot chocolate. The book provides a few recipes that take marshmallows to the next level, incorporating mature flavors such as coffee, lavender and peppermint.
Some cooking time is required, but the gourmet puffs can be assembled in less than an hour. And to show off the pillowy treats, the book suggests wrapping them in glassine wax-papered bags and securing them with a decorative ribbon.
"Pay attention to your packaging," Monroe said. "I know taste is the more important thing, but you can buy cute boxes and ribbon and pick a theme you want to go for. It's always a good idea to put some thought in the presentation of your gift, even if you're baking at home."
It's hard to believe, but not everyone has a sweet tooth. For those recipients, offer snacks that appeal to the savory side.
Beer cheese can be a winner for those on your list who will watch every sporting event televised during the Christmas break. Usually those people will have a variety of suds ready to go, and a cheesy dip with some zing can make for a satisfying pairing. Try the pimento beer cheese from "Pimento Cheese: The Cook Book" by Perre Coleman Magness (St. Martin's Griffin, $21.99), which brings spicy elements to this tailgate fare that can be used as a dip with pretzels and apples or as a spread on burgers.
The book recommends serving it with a light lager such as pilsner. For a beer with deeper flavors, try pairing the cheese with a fruity saison or roasty stout.
Another route to take is to make something that brings out the creative side in the person who's receiving the gift. Flavored salts stock a home cook's spice rack. "Holiday Cheer" lays out half a dozen salt recipes that'll provide flavorful nuances with ingredients such as porcini mushrooms, curry, smoke paprika and herbs de Provence. The book's recipes make more than enough of each flavored salt to divvy up among a few people. Plus, they take mere minutes to blend.
The holiday season brings with it cooler temperatures. What better way to get toasty than with a hot beverage or concoction with an alcoholic kick.
Let's be honest: Sometimes adults need a drink that has a bit more bite. You could sift through the shelves of spirits, wine and beer at the liquor store for a boozy gift, or instead, take a nice bottle of liquor and infuse it with seasonal flavors for a holiday hooch, suggests Don Marsh, owner and operator of Bar 1919, 1420 S. Alamo St.
Around Christmas time, he whips up batches of Irish whiskey infused with sweet potato and cinnamon. From start to finish, the infusion takes about four days.
The sweet potato and cinnamon with the marshmallow tones from the whiskey will create a mixture that Marsh calls liquid sweet potato pie. It can be served as a shot or on the rocks. Some other infusions Marsh recommends are allspice and rye whiskey, or gin and citrus peel.
"Just think of the seasons and what's going on around," Marsh said. "How much better is it to make something yourself than just picking up a bottle of liquor at the store?"
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Three radical environmentalists look to execute the protest of their lives: the explosion of a hydroelectric dam.
Josh and Dena, two young environmental activists, are planning a large scale act to force the world to think about what they're doing to the environment. They pull in Harmon, a man with a sketchy past, to help them pull off their big plan. However, unforeseen consequences bring a whole host of guilt, paranoia and other problems, and their ultimate act will change themselves more than the world around them. Written by Anne Campbell
Cast: Jesse Eisenberg, Dakota Fanning, Peter Sarsgaard, Alia Shawkat, Logan Miller, Kai Lennox, Katherine Waterston, James Le Gros, Traber Burns, Autumn Nidalmia, Barry Del Sherman, Jason Rojas, Clara Mamet, Mikey Kampmann, Matt Malloy
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Brident Dental & Orthodontics is not the typical cookie-cutter dental practice. It provides a full range of services to its patients that differentiates it from the typical San Antonio dental practice.
Brident Dental has 30 offices throughout Texas and is an affiliate of Western Dental, one of the nations leaders in accessible, affordable oral healthcare and the leading orthodontics provider in the country.
There are eight Brident Dental offices in the San Antonio region and they all operate under the same premise: providing a complete Dental Home for its growing number of patients.
Brident Dental is a little different than the regular dental practice thats around the corner, Edwin Rivera, Vice President of Community Marketing and Strategic Alliances. We serve as a Dental Home for families throughout San Antonio by offering adults and children a full range of dental services, including general dentistry, hygiene, pediatric dentistry, orthodontics, and oral surgery. Brident Dental takes tremendous pride in taking care of all our patients, from kids to grandparents. Were a one-stop shop.
The services dont stop with a patients oral health. Brident Dental also is extremely cognizant of the financial burden that dental care sometimes requires.
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Were very unique on the financial side as well, Rivera explained. Brident Dental has its own financing and we set up payment plans that really help people from a financial standpoint. We want to help out all patients, especially the underserved.
In addition to accepting uninsured and privately insured patients, Brident Dental welcomes patients covered by the Medicaid dental program and CHIP (Childrens Medicaid) in San Antonio and all of its Texas offices.
The eight Brident Dental offices in San Antonio are located at:
- 7970 Fredericksburg Road, Suite 105, (210 248-0381)
- 6700 S Flores Street, Suite 101, (210 460-7860)
- 8803 Texas 15, Suite 106 (210 305-5895)
- 10630 Culebra Road (210 202-3165)
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- 7334 San Pedro Ave., (210 625-4724)
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For more information on Brident Dental, please visit www.brident.com.
Brident Dental & Orthodontics, with eight offices in San Antonio and 30 offices throughout Texas, is an affiliate of Western Dental, one of the nations largest dental providers and the leader in accessible, affordable oral healthcare, serving approximately 2.4 million patient visits annually in 249 affiliated offices throughout California, Arizona, Nevada, and Texas. In addition to general dentistry, Brident offers orthodontics, oral surgery, pediatric dentistry, periodontics and endodontics in its offices, creating a convenient full service Dental Home.
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Western Dental
Jeffrey Weidel
Office: 916-781-0616
[email protected]