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A Lot of INNOVATIONS and CHANGES in the game "DYNASTY WARRIORS 6"
I think the "Dynasty Warriors" series is one of the interesting series. Although "KOEI" in the game for years no major changes and innovations made, it still makes for a lot of fans are still very fun.
It is true that "KOEI" since "Dynasty Warriors 3" no major changes made. One of the reasons is because it is very difficult for the game "Dynasty Warriors" to make many changes. Because in the game the battle on a big card takes place, and where hundreds of thousands of opponents on the field, and because it is difficult, all in real-time display, even with a live report card and protocol. Because everything happens in real time. And also, there is at "Dynasty Warriors" about 40 playable characters, and everyone has a different weapon and various attack-, fight- and Musou-movements (techniques). It is even very difficult to have a game to produce that have all these properties.
Therefore, it is very difficult for years been major changes and improvements to make. There was always only small changes and small changes. Some fans wanted so, but some not.
But, this time the game "Dynasty Warriors 6" is different. At "DYNASTY WARRIORS 6" has been very many changes and innovations. Both of her graphics, as well as from her scenario, as well as the characters ... Etc. .. "KOEI" now all of the changes and improvements made, which have been years could not do.
Now I come to the innovations and changes in the "Dynasty Warriors 6". I have played the "Japanese-Version" of the game "Dynasty Warriors 6", aka "SHIN SANGOKU MUSOU 5". I have played the game total about 10 to 15 hours. I have played alone and Coop (2 Player).
"Dynasty Warriors 6" is a mix of "Action", "Real-Time Strategy", "Beat'em up" and "Hack&Slay".
There are a total of 41 playable characters. Of these, 9 have at the beginning of the game. The other 32 playable characters you must unlock.
"The POSITIVES":
+ The characters all have a *new outfit* (new look) and *new costumes*.
+ The characters all have *new weapons*.
+ The characters all have *new attack* and *new fight techniques*. The characters have acrobatic and elegant attacks.
+ There are 3 elements for weapons: Fire, Ice, Lightning.
+ There are 32 unlock characters.
+ You can either play alone, but also Coop (2-Player).
+ At the game must be broken the normal doors with sword. And the big doors must be broken (prepared) with batterings ram attack and catapults. (in real-time)
+ The characters can now *swim* and even on *horseback swimming*. (in real-time).
+ Now you can *ride boats* and you can *climb ladders*. (in real-time).
+ At the game, there are also a lot of *strategy* elements. (in real-time).
+ Especially these characters have very good new weapons and very very good new fighting techniques = For example, "Liu Bei", "Xiahou Dun", "Zhao Yun", "Lu Bu", "Zhou Yu", "Sima Yi", "Yue Ying", "Zhen Ji", "Lu Xun" and "Zhuge Liang".
+ And you can make infinitely long *COMBOS*. On the screen is a "combo" counter.
+ And there's the new, for the characters different for each specific *"RENBU SYSTEM"*. The system is different for each character. The system comes with the character development and meet with certain orders always evolving, so that new Fighting techniques appear, and allows the character very long attacks and combos. This is a great innovation.
+ The scenario and development system is now different.
+ In the story mode, the characters can go different paths.
+ During the game, there are many *Cutscenes*.
+ *Huge* and *very extensive* battlefields.
+ At the game you have high *long-term motivation*.
+ Action-game with *high fun factor*.
+ There is also the new *"CHALLENGE MODE"*.
+ There are many different and varied opponents varieties.
+ The *control*, *gameplay* and *camera work* is very good. The *controls* are very fluid. The characters are now much more agile and have multi skills.
+ With the left stick to move the character. With the right stick can rotate the camera, and the camera can even move up and down, so get to the top and look down.
+ And most importantly, the *graphics* are now very good, detailed graphics. You can see the opponents very far. You can see all and the enemys of far away. (720p HDTV, 60 frames per second (fps), Dolby Digital audio).
- The only thing you could describe as negative is that the opponents almost only exclusively from *humans*. The opponents are almost all "humans" in different clothes (varieties), and with various weapons. (But there are many different and varied humans varieties.) (Sometimes the tigers and wolves attacks the character.)
I think "KOEI" has done it this time, the game in the "NEXT-GEN" to convert. And it has finally managed to very many different changes and innovations. This is a very good interesting game was what the fans liked very determined.
In the *"Coop-Mode"*, there are more effects at the combination "Musou-attack" and there are more fun.
Especially important for me is that the characters can now *swim*, *ride boats* and *climb ladders*. Because these properties needs a mass battle game. That brings variety.
Another important point is that this infinitely long *"combos"* can take. This too is important. Because it's really fun when you see on the screen how many combos you did.
And most recently, the new *"Renbu System"*. The system is very new and very interesting. Thanks to this system, you can also very long combos. At the beginning of the game is the "Renbu system" has not developed. But, the more you battles done, and the more the tasks done and special tasks done, the more developed the "Renbu system." Then you can do in the battles for a long time various attacks and combos.
RATING: 8.9/10 (89 points)
Graphics: 9.0
The graphics are now very good, detailed graphics, Next-Gen. You can see the opponents very far. You can see all and the enemys of far away. ( 720p HDTV, 60 frames per second (fps) )
Gameplay: 8.9
The "control", "gameplay" and "camera work" is very good. The "controls" are very fluid. The characters are now much more agile and have multi skills. With the right stick you can rotate the camera. There are 3 Modes...
Sound: 8.8
This time the game have very good sound quality. "Dolby Digital audio".
Fun Factor: 9.1
The game is very fun when you play. Both alone, as well as Coop (2-Player). There are very much unlockables, unlock Characters. A lot of interesting skills.
The game has a high motivation for the *long-term-playing*.
Action-game with *high fun factor*.

subset: commoncrawl


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Orchestration2 Flutes (2nd db.Piccolo), 2 Oboes, 2 Clarinets in Bb, 2 Bassoons2 Horns in F, 2 Trumpets in Bb, 3 Trombones, Tuba, Timpani, Percussion (4 players: Snare drum, Cymbals, Tambourine, Triangle, Bass Drum, Whip, Whistle, Guiro, Mark Tree (or Wind Chimes), Glockenspiel, Xylophone)Strings (Violin 1, Violin 2, Viola, Cello, Bass)Scott Joplin (18671917) was an American composer and pianist. He achieved fame for his unique ragtime compositions, and was dubbed the "King of Ragtime." During his brief career, Joplin wrote 44 original ragtime pieces, one ragtime ballet, and two operas. One of his first pieces, the "Maple Leaf Rag", became ragtime's first and most influential hit, and has been recognized as the archetypal rag.Here then is the "Maple Leaf Rag" and his "Ragtime Dance" in a splendid orchestration by Peter Lawson. Although the original notation of "Maple Leaf Rag" shows it as a straight quaver feel in 2/4 time, Joplin himself played it in a swing style, so this orchestration is in 2/2 time with a triplet syncopated feel in an attempt to get it closer to the style he had in mind. The "Ragtime Dance", in contrast, is a straight "Stop Time Two Step".Duration 7 minutesA PACK comprises an A4 sized full score plus a complete set of parts including strings 4/4/3/4/2.
Click the play button below to hear a performance which has been computer-generated from the score.
Edinburgh Suite Flute 2
by Tom Cunningham
Carol Symphony Violin 2
by Victor Hely-Hutchinson
Bethlehem Down (arr.Lane) Bass
by Peter Warlock


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Valerie Langer
ForestEthics, Director of British Columbia Forest Campaigns
Vancouver, Canada
Valerie is primarily engaged in implementation of ecosystem-based management in the Great Bear Rainforest, 6.4 million hectares/15 million acres of temperate rainforest on the west [...]
Trista Patterson
USFS Pacific North West Research Station, Ecological Economist
Sitka, Alaska
In her role as Ecological Economist with the US Forest Service, Trista has been a key player in mainstreaming the concept of ecosystem services in [...]
Sally McGee
The Nature Conservancy, Northeast Marine Program Director and Shellfish Growers Climate Coalition Project Manager
Mystic, Connecticut
Sally has in-depth knowledge and expertise in oceans, fisheries, aquaculture, and marine policy. Currently, she is the Northeast Marine Program Director for The Nature Conservancy, [...]
Michelle Erickson
Erickson Strategies, Principal
New York City, New York
Michelle is a thought leader working at the intersection of sustainability, technology, and innovation. She speaks regularly at industry conferences and is frequently interviewed by [...]
Lena Hansen
Rocky Mountain Institute, Principal, Electricity Practice
Boulder, Colorado
Lena is a Principal with Rocky Mountain Institute's electricity practice, where she specializes in energy and carbon strategy as well as design innovation for electric [...]
Julia Novy-Hildesley
Independent, Entrepreneur
Portland, Oregon
Julia's past and current work is unified by the theme of forging multi-stakeholder partnerships to test new models and extend proven approaches to unleashing innovation [...]
Josephine Brennan
Sustainable Value Creation Ltd., Founding Director
East Twickenham, United Kingdom
Josephine is a Sustainable Business Consultant and Executive Coach with 15 years senior level experience across renewable energy, cleantech project and sector development, top tier [...]
Evelyn Arce
International Funders for Indigenous Peoples (IFIP), Executive Director
Mill Valley, California
For almost 10 years, Evelyn has been working for International Funders for Indigenous Peoples (IFIP), where she currently serves as its Executive Director. IFIP is [...]
Ellen Wolfe
Resero Consulting, Vice President
Granite Bay, California
Ellen is a Vice President of Resero and focuses on electric utility restructuring activities. She works with electrical system operators, policy makers, regulators and market [...]
Dana Lanza
Confluence Philanthropy, CEO
Pound Ridge, New York
Dana launched Confluence Philanthropy in August of 2009 after serving as the Executive Director of the Environmental Grantmakers Association (EGA). While at EGA, Dana provided [...]
Christine Negra
EcoAgricultural Partners, Director of Research
New York City, New York
Dr. Christine Negra is an experienced scientist with a strong and dynamic track record of linking science with policy in the areas of climate change, [...]
Brooke Simler Smith
Communication Partnership for Science and the Sea (COMPASS), Executive Director
Corvallis, Oregon
At COMPASS (Communication Partnership for Science and the Sea), Brooke has helped build a non-traditional bridging organization that connects ocean scientists and science to the media, [...]
Andrea Athanas
African Wildlife Foundation, Program Design Manager – Agriculture and Energy
Arusha, Tanzania
Andrea is a Program Design Manager – Agriculture and Energy with the African Wildlife Foundation. Her ambition is to find pathways for societies to transition [...]
Abigail Corso
CNT Energy, Senior Energy Efficiency Consultant
Chicago, Illinois
Abby is Senior Energy Efficiency Consultant at CNT Energy, a leading think-tank focused on urban sustainability, defined as "…the more effective use of existing resources and [...]
Kathy Tibbits
Cherokee Nation, Strategy Group
Stilwell, Oklahoma
Kathy has worked as a planner, organizer, and policy analyst for ten years with Cherokee Nation, with a focus on sovereignty and sustainable self-governance. Today she [...]
Mark Spalding
The Ocean Foundation, President
Washington, DC
As President, Mark brings his extensive experience with the legal and policy aspects of ocean conservation to The Ocean Foundations' grantmaking strategy and evaluation process. [...]
Dayna Baumeister
Biomimicry 3.8, Keystone and Co-Founder
Helena, Montana
With a background in biology and applied natural history, and a passion for sharing the wonders of nature with others, Dayna has worked in the [...]
Jennifer Fletcher
Trust for Public Land, Program Director
Minneapolis, Minnesota
Jenna leads the open space/greenways collaborative, "Embrace Open Space," that brings together local officials, staff, soil and watershed district leaders, non-profits, agency staff and environmental [...]
Natalie Starr
DSM Environmental Services, Inc., Principal
Windsor, Vermont
Natalie has nearly twenty five years of experience in solid waste management, recycling and resource recovery, and energy consulting including twenty years with DSM Environmental [...]
Tse-Sung Wu
Genentech, Senior Portfolio Manager, South San Francisco Production
South San Francisco, California
Tse-Sung has a longstanding interest in helping corporations reduce their ecological footprint by improving decision making and promoting innovation to minimize or eliminate environmental impact. [...]
Anna Jones-Crabtree
US Forest Service, RegionalOperations Coordinator, Rocky Mountain and Northern Regions
Helena, Montana
As the Forest Service's first Sustainable Operations Coordinator, Anna provides both regional and national leadership for the Rocky Mountain and Northern Regions. She works to [...]
Christina Page
Yahoo! Inc., Global Director, Energy and Sustainability Strategy
San Francisco, California
Chris is responsible for overseeing Yahoo!'s climate program, efficiency and clean tech initiatives, and providing technical support to the company's all-volunteer Green Team, an employee [...]
John Mlade
YR&G, Senior Sustainability Manager
Chicago, Illinois
John has over 12 years of experience as a specialist in sustainable building design, construction, facility operations, and management of strategic sustainability initiatives. His skills [...]
Matt Roman
Visteon Corporation, Environmental Health and Safety Affairs Manager
Beverly Hills, Michigan
Matt's role is to design and implement the corporate environmental strategy for both products and manufacturing processes at Visteon, an automotive manufacturing company. In this [...]
Jed Davis
Cabot Creamery Co-operative, Director of Sustainability
Waitsfield, Vermont
Jed has been involved in dairy agriculture and cooperatives his whole life. Raised on a seven-generation family dairy farm in Central Massachusetts, he moved to [...]
Laura Freeman
Mt. Folly Farm, Farmer and Entrepreneur
Winchester, Kentucky and Vineyard Haven, Massachusetts
Laura is involved daily with Mt. Folly Farm in Kentucky. On her 150 acres, her goal is to sequester carbon in the soil, moving away [...]
Jennifer Mayer
Ernst and Young Infrastructure Advisors, Senior Vice President
San Francisco, California
After nearly 17 years at the Federal Highway Administration, Jennifer has taken on the role of Senior Vice President with Ernst and Young Infrastructure Advisors. [...]
Agnieszka Rawa
Environmental Resources Management, Inc., Former Senior Project Manager and Sustainable Development Specialist
Washington, DC
Agnieszka is an environmental consultant with over 14 years of experience working for private companies and public organizations evaluating and mitigating factors affecting social and [...]
Lynn Stoddard
Institute for Sustainable Energy at Eastern Connecticut State University, Executive Director
Willimantic, Connecticut
Lynn is the Executive Director of the Institute for Sustainable Energy at Eastern Connecticut State University. Under Lynn's leadership, the Institute spearheaded and administers Sustainable CT, a voluntary [...]
Tim Brown
Tradewater, LLC, President
Chicago, Illinois
Tim is president of Tradewater, LLC, which creates, develops, and implements high value projects that reduce greenhouse gas emissions. Their projects result in quantifiable and [...]


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Needless to say there are some new polls out this morning. I'm sure more of them than I've seen, but the ones I've seen have Obama up comfortably in Ohio and two points in Florida (that's by one outfit), while another has Romney up six in Florida. I'm not providing links, as you people should not obsess over these things.
Conservatives seem to be excited about that last Florida poll. But hasn't anyone told them that Florida doesn't matter? Sure, Obama would like to win it. But it's not part of the formula. The four states that matter right now are Ohio, Virginia, Colorado, and Iowa.
Let's assume for the moment that Obama wins Pennsylvania, Wisconsin, and Michigan. I know some of you will dispute that scenario, but most polls, nearly all of them that I've seen, have Obama ahead in those states, and many of these polls are outside the margin of error. So if he wins those and all the presumed Democratic states, that takes him to 247.
Then I put Nevada and New Hampshire in sort of their own category. Nevada is actually looking about baked for Obama--five to seven points. But there is a large LDS population, so who knows. New Hampshire is closer. They combine to 10 electoral votes, six and four respectively, with the six leaning strongly toward Obama.
If he gets all those, he's at 253—just 17 short. So Ohio alone would put him at 271. Or, if he loses Nevada, he is still at 247, needing just 23 EVs. In that case, Ohio plus any one of the other three gets him past 270.
Now let's look at Romney. Give him all the presumed Republican states and throw in North Carolina, and he's at 206. In other words, if you stack up each candidate's automatic and leaner states, Obama has an electoral vote advantage of at least 31 votes—and, counting Nevada as a blue state, 37 votes. Plus, Obama is just 23 or 17 votes away from Valhalla, while Romney is 64.
That means Obama can easily afford to lose Florida's 29 votes, while Romney surely cannot. The only states really worth paying close attention to at this point are the four I named above. Romney needs to run the table on all of them, or something very close to that. But Florida isn't one Obama supporters even need to sweat very much.
Today, I'll be sweating my drives and my short game, and later, whether the West Virginia University pass defense can stop looking like Pop Warner players, and not pay attention to any of this.


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China has overtaken the United States as Australia's biggest "knowledge partner" for the first time.
A Universities Australia study of the links institutions here have with those overseas found the connections with China have increased by 72 per cent since 2003.
With 885 university agreements with Chinese institutions now, that country overtook the US (with 876 links) as Australia's leading partner.
The study found Australian universities continued to strongly pursue partnerships around the globe, with a 28 per cent jump in formal agreements since 2008.
The survey looked at academic or research collaborations, student and staff exchanges, and overseas study programs.
It found Australian institutions had 7123 of those links with counterparts in more than 100 other countries.
In China, almost nine in 10 agreements included academic or research collaborations.
Almost half included staff exchanges while a quarter incorporated student exchanges.
"These figures show that Australian universities are leading the way when it comes to capitalising on the opportunities of the Asian century," Universities Australia chief executive Belinda Robinson said on Monday.
"The Asian Century White Paper called for universities to have at least one major partner in Asia - this report shows that we remain ahead of the pack with over 2800 agreements in place."
Tertiary Education Minister Chris Evans said it was an impressive achievement of which Australian universities should be proud.
"China has been Australia's largest trading partner since 2009 and this year became Australia's most significant knowledge partner," he told the Australia-China University Leaders' Forum on Canberra on Monday.
He said the government's next priority was to further higher education partnerships in China, including encouraging more two-way flow of students between the countries.


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Elvis Costello & The Attractions
- Elvis Costello
- Steve Nieve
- Bruce Thomas
- Pete Thomas
Elvis Costello took the literacy of folk music and broke it wide open against the ragged edges of punk.
He was one of the best and most consistent songwriters of his generation, but he never used that as an excuse to get repetitive—Elvis Costello has experimented with everything from punk to opera.
Elvis Costello's remarkable career spontaneously kicked into gear in 1976.
According to a record-company bio, "An unknown and unannounced Elvis Costello walks into the offices of Stiff Records, strikes up an instant rapport with Stiff's then-supremo Jake Riviera, and is signed immediately." Thus began a career in song that has been almost unmatched in its reach—from furious, biting punk-era nuggets to art-minded collaborations with an opera singer and string quartet—and consistency. Costello has been called "the finest songwriter of his generation," and he ranks among the most prolific, too.
Born Declan Patrick McManus, Costello had the audacity to adopt "Elvis" as a stage name (at manager Riviera's suggestion) and the talent to live up to such a scandalous appropriation. Greil Marcus profiled him in 1982: "He combined the brains of Randy Newman and the implacability of Bob Dylan, the everyman pathos of Buddy Holly and the uniqueness of John Lennon." Indeed, every one of those figures exerted some degree of influence upon the broad-minded Costello. His father, Ross McManus, was a jazz vocalist and trumpeter who had sung with Joe Loss ("the British Glenn Miller"). Costello grew up listening to the Beatles, the Kinks, the Who and Motown artists. At the dawn of the punk era, Costello worked as a computer programmer ("I was operating an IBM 360 in an office next to a lipstick factory") while playing pub-rock—a mélange of rock and roll, rhythm & blues, and country music—on the side.
He had begun writing his own material and was endeavoring to develop an original style. The first wave of punk records by the Sex Pistols, the Clash and the Damned helped sharpen his sensibility, and his debut single ("Less Than Zero") reflected an anti-fascistic, angry-young-man outlook. Its chorus—"Everything means less than zero"—resonated with the punk nihilism of the Sex Pistols' "God Save the Queen" ("No future for you") and Richard Hell ("I belong to the blank generation"). However, Costello's musical outlook hardly made him a card-carrying punk, and his debut album, 1977's My Aim Is True (recorded with members of the somewhat mellow American band Clover) ranged from the ballad "Alison" (later covered by Linda Ronstadt) to the affable, chugging pub-rock of "(The Angels Wanna Wear My) Red Shoes." My Aim Is True was produced, as were Costello's next four albums, by Nick Lowe, late of British pub-rock mainstays Brinsley Schwarz and an estimable solo artist in his own right.
In June 1977 Costello's outlook and sound toughened considerably when he recruited the Attractions: keyboardist Steve Nieve (born Steve Nason), bassist Bruce Thomas and drummer Pete Thomas (no relation). His persona would be henceforth described with such adjectives as "coiled" and "angry." He would, in a rare early interview, allow that his principal songwriting motivations were "revenge and guilt." Costello's fourth single, "Watching the Detectives," was edgier than anything on the British version of My Aim Is True. It was appended to the American edition of the album, which appeared late in 1977. Following the Live Stiffs tour, which also introduced British audiences to Stiff Records rockers Lowe, Ian Dury and Wreckless Eric, Costello and the Attractions worked their way across America in November 1977, generating media attention and controversy. In his early-1978 appearance on Saturday Night Live, Costello spontaneously substituted "Radio Radio," a venomous attack upon the co-optation of commercial radio, for the song he had been scheduled to play. Costello suddenly found himself on the covers of British music magazines, and My Aim Is True won Rolling Stone's Critics Poll for best album of 1977. He was, in his words, "an overnight success after seven years."
Costello's second release, This Year's Model (1978), was the first of many with the Attractions. It also kicked open the door that My Aim Is True set ajar. A more hard-hitting disc driven by Costello's articulate fury and the Attractions' well-tempered garage-rock approach—particularly Nieve's Vox Continental organ—it included such seminal tracks as "Pump It Up," "(I Don't Want to Go To) Chelsea." "This Year's Girl," "Lipstick Vogue" and (on American copies) "Radio Radio." This Year's Model became one of the defining albums of the late 1970s, virtually forcing music fans to declare for or against the uncompromising wave of bands emanating from Britain. Costello and the Attractions followed it with Armed Forces (1979), whose sardonic, biting broadsides were written while touring America. ("Every shop front or nightclub seemed like the line from a song," Costello has written. "In some cases, that was just what they became.") The working album title was Emotional Fascism, and true to that discarded title, Armed Forces was a highly charged set that blurred personal and political issues so that both seemed fatally entangled. Addressing the troubles in Ireland, Costello based Armed Forces' central track, "Oliver's Army," on the premise that "they always get a working-class boy to do the killing." It became Costello's biggest hit to date, reaching Number Two and selling more than half a million copies in the U.K. The American version of Armed Forces concluded with the anthemic "(What's So Funny 'Bout) Peace, Love and Understanding," a fiercely impassioned rendition of a gently ironic anti-war song by Nick Lowe.
The conflict inherent in Costello's songwriting manifested in reality when he made a regrettable offhand remark about Ray Charles as a way of outraging some American musicians with whom he was drunkenly feuding at a hotel bar during the 1979 Armed Forces tour. Abashed by the ensuing controversy, Costello—an R&B fanatic who had steadfastly agitated against racism in song and deed—publicly apologized and privately reconsidered the image that had formed around him, exacerbated by the rigors of constant touring. He titled his next album Get Happy!! (1980) and filled it with twenty pithy, soul-inspired nuggets, including the leadoff cut and first single, a remake of Sam and Dave's "I Can't Stand Up for Falling Down." In Britain Costello's fourth album came out on his third label: F-Beat, which followed stints at Stiff and Radar. In America all four albums appeared on Columbia, where he would remain through the 1980s.
Taking Liberties, also issued in 1980, collected a raft of rarities and B sides. The British version was entitled Ten Bloody Marys & Ten How's Your Fathers. It was followed by Trust (1981), the fifth consecutive studio album produced by Nick Lowe and fourth with the Attractions, who executed some fine ensemble playing on Costello's most mature album to date. That same year, Costello also released Almost Blue, an album of favorite country tunes cut with legendary Nashville producer Billy Sherrill. After this labor of love for a form of music one might not immediately associate with Costello, he embarked on the hugely ambitious Imperial Bedroom (1982). Produced by former Beatles engineer Geoff Emerick during a three-month period, it has been described by Costello as "the album on which the Attractions and I granted ourselves the sort of scope that we imagined the Beatles had enjoyed in the mid-'60s." To the hype-wary Costello's consternation, the word "masterpiece" appeared in the ad campaign for and many reviews of Imperial Bedroom. Yet it was a masterpiece. Costello's switch from guitar to piano as his main composing instrument could be detected in the more ornate arrangements of "Man Out of Time," "Town Cryer," "Shabby Doll" and "The Long Honeymoon." The song "Almost Blue"—an Imperial Bedroom original unrelated to Costello's previous country album—was later covered by jazz trumpeter and vocalist Chet Baker, who had inspired its composition.
The tirelessly productive Costello and the Attractions kept up the pace with the more accessible and poppier Punch the Clock (1983), which yielded their first bonafide American hit, "Everyday I Write the Book" (Number Thirty-Six). Costello did, however, sound somewhat overdrawn on Goodbye Cruel World (1984), his first album to receive mixed reviews. Nonetheless, it contained its share of sterling tracks, including "Peace in Our Time" and "I Wanna Be Loved." Having cut ten albums in seven years, touring the world all the while, Costello somehow also found time to produce albums by the Specials (The Specials, 1979), Squeeze (East Side Story, 1981) and the Pogues (Rum, Sodomy and the Lash, 1985). The release of The Best of Elvis Costello and the Attractions, a hit-filled overview, marked time while he caught his breath at mid-decade.
Soon enough, Costello was furiously busy again, releasing two albums—King of America and Blood and Chocolate—in 1986. King of America was the first album since My Aim Is True not to have been recorded with the Attractions. Produced by T-Bone Burnett, it was cut with American musicians, including guitarist James Burton and bassist Jerry Scheff (both longtime Elvis Presley sidemen). By contrast to King of America's careful assembly, Blood and Chocolate was ripped out in short order by Costello and the Attractions. An ambitious, theatrical world tour ("Costello Sings Again") found Costello backed both by the Confederates (his American band) and the Attractions. Onstage sat the "Spectacular Spinning Songbook," a gaudy, game show–style wheel with concert selections determined by audience members' spins. Costello thereafter parted ways with the Attractions and Columbia Records, his American label, signing with Warner Bros.
Truly a solo artist for the first time since 1976, Costello thereafter worked at a more deliberate pace, issuing Spike in 1989 and Mighty Like a Rose two years later. Recorded in London, New Orleans and Hollywood, Spike's dark, topical songs and dense arrangements were, by Costello's own admission, "rather odd," though the inclusion of "Veronica," a poppy collaboration with Paul McCartney, helped make it Costello's best-selling album to date. Guest artists included Roger McGuinn (formerly of the Byrds), Chrissie Hynde (the Pretenders) and Allen Toussaint. Of Mighty Like a Rose, Costello has written: "Many of my early records have been described as being 'angry'...However, if you really want to hear an angry record, then this disc is for you." Indeed, it reflects Costello's grim world view with customary insight and honesty.
Costello completely broke with context by recording 1993's conceptual The Juliet Letters, a series of pieces based on letters to Shakespeare's fictional heroine, with the classical Brodsky Quartet. At the other extreme, Costello wrote an entire album's worth of rock-oriented material, Now Ain't the Time for Your Tears, for pop singer Wendy James, late of Transvision Vamp. That same year, the U.S. based Rykodisc, in concert with the U.K. label Demon Records (co-owned by Elvis Costello and longtime manager Jake Riviera), began a comprehensive two-year reissue of Costello's 1977-1986 albums in expanded editions.
Costello reunited with the Attractions (and Nick Lowe, who played bass on some songs) for 1994's Brutal Youth. It was an aggressive, high-energy return to classic form that included, among many harder-edged items, the nostalgia-tinged "London's Brilliant Parade." Much as Bruce Springsteen rediscovered his "rock and roll voice" on 2002's The Rising, Costello did the same on 1994's Brutal Youth. That same year, Costello served as artistic director of the nine-day, London-based Meltdown Festival, whose eclectic billing provided him with collaborative ventures for years to come.
Another album with the Attractions, All This Useless Beauty, appeared in 1996. It was a more downbeat, ballad-based outing with a lower-key approach that favored Costello's voice and Steve Nieve's piano. Costello recorded 2002's When I Was Cruel with two Attractions (Nieve and Pete Thomas) and bassist Davey Faragher, dubbing the trio "the Imposters." In the midst of these periodic returns to rock, Costello also covered favorite songs from 1930 to 1970 (Kojak Variety, 1995) and kicked off a new label deal with 1998's Painted from Memory, a collaboration with songwriter Burt Bacharach. Costello's contract with PolyGram gave him the right to release albums in any genre—even classical, which wasn't so far-fetched since Costello had already written pieces performed by the London Philharmonic and the Academy of St. Martin-in-the-Field. 2001 saw the release of Anne Sofie von Otter Meets Elvis Costello: For the Stars, a daring collaboration with the renowned Swedish mezzo-soprano. In August 2001, Warner Bros./Rhino began a massive reissue program of Costello's work. Original albums have been expanded with an additional disc of B sides, live cuts and rarities, underscoring just how prolific Elvis Costello has been during the last quarter century.
Inductees: Elvis Costello (vocals, guitar; born August 25, 1954), Steve Nieve (keyboards; born February 19, 1960), Bruce Thomas (bass; born August 14, 1948), Pete Thomas (drums; born August 9, 1954)


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Ask John
Chris Ashton's scoring record, Gareth Edwards' replacements and Welsh fly-halves wearing No.10
John Griffiths
February 28, 2011
Jerry Guscott scored a hat-trick on debut against Romania in 1989 to set him on his way to nine England tries in seven Tests © Getty Images
Welcome to the latest edition of Ask John where renowned rugby historian John Griffiths will answer any rugby-related query you have!
So, if there's something you've always wanted to know about the game we love but didn't know who to ask, or you think you can stump our expert - then get involved by sending us a question.
In this edition John answers questions on Chris Ashton's scoring record, Gareth Edwards' replacements, the 1961 French reunion and Welsh fly-halves wearing No.10.
With his foursome against Italy Chris Ashton reached nine tries for England in only nine Tests. How many Englishmen have reached that milestone in fewer games? Steve Ridge, England
Ashton is the quickest to reach this mark in terms of time, reflecting the fact that nowadays matches take place more frequently, but stands joint-third (with England team-mate, Mark Cueto) on a list which takes matches played into account.
Fastest to reach nine Test tries for England:
Chris Ashton, 329 days: 20/3/2010-12/02/2011
Fewest Tests to reach nine tries for England
Jerry Guscott, seven Tests, in 1990
How many times did Gareth Edwards have to be replaced during his Test career? Peter Jones, Wales
The former Wales scrum-half started 53 successive Tests for his country between 1967 and 1978 and required substitution for injury only twice. At Twickenham in 1970 he had to go off when Wales were trailing 13-6 against England. Ray "Chico" Hopkins of Maesteg was the sub and played a blinder, feeding JPR Williams for a try and scoring an important one himself to turn the game. Wales eventually won 17-13.
It is worth noting that that Hopkins' try was awarded by a substitute referee. Robert Calmet of France had to withdraw with a leg injury at half-time and was replaced by RF "Johnnie" Johnson, the English touch-judge, who took control of the second half.
The only other occasion Gareth Edwards was replaced for Wales was in November 1973 when he tweaked a hamstring in the dying stages of their match against Australia. The Aberavon scrum-half, Clive Shell, came on and touched the ball just once while winning his sole cap for Wales.
"Chico" Hopkins also replaced Edwards once in a memorable British & Irish Lions Test. In the opening match of the famous 1971 series in New Zealand there had been doubts about Edwards' fitness. He had been hampered by hamstring problems in training on the Wednesday prior to the match, but the Lions had allowed him to make his own decision regarding his fitness.
He bravely played, but at the first troublesome twinge (eight minutes into the Test) he sensibly withdrew and Hopkins came on. The Lions went on to win 9-3 and Edwards' wise decision meant that he had time to recover and play a full part in the remainder of a series that the Lions won 2-1 with one Test drawn.
I understand that the French team that held the 1961 Springboks to a famous 0-0 draw had a 50th anniversary reunion at the recent France-Scotland game in Paris. How many of the side survive? T Nicholson, England
That famous match, played on February 18, 1961, was the first time that a Five Nations side had held the Springboks in Europe since 1906. The game was a tough, uncompromising battle expertly handled by Gwynne Walters of Wales, the smallest referee on the Test circuit. Walters went on to become the world's "most-capped" international referee and held that distinction for many years.
Among that French team at the recent anniversary celebrations (for which they were joined by members of the 1981 Grand Slam side) were flanker Michel Crauste and outside-half Pierre Albaladejo, who both looked remarkably fit when they took the field to greet the crowd at half-time.
Sadly seven of the 1961 vintage have died: the centres Guy Boniface and Jacky Bouquet, fullback Michel Vannier, the two props Amédée Domenech and Alfred Roques, lock Jean-Pierre Saux and wing three-quarter Jean Dupuy.
Who was the first Welsh fly-half to wear No.10 on his jersey? Anon
Numbering began in Australia and New Zealand in the late 1890s, but not just for spectators' benefit. Pirate programmes were a curse for years; numbering was seen as a way of out-witting them. "Only official programmes carry the correct numbers for players," was the advert in the press and around grounds on matchdays. That's why numbering was so fickle until the 1960s.
The first tourists brought numbering to the Home Unions - Wales numbered from fullback to forwards for the famous 1905 game against New Zealand, with Percy Bush, the Welsh fly-half, in jersey 7. Otherwise numbering was virtually unused in the north.
It wasn't until the Wales v England game in 1922 that opposing sides wore numbers in a Five Nations match for the first time, Willie Bowen at fly-half for Wales wearing jersey 7. Wales were numbered throughout the '20s, the fly-half shirt changing to 6 by 1930. For the Scotland-Wales match in 1930 neither side wore numbers but for the Wales-Ireland 1930 match the Welsh fly-half, Frank Williams, was wearing letter F. That was the first time letters were worn in an international.
Wales wore letters throughout the '30s and '40s. Cliff Jones was in letter F against the All Blacks in 1935 while Haydn Tanner, his partner at scrum-half, never wore a number on his back in his long career with Wales, always appearing with the letter G on his jersey. Tanner's last match, against France in 1949, was the last when letters adorned Welsh shirts with Glyn Davies at fly-half in letter F. It was back to numbers in 1950 with Billy Cleaver in jersey 6 for England v Wales at Twickenham, and Cliff Morgan always wore 6 in his playing days (1951-58).
The last Welsh fly-half to wear 6 was Swansea's Bryan Richards in his only Welsh match, against France in 1960. When Wales opened the 1960-61 season with the famous monsoon match at Cardiff against the Springboks in December, they had converted to the system of numbering from front row to fullback and Ken Richards was the first Wales fly-half to wear jersey 10 in a cap international.
Welsh fly-halves have worn 10 ever since, though it wasn't until 1967 that the IRB laid down the system for the numbering of players that continues to today.
There is a story in my family that my Kiwi grandfather played a Test match for the All Blacks during World War II. His name is William (Bill) Goss. He served in the Royal Navy at the time. Are you able to find out if this is true? Louise Goss, Australia
Alas, having searched the New Zealand Test database and records of those who have played first-class rugby in New Zealand there is no trace of a Bill Goss. During World War II it was common for members of the services to play impromptu matches under the heading "New Zealand Forces" - he could have played under that banner, but there is no official record of any appearances that would have been classified in New Zealand as being of first-class status.
Do you have details of the England Schools (18 group) Grand Slam matches in 1997? Anon
The 1997 England Schools team picked up their third Grand Slam in four years. Geoff Wappett was the successful coach. The results were as follows:
March 22, 1997, England 20-10 France, Twickenham
March 29, 1997, Ireland 9-16 England, Dublin
April 8, 1997, England 55-18 Scotland, Preston
April 12, 1997, Wales 17-18 England, Narberth
Tony Roques led the team from blindside in the first three games and Jonny Wilkinson did so at Narberth, where his late drop-goal against Wales secured the Grand Slam. Many of the side went on to win full senior England honours. Mike Tindall, Wilkinson and Andrew Sheridan were in Martin Johnson's 22 for last Saturday's match against France.
Fullback: IR Balshaw (Stonyhurst College) F, I, S; LM Best (Durham School) W
Threequarters: LM Best (Durham School) F, I, S; PC Greenaway (Colston's Collegiate) S(R),W; TE Southall (Poynton HS) F, S; MJ Tindall (QEGS Wakefield) F(R), I, S, W; SD Brading (Bedford School) F, I, S, W; TA May (Tonbridge School) F, I, W; SAmor (Hampton School) W (R).
Halfbacks: JP Wilkinson (Lord Wandsworth) F, I, S, W; DJR Smaje (RGS High Wycombe) F; J Grindal (King Henry VIII, Coventry) I, S, W
Forwards: DL Flatman (Dulwich College) F, I, S, W; A Hubbleday (King Edward VI, Five Ways) F, S(R); LA Mears (Colston's Collegiate) I, S, W; J Dawson (Dulwich College) F, I, S, W; R Siveter (Colston's Collegiate) S(R); AJ Sheridan (Dulwich College) F, I, S, W; SW Borthwick (Huttom GS) F, I, S, W; AWS Roques (Sevenoaks School) F, I, S; M McCarrick (Sevenoaks School) F, I, S, W; AJ Beattie (Hampton School) F, I, S, W; A Sanderson (Kirkham GS) I(R); R Holmes (Norwich School) W; S Williams (Colston's Collegiate) W(R); DA Giles (Kirkham GS) S(R)
© ESPN Sports Media Ltd.
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Lesson Plan
Book Report Alternative: Writing Resumes for Characters in Historical Fiction
|3 – 5
|Lesson Plan Type
|Standard Lesson
|Estimated Time
|Three 50-minute sessions
|Lesson Author
Urbana, Illinois
Historical fiction transports its readers back in time with the characters. Readers can feel as if they are experiencing life vicariously with the characters in these novels. Invite your students to engage even more with the characters and setting of the historical fiction that they read by helping a character from their reading choose and apply for a job. What would it be like to search for a job in the past? What qualifications would be needed? Students explore help wanted ads, in print and online, to see what employers want. Then, students draft a resume so their characters can apply for jobs.
Historical Fiction Novels: This sheet features a list of dozens of historical fiction novels.
Resume Writing Tips: This printable sheet includes a list of tips for writing resumes, which can be used in a variety of resume-writing and career-related activities.
Writing Resumes for Fictional Characters: This online tool provides students with information about writing a fictional character's resume and choosing a job, which can be applied to real-world career exploration activities.
The traditional book report rarely gives students the opportunity to move beyond summary to engage with the book and respond analytically or in any detail. Chris Crowe warns teachers: "Forget traditional book reports. Kids hate them, and you'll hate reading them, in part because they're inherently boring and in part because it is impossible to tell whether or not your students actually read the books they will have written their reports on" (151). Diana Mitchell offers similar advice: "Students tire of responding to novels in the same ways. They want new ways to think about a piece of literature and new ways to dig into it" (92). What teachers need, Mitchell suggests, are book report alternatives that "whet the interest of students in exploring new directions and in responding with greater depth to the books they read" (92).
Using a resume as an alternative to the traditional book report encourages students to think more deeply about the books that they have read and provide responses that move beyond plot summary.
Further Reading
Crowe, Chris. "Young Adult Literature." English Journal 90.1 (September 2000): 149-51.
Mitchell, Diana. "Fifty Alternatives to the Book Report." English Journal 87.1 (January 1998): 92-95.


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Tradtional Art Images
This gallery assembles artworks around the central question: How and why does the Smith College Museum of Art collect Asian art? Smith began to display and acquire Asian art during the late-nineteenth and early-twentieth centuries, the period when major American art museums were first developing their Asian holdings. In 1897, the College presented one of the earliest Asian art exhibitions in New England, which featured the public debut of collector Charles Lang Freer's Japanese collection. In 1913, Freer's gifts placed Smith in the vanguard of American college museums that were beginning to collect Asian art.
More information about the Freer and Tryon relationship.
Charles Lang Freer Dwight William Tryon
This gallery features historical works from the permanent collection and promised gifts, including painting, sculpture, prints, ceramics, lacquer, and metalwork. Smith's renewed interest in Asian art and culture after World War II is demonstrated in acquisitions made in the 1950s and 1960s. These include gifts of archaic Chinese jades from the Ivan Hart collection and Japanese prints from the Rankin-Barker collection. Since that time the Museum's collecting of Asian art has closely followed teaching trends at the College and, in the last ten years, has reflected the more global reach of the curriculum and the growing emphasis on East Asian Studies in particular.
The vision of the first donors of Asian art to SCMA has inspired later generations of collectors who have supported the Museum's growing Asian collection. As the Museum looks forward to the future, this gallery will be renovated in 2015 to become a space permanently dedicated to the display of Asian art.
Image Top: Blade, China. Late Neolithic period (c. 2000 BCE). Black nephrite. Gift of Mr. and Mrs. Ivan B. Hart. SC 1961:92-3.
Image Left: Edward Steichen, American, 1879–1973. Charles Lang Freer, c. 1915–16. Photograph. Collection of George Eastman House, International Museum of Photography, Rochester, New York.
Image Right: Marceau Studio, New York. Dwight William Tryon, 1912. Cabinet photograph. Charles Lang Freer Papers, Freer Gallery of Art and Arthur M. Sackler Gallery Archives, Smithsonian Institution, Washington, D.C. Gift of the Estate of Charles Lang Freer.


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Home > News & Events > Wayland Press Release Archives > 2013 News Releases > January 2013 > Poet Laureate to visit Wayland Baptist University
Poet Laureate to visit Wayland Baptist University
PLAINVIEW –Texas Poet Laureate Jan Epton Seale will visit Wayland Baptist University on Thursday, March 7, for a poetry reading at 7 p.m.
According to her website, Seale, who was named Poet Laureate for 2012, lives in McAllen and is the author of seven volumes of poetry, two books of short fiction, three nonfiction books and nine children's books. Her work has appeared in publications such as The Yale Review, Texas Monthly, The Chicago Tribune and Writer's Digest. She has also conducted poetry reading and workshops across the country.
Seale attended Baylor before completing her bachelor's degree at The University of Louisville. She earned a master's degree at North Texas State University, and taught English and creative writing at the University of Texas-Pan American and North Texas State.
Seale's poetry reading will be held in Wayland's auditorium on the second floor of Gates Hall. The reading will be followed by a question and answer period.
Admission is free and open to the public.


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100th Anniversary of WWI Exhibit
Name: 100th Anniversary of WWI Exhibit
Date: October 31, 2018
Website: http://chappellhillmuseum.org
Event Description:
November 11, 2018, will mark the end of the 100th Anniversary of World War One. An exhibit will run from May 12-November 14th at the Chappell Hill Historical Museum titled, Into the Raging Storm: Texas in the Great War.
Experience the story of the fighting men and women of Washington County, who left Central Texas for the war-torn trenches and battlefields of France. They stood up to gas, artillery, disease, and even bad food…and returned to Texas to tell the tale.
The Brenham Heritage Museum and the Chappell Hill Historical Society Museum have partnered to bring this multi-media and interactive experience to Texans young and old.


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For those of you who have followed my blog before, please ignore the fact that I haven't written a thing in quite some time. That's what happens when you own two businesses, home-school three children, and are involved in law suits. Oh, well. Nothing gets my mind off of those things better than thinking of…food! (what did you think I was thinking about?)
I have been Jonesing for some well-made, crispy and tasty pork skin (chicharrón to you gringos). About the only way to get it is to make it yourself. So, that got me thinking: I should roast my own pig (mmm – pig). Now, this isn't such an easy undertaking, nor will it be cheap. And I'm certainly not going to roast a 100lb. pig just to get some skin. So, why not turn this into a huge shindig and invite my closest friends and family to enjoy it with me? Thus, our first annual pig roast!
As this process progresses, I will update this blog to show you how we're putting this together. I've already spoken to several people about the idea and they are extremely excited, especially my mom. In fact, one of my friends even offered to provide the pig (sweet). For those of you who are invited, you will be receiving regular e-mail updates. These updates will probably point back to this blog to give you further details and continue to whet your appetites.
This year I've decided to roast the pig "a-la-isla." That's what I call it, anyway. It will be done Puerto Rican style with many common Latin side dishes. I will be cooking the pig on an above-ground pit, somewhat like a concrete block "caja-china." If this goes well (and the stress isn't too horrendous), subsequent years will feature the same pig, but be cooked in different styles: Thai, barbecue, Hawaiian, etc.
Keep watchin','cause I think this is gonna be good!


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The Southern Renaissance
The Southern Renaissance has been declared by critics as having begun in 1929, the year that saw the publication of major works by Robert Penn Warren, Thomas Wolfe, and William Faulkner.1 From the outset, poet and some-time novelist Allen Tate questioned the appropriateness of the word "renaissance," concluding that this literary outpouring "was more precisely a birth, not a rebirth." Building on Tate's insights, C. Vann Woodward, introducing "[t]he second and more common historical usage of 'renaissance'" to refer to "the evocation of the ghost of a dead civilization, as the ghost of Hellenic culture was evoked in thirteenth- to fifteenth-century Italy," insisted that "surely nothing of that sort took place in the South." Woodward's assessment in 1975 was not unlike that of Faulkner in 1933, who quipped that the South would never accomplish anything in "music and the plastic arts." Faulkner is famous for not acknowledging individual or cultural influences on his writing, so his assessment of the state of "music and the plastic arts" is Menckenesque and unsurprising. However, he did feed on the cultural ferment that gave voice and shape to the Mississippi of his time. As Thadious Davis has documented, Faulkner regularly heard the dance rhythms and art of what had become W. C. Handy's "franchise" of bands, traveling ensembles that played the southern college circuit.2 While Robert Johnson has become a household name through the rise of recorded music and his acknowledged influence on British and American rockers, the names of blues queens alone—Ma Rainey (billed as "Mother of the Blues" and "Songbird of the South"), Bessie Smith ("Empress of the Blues"), Billie Holiday ("Lady Day")—frame Faulkner's South as "birthplace" and wellspring rather than the tonal dearth of art that he and Mencken conjured. The Mississippi that once sported the nostalgic slogan "The Magnolia State" is pointedly nationalist now, declaring itself on license plates to be "The Birthplace of America's Music."3 The Faulkner who in 1927 published his second novel, voiced by vapid aesthetes and desperate artists trapped together on a stalled yacht in Lake Pontchartrain, might not have been aware of the existence of Shearwater Pottery in Ocean Springs, Mississippi, and he could not have been aware of the still-to-be discovered psychotropic watercolors awash in water and light generated by his contemporary, Walter Anderson, a figure who was known for his pottery and who made madness into art. This being said, the William Faulkner who had any interest in art could not have spent time in Pascagoula without having heard about the work of George Ohr, the storied "Mad Potter of Biloxi"; this self-taught artist created pots, playing in bright shapes, ultimately (like Faulkner after him) favoring form over color. Faulkner's artist figures that focused on glassblowing and the ideal shape of the female vase are telling when seen in a Mississippian, let alone a southern, context that would include the remarkable beauty fired from the clay of the late-nineteenth-century Carolina Piedmont.4 Faulkner's disparagement of music in 1933 (unlike his bad-faith but self-preserving denials of the influence of the words of Joyce and the theories of Freud) speaks to his unfathomed consciousness or absence of consciousness of the art he imbibed as mother's milk. Thadious Davis, addressing the dynamic and changing field of American popular music, has understood the cross-racial synergy of an era in which blue notes, elegy, and the changing emphases of syncopation had striking implications for literature. Writing about the late 1910s and 1920s, Davis identifies an intense "period of reverse acculturation, in which aspects of the minority culture moved into the dominant one with the accumulative effect of transforming the majority." "Cultural diffusion," an aesthetic force that fertilized art as it crossed the color line, brought a "revitalization . . . witnessed perhaps most vividly in the New Negro or Harlem Renaissance."5
This vitality constituted the living matrix that birthed the Southern Renaissance. The language of Faulkner's South, like the music, was the air that his ears breathed. This being said, it would be wrong not to acknowledge that this southern literary emergence in 1929—so surprising to the literate white world—was indeed based on "the ghost of a dead civilization," the diabolically vital and haunting specter of slavery recorded and recounted in the written word of the slave narrative and the slave novel.6 These ghosts, along with the writers of the Harlem Renaissance, precursed and begat what we now think of as southern literature.
While Louis Rubin notes that critics could "justly feel uncomfortable . . . talking about an entity known as 'Southern Literature'" as opposed to individual authors, he insists on the necessity of addressing this phenomenon, placing Faulkner as only "the most distinguished" among what he recognizes as "a galaxy of accomplished literary artists."7 If the quantity of literary production is impressive in the twentieth-century South, the quality is shocking. An apostolic twelve, cut crudely from the end of a lengthy alphabetized list, reads like a pantheon: Lee Smith, Elizabeth Spencer, William Styron, Allen Tate, Peter Taylor, Jean Toomer, Alice Walker, Margaret Walker, Robert Penn Warren, Eudora Welty, Thomas Wolfe, and Richard Wright were producing works that defined twentieth-century southern (as well as American) literature.8 Partial and incomplete, the much longer list in the note favors novelists while acknowledging the centrality of the short story and in particular the story-cycle novel to a literature that has its provocation in orality. This literature, paradoxically emerging from poverty and illiteracy to challenge hierarchies of art, has created the South, and page by page it both answers and begs the question of southern distinctiveness.
William Faulkner (who, quite drunk, once resisted going further north than he had already been on the subway system in Manhattan) had an unerring sense of direction. Faulkner never denied being southern, and he was among the first to acknowledge the existence of southern literature as a phenomenon. African American writers and Harlem Renaissance figures other than the most famous of the untoward—Zora Neale Hurston—chose to identify themselves as southern while some, wary of the taint of whiteness and insult in the term, pointedly did not. Alice Dunbar-Nelson (best known for her New Orleans stories in The Goodness of St. Rocque [1899]) enunciated the grounds of her own race-blind ambition, expressed in her desire to surpass George Washington Cable as a great "Southern writer."9 Jean Toomer, the most influential ancestor of southern modernism, published Cane (1923), a prose-poem cycle that has increasingly been understood as an innovative novel. This lyrical masterpiece, seen as a culmination of the experimental promise of the Harlem Renaissance and the extensive African American exploration of the collage form, was written by an author who pleaded unsuccessfully with his publisher, Horace Liveright, to keep Cane from being marketed as a work by an African American.10 Toomer claimed that he was a "new American," and wanted to be true to all of the bloods that ran in his veins.11 Stating a modernist fact (a geography of creativity that would have included Taos, New Mexico, in its locations), Toomer openly acknowledged that he had journeyed south in the 1920s to be closer to the "sources" of his art.
|Figure 1. Cleo Campbell, nine years old. Pottawotamie County, Oklahoma, 1916. Photograph by Lewis Hine. Child Labor Collection, Library of Congress, LOT 7475, v. 2, no. 4592.
|Figure 2. Callie Campbell, eleven years old. Pottawotamie County, Oklahoma, 1916. Photograph by Lewis Hine. Child Labor Collection, Library of Congress, LOT 7475, v. 2, no. 4594.
|Figure 3. Callie Campbell. Pottawotamie County, Oklahoma, 1916. Photograph by Lewis Hine. Child Labor Collection, Library of Congress, LOT 7475, v.2, no. 4596.
|Figure 4. Campbell family picking cotton. Pottawotamie County, Oklahoma, 1916. Photograph by Lewis Hine. Child Labor Collection, Library of Congress, LOT 7475, v. 2, no. 4590.
Alice Walker, taking a course on southern literature that consisted of works by Faulkner, Welty, and McCullers at Sarah Lawrence College in the 1960s, recalls her epiphany in reading the assigned works of Flannery O'Connor. Walker credits O'Connor's fiction with having taught her that she did not want to live and write in the poverty of a segregated literature. Born in a sharecropper's shack (unbeknownst to her, just down the road from the family dairy farm where the terminally ill O'Connor wrote and died), Walker was capable of imagining a literary estate that did not cede territory. Able to distinguish the adjective "southern" from meaning white, Walker noted that there were no black southern writers taught in this racially focused and no doubt (given the precociousness of this female-dominated canon) politically conceived course.12 While C. Vann Woodward argued that the South would come of age when the adjective "southern" came to refer to the black population as well as the rebellious white inhabitants, Woodward and others continued to see the emergence of the Southern Renaissance as a white mystery rather than the progeny of aesthetic miscegenation inherent in William Faulkner's, as well as Alice Walker's, literary genealogy.
Even the most conservative conception of the Southern Literary Renaissance, one that names a figure such as William Styron as Faulkner's heir, necessitates a consideration of the formal influence of Robert Penn Warren, finally placing both Warren and Styron in the tradition of the slave narrative. Styron's first novel, Lie Down in Darkness (1951), has been understood as being Faulknerian in theme while being indebted in formal terms to Warren's All the King's Men (1946), the most successful of his ten novels. Warren's fifth novel, Band of Angels (1955), concerns an elite light-skinned woman who discovers that she is a slave at the time of her father's death. Here, Warren rewrites the story of the "tragic mulatta" told in slave novels such as William Wells Brown's Clotel; or the President's Daughter (1853) and Frances E. W. Harper's Iola Leroy; or Shadows Uplifted (1892), to give the heroine of color a voice as the narrator rather than as a courageous and painfully exposed character.
A dozen years after Warren published his fictionalized slave narrative, William Styron penned a first-person account that gives voice and interiority to the most feared revolutionary in US history. It speaks to the origins and materials of southern literature that Styron's Confessions of Nat Turner (1967), considered his most successful work, is written in the threatening voice of a resisting slave, a character whose motivations include psychosexual torments in the form of fantasies about white women. In his novel, Styron, who would later speculate that he had "unwittingly created one of the world's first politically incorrect texts,"13 revealed the heightened racial tensions over black masculinity that reached a white heat in the late 1960s. While Styron's Confessions precipitated controversy, his work has not approached the productively provocative place of Faulkner's varied and offensive representations of race, whether as static stereotype or troubling paradox. As Anne McKnight has argued, contending with complex Japanese hierarchies as her mediating context, racism is difficult to translate:
Faulkner's texts, with all of their hauntings of the racial hysteria, [inscribe] the sprawling structure of materiality, sensory mechanism and figure that is his inscription of the "South." The narration of Faulkner's south is always in the process of uneven growth, of slapping up another textual building . . . , in the process of re-reading and re-presenting itself as a (not always successful) strategy of bringing the effects of this racial hysteria into a field of legibility.14
As Craig Werner prophesied, this continued response by black writers to Faulkner's irritations and incitements is far from a joyous coming to voice, but Faulkner's fiction seems destined to remain a generative place of productive dialogue about race and racism.15
The neo-slave narrative,16 often in novels set in the United States or the Caribbean, forms a suggestive parallel to the southern novel, as it continues to develop as a site of political fiction that uses the "not dead" past to reflect on problems in the present. In many ways, Faulkner's Light in August, as it located this crisis of masculinity and incarceration within a body defined by race rather than color, provided a crucial turning point for writing about the violence inherent in the enforcement of racially delimited identities. The embodied conflict of Joe Christmas ignited political writers, often male, across the wavering and full spectrum of the color line, and the white woman is a pregnant presence in Faulkner's narrative of violence. Describing Lena Grove as "a wistful staging of a myth," André Bleikasten argues that
when the procession of identical wagons in which Lena is traveling is likened to a procession "moving forever and without progress across an urn" (7), Faulkner's pastoral calls attention to itself as a work of art. And, revealingly, the reference here is to a plastic medium, to the arts of space, whose privileges Faulkner must have sometimes envied and with which he seems to have competed with more vigorously in Light in August than in any of his other novels.
Seen here as an ekphrastic act as it sculpts and structures Keats's "Ode on a Grecian Urn," Faulkner's Light in August—framed by the flesh of men and women sculpted by pregnancy and other forms of bodily violence—is understood by Bleikasten to be Keats's poem "reread and rewritten in and by the novel."17
The Southern Literary Renaissance, positioned at the cusp in 1929, also ushered in a decade that would become known for its nostalgic idealizations of a plantation South, a mythology canonized in Margaret Mitchell's best-seller Gone with the Wind (1936), and given heft in over seventy Hollywood films trading on the popular and highly marketable longing for an "Old South."18 Mitchell's novel, which contains only one mixed-blood character, the significantly named Dilsey, avoids issues of race while promoting regeneration through capitalism. Known for its sentences of over eighty lines in search of a paragraph, Faulkner's Absalom, Absalom!, published the same year as Gone with the Wind, places race and miscegenation at its center. In fictions that often did not provide solutions or consolations, Faulkner created a world that could not satisfy the programmatic desires of the Depression era, but would inspire later writers of varying colors and classes to create their own complexly articulated Yoknapatawphas.19 From the 1970s to the present, with a steadily decreasing emphasis on the fast-aging adjective, critics have touted the "New Regionalism." However, this literary movement continues, in the culturally deep tracks of Faulkner and Eudora Welty, to represent regions within the South, the most distinctive, productive, and accomplished literary area of the United States.
Yoknapatawphas All
Raymond Andrews was forty-four when he published Appalachee Red (1978), which chronicles life after World War I in his fictional Muskhogean County, Georgia, a world that he examines in more depth in Baby Sweet's (1983), a novel set in a local brothel during the era of the civil rights movement.20
More political and situated in a plantation past, Ernest Gaines's eight novels take place in the fictional environs based on the actual River Lake Plantation in Louisiana, where his family has lived for seven generations, framed by a narrative history that begins in slavery. The author of The Autobiography of Miss Jane Pittman (1971), which charts a woman's transition from bondage into the challenging freedom of the twentieth century, Gaines, like Faulkner, is known for multivocal narrations, in particular A Gathering of Old Men (1983),21 a work that, like Faulkner's As I Lay Dying, is presented through the first-person accounts of fifteen named narrators. (In Gaines's novel, his "Candace" bears the more usual nickname "Candy," and she is one of the narrators, unlike the close-to-voiceless Caddy [Candace] in Faulkner's Sound and the Fury. As more than one observer has noted, the "Old Men" of Gaines's title have become more potent than the Compsons or even Jewel of the Bundrens. Class, if not race, is equalized as these men come bearing guns.) Faulkner remains recognizable as a formal presence for Randall Kenan in his creation of Tims Creek, a community whose fictional template, directly recalling Go Down, Moses, includes layered stories, letters, and journal entries, to build a late-twentieth-century Yoknapatawpha. Regions within regions, geographically conceived as well as narratively populated with voices, are important for naming Yoknapatawphas, and Kenan's Tims Creek locates a fictional community in the swampy low country of North Carolina.
Faulkner's work has been acknowledged as and is a source for this creative outpouring, the wellsprings of cultural regions distinguished by their creators' capacities to voice their own communities of fiction. In terms of ethnic and race-based fictions, Faulkner was and continues to be a major influence. Even the most cursory glance at the late-twentieth-century fictional masterworks treating Native American experience reveal his acknowledged presence as a formal as well as thematic forebear, recognizable in the works of the brilliant and voice-based experimental authors N. Scott Momaday, Louise Erdrich, and Ray A. Young Bear Jr. The Sound and the Fury is alluded to explicitly in Momaday's Pulitzer Prize–winning novel, House Made of Dawn (1964), while Erdrich has created complex and interrelated historical communities that include islands of the very real and mythic past, a place pockmarked by the slaughterhouses and bingo palaces of more recent acts of survival committed amid and despite depredations. Erdrich's encyclopedic oeuvre provided provocation for Young Bear's strong language-based entry. Ironically, Young Bear, the separatist author of two novels with alternating sections in syllabic (spoken) Mesquakie, is a poet and a drummer who, despite the fact that he may never have read Faulkner's work, is more Faulknerian than Erdrich in his tribal-based fiction's challenge to decipherability. Young Bear conveys and withholds cultural knowledge through his inclusion of transliterated orality.
Language—the difficulties of dialect as words become the medium of resisting incorporation into a national or narratively flattened body—is crucial to the most productive uses of racially-inflected class consciousness and the unanswerable hysterias of insulted humanity. Paulo Da-Luz-Moreira has revealed the pained vitality of a contact zone that I think of as "the inland triangle." This is a modernism with Faulkner at its northern apex as backwoods narrators struggle against the encroaching codifications of bureaucracy, articulating cultural resistance in João Guimarães Rosa's Brazilian backlands of Minas Gerais and Juan Rulfo's deep south Mexico in Jalisco. The challenges inherent in comparatist analysis are foregrounded by the state of translation. As Rodrigo Bauer reveals, the most recent Brazilian translation of As I Lay Dying is in high-church Portuguese rather than the rich dialects nourished in internal regions such as the dark corner known to Faulknerians as the "Deep North" of Brazil.22
Of the fictional worlds generated in Faulkner's wake, the Japanese Yoknapatawpha created in the novels of Nakagami Kenji (that, like Young Bear's work, is rooted in textual documents which go back centuries) is uncompromisingly dedicated to the juncture where the profoundly oral vessel of culture meets literacy and the written word. Born in 1948 into the despised burakumin (considered the lowest and most defiled or polluted caste in the highly stratified and hierarchical structures of traditional Japanese culture),23 Nakagami, according to his own account, was distinguished in his village for being able to read his own name. Nakagami's work, in what Kato Yuji has called "[t]he lushness of language," "repeat[s] the images of the random growths of plants and roots . . . [to] constitute what might be called a culturally transplanted Yoknapatawpha saga . . . polyphonic mixtures of random voices and pieces of vernacular narrations of his almost anonymous characters. His images reverberate with the memories of the texture of Faulkner's writings: rumors, fragmented narrations, voices of isolated, orphaned characters, coming out of no specific origins." Nakagami echoes these Faulknerian textual idiosyncrasies so persistently that they come to constitute the very essence of his writings.24
Nakagami emphasizes the crucial importance of oral narrative and the sound of words as a dimension that resists and delights in the incorporation of the vocal into the written word, inscribing difference and distance from the imperial claims of Kyoto as well as those of the metropolis, a Tokyo that is even further to the north. As he translates the underlying forces, thematic and formal, locating a world of a Japanese "South" in the Kumano region of the southern Kii peninsula, Nakagami creates an inassimilable region that defines the opposing concept of nation. The most Faulknerian of Nakagami's work, his trilogy, is not a Snopesian chronicle of the advance of capitalism and modernization; rather these novels are rooted in the concerns of Absalom, Absalom!, featuring brother and sister incest and a narrative where brother kills brother. And neither of these heinous acts provokes the desired acknowledgment from the patriarch who, Sutpen-like, builds monuments to try to pass in terms of caste.25 Arguably, capitalism was both too ubiquitous and too mundane in postwar Japan to generate the "luxuriating" response to the primal miscegenation that joins the spoken to the written word. This is the crossroads, vernacular and oracular, that discovers class as race in modernism's multiplicity of voices.
About the Photographs
Figure 1. "Cleo Campbell, 9 years, picks 75 to 100 pounds of cotton a day. Expects to start school soon. Said: 'I'd ruther go to school and then I wouldn't have ter work.' Father said she and her sister begin about 6 A.M. and work until 6 or 7 P.M. with 1 hours off at noon."
Figure 2. "Callie Campbell, 11 years old, picks 75 to 125 pounds of cotton a day, and totes 50 pounds of it when sack [sic] gets full. 'No, I don't like it very much.'"
Figure 3. Callie Campbell.
Figure 4. "Campbell family picking cotton. W. W. Campbell, Route 1, Box 64, Shawnee. Children go to Pioneer School, 7 miles northwest of Shawnee. Father said: 'Both the girls can hoe the cotton as well as any grown-up.'"
Waid writes:
Despite the captions describing hard labor, these posed Lewis Hine photographs of girls in cultivated nature have a romanticized, even fairy-tale, quality when compared to Hine's photographs of the exposed and deformed bodies of children who are working in factories, mines, and fisheries. In addition to documenting girls' labor in cotton production, these images reveal an investment in whiteness and the class-based concept of preserving a "complexion" practiced by some female agricultural laborers. Here, Cleo Campbell's face is darkened by the sun, but her hands (protected for practical reasons) shine at the end of her dark-brown arms, as if she is still wearing her work gloves. In contrast, her older sister Callie is clearly committed to preserving her whiteness. As she is featured here in two of these photographs, her Mother Hubbard hat protects her face while the thick black stockings on her arms, as well as her legs, protect her limbs from the leathering rays of the sun. Folk myths aside, this work is being done under a sun in which people of color, even those of the darkest hues, burn and blister. Little changed in the methods of chopping and picking cotton during the nearly fifteen-year period between Hine's taking of these photographs and the publication of Faulkner's As I Lay Dying. A fifty-pound bag could indeed be part of the harvest, but smaller bags and baskets, pulled along or strapped on the picker's neck, were emptied into these larger sacks.
About the Author
A native of Alabama, Candace Waid is professor of English at the University of California, Santa Barbara. Her central interests include American literature and culture, gender studies, African-American literature, southern literature, and regional literature. She is the author of Edith Wharton's Letters from the Underworld: Fictions of Women and Writing (University of North Carolina Press, 1991), editor of the Norton Critical Edition of The Age of Innocence (2002), and writer of articles on Wharton, Faulkner, and Welty.
- 1. A great deal has been written on the phenomena of southern literature and the particularized role of culture in the South's dynamic history of aesthetic productions. For analyses speculating on this literary emergence, see Allen Tate's "The Profession of Letters in the South," Virginia Quarterly Review 11 (1935), 161–176; C. Vann Woodward's "Why the Southern Renaissance?," Virginia Quarterly Review (Spring 1975), 222–239; Cleanth Brooks's "Southern Literature: The Wellsprings of Its Vitality," Georgia Review 16 (1962), 238–253; Flannery O'Connor's Mystery and Manners: Occasional Prose (New York: Farrar, Straus and Giroux, 1969); Eudora Welty's The Eye of the Story (New York: Random House, 1978); Fred Hobson's Tell About the South: The Southern Rage to Explain (Baton Rouge: Louisiana State University Press, 1983); Daniel Joseph Singal's The War Within: From Victorian to Modernist Thought in the South, 1919–1945 (Chapel Hill: University of North Carolina Press, 1982); and Ralph Ellison's Shadow and Act (New York: Random House, 1964).
- 2. Thadious M. Davis, "From Jazz Syncopation to Blues Elegy: Faulkner's Development of Black Characterizations," in Faulkner and Race: Faulkner and Yoknapatawpha, 1986, ed. Doreen Fowler and Ann J. Abadie (Jackson: University Press of Mississippi, 1987), 70–72.
- 3. Born in Columbus, Georgia, Chattanooga, Tennessee, and Philadelphia, Pennsylvania, respectively, all these artists were major figures in defining secular music that had its roots in the South. (The baby who would become Billie Holiday was born of a thirteen-year-old mother who had been thrown out of her family's home in Baltimore for being unmarried and pregnant. Kept by family in Baltimore during her early years, Holiday herself is on record as having occasionally claimed Baltimore as the city of her birth.) Meanwhile, other major figures, like Mamie Smith, born in Cincinnati, Ohio (just across the river from Southgate, Kentucky), and Trixie Smith, a university-educated blues great born into a middle-class home in Atlanta, suggest some of the borders crossed in this period of cultural transformation.
- 4. For a discussion of the Sophie Newcomb arts and crafts movement and other pottery-based art forms, see Susan Donaldson's "Cracked Urns: Faulkner, Gender, and Art in the South," in Faulkner and the Artist: Faulkner and Yoknapatawpha, 1993 (Jackson: University Press of Mississippi, 1996). For a discussion of the nineteenth-century Carolina Piedmont tradition and the emergence of folk pottery forms, see Charles G. Zug III, Turners and Burners: The Folk Potters of North Carolina (Chapel Hill: University of North Carolina Press, 1986).
- 5. Davis, "From Jazz Syncopation to Blues Elegy," 71–72.
- 6. Woodward, "Why the Southern Renaissance?," 222–239.
- 7. Louis Rubin, "The Dixie Special: William Faulkner and the Southern Literary Renascence" [1982], in The Mockingbird in the Gum Tree: A Literary Gallimaufry (Baton Rouge: Louisiana State University Press, 1991), 39.
- 8. A list partial and incomplete would include James Agee, Dorothy Allison, Raymond Andrews, Maya Angelou, Harriette Arnow, Doris Betts, Arna Bontemps, Olive Ann Burns, George Washington Cable, Erskine Caldwell, Truman Capote, Fred Chappell, Charles Chesnutt, Kate Chopin, Pat Conroy, Hubert Creekmore, Harry Crews, James Dickey, Ellen Douglas, Alice Dunbar- Nelson, Ralph Ellison, Fannie Flagg, Shelby Foote, Ernest Gaines, Tim Gautreaux, Ellen Glasgow, Caroline Gordon, Shirley Ann Grau, Barry Hannah, John Wylie Henderson, Mary Hood, William Bradford Huie, Zora Neale Hurston, James Weldon Johnson, Randall Keenan, Barbara Kingsolver, Harper Lee, Andrew Lytle, Bobbie Ann Mason, Jill McCorkle, Carson McCullers, Margaret Mitchell, Gurney Norman, Flannery O'Connor, John Kennedy O'Toole, Breece D'J Pancake, Walker Percy, William Alexander Percy, Katherine Anne Porter, Reynolds Price, Ron Rash, Ishmael Reed, Elise Sanguinetti, Evelyn Scott, Mary Lee Settle, Lee Smith, Elizabeth Spencer, William Styron, Allen Tate, Peter Taylor, Jean Toomer, Alice Walker, Margaret Walker, Robert Penn Warren, Eudora Welty, Thomas Wolfe, and Richard Wright.
- 9. Elizabeth Ammons, Conflicting Stories: American Women Writers at the Turn into the Twentieth Century (New York: Oxford University Press, 1992), 125.
- 10. For more on collage in African American art, see Rachel Farebrother's The Collage Aesthetic in the Harlem Renaissance (London: Ashgate, 2009).
- 11. For more on racial identity in Toomer's life and work, see Rudolph P. Byrd and Henry Louis Gates Jr.'s essay "'Song of the Son': The Emergence and Passing of Jean Toomer" in the 2011 Norton critical edition of Cane.
- 12. Alice Walker, "Beyond the Peacock: The Reconstruction of Flannery O'Connor," in In Search of Our Mothers' Gardens (New York: Harcourt Brace Jovanovich, 1983), 43. While Walker does not identify herself as "southern," she also does not cede ground. In response to a speaker's assertion that "we" "lost the [Civil] War," Walker with clipped irony asked, "What do you mean 'we'?" (The added address to the female speaker as "white man" is of course implied here.) Walker's critique of Faulkner's fiction using his public pronouncements in advocating gradualism in relation to change in racist policies as a lens for critique is well known. For insight into this view as well as others in the complex history of "Afro-American" writers' responses to Faulkner's provocations, see Craig Werner's excellent analysis, "Minstrel Nightmares: Black Dreams of Faulkner's Dreams of Blacks," in Faulkner and Race: Faulkner and Yoknapatawpha, 1986, ed. Doreen Fowler and Ann J. Abadie (Jackson: University Press of Mississippi, 1987).
- 13. Styron quoted in Tony Horwitz, "Untrue Confessions," New Yorker, December 13, 1999, 84.
- 14. Anne McKnight, "Crypticism, or Nakagami Kenji's Transplanted Faulkner: Plants, Saga, and Sabetsu," Faulkner Journal of Japan 1 (May 1999), http://www.faulknerjapan.com/journal/No1/anne.htm.
- 15. Werner, "Minstrel Nightmares." In this still relevant essay from a quarter of a century ago, Werner predicts cycles and finds patterns in the varied African American creative as well as critical riffs on Faulkner's fiction. Questions of female voice and queries concerning ways that race and history have forged definitions of class distinguish Werner's essay as a prescient work of cultural interpretation. The defining episode for the poor white's realization of race and class continues to be Sutpen's epiphany in Absalom, Absalom! after he is turned away, pointedly classified, by the well-dressed doorkeeper of a Tidewater residence and sent to the back door.
- 16. For important recent work that analyzes race and class through the transformative lens of the affections, see Carina Evan's book manuscript in progress, Loving Blackness: The Neo-Slave Narrative and Contemporary Revisions of Slavery, completed as a dissertation in the English Department of the University of California, Santa Barbara, 2009. It was my privilege not just to read Evan's work but also to have extensive conversations with her as she was developing her thesis.
- 17. André Bleikasten, The Ink of Melancholy: Faulkner's Novels from The Sound and the Fury to Light in August (Bloomington: Indiana University Press, 1990), 280. As Bleikasten continues, "even though the poet speaks to the urn and allows the urn to speak in the final two lines, Keats' ode is on, not to, a Grecian urn. Like Homer's famous description of the shield of Achilles, it is an ekphrasis, a verbal transposition of a plastic work of art, a word-shaper's tribute to a sculptor of marble in the ut pictura poesis tradition" (280).
- 18. For more on Hollywood's deployment of the trope of the "Old South," see Ida Jeter's "Jezebel and the Emergence of the Hollywood Tradition of a Decadent South," The Southern Quarterly: A Journal of the Arts in the South 19, nos. 3–4 (Spring–Summer 1981), 31–46.
- 19. Faulkner's As I Lay Dying (1931) was compared unfavorably to Erskine Caldwell's salaciously saleable depiction of southern poverty in Tobacco Road (1932), which devoted part of its mélange to the potential uplift for blacks and well as whites in the form of agricultural cooperatives. Caldwell, author of some twenty-five novels, only five of which were published in the 1930s, produced twenty novels in the 1940s.
- 20. At the 1998 Faulkner and Yoknapatawpha Conference ("Faulkner in America"), Trudier Harris gave a talk on Andrew's trilogy and his creation of an African American Yoknapatawpha in Georgia.
- 21. For a telling article that considers ethnicity and race in relation to "Southern Literature" as a concept, see Goto Kazuhko, "William Faulkner and Southern Literature in the Postmodern Era," Faulkner Journal of Japan 1 (May 1999), http://www.faulknerjapan.com/journal/No1/GotoRevd.htm. As Goto argues in relation to southern identity: "This intense historical sensitivity of the Southerners has formulated what is more than a regional peculiarity; it is something very close to 'ethnicity.'" Linking the multiple narrators of Gaines's A Gathering of Old Men to Faulkner's fifteen narrators of As I Lay Dying, Goto underlines the bonds forged by men (Gaines's characters) who "have shared the same fate." In Goto's view, Gaines's novel reveals a "literature of the ethnic solidarity bred through the history of oppression and discrimination, supported by the network of the traditional manners knitting up each and every niche of life and always reminding the members of the community of its historical fate [that] should be discussed not in the context of Southern literature but in that of the African American literature." Goto acknowledges the fact that "this novel by Gaines freely exploits . . . Faulkner's methods with success." The most extensive analysis linking Gaines's fictional world to Faulkner's Yoknapatawpha is Michel Fabre's "Bayonne or the Yoknapatawpha of Ernest Gaines," Callaloo 1 (1978), 110–124. Outside of the interest (antipathetic and otherwise) shown in the Americas, French and Japanese intellectuals have developed the most insightful critical communities concerned with and contributing to the growth of Faulkner studies.
- 22. For innovative and insightful work comparing these fictional worlds created in English, Spanish, and Brazilian Portuguese, see Paulo da-Luz-Moreira, "Regionalism and Modernism in the Short Stories of William Faulkner, João Guimarães Rosa, and Juan Rulfo" (PhD diss., University of California, Santa Barbara, 2007). My conversations with da-Luz-Moreira have proved invaluable in understanding the place of dialect, class, and race in relation to the diverse but deeply historically, culturally, and aesthetically connected inland modernisms of the Americas. As Rodrigo Bauer has emphasized in his conversations with me, whatever else this text may convey, a translation of As I Lay Dying that does not include the shifts into italics cannot have begun to understand the novel's shifts of time and levels in unconsciousness thought, much less the even more subtle alterations in who is speaking that are a primary focus of The Signifying Eye's chapter 3.
- 23. While this word is used in English, its use is not considered acceptable in modern Japan. The Burakumin are thought of as village or rural people who have inherited a caste condition that is deeply reviled and entrenched through their families' inherited fate to deal with death, the dead, and the dying. This group includes those in charge of killing in executions as well as those charged with the laying away of the dead, slaughtering animals for meat, and processing animal skins for leather. Nakagami gained access to literacy as a result of the post–World War II law that required that all Japanese children be educated.
- 24. For this and other important insights, see Kato Yuji, "'The Luxuriating South,' William Faulkner and Gabriel Garcia Marquez: Voices, Narrations, and the Place of Existence," Faulkner Journal of Japan 1 (May 1999), http://www.faulknerjapan.com/journal/No1/kato.htm.
- 25. For a revelatory and detailed analysis that is only summarized here, see McKnight, "Crypticism, or Nakagami Kenji's Transplanted Faulkner."


text:
Observe the large intestine which has three parts:
Follow the ileum distally [indicated by probe] to the point where it becomes continuous with the cecum [indicated by probe], the first part of the large intestine.
Identify the vermiform appendix which normally hangs from the base of the cecum into the abdominal or pelvic cavity.
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text:
This event is now over
Beginning to work with Clay is the start of an adventure!!
Pottery can be a mild interest, consuming little of your time or money, or it can become a major part of your life. So take that first step into discovering the joys of Clay!!
If you are just starting out, it is a good idea to try pottery out either in a beginner's program or join in for a trial session.
A weekend program - Sundays (for Adults)
Session Date: 3rd February (Sunday)
Fee : 750/-per participant, inclusive of materials and firing of articles made
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February 03, 2019
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text:
MOUNT OLIVE, N.C. - A goal in each half was just enough for Mount Olive to survive with a 2-1 win over Pfeiffer University in Conference Carolinas women's soccer action on Wednesday night. The Trojans move to 5-1-1 on the year, 4-0 in league play, while the Lady Falcons fall to 3-6, 2-3.
Carlee Bock put Mount Olive on the board in the 25th minute as her corner kick snuck through traffic giving the Trojans a break they needed for the 1-0 advantage. Just 58 seconds into the second half, Sheena Regan put the visitors on the board after a quick pass from Lexie Makris.
Just past the hour in the 63rd minute, Sarah Porter converted the game-winner to keep the Trojans unbeaten in league play. Britt Polly turned away 11 shots on the night as Mount Olive fired 20 in the 90 minutes of action.
Pfeiffer returns to the pitch on Saturday traveling down to Coker for a 1:30 p.m. matchup with the Cobras.