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Joab Langston Thomas
The following biographical sketch was compiled at the time of induction into the Academy in 1983 and updated in April 2014
Joab Langston Thomas was born February 14, 1933 at Holt, Alabama. He attended Harvard University, earning the B A. degree in 1955; the M.A. degree, 1957 and the Ph.D. degree in 1959.
He was a teaching fellow at Harvard, 1955-1959. He was cytotaxonomist at the Arnold Arboratum of Harvard, 1959-1961. He was appointed Assistant Professor of Biology, University of Alabama in 1961, Associate Professor in 1962 and Professor of Biology in 1966. He was appointed Assistant Dean College of Arts and Sciences in 1964. He was appointed Dean of Student Development in 1969 and Vice President for Student Affairs in 1974.
He was appointed Chancellor, North Carolina State University in 1976 and returned to the University of Alabama as its president in 1981.
He served as director of several organizations: Alabama Association of Colleges and Universities; Alabama State Chamber of Commerce; the University of Alabama Aboratum; Biological Station at Tanglewood; College Football Association; Blount Inc.; and the Gorgas Scholarship Foundation.
He was co-author of four books: Plant Biology Exercises; Wildflowers of Alabama; Adjoining States; and The Rising South. He was either author or co-author of some thirty published papers.
He enjoyed memberships in Phi Beta Kappa, Phi Kappa Phi, Omicron Delta Kappa, Alpha Zeta, Alpha Lamda delta, Jasons and Sigma Xi.
He was listed in Who's Who in America.
He married Marly Dukes of Boise, Idaho on December 22, 1954, and they had four children: Catherine, David, Jennifer. and Frances.
Joab Thomas passed away on March 3, 2014


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Keep the sweatshirts handy this week because temperatures are going to be below average as July wraps up and possibly stay that way through August.
�July will wind up averaging about 4 degrees below normal over the Upper Midwest, including around Minneapolis, Chicago and Detroit,� said Paul Pastelok of AccuWeather.com. �We are not looking at very many, if any, record lows being set, but for those who don�t like 90-degree heat and high humidity this will be another nice air mass.�
So far, July has been below average in high temperatures. The average high for July as of Thursday was 77.6 degrees. The historical average high is 83 degrees for the month. July is the warmest month of the year.
The month has only topped 90 degrees once. That was July 22 when 91 degrees was recorded at the West Michigan Regional Airport.
In 2013, Holland had seven days at 90 degrees or above. In 2012, there were 17 days at or above 90 degrees.
The cold snap on July 15-16, where temperatures didn�t break the 70-degree mark, was due to a piece of cold air from the polar vortex based in the Arctic Circle.
The cool air now moving in place is because the jet stream is taking up a position unusually far to the south over the central and eastern part of the nation for July, according to AccuWeather.com. Usually the jet stream sets up along or north of the Canada border.
The high Monday will be around 69 degrees and Tuesday will be about 71 degrees.
The National Weather Service Climate Prediction Center has West Michigan on the fringes of a colder-then-average August.
Holland�s average August high is 81 degrees � a high not on weather.com�s radar even through Aug. 3.
The cool air has some good news, according to AccuWeather.com. Home and business owners will continue to save on air conditioning bills across the northern Plains, Great Lakes, Ohio Valley, Appalachians and parts of the South.
From July 1 to July 21, Chicagoians have used 35 percent less energy than the 30-year average to cool their homes and businesses. In Atlanta, that savings has been around 12 percent, AccuWeather.com reported.
For Holland, though, the cool air has not made a huge difference.
The Holland Board of Public Works electrical load is 9.24 percent below last year and 9.45 percent below the average of the previous four years, according to Ted Siler, director of operations at the BPW.
�I didn�t go 5 years back because July 2009 was really low and this probably had more to do with economic conditions than weather conditions,� he said. �We had some small growth this last fiscal year so the difference in July might actually be a little larger due to the weather but I wouldn�t try to put a number on it.�
� Follow Jim Hayden on Twitter@SentinelJim.
July playing it cool again when it comes to temperatures
Keep the sweatshirts handy this week because temperatures are going to be below average as July wraps up and possibly stay that way through August.


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The deep fractures in the 80-million-strong Anglican church were laid bare Wednesday as the Archbishop of Canterbury Rowan Williams opened a once-a-decade summit with a quarter of bishops boycotting the event because of a festering row over sexuality and liberal interpretation of Scripture.
Some 230 of 880 Anglican bishops, most of them from Africa and conservative American and Australian parishes are cold-shouldering the Lambeth Conference because they disagree fundamentally with Archbishop Williams and other liberal church leaders on the place of homosexuals in the life and ministry of the church.
Many of the boycotters have already launched a breakaway movement that wants to return to what they see as scriptural orthodoxy. They have been agitating for decisive action against gay clergy ever since Gene Robinson, an openly gay man, was consecrated as Bishop of New Hampshire in 2003.
Williams decided not to invite Bishop Robinson to the 2-1/2-week conference – but that was not enough to appease conservatives, who have openly broken with the US church leaders who consecrated Robinson.
"One reason why many of these people are not going to the Lambeth Conference is that they feel it would be hypocrisy to spend three weeks in fellowship and prayer and Bible study with those who have consecrated a homosexual as a bishop," says Canon Chris Sugden, a supporter of the traditionalist movement.
"It's the first time that the Lambeth has had a boycott," adds Theo Hobson, an author and theologian. "The aim of this year's conference is to avoid divisive issues, but that's why the Evangelicals have boycotted because they think there's a need for clarity at the moment to determine orthodoxy."
'Living through very difficult times'
In a welcome message, Williams, who has struggled to reconcile the irreconcilable over the past five years, acknowledged that the communion "is living through very difficult times, and we are bound to be aware of the divisions and conflicts that have hurt us all in recent years."
With 77 million members in 164 countries, the Anglicans claim to be the third-largest Christian denomination. They have always been the broadest of churches, and as such have been divided on a wide range of issues, from Darwinism to slavery, polygamy to scriptural interpretation and ecclesiastical rites. Lambeth conferences have habitually had to accommodate contradictory viewpoints.
But homosexuality has emerged as the most divisive issue of all, ever since the last Lambeth Conference in 1998 issued a resolution that failed to clear the matter up.
Conservatives argue it is not a question of homosexuality but of Scripture. They are alarmed at modern interpretation of the Bible. "I believe it [homosexuality] is against the Scripture because it is very clear in the Bible that it is not what the Bible teaches," says Lawrence Dena, a Kenyan bishop boycotting Lambeth.
But conservatives are not the only ones claiming that Scripture is on their side. Liberals argue that Jesus Christ said not one word about homosexuality, and that any dogma that denounces love between two people starts to look distinctly unchristian. "You've got all these people talking about gays and lesbians being an abomination before God. Does that make you want to run out and go to an Anglican church and sing God's praises?" Robinson said in an interview earlier this week.
But as if to underscore the furious antagonism between the two camps, the bishop was heckled on Sunday as he addressed a London congregation by a young man who told him: "Go back to your church and repent."
The Anglican church has started to unravel under the strain of two such diametrically opposed positions. Some conservative US parishes have seceded from local diocesan oversight and joined with African provinces that better reflect their traditional outlook. African archbishops have declared themselves no longer "in communion" with their liberal US counterparts, and one, Peter Akinola of Nigeria, has accused Williams of committing apostasy and leading the church into crisis.
Last month at a Jerusalem conference, traditionalists launched a splinter group called the Fellowship of Confessing Anglicans.
Lambeth will avoid firm decisions
To avoid antagonism breaking out into the open, this year's Lambeth Conference will avoid any firm resolutions that could be contentious. Instead, bishops will meet in small groups to discuss the broadest range of issues, from social justice to climate change, the multifaith world and, yes, human sexuality, without taking a firm stance.
Jim Rosenthal, an Anglican spokesman at the conference, says the format would be based on a Zulu form of meeting called indaba, where small groups gather to discuss important issues without reaching concrete decisions. "It's an excellent way for people with diverse backgrounds and languages to get together," he says.
He added that bishops would not be deflected by the boycott. "Although there are differences which no one denies over many matters, not just sexuality, the reality is that the 80 percent turnout shows we find enormous benefit in being in communion."
A secondary division chipping away at the Anglicans involves the consecration of women bishops. This is more of a problem for the English "mothership" (known as the Church of England), which has signaled that it will press ahead with legislation to introduce women bishops, despite the objections of hundreds of clergymen.
"This is something that is troubling the Church of England, though it's less of a fight in the wider Anglican communion," says Giles Fraser, a London vicar, who notes that about 20 women bishops will attend Lambeth. "The issue of homosexuality by comparison is a bare-knuckle brawl."
Few analysts expect an Anglican reconciliation anytime soon. "The church is already fragmented," says Mr. Hobson. "The Evangelicals don't really believe in the authority of a liberal archbishop and leadership. It's hard to see how it could reunite."
Mr. Fraser adds that the only way of keeping the Anglicans together "is to have a greater degree of subsidiarity so that each province is able to make theological decisions for [itself]."


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Fireball reported across California sky
Experts believe a 'sporadic meteor' caused a fireball to streak across the western California sky Friday night.
First a meteor hit Russia. Then an asteroid came unusually close to Earth. Now San Francisco may be the latest witness to a cosmic visitor.
Experts believe a "sporadic meteor" caused a fireball to streak across the western California sky Friday night, according to NBC's Bay Area affiliate.
A bright flash of light was first reported in Santa Rosa, Calif., around 7:45 p.m., and was seen as far south as San Jose and Morgan Hill.
It appeared to be bright green and turned yellow as it descended, according to a Bay Area resident who posted on NBC Bay Area's Facebook page. There have been no reports of damage following the incident.
Jonathan Braidman, an instructor at the Chabot Space and Science Center in Oakland, described the object based off reports as likely being a small piece of an asteroid that "somehow" got on a collision course with the earth.
"This is a very common occurrence," Braidman said. "What is uncommon is that it's so close to where people are living."
Astronomer Gerald McKeegan told NBC that the fireball was probably a "sporadic meteor." He added that sporadic meteors impact the Earth several times a day and can bring up to 15,000 tons of space debris per year to Earth.
No connections have been made between the California fireball and the meteorite that struck Russia on Friday or the asteroid that passed within 17,200 miles of Earth.
Contributing: The Associated Press


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Tag: ABQ
February 8th & 19th, Albuquerque: Opening Reception & Artist Talk: Martin Stupich "Remnants of the First World"
University of New Mexico Art Museum
Opening Reception for Martin Stupich, Remnants of the First World
Friday, February 8, 2013, 5:00-7:00 pm
Artist Talk on Tuesday, February 19, 2013 at 5:30 pm
Free and open to the public.
"We build and shape our landscapes and terrains—gardens, bridges, truck stops, quarries, canals and dams—to suit both our physical and emotional desires. Yet this is not without consequences. This exhibition presents a selection of potent images from a larger body of work that Martin Stupich has explored and recorded since the 1970s. These images of some of our most ambitious, often permanent structures are breathtaking to behold yet also pose questions about what it is we are leaving behind as the "remnants" of our culture and time. As the photographer has remarked "These remnants of the first world are the evidence, the trail of clues we leave as we plow ahead…." Stupich clearly works within a historical sphere which harks back to the nineteenth-century and includes some of the great camera artists of that era such as Timothy O'Sullivan, Carleton Watkins and Darius Kinsey."
The exhibition is located in the Van Daren Coke Gallery and will be on display February 19 – May 25, 2013.
Martin Stupich will give an artist talk at the museum on Tuesday, February 19, 2013 at 5:30 pm.
UNM Art Museum
Albuquerque, New Mexico [map]


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One of the best things about Craigslist is the always-exciting chance of the absolutely unexpected. An ad for a used PlayStation could present you with a picture of genitals, or a rant about reptillian control of the National Weather Service. Here, an ad for a Jeep Patriot gives you a look into the depths of an unhinged mind.
Or a bot. This also sounds like a very depressed computer that's read too much Camus wrote this.
I'm going to present the full text of the ad here, in case it goes away, because mere description can't do it justice:
Go get a money order if you want it there ask jake about the water truck and ask about its usefulness, i'll video tape anothers child bs and even more the loan that failed for weny to pay for another six months, 66438, another somehat off after parts were relabeled to explain to hospitial about security room attack. Tire were slashed at strip club after the the ball joint that was replaced broke after 4000 of fixing it i never did, previous accidents through twenty over thirty five max off deck with windows broken with pick up the gun...extensive problems with licking the blood off liquid burn, some design failures in winter to run over unbrellas garbage and shit...rust proof brake parts after braking failure for caps and the rock salt little rust in the forty five can read or research about el jefe if need at sit thanks for americas trust i wont deposit on further complaints about wealth after price think around them.
until thems the ropes stallion you get the drift another space they can take away to annoy me younger no more realms and the redness...
Western union propane suit the same as hook up worse, can be bough or sold direct with western union money order thanks for the chore, can't force them to drink in the past. Way back machine to listen to the rebuilds, audi less fast, dont need the new suspension parts, same as GMC, better rear to reconstruct not need, listed at 14-17 grand after the automobile was fixed improoperly for alternator failure ect from geico frauds scam ask my kid.
If you want it go get the money order a real one it changes hands there include at 18 to get there i bought from bank at suit of bank so so much for their 401k, tired of telling yee half the dues instead thanks i got to do this without fighting and draggin my feet.
Lived in with dumb friends, staying meatless since 1991.
How do you feel now? Like maybe you need a hug, or a shower? Do you have a dog or cat handy? You may want to pull them close as we reflect on this. Let's just grab a few pull quotes here:
"... i'll video tape anothers child bs..."
"...explain to hospitial about security room attack..."
"...with windows broken with pick up the gun..."
"...extensive problems with licking the blood off liquid burn..."
"...can read or research about el jefe if need at sit thanks for americas trust i wont deposit on further complaints about wealth..."
"...until thems the ropes stallion you get the drift..."
"...no more realms and the redness..."
What the hell is going on here? Is this man having a stroke? A vision? Is some aetherial entity speaking through him about this Jeep Patriot and licking the blood off the liquid burn and the Gieco frauds? Why does the world feel so much colder now? And what's with the bad "grin and bear it" pun in the title?
I don't think I've ever read a more existentially chilling ad for an SUV. Still, $4500 for a 2007 Patriot isn't terrible. Even if it is almost certainly some deranged bot-penned scam.
If you can handle the unremitting horror of being, of course.


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In the winter of 1949, Robert Lowell, perhaps the most influential of America's postwar poets, was ensconced in a months-long stay at Yaddo, the artists' colony in Saratoga Springs. Another guest at the retreat was the thirty-two-year-old essayist and novelist Elizabeth Hardwick, whom—unbeknownst to Lowell—he would marry before the year was out. During his visit, he received a letter from his friend Peter Taylor: "How could any magazine print the tripe Elizabeth Hardwick writes for criticism? I had never realized how truly dreadful she is till I saw her mind and her prose style at work on my own dear stories." Taylor was responding to Hardwick's recent appraisal, in Partisan Review, of his short-story collection "A Long Fourth." She had written, "Taylor, appearing in book form for the first time, is even now a kind of A student, modest, corrigible, and traditional. . . . He is too serene, too precocious. In his stories one longs, now and then, for harshness, indiscretion, that large, early ugliness a young writer can well afford, a battle with the inexpressible."
If anyone had the credentials to become a modest, corrigible A student—both in life and in literature—it was Elizabeth Hardwick, a beautiful, ambitious girl from a large Protestant family in Lexington, Kentucky. Instead, she made a career of exploring the margins: furtive trips to evangelical tent meetings when she was a teen-ager, a stint as a Communist at the University of Kentucky, a mariage blanc to a gay man in New York, forays into the world of Negro jazz music, and marriage to a manic-depressive poet. And it is in the light of these shifting perspectives that she has waged her own battle with the inexpressible, calling upon a critical acumen that does not gladly suffer the "dear" in literature. In three novels—"The Ghostly Lover," "The Simple Truth," and the remarkable "Sleepless Nights"—and four essay collections, the latest of which, "Sight-Readings: American Fictions," is being published this month by Random House, she has established herself as one of the idiosyncratic yet authoritative voices in contemporary American letters. As a co-founder of and now an advisory editor at The New York Review of Books, which celebrates its thirty-fifth anniversary this year, she has provided a forum for new voices as well. Both her life and her work are triumphs of style and substance.
Just as Edwin Denby, Clement Greenberg, and Pauline Kael transformed the nature of criticism in the fields of dance, art, and film, respectively, Hardwick has redefined the possibilities of the literary essay, and her frankly intimate tone and expansive analysis are part of the pleasure of her work. She is unlike many of her contemporaries, however, in that her passions, like her life, are difficult to categorize. She is known primarily as a literary critic, but she has written on everything from "Hedda Gabler" and Peter Brook's French production of "Timon of Athens" to Mick Jagger at Altamont and the Menendez brothers. "The force of Lizzie's mind," the writer Joan Didion says, "taught me that it didn't matter what you were writing about—what mattered was the force of your thinking about it." But Hardwick's writing is never didactic. She has not been interested in critical arguments that amount to a simple "yes" or "no" vote; rather, she has viewed the essay as an occasion to produce her particular brand of literature.
"Her sentences are burned in my brain," the novelist and essayist Susan Sontag says. "I think she writes the most beautiful sentences, more beautiful sentences than any living American writer." Hardwick also habitually employs a novelist's sense of suspense to keep the reader interested in the sharp turns her mind takes; the writer Cynthia Ozick has observed, "Her essays have plots." Hardwick herself has said, "I have a great affection for the form and have given to it everything and more than would be required in fiction, that is, everything I possibly could. Indeed I have always written essays as if they were examples of imaginative writing, as I believe them to be."
Hardwick began her career as an essayist and book reviewer more than fifty years ago, when, after the publication of her first novel, Philip Rahv offered her a chance to write for Partisan Review, but she had begun to think of herself as a New Yorker long before that. "As a Southerner, I had in my earliest youth determined to come to New York," she has said, "and it has been, with interruptions, my home for most of my adult life." She has occupied the same apartment—a high-ceilinged duplex on a shady street in the West Sixties—since 1961, when she and Lowell returned from an extended stay in Boston. The living room is dominated by a large oval-paned window. On one wall is a painting by Helen Frankenthaler which resembles red tears running down a white canvas; propped on the floor, near the fireplace, is a large black-and-white Annie Leibovitz photograph of a marquee advertising Robert Wilson's production of "Orlando"—a theatrical adaptation by Hardwick's friend the novelist Darryl Pinckney. Floor-to-ceiling bookcases line two sides of the room. In the dining room, a beautiful pen-and-ink portrait of Lowell hangs above the mantelpiece.
But Hardwick, seated demurely in her apartment, and expertly sidestepping the questions of her interviewer in a lilting Southern accent, bore little resemblance to the New York Jewish intellectual she had once aspired to be. Dressed in a pleated plaid skirt and a blue woollen pullover, with her brown hair parted in the middle, and a mass of curls framing her heart-shaped face, she instead brought to mind the University of Kentucky coed who first longed to claim that identity.
Elizabeth Hardwick was born in 1916, in Lexington, Kentucky; and she recalls her childhood with considerable fondness. "I am not sorry to have grown up in Lexington, so long as I didn't have to stay there forever," she told me. "I remember the streets, the drugstores, Woolworth's, the mad preachers in front of the courthouse saying things like 'Christ don't care about cute, remember that, folks.' " She was the eighth of eleven children, and her family's circumstances were modest. Her father was in the plumbing and heating business and her mother stayed home with the children.
Although Hardwick always lived near blacks, she nevertheless "grew up completely under apartheid," she told me. "In church, on buses, in toilets—I never went to school with a black person." Still, the Lexington of Hardwick's memory is vivid for its flamboyant characters and noirish underside: race fights on Fifth Street; the red-light district to the east. "I guess I'm very much drawn, in thought, to drifters, to frauds, to working-class people, waitresses, ten-cent-store clerks, bus stations," she said in a 1979 interview in the Times. "Maybe it comes from living so long in a fairly small town and spending as much time as I could on Main Street. Even now my idea of a wholesome walk is to go down a crowded street."
Hardwick attended the University of Kentucky, in Lexington, and received a master's degree in English in 1939. By then, she had discovered the political journalism of such writers as Dwight Macdonald and Mary McCarthy in The Nation and Partisan Review, and—briefly—joined the Communist Party. She was once asked to meet a black Party member "right down on Main Street," she recalls. "And I thought, Oh, what am I going to do?" (Hardwick's ability to deride her innocence—to caricature her fresh-faced liberalism—has been a strong component of her work.) She won a fellowship to attend Louisiana State University, where The Southern Review, a leading literary quarterly, that had published the early work of Eudora Welty and Robert Penn Warren, was based. But Hardwick was anxious to leave the South; she once described herself during this period as being like "some provincial in Balzac, yearning for Paris." She applied to study English at Columbia, and was accepted.
On the page, Hardwick falls in love, again and again, with people and cultures she stands outside of yet identifies with. In "Sleepless Nights," the protagonist, Elizabeth, who is newly settled in Manhattan, writes home, "1940. Dear Mama: I love Columbia. Of course I do. The best people here are all Jews—what you call 'Hebrews.' " While Hardwick pursued her studies at Columbia ("Ever trendy, I decided I had to specialize in the seventeenth century," she has said, "because that was the time of the metaphysical poets, John Donne and so on—that was the hot period"), she subsisted on fellowships and family assistance, living in a succession of dorm rooms and residential hotels.
In 1942, while she was a tenant at the Hotel Schuyler, "a dump of a hotel" on West Forty-fifth Street, she became involved with a young gay man named Greer Johnson, whom she had grown up with in Lexington. They lived in separate rooms but shared a kitchen. In "Sleepless Nights," Hardwick acknowledged this rarely discussed kind of relationship:
**{: .break one} ** Our friendship was a violent one and we were as obsessive, critical, jealous and cruel as any ordinary couple. The rages, the slamming doors, the silences, the dissembling. Each was for the other a treasured object of gossip and complaint. In spite of his inclinations, the drama was of man and woman, a genetic dissonance so like the marital howlings one could hear floating up from the courtyard or creeping up and down the rusty fire escapes. **
Attached but unmarried, Hardwick accompanied Greer as he made nightly forays in search not of men but of jazz. And in the jazz clubs on West Fifty-second Street— "Swing Street"—in the early forties she became acquainted with the "great performers with their worn brown faces, enigmatic in the early evening, their coughs, their split lips, and yellow eyes; their clothes, as crisp and bright and hard as the bone-fibered feathers of a bird." Greer introduced Hardwick to Billie Holiday, for whom he occasionally acted as a publicist. "She was fat the first time we saw her, large, brilliantly beautiful, fat," Hardwick later wrote. "She seemed for this moment that never again returned to be almost a matron, someone real and sensible. What a strange, betraying apparition that was, madness, because never was any woman less a wife or mother. Here was a woman who had never been a Christian."
Hardwick began writing in earnest after she left Columbia, concentrating on longer fictional works. "I was never going to get a job unless it was in Omaha," she told me, laughing, "and I wasn't going there." While still in graduate school, she had published a number of short stories, on the strength of which John Woodburn, of Harcourt, Brace, gave her an advance on a novel. "If you published a story then, even in The New Mexico Quarterly, the publishers would call," Hardwick explained. She went home to Kentucky, wrote her first novel, "The Ghostly Lover," and returned to New York. She was invited to call by the "curious, sly, and prying" Philip Rahv, one of Partisan Review's founding editors: "I weighed about ten pounds then, skinny, smoking, and he was quite surprised that I had read everything." He asked her what she thought of Diana Trilling, The Nation's book critic, and she replied, "Not much." Soon afterward, Rahv commissioned Hardwick to review fiction for P.R., which also published James Agee, Delmore Schwartz, Mary McCarthy, and James Baldwin at the beginning of their careers.
During this period, Hardwick's mother occasionally visited her in New York ("I took her to the Latin Quarter," Hardwick told me, "where we had baked Alaska"), but the daughter was drawing farther and farther away from the life she had been brought up to lead. Already, at twenty-nine, she was "a Commie and ex-Commie" who wrote novels and satirical short stories, a modern single woman in a hotel room in Manhattan surrounded by "love and alcohol and the clothes on the floor." In "Sleepless Nights," she gently mocked those "friends from long ago now living in the family house alone, with the silver and the pictures, a few new lamps and a new roof—set up at last, preparing to die." Even when Hardwick got married—to Lowell, at the age of thirty-three—stability was not a large part of the equation.
In 1946, Lowell had published "Lord Weary's Castle," a collection of poems about which Selden Rodman wrote in the Times Book Review, "One would have to go back as far as 1914, the year that saw the publication of Robert Frost's 'North of Boston' or to T. S. Eliot's 'The Love Song of J. Alfred Prufrock,' to find a poet whose first public speech has had the invention and authority of Robert Lowell's." Although Lowell was an admirer of English modernism, as it was exemplified by Eliot and W. H. Auden, he would soon bring confessional poetry to the fore: his poems, frequently autobiographical, were characterized by a pitiless self-awareness. (Lowell was a major influence on Sylvia Plath, who studied with him in the nineteen-fifties.) Born to Charlotte Winslow and Robert Lowell, themselves members of the illustrious literary and academic Boston-based Lowell clan, Robert (or Cal, as he was called by friends, short for both Caligula and Caliban) was, from his school days, "dark, menacing, belligerent, always bigger, stronger, shaggier than his contemporaries—always ready to take his own unpopularity for granted," as Ian Hamilton has written in his valuable biography of the poet.
Lowell's first marriage, to the novelist Jean Stafford, had not ended amicably, and he was already suffering from severe manic-depression. During Lowell's relatively brief engagement to Hardwick, Hamilton reports, his father wrote to him, "I think that it is much too soon to marry anybody—just after you have been discharged from a mental hospital, after shock treatment." He had "nothing personal" to say against Elizabeth Hardwick, but, he went on, "I do feel that both you and she should clearly understand, that if she does marry you, that she is responsible for you." With Mary McCarthy and her third husband, Bowden Broadwater, in attendance, Hardwick and Lowell were married in Lowell's parents' house in Beverly Farms. Hardwick told Ian Hamilton, "He wanted to do it, and I wanted to do it. I don't think it was a very happy occasion for anybody else."
And for the next twenty-eight years Hardwick nursed and advised and supported Lowell through repeated breakdowns. He was committed to Payne-Whitney for depression shortly after their honeymoon. From the clinic, Lowell wrote to his new bride, "Dearest, dearest, dearest Lizzie. I think of you all the time, and worry so about all I have dumped on you. We are going to work it all out, dear, be as wonderful as you have been." Recently, Hardwick told me, "As for having a crazy husband, I came to know well that not all crazy people are alike. Once he was in the hospital—unable to harm himself and others with the devastating strain and reckless behavior a manic attack puts upon the sufferer and those around him—I found I could hardly wait to go there for a visit. He was always on the phone to me, saying, 'Bring me my Dante' or 'Bring me the Iliad.' And there he would be, pacing up and down in felt slippers, assaulting the inmates with readings. They, zonked out, half asleep, had to endure an intimidating education by their fellow-inmate. It was all fantastical—surreal, I guess, to use that word more or less accurately. And then one day, he was himself again and back home writing."
She saw him through four major manic-depressive episodes during the first four years of their marriage. In 1957, their daughter, Harriet, was born. Throughout the marriage, Hardwick suffered through Lowell's infidelities, which usually precipitated periods of breakdown. Describing to Hamilton the end of an affair that Lowell had had with a dancer in 1965, Hardwick recalled that the woman retaliated by "sending Lowell 'a lot of bills with demanding notes,' " and that "he dropped them on the floor, and I picked them up and paid them."
This gesture—heartbreaking in its propriety and dutifulness—also has a great deal to do with a by now arcane notion of fidelity: Hardwick had chosen Lowell, and she accepted responsibility for that. (So strong is her dislike of self-pity and recrimination that in her essay on Edmund Wilson, which is included in "Sight-Readings," her new book, she criticizes Mary McCarthy's propensity for expressing such emotions: "Consider the oddity of the amount of repetitive energy put into denunciation of the past by one so pleasantly situated in life, so rich in experience, friendships, new loves, handsome surroundings.")
But Hardwick was far from being a martyr. "Of course I suffered a good deal in the alliance," she told me, "but I very much feel it was the best thing that ever happened to me. An extraordinarily original and brilliant and amazing presence, quite beyond any other I have known." And Lowell, unlike many brilliant and demanding husbands, respected his wife's mind and her work. In a Paris Review interview conducted by Darryl Pinckney and published in 1985, Hardwick states, "On the whole, Cal was encouraging. He liked women writers and I don't think he ever had a true interest in a woman who wasn't a writer—an odd turn-on indeed and one I've noticed not greatly shared. Women writers don't tend to be passive vessels or wives, saying 'Oh, that's good, dear."
"She was a safe harbor," Lowell's executor, the poet Frank Bidart, recalls. "I mean, she was in the midst of New York intellectual life, and she focussed all that for him." He continues, "Her dazzling array of reactions, opinions—that was the milieu he swam in." Together, Lowell and Hardwick offered other writers intellectual nourishment as well. In fact, the Lowells were such fixtures in their world that Donald Newlove, writing in Esquire, gave one of their dinner parties a bad review.
"In general, I'd rather talk about other people," Hardwick told Pinckney during the Paris Review interview. "Gossip, or, as we gossips like to say, character analysis." But although she rarely writes in the first person, Hardwick's persona is often just as compelling to her readers as her subject matter, if not more so: she has given so much of herself to the essay form that she almost seems to inhabit it. In her first collection, "A View of My Own: Essays in Literature and Society," which appeared in 1962, one catches glimpses of her everywhere.
These pieces, many of which originally appeared in Partisan Review, cover everything from William James to Caryl Chessman, whose execution brings to mind the hanging of a black man in the author's home town when she was a child. She writes about Bernard Berenson's self-exile in Florence, where she and Lowell lived in 1950. She writes, too, of her dislike of staid Boston in the nineteen-fifties, when Lowell was teaching there: "Boston—wrinkled, spindly-legged, depleted of nearly all her spiritual and cutaneous oils, provincial, self-esteeming—has gone on spending and spending her inflated bills of pure reputation, decade after decade." (Some took her attack as that of a Southerner on the cold, distant ways of the Lowells. When I asked her what her in-laws thought of her, she said, "I don't remember much except their saying, 'She's a nice little thing.' And I would think, Oh, yes?")
Hardwick's various identities, as wife, mother, Southerner, and artist, had also coalesced into an unpredictable and challenging point of view on feminism and the subjection of women. In her review of Simone de Beauvoir's "The Second Sex," Hardwick muses:
**{: .break one} **
Are women "the equal" of men? This is an embarrassing subject.Women are certainly physically inferior to men and if this were not the case the whole history of the world would be different. . . . Any woman who has ever had her wrist twisted by a man recognizes a fact of nature as humbling as a cyclone to a frail tree branch. How can anything be more important than this?
**{: .break three}
While Hardwick was roundly criticized for certain points made in the essay, what is impressive thirty-five years later is her clear-eyed vision of the realities that feminism sometimes glosses over: men's continued desire for women; women's for men; and the consequences that such desire brings about for the working, thinking woman—a double life of dealing with babies and diapers and sneaking off to the odd lonely space to figure out what she makes of things. Didion recalls being fascinated by Hardwick and Mary McCarthy when she was a college student in California, precisely because their lives encompassed these things: "They had relationships. They had boyfriends. They had children. They had these familiar lives in the world and yet they owned their work."
In 1963, Hardwick's work was extended to the editorial side of publishing when she helped found The New York Review of Books. The Review came into being when New York's newspapers went on strike for a hundred and fourteen days that winter. Hardwick, along with her friends the editors Barbara and Jason Epstein, and a Harper's editor named Robert Silvers, seized the opportunity afforded by the strike to start a publication of their own—"very much in the spirit of 'Hey, kids, let's put on a show,' " Barbara Epstein recalls. (She and Silvers still edit the magazine.) "In those days," Epstein says, "a book didn't exist if a review didn't exist in the Times." Even without financial remuneration—editors and writers at the Review were initially unpaid—it took Lowell's guaranteeing a bank loan to meet printing costs; ads were picked up from publishers who didn't have the Times to turn to. Edmund Wilson, Gore Vidal, and Hardwick, who were among the first contributors, were passionate in their belief that books and events could be discussed at length and in the writer's own voice.
Serious literary criticism had been a dream of Hardwick's for some time. In "The Decline of Book Reviewing," published in Harper's in 1959, she had written:
**{: .break one} ** The worst result of [the Times'] decline is that it acts as a sort of hidden dissuader, gently, blandly, respectfully denying whatever vivacious interest there might be in books or in literary matters generally. The flat praise and the faint dissension, the minimal style and the light little article, the absence of involvement, passion, character, eccentricity—the lack, at last, of the literary tone itself—have made the New York Times into a provincial literary journal.From the beginning, the pieces that Hardwick published in The New York Review of Books—parodies, book reviews, social criticism—were considerably different from those she had published in Partisan Review. The essays have a freer, unbridled quality, and one senses that Epstein and Silvers encouraged the particularities of her voice. Hardwick also wrote startling theatre reviews and essays, and was the first woman to win the George Jean Nathan award for theatre criticism. **
In 1970, Robert Lowell was granted a visiting professorship at All Souls, Oxford. He went to England ahead of Hardwick, to find a place to live. Upon his arrival at a party given for him at Faber & Faber, his English publisher, Lowell met up with a London acquaintance, Lady Caroline Blackwood, who had been married to the painter Lucian Freud, and they began an affair. Mary McCarthy, writing to her close friend Hannah Arendt, describes Blackwood as a "beautiful, odd girl, somewhat like a blonde Carmen, somewhat schizoid." This time, Lowell did not return to Hardwick. After several months, he wrote to his wife, "I cannot weigh the dear, troubled past, so many illnesses, which weren't due to you, in which you saved everything, our wondering, changing, growing years with Harriet, so many places, such rivers of talk and staring—I can't compare this memory with the future, unseen and beyond recollection with Caroline."
Lowell married Blackwood in 1972. She was not the "harbor" that Hardwick had been for him but, rather, a partner who was almost as unstable as he was. Frank Bidart recalls that Blackwood was ill-equipped to deal with Lowell's inevitable hospitalizations: "She would get tremendously upset, she would not want him to be released. The doctors would say he was fine, she wouldn't believe them. Once she actually left England so she would not be there for the doctors to release him to her care. And this increased her own drinking, and it got to be mayhem." Eventually, Lowell left Blackwood, and Hardwick agreed to let him come back. Bidart believes that Lowell was incredibly grateful. He says, "I think she really loved him. I've never doubted that. I don't think many people would have taken him back."
Especially after Lowell published his collection of poems "The Dolphin," in 1973. The book caused a scandal, not only because it detailed his life with Blackwood but because it included bits of Hardwick's letters to him during this period. It is brutally confessional, and ruthless in its use of the women in Lowell's life as elements of his private drama about guilt, redemption, and the impossibility of true union. In "Records" Lowell is presumably writing in Hardwick's voice:
**{: .break one} ** I got the letter this morning, the letter you wrote me Saturday.I thought my heart would break a thousand times, but I would rather have read it a thousand times than the detached unreal ones you wrote before. **
When Lowell was compiling the poems that were to appear in the book, he sent the manuscript to the poet Elizabeth Bishop, an old and trusted friend. She wrote him in reply, saying about Hardwick, "You have changed her letters. That is 'infinite mischief,' I think. . . . Art just isn't worth that much." Hardwick herself told me, "I was much distressed about the use of my letters in this antic caper. Actually, I don't think they were my exact letters, but they were made to seem so—that was the intention—but to me they seem to have been under the reign of Lowell's famous habit of revision. The poems from my letters seem to me quite silly, and perhaps I should be glad they are not in the mode of fury of some of my communications at the time."
Lowell's deep emotional commitment to Hardwick never diminished. In 1977, after he left Blackwood and returned to Hardwick, they spent the summer in Castine, Maine, in a house that had been left to Hardwick by a relative of Lowells. That fall, he returned to England to collect some of his things. In a cab on the way home from Kennedy Airport, he suffered a fatal heart attack.
Three years before Lowell's death, Hardwick had published the most thematic of her four collections of essays—"Seduction & Betrayal: Women and Literature"—and it was to have a profound effect on feminist literary criticism. She took on many of the literary women who were soon to become standard subjects of academic investigation—Dorothy Wordsworth, Jane Carlyle, Virginia Woolf, Zelda Fitzgerald, Sylvia Plath—while simultaneously avoiding the sentimental view of woman as heroine or victim.
In "Bloomsbury and Virginia Woolf," for example, Hardwick wrote what few of us have yet dared to say:
**{: .break one} ** Bloomsbury is . . . like one of those ponds on a private estate from which all of the trout have been scooped out for the season. It is not a natural place for fish, but rather a water stocked for the fisherman so that he may not cast his line in vain. . . . To see the word "Ottoline" on a page, in a letter, gives me the sense of continual defeat, as if I had gone to a party and found an enemy attending the bar. **
And on Woolf's work:
**{: .break one} ** The novels are beautiful; the language is rich and pure, and you are always, with her, aware of genius, of gifts extraordinary and original. Our emotions are moved, at least some of our emotions are moved, often powerfully. And yet in a sense her novels aren't interesting. This is the paradox of her work, part of the risk of setting a goal in fiction, of having an idea about it, an abstract idea. **
Always, with Hardwick, the human impulse in writing outweighs the abstract. No other critic writing about Sylvia Plath has so well captured Plath's deracination: "Her lack of conventional sentiment, her destructive contempt for her family; the failings in her marriage, the drifting, rootless rage, the peculiar homelessness, the fascination with sensation and the drug of death, the determination to try everything, knowing it would not really stop the suffering—no one went as far as she did in this."
Beginning in the nineteen-sixties, Hardwick taught creative writing, first at Barnard College and then also at Columbia, where she became an almost cultlike figure. "We wanted to know how she lived, what she ate, and what she did when she wasn't with us," recalls the novelist Sigrid Nuñez, who took Hardwick's graduate-level fiction workshop. Hardwick's former students, who also include the novelists Mary Gordon, Nancy Lemann, and Susan Minot, recall that she was not prone to coddling. Minot says, "I remember once she began a discussion in class by reading the first sentence of someone's story in that kind of trembling voice of hers, and saying, 'It's like the curtain rising on an unpromising play' "
Hardwick enjoyed teaching; she finds it annoying that so many writers complain about their teaching responsibilities. "There's nothing to it," she told me. "You just go in and do your rap. The thing you get bored with is that you have so few ideas." She also doesn't believe that universities have any business teaching contemporary fiction. When she was a graduate student at Columbia, she was reading Milton and the Romantic poets and "The Faerie Queene"—books that she wouldn't necessarily have read on her own. "That's the joy of it, I think. That's the education. But why should you teach Toni Morrison? She's just out. If an English major can't pick up a new novel . . ." She trailed off, disapproving.
In 1979, Hardwick published what remains her most widely read book, the gorgeous "Sleepless Nights." In it, she explored a hybrid genre: fiction written in the form of a meditative essay. Hardwick told me that she loved writing "Sleepless Nights" because it allowed her not only to fictionalize aspects of her own life but also to quote writers she loved and weave them into the fabric of her story.
Elizabeth, the narrator, is a reader who has always been consumed by literature. She says of her life, "It certainly hasn't the drama of: I saw the old, white-bearded frigate master on the dock and signed up for the journey. But after all, 'I' am a woman." What follows is a string of impressionistic reminiscences—of a gentlemanly pervert in Kentucky, a self-absorbed lover in New York, a formidable washerwoman in Maine, a philandering doctor in Amsterdam.
The primary relationship in the book is that of the protagonist to us, and yet Hardwick constructs the book so that Elizabeth nevertheless remains at a distance, her irony intact. This is no "tell all"; she is merely lending herself to us for a while. At times, these intimate glimpses are almost unbearable as she flirts with the reader's curiosity; at the end of one chapter, she casually adds, "Goodbye? I have left out my abortion, left out running from the pale, frightened doctors and their sallow, furious wives in the grimy, curtained offices on West End Avenue." Even so, the voluptuous shapes and textures of her sentences continue to seduce us.
Hardwick retired from teaching in the mid-eighties, but she continued to write, and her next collection of essays, "Bartleby in Manhattan" (1986), was as wide-ranging as "Seduction and Betrayal" had been focussed. It includes a 1965 piece on Selma, Alabama, in which she describes the ruined landscape of her youth: "What a sad countryside it is, the home of the pain of the Confederacy, the birthplace of the White Citizens Council. The khaki-colored earth, the tense air, the vanquished feeding on their permanent Civil War." She also analyzes the provincial girl named Marina who eventually became the wife of Lee Harvey Oswald:
**{: .break one} ** History, or events, exposed her to us in a series of frames: first, shabby, reserved, a proletarian with a tooth missing in front; in the end, on the day the Report was made public, a "famous person, with eyelids darkened over in "Cleopatra" fashion, hair teased high, the gap in the smile filled, a people's capitalist, a success. In [Oswald] she seems to have seen her chance to live in fact what she was in spirit . . . .And Marina, modern girl, demanded her right to sexual satisfaction, we are told; it was what she had expected, like a washing machine. **
In the years following the publication of "Bartleby," Hardwick became increasingly preoccupied with issues surrounding private and public life: she wrote about J.F.K.'s peccadilloes and O.J. Simpson's hubris; she became addicted to Court TV. In "Sight-Readings," literary and biographical questions are examined with equal relish. She is no less fascinated by the lives of others, and yet she has considerable reservations about the perils of attempting to commit them to paper. In her essay on Joan Givner's biography of Katherine Anne Porter, she writes, "Biographers, the quick in pursuit of the dead, research, organize, fill in, contradict, and make in this way a sort of completed picture puzzle with all the scramble turned into a blue eye, and the parts of the right leg fitted together." Hardwick goes on to refer to biography as "consistent fiction," and laments the difficulties of disproving it:
**{: .break one} ** Our power of documentation has a monstrous life of its own, a greater vivacity than any lived existence. It makes form out of particles and finds attitude in a remembered drunken remark as easily as in a long contemplation of experience—more easily, in fact. It creates out of paper a heavy, obdurate permanency. Threats to its permanency will come only by way of other bits of paper, a footnote coup d'état. **
Until someone has the temerity to write a biography of Elizabeth Hardwick, we will have to rely on her work for its powerful evocation of the life of her mind, and on hearsay from friends and acquaintances for the details of the life itself. And until someone has the wit to compile an "Elizabeth Hardwick Reader," we will have to rely on past issues of magazines and periodicals and the largesse of secondhand bookstores.
In a piece published in 1982, Hardwick herself described perfectly the fate of the restless, contemporary essayist: "Essays lie all over the land, stored up like the unused wheat of a decade ago in the silos of old magazines and modest collections. In the midst of this clumsy abundance, there are rare lovers of the form, the great lovers being some few who practice it as the romance this dedication can be." For Hardwick, one of the most imaginative and indefatigable lovers of the form, this romance has never ended. ♦


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Kurt Nimmo
March 4, 2011
It was yet another example demonstrating that some people in Mexico just don't understand the concept of liberty, the Constitution, and the Bill of Rights.
During a press conference with Mexican President Felipe Calderón on Thursday at the White House, a Mexican reporter asked Obama why he has not simply vetoed the Second Amendment.
Remarkably, nobody busted out laughing.
Obama admitted he is sworn to uphold the Constitution, including the right of Americans to possess firearms. He said Americans have the right to own guns to defend themselves and go hunting.
"Well, the Second Amendment in this country is part of our Constitution, and the president of the United States is bound by our Constitution," Obama said. "So I believe in the Second Amendment. It does provide for Americans the right to bear arms for their protection, for their safety, for hunting, for a wide range of uses."
- A d v e r t i s e m e n t
- {openx:49}
Obama did not mention the real reason the Second Amendment was included in the Bill of Rights.
Establishment politicians rarely do.
It is said Obama is a constitutional scholar, and yet he seems clueless about the Constitution and the Bill of Rights.
As a student of the Constitution, he should know that the Constitution establishes a government of limited powers and the first ten amendments of the Bill of Rights secure individual rights against the intrusion of government.
Put in its proper context, the Second Amendment is about preventing government intrusion, not deer hunting or self defense against criminals.
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Mexicans – or at least those who work for newspapers and are selected to ask Obama questions – are oblivious to the concept of individual rights and the responsibility of an individual to prevent the government from devolving into a tyranny, as government left unchecked invariably does.
Thus it should come as no surprise when they ask stupid questions.


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Batman™: Gotham City Chronicles
ALL THE CONTENT OFFERED DURING THIS CAMPAIGN IS KICKSTARTER EXCLUSIVE AND WILL NOT BE AVAILABLE IN RETAIL. (Check the "Why Kickstarter Exclusive?" section for details)
Traduction de la page en français
New to Kickstarter?
Here is a guide to guide you through all the steps from pledging on Kickstarter to getting your game!
The Base Game Pledge for the core boxes gives you a complete game experience with dozens of stretch goal extras for even more replay value.
However, the Batman universe is so vast that we couldn't fit all of it into the core boxes.
The expansions listed below all add new miniatures, new gameplay, new game boards, new scenarios, or a mix of all of these. They expand your gameplay options to give you even more great content.
Here is the complete list of all the optional buys available and their price:
If you're interested in purchasing any of these optional buys, please click the "Manage Your Pledge" button on the Batman™: Gotham City Chronicles Kickstarter page, and add the amount of the items that you would like to get in the pledge manager. You don't have to specify what you want at this stage. We will sort out what your extra money is going towards after the campaign has closed, when we send you a link to our pledge manager.
The mini-campaign takes place on the four maps of the base box(es). You will play as Bane and some of the worst criminals of Gotham City he has allied with. Bane's plan is to use them to take over the city and break its protector, the Dark Knight. Also, and this is very important, you will require a copy of the Versus Mode add on to play these scenarios.
This expansion includes 2 game boards: Wayne Manor and the Batcave, each of which includes 3 scenarios. The Batcave is divided into 4 boards to allow players to move into the well-known location under Wayne Manor, but also to other buildings, like those created by Batman Inc. This expansion contains only hero miniatures, like Bruce Wayne, Alfred and his daughter Julia. It also includes ally tiles for use in scenarios, or with the Command skill, and in the Versus expansion. Oh, and there is also a T-Rex!
This expansion includes 2 game boards: Arkham Asylum and Jokerland, coming with 3 scenarios each. Jokerland will include various attractions, shaped as double-sided overlays, which provide a lot of replayability, as the combination of attractions change with each scenario. These attractions offer unique atmospheres and terrain types that change the way you navigate the map. Of course, you can't imagine an expansion like this without thinking about the villains. This box is absolutely brimming with bad guys and you won't find a single hero among them. Within you will find a horrific faceless version of the Joker, as well as the Mad Hatter and his inseparable sidekicks, the Tweedle brothers.
Good versus evil. Light versus darkness. Heroes versus villains. Opposition is the core of the Batman universe. Sometimes villains turn to heroes and heroes to villains, blurring the lines, but the dichotomy is always there.
To represent this opposition, we developed a whole new mode which pits one player against another, each of them controlling their forces through their own command board, giving a more "skirmish" feel to the game. This mode adds an activation pool with a recovery system (very much like the Reserve and Fatigue zones work), dictating the pace of the game by allowing the player to decide how many tiles they want to activate each turn.
This expansion includes an additional plastic command board, 20 activation disks, and 55 tiles to play the Hero's characters. It also adds 12 ally miniatures on the heroes' side, boosting their forces to face the already numerous goons of the villain's side. Finally, the expansion comes with 8 dedicated scenarios and, of course, the rules to play the Versus mode.
This expansion includes the Batmobile and three scenarios: one for the Bank map, from the base game, one for the Batcave map from the Wayne Manor expansion, and one for the Jokerland map from the Arkham Asylum expansion. The Batmobile is played by the heroes, but does not function independently as a hero. Heroes will control it through a special tile which allows them to create shortcuts by destroying walls or to neutralize hordes of villains.
Batman™: Gotham City Chronicles is a scenario-based miniatures board game where 2 to 4 players control the Dark Knight and his allies in their never-ending battle against crime through an asymmetrical and open game system.
Each game involves an action-packed fight where two sides face off. One of the players assumes the role of the Villain and controls the most notorious criminals of Gotham City. The remaining players take control of the Heroes, who must work together as a team to foil the Villain's plots. Each side takes turns, pitting their strategies against each other in order to achieve their objectives.
Each game of Batman™: Gotham City Chronicles is played according to a scenario which describes the plot, location of the action, setup of the game, number of turns, and the specific objectives each side is trying to achieve in order to win the game.
The game involves two opposing sides: the heroes and the villain. We wanted to represent that dynamic up front by making it obvious from the art on the boxes. That's right, boxes, because one box will not be enough to fit everything you will get.
But this separation has another purpose: it eases the setup of the game. The hero box contains the hero boards, screens, cards...everything the heroes need to play a scenario. The villain box contains the miniatures, tiles, dice, and everything needed to prepare the command board for the fight to come. These 2 boxes will constitute the core game, which include all the base offerings plus all the Stretch Goals we're hoping will be unlocked during the campaign.
Each player on the heroes' side controls one or many characters.
At the beginning of a scenario, the players may choose which hero they want to play from a large roster. Each hero is represented on the game board by a blue miniature.
Each hero has their own hero board detailing their characteristics, skills, and traits.
The hero board is made of 2 parts: a hero screen that slides into a bat-tablet.
This hero board allows the player to control their hero to perform actions such as fighting or jumping from a walkway, by spending energy cubes from their reserve zone.
These energy cubes represent both a hero's life points and their capacity to act. The more actions they perform, the more exhausted they become.
But when a hero gets wounded, they must transfer energy cubes from their fatigue zone to their wound zone, diminishing their capacity to perform actions in future rounds.
To better understand how a hero board works, please watch the following 3 videos from Wayne Entertainment:
A hero can also carry equipment cards, placed next to their hero board. These cards grant bonuses to the hero when performing actions but have a weight that might slow down the hero or reduce their skills.
Finally, some heroes of the bat-family have access to the latest innovations from Wayne Enterprises and can have bat-gadgets. These bat-gadgets also grant bonuses but do not have a weight as they fit into their utility belt.
Facing the heroes is one player: the villain. They alone command their multiple troops represented on the game board by grey miniatures.
Each miniature or group of miniatures are represented by a tile that details the characteristics, skills, and traits of each character of that tile.
The villain controls their characters through a plastic dashboard called the command board, in which punchboards and the tiles are placed. The villain places the tiles in their command post in the order indicated by the scenario.
The villain controls their characters by activating the corresponding tile. They may activate up to 2 tiles per turn by spending energy cubes. But unlike the heroes, these cubes only represent the villain's ability to activate tiles, as each character they control has their own life point count.
To better understand how the command board works, please watch the following video series from Wayne Entertainment:
All miniatures presented in this campaign will be of high-quality plastic, pre-assembled, and shipped unpainted.
The scale of our miniatures is 35mm from feet to eyes. This large scale allows us to create highly detailed miniatures, with dynamic poses that are easier to paint.
But some of our models are even bigger, like the hulking Bane, towering Clayface, and the gigantic T-Rex!
As you may have noticed in the images above, the bases of our figures are no longer plain. Indeed, we are moving the quality of our miniatures one step further by offering textured bases so your figures look even better on the game board. Instead of having one base for all your miniatures, we have created 5 different bases of 30mm that will be used for "human-sized" figures. Larger miniatures like Killer Croc will have a 45mm textured base and unconventionally large characters like Clayface will be placed on a 60mm textured base.
This is our third Kickstarter project that features hundreds of miniatures. We have gained a lot of experience crafting these kinds of complex miniatures from the sculpting stage to the final model you will have in your hands. With Mythic Battles: Pantheon we actually set a new standard by using ABS (a harder plastic compared to the standard PCV) for thin sections (such as knives and ankles) and straight components (such as swords).
This experience allows us to offer very high-quality miniatures without bendy parts, that are regarded as the best available.
Adventure mode by Beasts of War (EN):
Let's play! by Beasts of War (EN):
How to play by Barry Doublet (EN):
De l'explication par Trictrac (FR) :
De la partie par Trictrac (FR) :
Learn to Play: Kickstarter Overview (EN):
Learn to Play: Conan VS Batman (EN):
The Dice Tower plays (EN):
All pledge levels will be available in both English and French. You'll be able to choose the language of your game during the Pledge Manager phase, after the campaign.
Tous les niveaux de pledge seront disponibles en français et en anglais. Vous pourrez choisir votre langue lors de la phase de pledge manager, à l'issue de la campagne. Attention cependant : seules les règles et les scénarios seront traduits en français. Le reste du matériel contient relativement peu de texte : le nom des cartes d'équipement et le nom des personnages resteront en anglais. Par exemple, Gueule d'Argile s'appellera Clayface.
We will offer translations in German and Spanish, available to download as PDF when the game will be delivered. However, only the rules and scenarios will be translated. The rest of the components contain relatively little text: the name of the asset cards and the name of the characters will remain in English. For example, Clay Maw will be called Clayface.
For a very simple reason: the game contains a lot of work and high-quality components on top of the cost of the Batman license.
To be able to offer you this game at a reasonable price, we had to cut our margins as low as possible. We cut them so much, in fact, that we cannot reduce them any further. Therefore, if we were to sell this game to a distributor, who then would sell it to retailers, the final price of the base game for you gamers would be multiplied by 2.5. That would be more than $350 for the base game only!
We talk from experience as we offered Conan, our first Kickstarter project, through retail a few years back, and it turns out, that we had to lower our selling price to the distributor so much that we did not make any money on this. And you will understand that this is not a very good business model for a company.
Based on our Conan and Mythic Battles: Pantheon experience, we will be charging shipping once the Kickstarter is over, based on the actual costs. We will collect the information via our pledge manager after the campaign ends. We will ship your rewards at our cost to our international hubs. Depending on where in the world you are, we will either ship to you from our hub in China (Asia, Pacific and Japan backers), USA (USA), Australia (Australia and New Zealand backers), and France (EU backers and the rest of the world). Keep in mind these are just estimates, and costs may rise based on weight increases from unlocked stretch goals and any optional buys you choose.
- USA: $20-$25 to most states.
- CANADA: $30-$35 to most cities.
- EUROPE: $20-25 to France, Germany, Belgium, Luxembourg, Netherlands. $25-35 to Spain, UK, Italy, Poland, Switzerland, Czech Republic and to most other countries.
- LATIN AMERICA: $50-$60 to most countries.
- BRAZIL: $120-130 to Brazil (including customs and tax fees)
- ASIA: $27 to China and Hong Kong. $40 to most other countries.
- OCEANIA: $20-$25 to Australia. $50-55 to New Zealand.
- AFRICA: $50-55 to Morocco, $80-85 to South Africa, $140-145 to most other countries.
- DOM-TOM: $60-65 to Réunion, Martinique, Guadeloupe, Mayotte, Guyane.
We cannot ship to PO Boxes domestically or internationally, and to the following countries:
Cuba, Iran, Burma (Myanmar), Sudan, North Korea and Syria.
Monolith is a company founded in 2014. Since then, Monolith created and successfully delivered 3 top Kickstarter projects driven by one goal: to create immersive games served by great gameplay mechanics and topped with high-quality components. Conan was the first of these games, Mythic Battles: Pantheon is the second and Conan Book of Set is the last one. All of them have been delivered and very well received.
In addition to the people from Monolith, a huge team of passionate professionals has worked on Batman™: Gotham City Chronicles. Here's a complete list:
- Game Author: Frédéric Henry
- Scenarios/expansions writers: Tony Berart, Emmanuel Crochet & Yohann Hériot.
- Scenarios: Tony Berart, Emmanuel Crochet, Yohann Hériot, Yohann Le Doaré, Jacques Bariot, Eric Bourlet, Olivier Caira, David Fournier, Jonathan Gallerne, Eric Gehres, Rémy Jurion, Nicolas Warembourg & Thomas Dupont.
- Artwork: David Finch, Anthony Jean, Milan Nikolic, Georges Clarenko, David Demaret, Alex Maleev, Stéphane Roux, Arnaud Boudoiron, Tomeu Morey, Sandra H. Archer, Jae Lee & June Chung.
- Flavor texts: Xavier Fournier & Alex Nikolavitch
- Lead sculptor: Arnaud Boudoiron
- Sculptors: Aragorn Marks, Edgar Ramos, Edgar Skomorovski & Irek Zielinski.
- Engineering: Kirsty Cottrell & Aragorn Marks.
- Miniatures painter: Martin Grandbarbe
- Batcave & Gotham City 3d terrain: Rémi Bostal
Project Manager: Adnane Badi
- Production Manager: Tracey Fraser-Elliott
- Graphic artist: Loïg Hascoët & Vincent Jamgotchian
- Graphic assistant: Lénaïck Petitjean
- Rules editing: Tony Bérart, Adnane Badi & Grégory Privat.
- Translator: Rebecca Sevoz & Matt John
- Administrative officers: Virginie Renard & Christelle Lafilolie
- Publishing assistant: David Bertolo
- Community manager: Matt John & Sébastien Lopez
- Video trailer: Fabien Delarue
- Game videos: Trictrac, Beasts of War & Barry Doublet
- Bat-Tour contributors: Blaise Caperan, Ludovic Chatillon, Julien Chollet, Rafaël Da Silva Gomes, Jean-Christophe Désoblin, Thomas Dupont, Mathieu Giroux, Pit Lanrezac, Douce Mateo, Flavien Loisier, Mickael Monnier, Guillaume Petitjean, Gilles Plantin, Thomas Russier & Nicolas Warembourg.
Batman and all related characters and elements © & TM DC Comics. (s19)
Risks and challenges
Monolith will do their utmost to ensure that deliveries start according to the announced schedules. However, it is never impossible that a problem may arise. Should this happen, we will do our absolute best to provide you with accurate information and to limit any delays to a minimum.
By pledging to this project, you acknowledge that the final look, components, and content of the rewards (and the project) are subject to change and may differ substantially from what is presented in this Kickstarter project page.
Regarding the payments made through Kickstarter:
• A full refund without any conditions within 14 days after the end of the Kickstarter campaign.
• 90% refund without any conditions from the 15th day after the end of the Kickstarter campaign to the day the first ship with Batman: Gotham City Chronicles content departs from China. The start of the shipping date will be announced in a Kickstarter update.
Regarding the payments made through the Pledge Manager:
• A full refund without any conditions within 14 days after the payment, not 14 days after the Pledge Manager closes.
• 90% refund without any conditions from the 15th day after the payment to the day the first ship with Batman: Gotham City Chronicles content departs from China. The start of the shipping date will be announced in a Kickstarter update.
The refunds are made by default in USD through Kickstarter and the Pledge Manager. Transaction fees may be applied by the transaction operator (normally Stripe). If the refund through Kickstarter or the Pledge Manager is not possible (for instance if the debit/credit card expired, or because of the use of a virtual card, or for any other reason), the refund will be made with a bank wire. Additional bank fees may apply depending on the bank and the country.
We commit to delivering your order in accordance with the information provided in the Pledge Manager, or refund 90% of the paid amount if you do not fill out the following information in the Pledge Manager by the time it is closed:
• Indicate the detail of your order
• Fill out your delivery information
• Pay your shipping fees
• Validate and confirm your order in the Pledge Manager.
We regret we are unable to ship to PO Boxes, and to following countries:
Cuba, Iran, Burma (Myanmar), Sudan, North Korea and Syria.
• Follow the communications through the project updates. Kickstarter.com sends you each update by email, but if you do not receive them (spam, change in your email address…) it is up to you to stay informed. The updates are regular and all available on the Kickstarter project page. The updates will also be published on our Facebook page. (https://www.facebook.com/monolithedition/)
• Fill out your information to finalize your order, enter your delivery address and pay your shipping fees in the Pledge Manager before it is closed. The opening and closing dates of the Pledge Manager will be announced in a Kickstarter update.
• Update your delivery address in the Pledge Manager in case of change and provide valid information for your delivery (full address, email address, phone number). The deadline for updating your information and the delivery dates will be announced in a Kickstarter update. Updating your information cannot be done by mail or direct message via Facebook or Kickstarter. We will not be able to refund the orders delivered to an invalid address and the reshipment will be charged.
• Send your refund request to the following email address: email@example.com indicating the necessary information to process your request (email address used on Kickstarter, amount of the requested refund, and the name of the game). To ensure the efficient processing of your request and its traceability, we can not guarantee an answer through the direct messaging of our Kickstarter or facebook pages.
• Accept the conditions and import taxes of the country you selected for your delivery. We can not refund the orders not delivered or for which the import taxes are too high in the destination country.
• Contact in priority the support service of your delivery hub for any issue related to your order :
- Issues related to the expedition of your parcel (absence, lost or damaged)
- Issues related to the content of your parcel (missing or damaged references)
- Issues related to the content of your game boxes (missing or damaged component)
The tracking information of your parcel is only valid for a few months. In case of an issue, if you do not contact the support service of your hub as indicated in the Kickstarter updates within 3 months after the end of the shipping period, we can not guarantee a positive answer to your support or refund requests.
If these terms are not acceptable to you, then we suggest that you do not participate in this crowdfunding campaign. Thank you for your understanding.
© 2017 Monolith and related logos and distinctive likenesses are trademarks or registered trademarks of Monolith Board Games. All rights reserved.
Batman and all related characters and elements © & TM DC Comics. (s19)
Funding period
- (32 days)


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text:
The show: "Sequence Eight" at the Shubert Theater in New Haven, part of the International Festival of Arts & Ideas
What makes it special?: The same hip, easy-going-yet-kinetic, hanging-out spirit that the Montreal-based Les 7 Doigts de la Main brought off-Broadway and on tour with "Traces" (not to mention Broadway's "Pippin") echoes in its latest show, "Sequence 8" at the Shubert Theater.
First impression: It's a thrilling, funny, charming and captivating show with some of the most engaging performers you'll spend 95 minutes with. The plotless ramble uses stunning cirque acts as just another cool tool for a group of eight young people as they play with relationships, gravity, metaphor and each other. Catch this show before it leaves Saturday afternoon. It's an absolute don't-miss for audiences of all ages and sensibilities.
What's the title mean?: Who the hell knows? Even after I read the explanation in the program my only thought is: Is there no marketing person in this incredibly creative group? Les 7 Doigts De La Main isn't the best on its titles. '"Traces" is such a bland title for a very exciting show. Yes, I get it that it's the group's eighth creation. So...?
So what is it exactly?: A lean wisp of a young man comes on stage and does the obligatory turn-off-your-cell-phones spiel, in a post-modern, David Letterman kind of way, except cuter. He's sort of the host, guide, low-key minordomo of the show but certainly he is not alone in the quirky attitude, as witnessed when the rest of the troupe zoom-zooms on stage with a burst of kinetic energy, tumbling, leaping and bouncing off each other like cracked-up neurons.
Under the fluid direction of Shana Carroll and Sebastien Soldevila, the performers alternate in their specialty numbers -- juggling, Russian pole, teeter board, ring -- but in a very off-handed, self-aware way. You get the feeling, carefully crafted to be sure, that they're all just making it up as they go along, performing for their own pleasure and one-upmanship, as much as anything. No unctious people-pleasing here. No winking at the audiuence -- unless it's an ironic wink. They're doing it for the fun of it and you're welcome to come along too.
There are nine large frames in the background of the simple set and in a way it brings to mind the nature of a framing device which is what this group does. It takes cirque acts but frames it in different, ever-changing ways. But such "intellectual" searches for metaphors are gently mocked by the company during the show. Framing devise? Sure, why not? Whatever. Excuse me while I soar through the air.
Standouts?: Really, everyone has their chance to make you smile, laugh or take your breath away. But Eric Bates' juggling is a mesmerizing marvel. Alexandra Royer's pole walking is gasp-worthy. Maxim Laurin's trapeze work is dazzling solo and en mass (The gymnastic dance moves of Pilobolus comes to mind here and on other occassions). Camille Legris and Tristan Nielson's pas de deux is brilliant in its simplicity. And Davis could star in any cool youth flick or TV show -- plus he moves like quicksilver. The same goes for Devin Henderson and Ugo Dario.
Who will like it?: Most everyone will be entertained, charmed or amazed.
Who won't?: Perhaps those who want a more clear narrative arc.
Latest Stage Notes
For the kids?: Most definitely.
Twitter review in 140 characters or less: The kids are all right.
Thoughts on leaving the parking lot: After seeing two shows by this group and admiring the integration of the terrific cirque aspects of "Pippin" I look forward to where this group will take the form. It's already mastered the attitude, the humanizing and individualizing of its performers, the bringing together of cirque skills, kid energy, Broadway-quality choreography and sheer show biz theatricality. Where to next? Perhaps that narrative arc is closer than ever.
The basics: The show plays Friday at 8 p.m. and Saturday at 2 p.m. at the Shubert Theater, 247 College St. in New Haven. Running time is 95 minutes without an intermission. Tickets are $20 to $55, with student, youth and senior discounts available. Information at www.artideas.org and 203-562-5666 or toll free at 888-736-2663.


text:
Our material is available in our efforts to advance understanding of issues of Salvation and Spiritual significance. Our FREE DVD's, information, articles and videos are distributed without profit, donations or fund raising, except google adverts, to those who have expressed a prior interest in receiving the included information for research and educational purposes, on Bible Facts, Bible Proof, Evidence of the Bible, Bible Archaeology, Is the Bible Reliable? Seek and you will find, said Jesus.
Simon Brown.
It is not my purpose to force you to agree or believe with what's on my websites, but rather to share my research. As the record goes: I'm Just a soul whose intentions are good. Oh Lord, please don't let me be misunderstood. I do not write to share my research because I desire to be rich, famous, or powerful, but because investigating, studying, enquiring exploring, analysing and scrutinising, helps me learn what I don't know. I simply love seeking, searching and researching, to discover the truth that is so rare, and become full of joy, uncovering the truth of our great GOD, and His Son's hidden treasures, which has since caused me to become trapped in GOD's divine love, who cannot turn back. I am Simon Brown. Amen.
I Simon Brown am no longer a Trinitarian, but an independent researcher in no denomination.
Anyone with ears to hear should listen and understand! Matthew 11:15.
SON of God?
Tuesday, 16 October 2012
Daily Mail reveals the Turin Shroud could not be the work of medieval forgers.


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Explore Our Hotel
This hotel's Hickory, NC, location is closest to the Furniture Mart. As the newest hotel located on the site of Hickory Furniture Mart, this hotel's accommodations in Hickory, North Carolina, offers guests easy access to the area via US Hwy 70 and I 40.
In addition to a great location, affordable prices and top amenities make the hotel the smart choice among area hotels. While in Hickory, NC, our hotel's patrons enjoy easy access to the renowned Hickory Furniture Mart next door. With more than 100 galleries, outlets and stores the Mart is the largest home furnishings resource in the country. Shoppers can also venture to Valley Hills Mall, less than a mile away. Other popular sites include Hickory Museum of Art and Hickory Motor Speedway. The Blue Ridge Parkway, Booneand Blowing Rock are just 45 minutes away. Close proximity to the Fall foliage, North Carolina brings a kaleidoscope of leaf colors for many weeks.  It's easy to stay connected with amenities like free hotel-wide Wi-Fi access.
- Black-out Shades
- Rollaway Bed/Cot Available
- Crib Available
- Iron/Ironing Board
- Separate Hanging Closet
- In-Room Heating and A/C Controls
Bathroom/Personal Care
- Private Bathroom
- Bathroom Amenities Available
- Hair Dryer
- Bathtub
- Separate/Walk-in Shower
In-Room Features
- Mini Refrigerator
- Coffee Maker
- Tea Maker
- Flat-screen TV
- iPod Docking Station with Clock Radio
- Work Desk with Lamp
- Desk-level Electrical Outlet
- Free Local Calls
- Cable/Satellite
- Premium Channels
- Stereo/Radio
- Phone with Voicemail
- Complimentary Morning Newspaper
Added Value
- Connecting Rooms Available
- Complimentary Coffee/Tea Supplies
- Full Breakfast Included
- Breakfast Buffet Included
- Continental Breakfast Included
- Complimentary Coffee in Lobby
- Kids Eat Free
Business Services
- On-Site Business Center
- Printer
- Copier
- Office supplies available
Internet Access
- Free High-Speed Internet in all Rooms
- Wireless Internet service is free for all IHG® Rewards Club members
Health & Fitness
Complimentary Fitness Center
This hotel in Hickory, North Carolina features a Fitness Center which is open 24 hours. Continue your workout in Hickory with your choice of 2 treadmills, an elliptical, a recumbent bike, and a dumbbell set 5-50 lbs.
Hours of Operation: 12:01 AM to 12:00 PM
Fitness Center Type: EXTENSIVE
Fitness Center Equipment:
- Elliptical Machines
- Free Weights
- Stationary Bicycle
- Treadmill
Housekeeping & Laundry
- Daily Housekeeping
- On-site Guest Self-Laundry Facilities
- Hours of Operation: 12:00 AM - 11:59 PM
Added Value
- Ice Machine
Hotel Details
2250 Us Highway 70 SE
Hickory, North Carolina 28602
United States
Check In: 3:00 PM
Check Out: 12:00 PM
Check-in Age: 21
Parking + -
- Complimentary Self Parking Available
Accessibility + -
- Public Entrance
- Guest Rooms
- Public Restrooms
- Registration Desk
- Exercise Facility
- Business Center
- Number of Accessible Meeting Rooms: 0
Accessible Hotel Areas
- Registration Area
- Accessible Guest Rooms
- Business Center
- Exercise Facility
Hotel Areas with Accessible Routes from Accessible Public Entrance
- Accessible Self Parking
- Van Accessible Self Parking
- Ramp Access
- Portable Bathtub Seats
- Closed Caption TVs
- Telephone with TDD
- Visual Alarm/Alert in Guest Rooms
- Visual Alarm/Alert in Public Spaces
- Communication Kits with Visual Alarms
Provided by Hotel
Pet Policy + -
- Service Animals Allowed
- We are not a pet friendly hotel. No pets permitted in our Hickory, North Carolina location. Guide dogs and service animals are always welcome at our hotel.
Facility + -
- Smoke-Free Facility
- Number of Floors: 3
- Total Number of Rooms: 86
- Number of Suites: 3
- Number of Non-Smoking Rooms: 86
- Number of Accessible Rooms: 3
- Connecting Rooms Available
Credit Cards + -
- American Express
- Visa
- MasterCard
- Diners Club
- Carte Blanche
- Discover


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"I am not afraid of tomorrow, for I have seen yesterday and I love today." William Allen White
I believe it is only natural to reflect on the year that's passed just as a brand new one is about to begin... I've been thinking of all kinds of creative, potentially innovative ways to present the highlights of mine, but in the end I thought "Why bother spending so much time on the past when what I really should be doing is looking into the future?".
Having that said, I decided on a kind of compromise and thought I'd list the highlights of 2009 but also the things I hope to do 2010.
Here goes ;))
2009 Going home again after 8 months! ...all I can say is WOW!
2010 2 things.... The first one I'm hoping for is the one I get when friends/family come to visit. The second one I'm hoping for is a sense of feeling calm (which is unfortunately quite unusual for me)!
2009 Italy for sure!!! Como, Venice, Tuscany & Cinque terre was truly AMAZING!
2010 Planning to go to a tropical island (yet to be decided which one...and shared ;)) with one of my best friends....bliss!
2009 Oohh....this is tricky, but I think I'll choose my latest Betsey Johnson dress!
2010 Hoping to find the perfect knee-high boots for next fall/winter....as this was mission impossible this year!
2009 Joshua Radin!!
2010 My favourite author and one of my greatest sources of inspiration....will keep you posted!
Professional achievement
2009 Hmm.....well I guess getting "accidentally" promoted in November can count??
2010 Mainly aiming to stay afloat, but I guess passing the APICS exams could be a goal ;)
2009 Ingrid Michaelson entered my musical world and all I can say is WOW!
2010 Really really looking forward to hearing Regina Spektors newest!!
2009 Well.... I guess that would be this blog!
2010 I am really hoping to start writing a book, or at least outlining the idea I have ;))
2009 Slumdog Millionaire ties with Grave of the fireflies!
2010 Tim Burtons "Alice in Wonderland" and of course "Harry Potter and the deathly hallows Part 1"!! Exciting movie year ahead!
2009 Postponing the import of my car because of silly indecisiveness....have a very unpleasant bill coming my way =((
2010 I could say NONE, but who would believe me?? Let's not forecast this!
2009 To make 2009 a better year than 2008...succesful?? Uhmm yes!
2010 Take better care of myself!! (less stress and not worry too much)
That's all for now but want to leave you with this brilliant quote:
"When it comes to the future, there are three kinds of people: those who let it happen, those who make it happen, and those who wonder what happened."
John M. Richardson, Jr.
Now which one would you like to be??
Thank you so much for all your support during 2009! Hope to see you here also during 2010 ;)
HAPPY NEW YEAR!!! May all your wishes and hopes come true....
Linda - Still lost in Switzerland....but let's see what 2010 has in store!


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Our Legion Post 501 Coffee, Cards, Donuts & Camaraderie is working well. This gathering doesn't involve business talk, nor work at the post, nor fund raising. We invite all veterans and their spouses are welcome to stop in sometime between 9 am till Noon, on Thursday, March 21st, for some coffee, some conversation, possibly a card game or two, and for those who come hungry - maybe some donuts, kringle or what have you.
Card games could include cribbage, Euchre, penny anti poker or spades, hearts or sheepshead, checkers or chess, dominoes, roulette - what ever tuns your crank. Not only are fellow legionnaires welcome, but also VFW, Navy League, MOAA, ROA, Active Duty from all branches of service and we'll even allow Marine Corps league vets in, so help us Lord.
Come and join the fun, relaxation and just visiting with fellow vets and other Warriors, who like all of us, have at one time, and even currently, marched in boots.
Come early, stay as long as you wish. We might ask for a $1 donation to cover the treats, but that will not be an entrance requirement. Just bring your self, and a fellow vet if you know one, all will be welcome with a good attitude and a willingness to spend some time together.
If you can't make this coffee, check our Post 501 calendar for the scheduled date in the next month and add to your personal calendar. We look forward to sharing time with you.
See PowerPoint flyer below.


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Law clerks gain valuable insight with Wortham
Summer vacation isn't about sun, sand and relaxation for everybody.
For three law students with ties to the Beaumont area, this summer has proven to be a chance to put the theory and reading they've done in law school to the test under the watchful and experienced eye of longtime judge and attorney Bob Wortham.
"It's been a wonderful experience, but it's not me sharing my knowledge, it's me sharing the opportunity for them to see the involvement with, at times, some very good lawyers, and at other times, some not so very good lawyers," said Wortham, who has more than 30 years of experience practicing law and presiding over cases. "So they learn two things: They learn how to do things and they learn how not to do things, and sometimes learning how not to do them may be more beneficial than learning how to do them."
Wortham is in his fifth summer of hosting aspiring lawyers as clerks, and this year's crop includes Adam Walton, 23, who has family in the Beaumont area; and Janson Bailey, 27, a West Brook product. Both men have been working under Wortham all summer and are wrapping up their clerkships before heading off to enjoy what's left of their summers. They will be entering their second year of law school this semester. Walton attends Liberty University School of Law in Lynchburg, Va., while Bailey attends Whittier Law School in sunny Southern California.
Kaylee Bryant-Blewett, 25, is a Kelly graduate and was starting her clerkship this week. She had an interesting start thanks to the profanity-laced rant from courthouse shooter Bartholomew Granger on Tuesday in which a motion was made by his attorney, Rife Kimler, to remove himself as counsel since he was a witness to the courthouse shootings. Wortham is presiding over the Granger case in Jefferson County.
Bailey, who is looking at going into real estate law when he's done with school, said the experience he's had this summer learning in a real-life scenario has been priceless.
"You sit in a classroom for however many hours a day, we read non-stop about procedure and black-letter law, but to see it in motion and see the inner-workings of the courthouse and to see how the attorneys interact with each other — it's been a great experience for myself. I don't think there could've been anything else to substitute what we've done this summer and the experience that we've had," Bailey said.Walton, who's also considering real estate law, said working behind the scenes and seeing what you don't read about in school is beneficial as a young law school student, but it's applicable to everyday life as well.
"You're dealing with real-life people in real-life circumstances, so it helps put the law in perspective. If you think about the reason you're doing things and think about those circumstances, it helps in the application of the law," said Walton. "You're not just doing things hypothetically anymore; you've got a point, you've got a goal, and you're trying to help people."
For Bryant-Blewett, who has one more year of law school left at South Texas College of Law in Houston and wants to try her hand at family law, she knows she's got her work cut out for her the rest of the summer before heading back to class.
"I'm expecting to get a lot of experience, to do some writing, take in some hearings," she said. "They've talked about the rubber meeting the road; that's what I'm really here for."
Fred Davis can be reached at (409) 832-1400, ext. 227, or by e-mail at fred [at] theexaminer [dot] com.


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