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Leon Forrest, The Bloodworth Orphans, University Of Chicago Press, 2001.
Leon Forrest, acclaimed author of Divine Days, uses a remarkable verbal intensity to evoke human tragedy, injustice, and spirituality in his writing. As Toni Morrison has said, "All of Forrest's novels explore the complex legacy of Afro-Americans. Like an insistent tide this history . . . swells and recalls America's past. . . . Brooding, hilarious, acerbic and profoundly valued life has no more astute observer than Leon Forrest." All of that is on display here in a novel that give readers a breathtaking view of the human experience, filled with humor and pathos.
If you plow through (or skip over) Forrest's unreadably dense, ten-page ""List of Characters,"" you'll reach the slightly less convoluted now-and-flashback story of ""Mother-Witness"" Rachel Flowers, the children she bore, the children she adopted, and the orphans and bastards around them--all tracing back to the slaveowning Bloodworths and a network of sins. Unfortunately, the most sympathetic characters disappear early on: blind Rachel, who was exorcised--God said ""NO DEALS""--of her evil (two illegitimate, doomed sons by a Bloodworth scion) to become the envied, gospel-singing first lady of her church; Regal Pettibone, who drives a ""Lincoln chariot,"" sings gloriously with Rachel once a year, and sends his women ""first to ecstasy, then to chaos""; and Rachel's nurse, LaDonna Scales, ""foundling of the world."" After Rachel succumbs to cancer, LaDonna and Regal fall in love (haft-unaware of their incest) and, when LaDonna strays into the embrace of W. W. W. Ford (white slaver, drug pusher, dispenser of phony religion), the brother and sister die in inevitable violence. The rest of the book belongs to the intangible Ford, as his evil infects the innocent--chiefly Amos-Otis Thigpen (yet another sibling) and naive Nathaniel Witherspoon--and as he is talked about, endlessly, by the inmates of the music-rich asylum where unlucky Nathaniel lands. Forrest's prose is as thick as molasses and just as sticky--image after image that won't let go--and blends revival meeting rhythms (""Lord, Lord, LORD"") with a vocabulary attuned to the probing minds of the black achievers included in the immense cast. Sermons, exorcisms, two gargantuan deathbed speeches, and a symbolic tall tale of a ""serial hermaphrodite"" spill out in a Faulkneresque flood of bulging parentheses. It's worth hacking away at this jungle of words as long as Rachel and her closest kin are active, but when the circuitously connected episodes and hearsay take over, even the diligent reader will not find enough line-by-line rewards to redeem the page-by-page punishment. - Kirkus Reviews
Leon Forrest, Divine Days: A Novel, W W Norton, 1993.
Fabulous, wildly comic, and Ulysses-like, Divine Days explores the mythical world of Leon Forrest's literary kingdom, Forest County. It is a huge oratorio of the sacred and the profane, set in bars, churches, and barbershops over a crucial seven-day period in the life of would-be playwright Joubert Jones during February 1966. Divine Days creates a profound microcosm of African-American life. It is the most prodigious literary creation since Ellison's Invisible Man forty years ago.
Joubert Jones - playwright, journalist, bartender, lover - confronts and transcends the power of a fantastic group of bar denizens whose personalities run the gamut of classical myths, Shakespearean heros, Shakespearean villains, religious true-believers, and ghetto dwellers.
Joubert is evolving a memory from the yeasty material of his friend and mentor Sugar-Groove into a play. Sugar-Groove is a world traveler, a mythical lover, who has twenty nicknames connected with his prowess. He is trickster-as-angel.
Joubert's volatile and fragile girlfriend, Imani, is desperately searching for her abandoned siblings, a meaningful self-definition of her Blackness, and a place to settle her warring spirit. Joubert also encounters the powerful presence of his Aunt Eloise and the ever-haunting phantasmagoric W. A. D. Ford, the demonic trickster and manipulator of bodies and souls. Ford is the Mephistopheles of Forest County, and he comes to represent the forces of cosmic evil in the world.
The neighborhood of Joubert's imagination becomes a theater enraptured with the voices of the living and the dead, acted out in Aunt Eloise's Night Light Lounge. The critic John Cawelti has called this novel: "the Ulysses of the South Side." In the tradition of Joyce's Dedalus, Ellison's invisible narrator, Bellow's Augie March, and Heller's Yossarian, Joubert's voice emerges clearly upon Divine Days's ebullient stage.
"Divine Days is that rare thing in our self-conscious and ironic age―a full-out serious work of art."
- Sven Birkerts
"Almost every page offers abundant evidence that Leon Forrest is a writer of virtuosity and power... A landmark in the artistic representation of social and historical reality, a rich and complex entertainment that deserves our praise, respect and gratitude."- Arnold Rampersad
"Simply put, Leon Forrest's massive masterpiece Divine Days is the War and Peace of the African-American novel."- Henry Louis Gates
ALL of the previous experiments and partial successes of Leon Forrest's output -- "There Is a Tree More Ancient Than Eden" (1973), "The Bloodworth Orphans" (1977) and "Two Wings to Veil My Face" (1983) -- now read as an overture to his new novel, "Divine Days," an adventurous masterwork that provides our literature with a signal moment. It takes place on the South Side of Chicago over seven days in late February 1966, as the ideas that led to the canonization of Malcolm X are beginning to spread.
Yet for all its freshly rendered black American texture, the novel is provincial neither in its scope nor in the technique of its narrative. At more than 1,100 pages, this epic detective story pulls in elements of the Gothic, the tall tale, the parable, the philosophical argument, the novel of ideas, the history lesson, the novel of manners and the sort of close observation Balzac, Mann and Hemingway would have admired. There are also copious references to black American writing, opera, boxing, popular songs, blues, movies and cartoons.
The technique of the novel is boldly musical. Mr. Forrest prefers to lay his symbols out clearly, so the reader consciously watches him do his stuff the way an audience listens to chorus after chorus of jazz inventions on a standard song's melody and chords. He develops his tale through literary "chorus structures" in which the "melody" might be metamorphosis and the "chords" motifs -- phrases, archetypes, colors, natural elements. With each successive chorus, the variations become more and more complex until they are either resolved or end abruptly, only to be picked up later. The orchestral control from the first chapter to the last is apt to make our most serious novelists both grateful and envious.
Joubert Jones is the narrator, a playwright just returned from two years of military service in Germany. Joubert intends to write a play about Sugar-Groove, a Mississippi half-caste and lover man whose mutating legend is a gift to the Chicago black people, ever willing to spin a tale about him or to listen when a fresh one arrives. Sugar-Groove has disappeared, and Joubert wants to find out what happened to him. The playwright has already attempted to bring the story of W. A. D. Ford, the cult messiah of a church called Divine Days, to the stage. Ford has also disappeared.
While Sugar-Groove represents the tragic optimism, wit, miscegenated complexity and profane sensuality of the blues spirit, Ford is a demonic, totalitarian force that rises from the pagan recesses of black American culture. Joubert's memories of Sugar-Groove and his discoveries about the man allow Mr. Forrest to examine the various ways our shallow, hand-me-down revisions of history and culture can tear us from the transcendent grandeur of our heritage, deny the endless miscegenations that complicate our national identity and set us up for so many sucker blows that we end up culturally punch-drunk.
Through the lascivious Ford, "Divine Days" looks without a blinking eye into mad orders and confidence men, like Father Divine, Daddy Grace, Jim Jones and the leaders of the Nation of Islam. The playwriting conceit allows the many literary allusions to work naturally, while Joubert's jobs -- as a reporter for his aunt Eloise's newspaper and as a bartender in her Night Light Lounge -- help supply the novel with its rich breadth of characters.
THE work's exceptional strength arrives through the virtuoso fusion of idiomatic detail and allusions to the worlds of literature, religion and folklore. "Divine Days" eloquently renders the lives and passions of Creoles, retired redcaps, race hustlers, intellectuals, prostitutes, waiters, politicians, dupes, preachers, the police, barbers, heterosexuals, homosexuals, public-school and college teachers, faith healers, gourmands, thugs, dancers, obsessive dog lovers, military men, drunks and the celibate. Mr. Forrest develops an intricate antiphony between things specific to the South Side of Chicago and universal themes like transcendence, the irresponsible uses of the charismatic, the heartbreak of the doomed romance, the riotous absurdity of human circumstances and the reincarnation of individuals and eras through the passing on of styles. In this context, Joubert's experiences and revelations are delivered with such artistic resonance that the struggle for the black American soul becomes a supple metaphor for the battle between the democratic impulse and the modulating varieties of religious, political, racial and gangster totalitarianism.
Like every very long novel, "Divine Days" contains passages that do not sustain force, that fall into excess, that blubber into sentimentality. But like a liberating hero who must rise over interior shortcomings, Leon Forrest never fails to regain his power and take on the pain necessary for a difficult victory. Given the disappointing nature of our times, his novel should capture the souls of all who love books and feel our national need for freedom from the rusty chains of an intellectual and esthetic slavery that maintains itself by adding link after link of cliches. - Stanley Crouch http://www.nytimes.com/1993/07/25/books/the-soul-of-joubert-jones.html
With enormous energy and an uncanny range of oral styles--from high-flown preaching to down-and-dirty slang--this remarkable fourth novel by Forrest ( Two Wings to Veil My Face ) takes more than 1100 pages to recount one week in the life of Joubert Jones, an aspiring playwright who has just returned to his home on Chicago's South Side after two years in the Army. Much of Jones's time is spent with the ``zany denizens'' of his Aunt Eloise's Night Light Lounge--a spectrum of humanity that includes drunkards, mystics, policemen and other spinners of tall tales--which was once the location for ``Divine Days,'' the religious revival house of con man and preacher W.A.D. Ford. ``Hypersensitively attuned to the sound of voices, babblings, other-worldlysic and worldly tongues,'' Jones has written a play about Ford's ``mysterious ritual services'' and is now bent on chronicling the memory of his older friend Sugar-Groove, a traveling raconteur whose earthy adventures, told to a young Jones, masked a different kind of spirituality than that suggested by Ford. The novel is meant to be a ``long-tongue saga'' touching on every aspect of African American life in the mid-1960s. In presenting life's ``connective patterns'' primarily through speeches, Forrest's work is more reminiscent of Henry Miller's obsessive narratives and Toni Morrison's mythic languages than James Joyce's internal explorations. Yet what ultimately allows Forrest to sustain a reader's interest throughout is his determination not only to show a range of oral styles, but to allow each and every character to demonstrate a sophisticated ease with all of these styles, using African American language and subject matter ``to create a synthesis out of all nightmares that our experiences kept throwing up at us.'' This is dazzling, dizzying, demanding and highly recommended. - Publishers Weekly
"The book at hand . . . is the fourth and probably capstone novel by a Chicago writer of immense talent who has been officially recognized in various ways but remains almost unknown even in his native city," reviewer Joseph Coates wrote in the Tribune in 1992. "Writers such as Saul Bellow, Ralph Ellison and Toni Morrison have known about Leon Forrest for years, and one hopes `Divine Days' finally will establish him in the minds of the people he has been chronicling for almost a generation.""Divine Days" follows a week in the life of one Joubert Jones, an aspiring playwright recently returned from a two-year stint in the Army. Jones hopes his journal-keeping will serve as inspiration for his writing, particularly a play he intends to write about the life of Sugar-Groove, the mythic soul of Forest (read Cook) County.
"Though the critic John Cawelti and Forrest himself call this novel the `Ulysses of Chicago's South Side,' the real model for `Divine Days' is `Finnegans Wake,' with its shifty cast of multi-masked selves, its intent to encapsulate the history of a people in the endless swirl of their personal and social identities and its playfully punful language, all organized around a death or deaths and at least one funeral," Coates wrote.
The Robber Bride, by Margaret Atwood (Bantam, $6.50).
"`The Robber Bride,' Atwood's latest novel, begins with her distinctive and well-honed social wit, as three middle-age women who like to `feel younger, and more daring, than they are' share a lunch table at the Toxique, a Toronto restaurant striving mightily for an air of decadence," reviewer Philip Graham wrote in the Tribune in 1993.
Before long, Zenia, "aphid of the soul," the nemesis they thought they had seen the last of when they attended her supposed funeral five years ago, takes a seat at a nearby table.
The three friends-Tony, Charis and Roz-leave too shocked to confront her. Once alone, each begins to relive the havoc Zenia caused in their lives-lies, plagiarism, blackmail, embezzlement, extortion and home-wrecking. Soon, one after another, the three friends seek their revenge.
"This novel, with all its psychological acuity, its masterly navigation of the shoals of memory, is also a story as elemental as one of those `authentic fairy tales in the gnarly-tree editions,' " Graham wrote. With `The Robber Bride,' her eighth novel, Margaret Atwood continues her long-running roll, offering us the good fortune of yet another disturbing and brilliantly conceived work of ficton." - articles.chicagotribune.com/1995-03-05/entertainment/9503050054_1_robber-bride-margaret-atwood-novel
Leon Forrest, Meteor in the Madhouse, Triquarterly, 2011.
Forrest's long-awaited last work follows the last days of journalist Joubert Jones and his long relationship with his friend and mentor, the idealistic and doomed poet Leonard Foster.
"This rich and wonderful work is Forrest's Dubliners. . . . Bringing this novel together is one of the great comic gifts in twentieth-century literature . . . but taken to many places even great Joyce could not go. Like Joyce, Forrest was well aware that the belly laugh and the most bitter moment of tragedy are forever twinned." --Stanley Crouch
"I was, to put it mildly, deeply moved that in his last days, terribly weakened, his words rang true and so strong." --Studs Terkel
"He spoke and wrote out of the conflicted heart of Chicago but found a transcendent emotional jurisprudence in the heart and soul of the blues/jazz idiom that was his birthright from the bars and juke joints that shaped his perspective on the human condition." --James Alan McPherson
Like 1999's publication of Juneteenth, this novel is a literary event: seminal African-America writer Leon Forrest (1937-1997) is not as well-known as Ralph Ellison, but during his lifetime he elicited high praise from such figures as Stanley Crouch and Toni Morrison. Forrest's masterwork, Divine Days, introduced the successful dramatist and professor Joubert Jones, who here narrates the five interconnected novellas riffs on his memories during the day of his death in November 1992. The characters all have roots in the south, in Forrest County, Miss., but have long gone north, to Forest County, Ill. (a stand-in for Chicago). The stories are held together thematically by Joubert's memory of Novembers past, such as one in 1972 when Marvella Gooseberry, a neighbor of his adoptive grandmother, Gram Gussie Jones, "flipped her wig" and threatened to shoot herself and others with a gun; the November he visited his friend and rival, Leonard Foster, in the state mental hospital; and the November day when his great-aunt Lucasta Jones was abandoned by her lover, Tucson. In the final novella, Joubert's fatal visit to Williemain's Barbershop, where he is killed in a drive-by shooting, is recounted. On the scaffolding of these memories and events, Forrest hangs a multitude of anecdotes and moments of almost musical verbal invention. The inspired comic moments include an extended piece recounting Joubert's escape from a cult group led by Foster in the Holiday Inn, a cab ride with a white amateur boxer and her black girlfriend, and the strange dental practices of his Gram Gussie Jones. While Forrest's talent is undeniable, readers may find themselves out of the loop, plot-wise; his editors have included a helpful appendix that summarizes the narrative. - Publishers Weekly
A modest posthumous addition to the legacy of a significant African-American writer: five novellas connected by the first-person narration of Joubert Antoine Jones, protagonist of Forrest's earlier novel Divine Days (1992).
At the close of Divine Days, Joubert fled his family for the University of Chicago and a career as a writer and journalist. Now we encounter him in 1992, an established professor and playwright troubled by memories of his friend and adoptive cousin, Leonard Foster. Back in 1972, Joubert recalls in "Live! At Fountain's House of the Dead," he attempted to rescue Leonard, an unsuccessful poet and writer descended into madness, with shared childhood recollections. Forrest (1937–97) characteristically mingles life and death here in Joubert's anecdote about the first wake he attended as a boy, in a funeral parlor by day that served as brothel by night. But Leonard is unresponsive to Joubert and ultimately dies forgotten in an asylum. The woman who raised both men gets her own novella, "Lucasta Jones in Solitude: Lives Left in Her Wake," which displays both her languid, aesthetic exoticism and her desperate inability to hold love close. By contrast, Lucasta's sister, Gussie, is a staid, benevolent woman of simple faith and boundless hope. After a plentitude of rich recollections and plump, warm reverie, Joubert is mortally wounded in a gang-related shooting; his lingering death scene suffers somewhat from a purple tinge. Nonetheless, these short fictions fill in gaps and explore secondary characters important to a comprehensive understanding of Forrest's art. A foreword by Forrest's widow and critical apparatus by friends John G. Cawelti and Merle Drown don't especially enhance our understanding of the work at hand, but they're harmless expressions of enthusiastic advocacy.
Though occasionally clumsy in style and execution, this impressionistic collage will be cherished by admirers of Forrest's lifelong effort to engage in fiction the African-American legacy of personal reinvention and loss. - Kirkus Reviews
The world lost a radiant spirit and a brilliantly ebullient artist when Leon Forrest died in 1997, so it's a great boon to be granted this masterwork, the last book he brought to completion. A suite of five linked novellas set in the author's lively fictional universe, Forest County, a looking-glass image of Chicago's South Side, it has as its intrepid hero Joubert Antoine Jones, the protagonist of Forrest's magnificent Divine Days (1992). Now a successful playwright, Jones remains enthralled by the misadventures of his loved ones, especially his great-aunt Lucasta, the crazy poet Leonard Foster, and friends Step Bottomly and Hopkins Golightly. Jones recounts numerous wild stories of love and betrayal, art and politics, fantasy and eccentricity that are by turns hilarious and tragic, earthy and mystical, odd and heroic, all told in a cascade of gorgeously musical, life-embracing, soul-raising language. Marianne Forrest provides a key to her late husband's storytelling magic in her introduction: "I don't know of anyone who enjoyed the company of others more than Leon did." Indeed, it is his shrewd delight in the marvels and peculiarities of his fellow human beings that makes Forrest such an entrancing and compassionate writer. - Donna Seaman
By the time Leon Forrest died, in 1997, the 20th century was ending and all the experiments begun by Joyce, Woolf, Proust, Faulkner and the rest had become the international heritage of the fiction writer. When Forrest's first novel was published in 1973, the breaking down of old forms was not so much the issue as was accepting or rejecting or adapting the innovations that gave a writer more choices of how to get from one place to another.
Those new choices were perfect for Forrest, who had an epic sense of American life as it was lived on the South Side of Chicago. This part of the Windy City, which he called Forest County, was his Dublin and his Paris and his Yoknapatawpha County. Central to his writing was also the large figure of Ralph Ellison, in whose work he found the grandest combination of universal themes given Negro American particulars. With Ellison's example under his belt, Forrest lit out to stake his own claims.
Forrest's first three novels were essentially preludes to ''Divine Days,'' which appeared in 1992 and is his most important book. At that point, Forrest had out-Ellisoned the master, marvelously extending the work that Ellison had begun 40 years earlier in ''Invisible Man.'' Though the eloquence and intelligence of ''Divine Days'' did not go beyond the finest sections of Ellison's classic -- whose has since? -- Forrest achieved far greater comprehension through the sweep of his themes and the range of his people.Much more was expected of Forrest, but he finished only ''Meteor in the Madhouse'' before succumbing to cancer. This last book proves, in its gallantry and its compassion, that he went nose to nose with eternity, showing no mercy to self-pity. The excessive length of the poorly edited ''Divine Days'' is not a problem here. The problem is editing that results in an occasional impression of clumsiness and illiteracy, which is, however, overridden by the continuing elegance of the singing and step-up-on-it swinging prose. This rich and wonderful work is Forrest's ''Dubliners,'' because it gives us the moral history of a community, though the form of interrelated novellas is technically more akin to Faulkner's ''Go Down, Moses.'' The tales are held together by the narrator, a playwright named Joubert Jones, who was also the guide and central intelligence in ''Divine Days.'' The narrative leisurely achieves a straight line of focus through a mist of contrapuntal images and references that initially work as much through sound as literal sense.
Forrest did not see those addicted to dangerous sensations as sinners so much as tragic figures limited or torn asunder by their appetites. The heavy drinker, the drug addict, the madly promiscuous homosexual, the ''wild'' woman and all the others who lived on lines they drew too close to derangement or the destruction of their health were equal to anyone else in their humanity, none automatically above or below. In that sense, the God of this work is pagan in a Christian suit of many colors. As Joubert learns, the truth can come from anywhere; the voice of God is not limited to those who think themselves most holy. (This is surely true for Joubert, who loves a funny lie as much some people love the Lord.)
This openness to various perspectives is illustrated by references to the Greek myths, biblical tales and to all kinds of writing, from blues lyrics to Shakespeare. Inside this ''Madhouse,'' Forrest delivers one fresh character after another to our national literature. He seeks to bring the concerns of the flesh and the spirit together, to join the present with the endless past. To achieve his ambitions, Forrest fused a number of different kinds of rhetoric. He built upon the sermonizing power of the black church, the stark poetry of the blues and the epic diction and rhythms that floated up into Chicago from the South, making his part of town rhetorically urban and rural at the same time. Forrest wanted to tell the stories of trouble as they evolved from the injustice of segregation to the oppression of the soul that arrived in the guise of black nationalism. (Guises, by the way, are central to his tale -- from dark glasses to cross-dressing, and in the many changes of costume worn by one black man who starts out as a circus performer entertaining white people from inside a dunking cage, moves into politics, sells homemade African junk jewelry and winds up singing the blues to an almost all-white audience.)
The moral history is neither provincial nor overshadowed by the complexities of human personality. It is founded in what people do for -- or to -- one another. Unsentimentally, Forrest shows what racism did to some of his characters, how personal problems that transcended race deformed or wounded them, how some were driven incurably mad by their experiences as civil rights workers in the South, how the drug epidemic has worked its havoc, and how the violence that once largely came from the white world has been overtaken by criminal violence from within the black community itself. In the last novella, Forrest makes his point about violence by alluding to the O. J. Simpson case: his narrator is mortally wounded by a drive-by shooter emerging from a white Bronco.
Bringing this novel together is one of the great comic gifts in 20th-century literature, derived, perhaps, from the parody-thick Cyclops chapter in ''Ulysses,'' but taken to many places even great Joyce could not go. Like Joyce, Forrest was well aware that the belly laugh and the most bitter moment of tragedy are forever twinned. This South Side novelist was a battler to the very end, and he gave the cannibal of time the kind of high-class bruises that will forever throb and shine. - Stanley Crouch http://www.nytimes.com/2001/09/09/books/a-moral-history-of-chicago.html
When Ahab went down on his "all-destroying but unconquering whale," an ironically self-consuming allegory was born -- for didn't Melville's own career as a writer go down, in the publishing world, after Moby Dick sank without a bubble? There's a daemonic strain in American literature, a fate doled out to unzeitgemässige talents, to use Nietzsche's untranslatable phrase: un-hip hipness, uncontemporary contemporaries. Melville and William Gaddis are two well-known examples. Less known is the late Leon Forrest.Leon Forrest's Divine Days is perhaps the black planet George Clinton was forecasting, but its collision with Earth has yet to be recorded on the seismographs. Something in the book requires a slo-mo reader response. This is a serious joke it will take the next couple of generations to get. The novel is set over the course of a week in Chicago at that very rich historic moment, in 1966, when the Civil Rights movement was shifting into the Black Power movement. King was losing his iconic authority to the martyred Malcolm X, and Joubert Jones -- the narrator of Divine Days -- was finally out of the army, into which he had been drafted. For 1,135 pages, Joubert weaves into and out of barbershops, newspaper offices, his apartment house (stocked with Afro-centric eccentrics, students, and the autodidactic intellectuals he labels "Deep Brown Study Eggheads") listening to stories, political arguments and gossip, and playing the dozens. To shorthand a complex story, Joubert is a black Stephen Daedelus, and Chicago is his Dublin. For his pains, Forrest was greeted with some praise from the usual suspects -- the honorable Stanley Crouch, the ever-commending Henry Louis Gates -- and general oblivion. Forrest's posthumous Meteor in the Madhouse is a continuation of his hocused opus, but comes in at a much more manageable 254 pages. The book puts finis to Joubert's story. He is now a successful playwright and a tenured professor (just as Forrest was, at Northwestern). Coming home from a creative writing conference on a bus, Jones phases into memories that run through the four novellas in the book. In particular, he remembers the day in November, 1972, when he appeared on TV, having talked his friend Marvella, who is going beserk with a gun, into surrendering to the police. That same day, Joubert was persuaded to visit his shadow side and cousin, Leonard Foster, who is temporarily residing in an Illinois nuthouse, by Joubert's girlfriend, Shirley Polyneices. Joubert has a galling effect upon Foster -- where Joubert is happy to spread ironizing jive over a situation, Foster is a man who shrivels up without some Absolut at his back. We then switch to Joubert's days at the Avon, the hotel near the University of Chicago where Joubert moved at the end of Divine Days. The long section, "All Floundering Oratorio of Souls," tells the story of one of these eggheads, Shep Bottomly, a black Marxist of rigid character and many proofs, clipped out of many newspapers, of the coming collapse of the capitalist world order. His world-view of universal exploitation stops at his own door, however -- he is seemingly unaware that he is wringing surplus value out of his girlfriends, upon whom he unloads his harangues and his dirty laundry. To appreciate this book, it helps if you know something about Forrest's life. Forrest was a Chicagoan, a onetime editor of Muhammed Speaks. Forrest was not himself a Moslim or Muslim -- but he was privileged to witness one of those magical moments when deep structure, that fabulous theoretical construct, emerges like the monster from the Black Lagoon into historic actuality. That's how he viewed the dialectical push 'n' pull between Elijah Mohammed and his spiritual son and final foe, Malcolm X. For Forrest, Elijah Mohammed was the superior player, his life a repository of all the moves, from Uncle Remus' tar baby to Motown con, and the allegorical inversion of America's racial hierarchy which he invented and mythologized (the Black Muslim story is that the White Man was invented in the devil's laboratory in a sort of parody and assimilation of a grade-B sci-fi flick). The tug between ruse and resistance, in Meteor in the Madhouse, is on one level the gripe between Joubert Jones and Leon Foster. But Forrest's textual playhouse shouldn't be tied to the "one-trope-fits-all" school of interpretation. He loves to make narrative move in any direction -- side to side, backward, forward, in jumps and lumps, by the vagaries of associations discovered in the language, the way word and fact will crash, with a consequent mutual leaving of scars. One of the characters in Meteor writes a book about Joubert's tragic aunt, Lucasta Jones, in which with pen and ink sketches, "he attempted to arrest the motions of Lucasta Jones, from the flight of dance to the printed page." Forrest's prose aspires to the condition of dance, and often achieves that magical thing, the tight balance between inspiration and misstep. - Roger Gathman https://www.austinchronicle.com/books/2001-04-20/81470/
Publication of an unfinished book by a dead author poses certain problems for readers and reviewers. The book does not and cannot represent the author's final vision or bear the stamp of her/his final touch, that crafted sheen. The pages bear the mark of some other hand that worked the text into a publishable form.
Such a controversial situation surrounded the publication of Ralph Ellison's novel "Jubilee" two years ago. Following the publication of his celebrated first novel, "Invisible Man," Ellison worked on his next novel for more than 40 years, a book that was nowhere close to completion when he died in 1992. Ellison's literary executor, John Callahan, pulled a single, unified narrative from the massive text, gave this narrative a title, and called it a novel. No, it was not the novel Ellison would have published, but it was a good novel, a brilliant one, even.
Callahan's "Jubilee" reminded me less of Ellison's work than it did of the work of Leon Forrest, a black Chicago writer for whose first novel, "There Is a Tree More Ancient Than Eden" (1973), Ellison had written the introduction. Where "Invisible Man" was an episodic, coming-of-age tale, "Jubilee" was a tightly structured deathbed sermon. In the 1973 introduction, Ellison recognized Forrest as a fresh voice on the American literary scene. His was a fiction that explored modernist themes of time, myth and consciousness through the elastic possibilities of language as represented in African-American folk idiom, namely the black sermon. Forrest preaches, fast-flowing sheets of words, what a John Coltrane liturgy might sound and read like, a dense rambling of psychedelic and soulful talk that might flow from the mouth of a South Side preacher on LSD.
Though Forrest had the backing of such literary luminaries as Ellison, fellow Chicagoan Saul Bellow and Toni Morrison, who as a senior editor at Random House had discovered Forrest, he never gained a national audience. The three novels he published under Morrison sold poorly in hardcover, only to appear in small-press paperback editions, which did little to make his work known to readers. No major publishing house expressed interest in Forrest's fourth novel, the massive (1,100 pages) "Divine Days." A small Chicago press brought the novel out in hardcover and went bankrupt in the process. When Forrest died in 1997, his work, including the collection of reviews and short essays "The Furious Voice for Freedom," was known to few beyond Chicago literary circles and a handful of academics interested in experimental black fiction.
Perhaps the posthumous publication of Forrest's novel "Meteor in the Madhouse" will revive interest in his work and gain him the critical attention that eluded him in life. This novel made it to book form through the efforts of Forrest's close friends Merle Drown and John Cawelti, who edited the manuscript with the assistance of Forrest's widow, Marianne. (A serious Forrest scholar, Cawelti also edited the first book-length critical study of Forrest's fiction.) In the book's introduction, Cawelti eases any fears of non-authorial intrusion and tampering:
"The work here presented is in every respect that of Leon Forrest. As editors we have corrected obvious mistakes. . . . [W]e have added nothing of significance and in some cases have left minor breaks and inconsistencies rather than trying to invent something to fill them. . . . The design and virtually all of the words are those of Leon himself."
Like Forrest's other novels, "Meteor in the Madhouse" has a fictive geography -- Forest County, a Midwestern stand-in for Chicago and environs, a fantastic locale peopled with equally fantastic characters. And like Forrest's other work, this book is loosely structured, involving five interrelated novellas, many of which have chapters or narratives that seem incidental to the central plot.
The book's focus is Joubert Jones, a successful journalist and playwright who is summoned to aid his friend, Leonard Foster, a failed poet confined to a mental institution. Through extensive investigation, Jones hopes to write an article that will illuminate some of the dark mysteries of Foster's past and also show how he might be made mentally whole. Notions of failure and salvation serve as the novel's thematic frame, which Forrest repeats in the parallel narratives. Lucasta Jones, Joubert's great aunt and Leonard's surrogate mother, suffers permanent withering of her artistic talent because she lives in a society that will not let her fully express that talent. She later loses all possibility of a productive life after she locks into permanent grief over her dead lover, Tucson. And there is McGovern McNabb, a bar hound whose soul is entombed in a 400-pound body, the heavy sign of his excessive indulgence in food and drink and his apathetic acceptance of fate.
Leon Forrest, acclaimed author of Divine Days, uses a remarkable verbal intensity to evoke human tragedy, injustice, and spirituality in his writing. As Toni Morrison has said, "All of Forrest's novels explore the complex legacy of Afro-Americans. Like an insistent tide this history . . . swells and recalls America's past. . . . Brooding, hilarious, acerbic and profoundly valued life has no more astute observer than Leon Forrest." All of that is on display here in two novels that give readers a breathtaking view of the human experience, filled with humor and pathos.
Leon Forrest, Two Wings to Veil My Face, Random House, 1984.
A ninety-one-year-old Black woman tells her story of passage from slavery to freedom to her twenty-one-year-old grandson
Leon Forrest, acclaimed author of Divine Days, uses a remarkable verbal intensity to evoke human tragedy, injustice, and spirituality in his writing. As Toni Morrison has said, "All of Forrest's novels explore the complex legacy of Afro-Americans. Like an insistent tide this history . . . swells and recalls America's past. . . . Brooding, hilarious, acerbic and profoundly valued life has no more astute observer than Leon Forrest." All of that is on display here in two novels that give readers a breathtaking view of the human experience, filled with humor and pathos.
There is a Tree More Ancient Than Eden (1973) was a dense, blues-style mÉlange of childhood memories, all belonging to young writer Nathaniel Witherspoon--Forrest's fictional alter-ego. In The Bloodworth Orphans (1977), Nathaniel was a minor character within a half-involving swirl of melodrama, sermonizing, testifying, black family-history, and Joycean/Faulkneresque prose. And now Nathaniel is center-stage again--though this rich, unshapely family-history novel focuses most on his grandmother Sweetie Reed. Circa 1958 the 91-year-old Sweetie is at last telling the 21-year-old Nathaniel (a rather pompous college dropout) the family secrets. Primarily, and most compellingly, Sweetie tells of her confrontation with her hated father I. V. (an Uncle Tom-ish former slave): on his deathbed he told her about the plantation-night of her mother's conception--when ""blackbirding"" slaveowner Rollins raped African beauty Jubell but was nearly killed by doomed macho-slave Reece Shank Haywood. (The Iago-like I.V., responsible for this violent horror, saved his master's life--and later married Angelina, offspring of the Jubell/Rollins union.) Furthermore, Sweetie recalls--in feverish bits and pieces--her abduction by Klan-ish ""patrollers"" as a child (Angelina was killed); her rejection, upon return, by I.V.; her subsequent arranged-marriage to old, up-from-slavery Judge Jericho Witherspoon (who really lusted after Angelina). And meanwhile, in about half the novel's chapters, Nathaniel himself recalls grandfather Witherspoon's 1944 funeral-day--when tiny religious-fanatic Sweetie, then 77 and estranged from 117-year-old Witherspoon for 40 years, made shocking appearances at the funeral home and the church, delivering stream-of-consciousness tirades about the much-respected Judge. (""Nothing in their ceremonial history, nor memory, had prepared them for this outrage and Sweetie Reed's revelations of her dream within a dream of intimacy. . . ."") These longwinded, thickly metaphorical speeches--and the story-within-a-story framework throughout--makes for often-static fiction, especially in the novel's weaker second half. And a final revelation about the Sweetie/Witherspoon marriage is melodramatically predictable--without really illuminating the recurrent themes of spirituality-vs.-carnality and a stormy, conflicted facial/psychological heritage. Still, the dramatization of plantation tensions--with ambivalent slave responses to supposed ""freedom""--is often powerful in the 19th-century flashbacks; the funeral-day confrontation, if belabored, is resonant--with comic horror as well as historical guilts. And though Forrest's elaborate prose is sometimes more self-conscious than eloquent, it is more consistently, genuinely poetic than in his previous novels--mixing the colloquial and the literary in controlled, rhythmic waves of imagery. - Kirkus Reviews
''TWO WINGS TO VEIL MY FACE'' is a third novel probing black history by a writer whom Saul Bellow and Ralph Ellison have praised. Its narrator is Nathaniel Turner Witherspoon, a young college dropout who as a boy exacts a promise from Sweetie Reed, the woman he believes to be his grandmother, that she will one day enlighten him about his family's buried past. The story is largely dependent on the dictation Nat takes from Sweetie Reed herself when in 1958, at the age of 91, she commences talking for the record.
A ''cedar-colored, tiny, impish,'' morally intense survivor who began life in slave quarters, Sweetie Reed has given her middle and late years to mission work (cooking for ''the shut-ins and the drifters, the wind- blasted winos and the lost-found'' of an unnamed Northern metropolis). Her rumination shuttles between two worlds of disaster - that of newly freed slaves from the 1860's onward and that of urban blacks making their way in the 1950's. Stolen from home at 4 by ''patrollers'' who hoped to enslave her illegally, Sweetie Reed helplessly watches - three years later - the slaying of her mother. Her father, who refuses to be freed, loathes her ''like the husband . . . loathes the babe whose life-bearing kills the woman of his bed,'' and sells her into marriage with a stranger. And the stranger, Jericho Witherspoon, becomes, in the process of achieving fame as a lawyer-jurist-defender of his race, a hypocrite enslaved by self-love. The chief framing event of the book is the jurist's funeral, which Sweetie Reed transforms into a wild and extended family conflict.
Critics of Leon Forrest's first two books - ''There Is a Tree More Ancient Than Eden'' (1973) and ''The Bloodworth Orphans'' (1977) - complained about overwriting, and examples of the fustian abound in this new work. Sample sentence: ''Her non-words of music and Jericho Witherspoon's invisible ones appeared to exist in spirits assigned to a distant drumbeat in a chariot, beyond the reaches and hearing of the mourners (weaving in and out of each other's arms), within the secret sleeves of marriage.''
There are other problems as well. ''Two Wings to Veil My Face'' is poorly structured. Its moments of narrative excitement tend to be distanced as remote memories, overlaid with rationalization and expostulation that deprive them of immediacy. And the materials of slave narrative that Sweetie Reed passes along from her contemporaries - bloodhounds, whip-cracking masters, raped and ravaged mothers and grandmothers - are hardly new to letters. The scribe himself, young Nat Witherspoon, hints that he would appreciate new matter; his mind turns regularly, during breaks in the narration, to his sex life and his weakness for Remy Martin on the rocks.
Yet the book's defects somehow fail to sink it. The reason lies in the quality and complication of the feelings breathing in Sweetie Reed as she labors to teach young black generations the uses of the souls of black folk. For this heroine the black experience is a theater of moral warfare, a struggle between an energizing ideal of human solidarity, rooted both in experience and in faith, and enervating forces of vanity and ''enchantment with aggravation.'' Prevailing in the struggle requires a campaign of '' remembering and troubling and rekindling. '' And many enterprises that look like plausible parts of such a campaign are only distractions.
Charity and lovingkindness, for instance - these are human obligations, to be sure, polestars of dailiness for Sweetie Reed - but they have little awakening power. Indeed, they are closer to narcotics. Secular exhortation stressing the lift-yourself-by-the-bootstraps motif - Jericho Witherspoon was keen on this - is also a species of bad news; it inspires self-absorption. The same goes, predictably, for fascination with the success culture. It amounts to a squandering of the moral capital amassed by the agony of older generations. A fine sermon on this theme is delivered by a minister named Pompey Browne, to which Sweetie Reed forces young Witherspoon to listen: ''You're out there celebrating that (Cadillac) chrome like you anointing, buffing and accelerating the Word into chrome - making it whiter and lighter than snow, with your steaming wet-wash rags as prayer cloths worshiping up your lily-white mule machines, which are stubborn as you are. . . . You've strapped down the radiance of your ancestral memory like those despair-filled slaves who delivered up the word on the runaways' route to the slave catchers in the days of our previous condition.''
Betraying the black past is, in sum, extremely easy. But the unremittingness of Sweetie Reed's effort to avoid this treachery, her determination to distinguish false blackness from true, to rescue pointed remembrance from reckless waste of the knowledge that was born in tragedy, these themselves become energizing in time. The woman positively wills others into significance. Seen through her outraged eyes, Jericho Witherspoon, upwardly-mobile womanizer prepared to sacrifice fidelity to family for the glamour of adulation as moral exemplar, emerges as an original. Nat, the college dropout - soft, oblivious, bewildered by the moral intensity of his elder - carries clear meaning.
The insistence, everywhere, that past suffering has to have uses, that its voice must be heard (hearing and loss of hearing become shaping metaphors before this book is over) rarely seems wishful. And if Sweetie Reed's indictment of forgetfulness is never entirely coherent, her frustration with progress as commonly defined, and her disbelief in the rectification of injustice as a holy cause, never seem perverse. We know that taking this survivor seriously would mean - for Nat as for others - a total change of life, a movement sharply away from self-indulgence and self-pity. And we know, too, that those who, in the name of political realism, would dismiss Sweetie Reed as mad or disruptive are lost in the same moral confusion that engulfs a good portion of the white middle class.
''Slavery and oppression,'' Albert Murray wrote in ''The Omni-Americans'' (1969) - a recently reissued social critique - ''may well have made black people more human and more American'' while they ''made white people less human and less American.'' Leon Forrest offers no view on that. But by taking us to the center of a heroic nonagenarian's passionate misgivings, he does show us a richer humanity than turns up in protest literature or in Tory rationalizations of things as they (necessarily but regrettably) are. At its best, in the chapters addressing race pride, race bitterness, race trivialization, ''Two Wings to Veil My Face'' is a book about which it's possible to think. - Benjamin DeMott
Leon Forrest, The Furious Voice For Freedom: Essays, Asphodel Press, 2010.
Essays on Life. Forrest's writing is evocative, vivid, even poetic. - Library Journal
Leon Forrest, 60, a Novelist Who Explored Black History


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Our political system is filled with monsters. There are mindless politicians who wander the island like zombies and never genuinely listen, undead establishment figures who spring from the dirt to cling to power, wicked sycophants who patch together and enable abominations, and witch-donors who manipulate the voodoo dolls of elected officials.
Like the monsters that wander door to door on Halloween, however, things are not always as they seem. The ghouls in the political system can also be unmasked and revealed… that is, if you can conquer the beast that is the Hawai'i Campaign Spending Commission website.
For our scariest issue of the year, we decided that this was the perfect task for a group of meddling kids like us at MauiTime. We sifted through the primary campaign contribution reports from 2018 for all councilmembers and mayoral candidates still in the running for your vote in the general election on Nov. 6, so you could see who and what, at this point in time, is paying to influence the election in Maui County.
If underneath the mask you simply find another monster, remember: The voting booth is your silver bullet.
Stanford S Carr
Total donated: $5,500
Alan Arakawa ($2,000)
Riki Hokama ($1,000)
Mike Victorino ($2,500)
Carr is the president of the Honolulu-based development company, Stanford Carr Development LLC, which has projects in the state on the Big Island, O'ahu, and Maui. On Maui, Carr's only active project is Kahoma Village in Lahaina, which includes 102 townhome units and 20 single-family homes as part of a residential workforce housing program that targets families making 80-140 percent of the area median income (80 percent of the AMI for a family of three is $77,500). Not so scary, right? Well, some of Carr's other ventures include the luxury developments Wailea Fairway Villas, Wailea Pualani Estates, and Pukalani Fairway Estates. About the Wailea Fairway Villas, the Stanford Carr Development website states, "Built in 1998, owners either live here full time, part time, or rent long term." Now that's scary. What's more, Maui Tomorrow reported that his Kahoma Village development requested 15 (!) exemptions from county laws governing development, including exemptions from impact fees and grading permit fees. Consider that Carr organized a fundraiser for Arakawa that cost $1,000 per person at a glamorous Waikiki restaurant, and the connection here becomes downright chilling.
Hawaii Regional Council of Carpenters
Total donated: $6,000
Stacy Crivello ($2,000)
Mike Victorino ($4,000)
This is the Hawai'i chapter of the United Brotherhood of Carpenters, a union with a mission "to stand strong with our members and business partners to help them achieve success. UBC education and training advances leadership, skill, quality, productivity, safety, and attitude with the goal of creating a constructive culture within the construction industry and providing a competitive workforce for our contractors and owners." I'm not one to union bash without good cause, but it should raise some eyebrows to see who this union thinks will do the best at keeping builders employed.
Chad S Goodfellow
Total donated: $6,500
Yuki Lei Sugimura ($1,000)
Riki Hokama ($2,000)
Alan Arakawa ($1,000)
Mike Victorino ($2,500)
Chad Goodfellow is the president of Goodfellow Bros. Inc, a general contractor that operates in North America with offices in Hawai'i, Oregon, Washington, and California. The company holds over half-a-billion dollars in current and future contracts with the county's engineering department, and it seems they want to donate big to keep the money rolling in. Sure, road improvements and drainage projects sound great, but when a company makes its money dealing in million-dollar contracts to pave and grade the island you have to ask: What is its president hoping to gain by donating to these politicians, and is that the Maui we want?
Jarret Choy
Total donated: $7,000
Alan Arakawa ($2,000)
Riki Hokama ($2,000)
Mike Victorino ($3,000)
Choy is the VP of sales at a company called H2O Process Systems, and, boy, if you want a get spooked go check out the company's website… it's circa-2000 design is enough to make a man go insane. H2O Process Systems is a company specializing in waste management and related pumps and other equipment. In January, the company was awarded $93,728 from the county for "Furnishing & Delivery of One Sound Attenuated DOT Trailer Mounted Diesel Pump package 8" for the Department of Environmental Management. Considering the county's problem with injection wells, one could hope for the best and think the donations are evidence of support for efforts to modernize our waste management, and not evidence of pay-to-play.
Kim Coco Iwamoto
Total donated: $7,900
Elle Cochran ($2,000)
Trinette Furtado ($2,000)
Tamara Paltin ($2,000)
Keani Rawlins-Fernandez ($1,900)
MauiTime endorsed Kim Coco Iwamoto in her bid for Lieutenant Governor with the following rationale: "Iwamoto is running on a platform of social justice that is greatly needed at a time when the culture of the federal government marginalizes minority groups. Iwamoto has demonstrated that she prioritizes applying progressive solutions to the causes of living wages, affordable housing, education, and the environment. Significantly, she is willing to say definitively that 'one job should be enough' and that pre-K through graduate school education should be publicly funded… we believe that Kim Coco will be the best balance as Lt. Governor to ensure that bold progressive ideals and social justice remain in the conversation and are extended to the public as solutions worth fighting for."
Our opinion of her hasn't changed. Her donations are only of concern if you consider her efforts to fully fund education, provide affordable housing, mandate a living wage, and fight for social justice frightening – in which case, I'm afraid to say, you might be the monster.
Unite Here Local Five
Total donated: $8,000
Elle Cochran ($4,000)
Tamara Paltin ($2,000)
Keani Rawlins-Fernandez ($2,000)
Unite Here Local Five is a hotel and hospitality workers union that represents employees statewide. Lately, they've made news for representing and organizing the strikes at Kyo-Ya owned hotels including the Sheraton Maui. The union is pushing the large hotel companies with the rallying cry "one job is enough" in order to give workers better wages and working conditions, and provide workplace safety measures. The tactics of Unite Here Local Five should scare CEOs like Arne Sorenson of Marriott International, who made 395 times the amount median employees made at his hotels. For most of us here on Maui, though, Unite Here Local Five is a non-threatening union that stands up for workers' rights and makes sure Maui's residents get their fair share from the booming tourism industry.
Hawaii Operating Engineers Industry Stability Fund
Total donated: $8,000
Alan Arakawa ($1,000)
Riki Hokama ($2,000)
Mike Molina ($1,000)
Mike Victorino ($4,000)
This PAC formed to fund the interests of the Operating Engineers Local 3 in Hawai'i. "From heavy equipment operators and mechanics, to surveyors, construction inspectors, highway maintenance workers, police officers and other public employees," the union states on its site, "we represent the men and women who drive this country's economy." So, it's a union that relies on continual development to ensure job security for its members, but at what cost? Well, Hawai'i Operating Engineers Industry Stability Fund has supported the plagued Honolulu Rail project and the massive expansion of the Kahului Airport. Yikes!
Local Union 1186 IBEW
Total donated: $8,000
Alan Arakawa ($1,000)
Stacey Crivello ($1,000)
Mike Molina ($1,000)
Yuki Lei Sugimura ($1,000)
Mike Victorino ($4,000)
Local Union 1186 is the local chapter of the National Brotherhood of Electrical Workers, though looking at their website one might get the impression that it's a mustache club (which would also explain the Victorino endorsement). Maui's total membership in the union is 260, making it a relatively small local union chapter, but it's still got the bucks to support candidates they think will keep business good for electricians.
Milton Choy
Total donated: $9,000
Alan Arakawa ($2,000)
Riki Hokama ($2,000)
Yuki Lei Sugimura ($2,000)
Mike Victorino ($3,000)
Milton Choy is another member of the Choy family and employee for H2O Process Systems, the company with a $93,728 award from the county. The Choy family, it seems, is going all in. Liann Choy, listed as the company's secretary donated another $2000 to Yuki Lei Sugimura, and Lacie Choy donated $2,000 to Riki Hokama. Basically, the company was awarded almost $94,000, then turned around and donated over 20 percent of that to the political candidates that could help them get more awards. Interesting. Keep an eye on this one, especially when county awards and contracts are given out.
Shane Victorino
Total donated: $10,000
Mike Victorino
OK, Shane Victorino is no frightening monster. In fact, in addition to bringing pride to Maui by killing it in the major leagues, he's started a foundation to help underserved youth with educational, recreational, and wellness programs. If anything, the real ghoul here is in the details. While candidates for two-year termed offices (like councilmembers) are limited by law to $2,000 in aggregate donations from a single source and four-year termed offices (like mayor) are limited to $4,000, the Hawai'i Revised Statutes provides an exemption for family members to donate up to $50,000. So if your family is wealthy, you're in luck. If you're a grassroots candidate going against that kind of funding, however, the deck is stacked against you. Inequality enabled by law: Now that's true horror.
Where is the money coming from?
Cover and infographic design by Darris Hurst

subset: commoncrawl


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Minnetonka Public Schools
Minnetonka Public School is known and respected as an innovative leader in education. Engaged in design-thinking, Minnetonka rolls out new programs and innovative learning experiences for students almost every year. Their marketing communications team keeps plenty busy. So when faced with two daunting tasks developing a new mobile responsive website and branding a new science program, they turned to CEL for their specialized expertise.


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Adamawa Polytechnic To Dismiss Four Lecturers For Altering Results, Awarding Fake Marks
Four academic staff of Adamawa State Polytechnic are to be dismissed for fabricating results, SaharaReporters can report.
Management of the institution approved and recommended them for dismissal, according to a statement on Thursday signed by Information and Public Relations Officer, Albert Matilah.
The affected staff were said to have allegedly pleaded guilty to altering over 800 results and awarding fake marks.
They are Abubakar Babale, Paul Wache, Usman Hammarwabi and Isa Ribadu.
It was revealed that Babale, who is Head of Department, Mass Communication, altered over 700 results in 21 courses while Wache of Geography Department, tempered with 83 results in 12 courses.
The statement reads in part, "Abubakar Babale tempered with 727 candidates' results in 21 courses and also gave fake results to some students who did not write the examination.
"Paul Wache altered 83 results in 12 courses which he claimed to be human error.
"In addition, he gave fake results to students who did not write the paper as testified by the course lecturer.
"Usman Hammarwabi was involved in forgery, numerous alterations, allocation of fake results and other unprofessional acts.
"Isa Ribadu's case was numerous alteration of results and allocation of fake marks.
"It is evidently clear that the lecturers were given the opportunity to defend themselves and pleaded guilty to the offences."
Education News AddThis : Original Author : sAharaReporters, New York Disable advertisements :


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It's always interesting when you take on another chef's menu. Maybe it's like a Times journalist being asked to write a one off piece for the Telegraph - it's the same kind of language, but someone else's world.
|Trio dessert - Raspberry Eton mess, glazed lemon tart and warm chocolate mousse
Not everyone thinks like this however, but I'm always there if you need to pick up the pieces. This party near Bourton-on-the-Water was one that another chef had backed out of a week before the event, so I took on the same menu.
Warm chocolate mousse? I've never heard of it either, but, wow! What a revelation! It's like a light version of chocolate fondant. Still soft in the middle - heaven! We served ours in a cup & used this recipe.
It actually works quite well re-heated in the microwave the day after cooking - if you've got any leftovers that is!


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Singer-songwriter returns to WestConn for fundraiser
Only this time, she won't be going to class. Instead, she'll be the opening performer for Grammy-winning jazz trumpeter, band leader and composer
Terence Blanchard
"An Evening with Terence Blanchard" begins Saturday at 7 p.m. in White Hall on WestConn's midtown campus at White Street and Fifth Avenue.
"This whole experience has been so surreal for me," said Farrell, 36, who now lives in West Hartford. "To be performing on the same stage as such an accomplished artist and to come back to the place where I grew up is just amazing."
This is the second annual concert sponsored by the Hord Foundation , a nonprofit organization established in 1993 to promote education and enhance career opportunities for people of African descent. Last year's concert was attended by about 450 guests and raised $14,000.
Through contributions from individuals, corporations, businesses and local organizations, the foundation has awarded more than 1,275 scholarships -- totaling over $3 million -- to high school graduates and college students.
Farrell, who spent her early childhood in Danbury and later moved to Bethel, has a personal tie to the foundation.
In her senior year at Bethel High School , the honor roll student was awarded the foundation's Batson Scholarship for $2,500. She received additional awards each year she was in college.
"I was -- and still am -- so grateful to have received the scholarships," she said. "They helped me become the first member of my family to go to college."
After graduating from WestConn with a double major in elementary education and sociology, she went on to complete two master's degrees at the University of Hartford . For the past 13 years, she has been teaching in the Bristol school system.
In 2003, she was honored as WestConn's "Educator of the Decade" as part of the university's centennial celebration.
Farrell's singing work began when she tried out -- and won -- the 2003 Connecticut Star Search competition. Encouraged by the success, she "did some open mics, put together a band, and decided to give the music business a try." She had no idea the career would take off.
Since then, the singer has performed about six times a month in Connecticut, Massachusetts and New York. Her achievements include being the opening performer for Air Supply, the featured performer at
During her 30-minute performance, she'll be singing jazz and blues standards, along with some originals.
"I like to sing songs that are both familiar and uplifting. In my music, I try to reflect on my own life, my personality and my dreams," Farrell said.
Her original song, "So Fortunate," is among those she'll be singing and one that is on her debut CD, "Feelin' Alright," that just came out.
The Hord Foundation's executive director, Ann Dupree , said the minority population is growing in greater Danbury and she feels it's imperative scholarships continue to exist like those offered by the foundation.
"It's a known fact that without a good education, your options are limited in terms of mobility and employment opportunities," said Dupree, a Brookfield resident. "High tuition costs can sometimes prevent young people from entering college, which can hinder their future success. According to national statistics, only about 18 percent of African-Americans have a four-year degree or higher -- a number that is much lower than many other racial groups."
Aside from the scholarship program, the Hord Foundation frequently sponsors education seminars, career workshops, and tutoring programs for students throughout greater Danbury.
Farrell, who lives with her husband and manager, Jason, and their two young children, feels incredibly grateful for the generosity of the foundation and what it has meant to her all these years.
"The wonderful and dedicated people from the Hord Foundation have given me a chance to pursue my dreams," Farrell said.


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Legal Fees Explained
By Hans John Kalina
Let's talk about legal fees.
The topic of legal fees is very often misunderstood by our clients. First and foremost, clients need to acknowledge that the lawyer is a business person. Legal services are the product and the lawyer's livelihood is entirely dependent on the client's payment for those services.
There are a number of models for determining how much a lawyer will be paid. Generally, there is the hourly rate, a block fee and a contingency fee. The Law Society of Ontario only allows for contingency fees (a percentage of the winnings) in some civil cases. In the types of law our firm practices, we are prohibited from charging contingency fees.
An hourly fee is just that, a fee per hour for services performed. In our office, this type of billing is usually reserved for lengthy complex matters such as criminal trials or contested family proceedings, where it is difficult to determine how much work will be required for the case. Clients generally don't like this model because there is no certainty on how much they will be required to pay for the case. In some instances, such as when we receive our compensation from Legal Aid Ontario, there is a cap on the number of hours that a lawyer may bill to any one file. This means that any work performed by a lawyer in excess of the 'capped' number of hours will not be unpaid work.
The block fee is what we use most often in our practice. This means that there is a fixed amount that will be charged to the client for the service. The advantage to the client, is that they can predict with relative certainty how much the legal service is going to cost them. From the lawyer's perspective, getting the job done quickly and efficiently will mean more money in their pocket. Legal Aid Ontario provides compensation to lawyers for many criminal charges on a block fee model. Our obligation remains to our client to ensure that they are being served professionally. The disadvantage to the lawyer is that we often make many more court appearances than we would like. This operates to our financial detriment. Most often this is due to delays in obtaining disclosure, obtaining reports from other professionals, drawn out negotiations, difficulties in courtroom scheduling or simply our client being unsure on how they wish to proceed. Either way, we do not get paid for the additional time that the case takes.
Once we are engaged in the proceedings, our professional responsibility is always placed before our financial compensation. This can sometimes operate to huge disadvantage to us. For example, in many criminal cases where we are being paid by way of a certificate from Legal Aid Ontario, the payment to he lawyer is a block fee for criminal charge. There may be some variation in payment based on outcome, trial versus guilty plea or withdrawal of charges. However, the number of court appearances to achieve the result in irrelevant to the payment calculation. There have been many instances, where we have been required to attend court on behalf of a client, only to have the matter adjourned to another day, many times over. This may occur often through no fault of ours or our client. Delays in receiving disclosure from the prosecutor are particularly frustrating in this regard. Ideally, we would like to complete the case in the shortest time possible, however, given the vagaries of the court process, we are usually required to attend for many court appearances. Our fee does not increase, yet we continue to be required to attend court, meet with a prosecutor, our client and perhaps a judge, all to move the case along on behalf of our client. Our client is always advantaged by this model.
Clients charged with criminal offences for whom we are being paid by Legal Aid Ontario are in many ways differently situated. Contrary to public perception, a legal aid certificate is not a "free ticket". The fee that we are permitted to charge is much lower and limited by restrictions. Legal Aid Ontario files are paid either a modest hourly rate capped to a very limited number of hours or subject to a block fee. The block fee is also subject to strict conditions. In some cases, we will not be paid at all. This may happen if we are required to remove ourselves from the file due to a conflict of interest. In that case, the new lawyer will receive the benefit of the block fee and we will receive nothing. Of course, as professionals, it is our client's best interest that comes first. The only reason for accepting legal aid certificate is because we are doing best to assist those disadvantaged people who require our services the most.
There is a lot of work that occurs 'behind the scenes' in any legal proceeding. That is the skill and expertise that our clients pay us for. From our perspective, it's a matter of balancing our obligations to you, our client, along with our professional duty to the court and the practical realities of running a business, all while obtaining a fair compensation for our services. Read https://lawyer4u.ca/role-of-defence-counsel-in-a-criminal-proceeding/ for insight on the fundamental decisions the client is responsible for.
© 2019 Hans John Kalina is a lawyer with the Law Office of Kalina & Tejpal. He can be reached at (416) 900-6999 or at firstname.lastname@example.com


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Beach Naturalist Training is moving online! Our Meet the Beach team has worked quickly to move our unique intertidal life training to the web in order to keep our community safe and healthy during the COVID-19 pandemic. Using a webinar format, our trained volunteers and staff will facilitate interactive training sessions with special guest speakers.
The first training session will be held on May 30th, from 10:00 – 1:00 PM. We are excited to have Professor Gernardo Chin-Leo, expert in oceanography and marine biology, joining us for a discussion on Puget Sound's ecology!
This training session is required for new and returning Beach Naturalists as we work to unite and push forward with estuary education despite the interruptions in our planned programming.
To register for the first Virtual Beach Naturalist Training session please submit a volunteer application. Once your application and background check have been processed our team will send you a link to our first Virtual Beach Naturalist Training session.
What does a Beach Naturalist do?
Meet the Beach is a hands on opportunity to work with beach goers who visit our local beaches. Volunteers in this program work to create a greater understanding of the Puget Sound, a large estuary (where fresh and salt water meet). It is offered to the general public and K-12 groups at local beaches, such as Burfoot Park, Tolmie State Park, Priest Point, Frye Cove, and Woodard Bay during low tides.
Volunteers learn about the amazing diversity of creatures who live there and talk with people about how everyday choices can have a positive impact on our water quality. They answer people's "what is that?" questions, get kids engaged looking for the creatures that live in the intertidal zone, increase awareness about what it takes to survive here and beach behavior (creatures home and leave living things at the beach, be gentle, touch with a set finger), and share ideas about what we can do to protect our waters and the creatures that depend upon its health.
The training is known for its expert instruction and fascinating content. No existing knowledge or experience is required. Our primary training objective is to increase volunteers' knowledge of estuary biology and habitats and the impacts of human interaction. During the training, we will focus on the habitats at local beaches and on marine-life anatomy, survival behaviors, feeding, predation, and life cycles.
New Volunteers
To apply to be a Beach Naturalist and schedule yourself for the training sessions, you must have a Volgistics account with us. You can create a Volgistics account by completing our Volunteer Application below.
It is important for new volunteers to attend all of the training sessions. We can make special arrangements for new volunteers who are keen to volunteer, but who will miss no more than two sessions. Please let us know if you are a new volunteer, and you plan to miss any of the training sessions. The May 30th Virtual Beach Naturalist Training Session is required for all new Beach Naturalists.
Returning Volunteers
If you are a returning Beach Naturalist and already have a Volgistics account with us, you can schedule yourself for the training sessions in our Volgistics Volunteer Center.
Participation in these training courses are encouraged, but not required. Signing up for specific beach days will be available soon, and we will send out a notification when that becomes available.
If you have any trouble with the volunteer application or the volunteer schedule, please let us know; we are happy to help, shoot us an email.
Puget Sound's Wildside is an original Harbor WildWatch publication that introduces readers to the local marine environment. This book provides an excellent introduction to local marine life and has been used frequently as a text book for high school and community college marine and environmental science courses. Click HERE to purchase Puget Sound's Wildside.


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General information
- Genres : Action, Fantasy, Dramedy, Adventure, Drama, Supernatural drama
- Languages : English
- Air date : 1999
- Duration : 48 min
- Tv show : Xena: Warrior Princess
- Season : Xena: Warrior Princess (season 5)
- Episode : 7
Release info
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Back in the Bottle (1999)
After being defeated by Xena, Pao Ssu's spirit join with that of her brother Ming T'ien. They team up with Khan and his army so they can attack Qin. Xena uses the wisdom left by Lao Ma to stand up against the army alone.
- Writing
Steven L. Sears
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Whole or part of the information contained in this card come from the Wikipedia article "Xena: Warrior Princess (season 5)", licensed under CC-BY-SA full list of contributors here.


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This is the Chinese medicine treatment products to a self detection, from the Chinese traditional basic starting so that users can self diagnosis, look for inspection and inspection of the tongue by face recognition system. The smell of diagnosis through the sound of the drum in the phonetic system and the smell of mobile phone system, ask for advice from the TCM database by describing the pathological examine, cut through pulse bracers. And then through the Bluetooth sensor and IOS application presents a data display. By giving the user can independently confirm the physical condition, save a lot of unnecessary trouble. This product while t
Central South University
ChangSha city, China
Yangtao Shi,
Central South University
Quan Chen,
Central South University
Qiyao Lin,
Central South University


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KHAIRPUR: Two girls were killed while four others were injured as a result of aerial firing at a marriage ceremony near here on Thursday.
Official sources said some guests at Mansoor Ahmad KhemtioÃs marriage in village Rasool Bakhsh Khemtio near Gambat town of district Khairpur, resorted to aerial firing. Stray bullets hit and killed Waqar Sana, daughter of Rasool Bakhsh Khemtio, and Savera, aged 11. Three others – Rafiq Ahmad, Abdullah and Hamiza – got injured and were taken to Sukkur.
Eyewitnesses claimed it was not a case of accidental death. They said Salima, wife of UC Nazim Yunus Khemtio, opened fire and killed Waqar Sana besides another girl. Sources said Salima did not want her husband to marry Sana and could not control herself when she saw Sana with her husband, Yunus, and killed her. The Gambat police had not registered a case till the filing of this report.
Source: The News


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Your last read book was:
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Total books on site: about 20000
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Jami (1414 - 1492)
There are books for online reading by Jami on this page. Also you can read a biography of Jami.
Nur ad-Din Abd ar-Rahman Jami (Persian: نورالدین عبدالرحمن جامی) (August 18, 1414 – November 19, 1492) was one of the greatest Persian poets in the 15th century and one of the last great Sufi poets....
If you want to know more about Jami Read more at Wikipedia.org
Book of Jami (free read or download):
Rubáiyát of Omar Khayyám and Salámán and Absál Together With A Life Of Edward Fitzgerald And An Essay On Persian Poetry By Ralph Waldo Emerson
IHTIANDR - is a site with thousands books on English for free reed and download


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Preschool Press
April 13-24, 2015
Butterflies, Warm Spring Days and Playing Outside
We're excited to be back to start talking about all the spring changes we see around us. We're eager to take the children outdoors more often to do most of our learning outside. Please continue to send them to school in appropriate weather clothing. We will attempt to go outside each day. Our theme for the next two weeks will be Spring. During the first week we will focus on the book The Very Hungry Caterpillar by Eric Carle. We will also welcome caterpillars to our classroom. We are eager to see them change to butterflies in the next few weeks. During the second week we will focus on flowers and how they grow. Weatehr will also be an additional part to our theme. We will emphasize sunny, windy, cloudy and rainy.
Kindergarten Round up
Kindergarten Round-Up will be held on Thursday, April 16, 2015 from 5pm-7pm.
On this evening you and your child will have the opportunity to meet the Kindergarten Teachers, tour a Kindergarten classroom, take a school bus ride and become more familiar with your child's home school as a fun and enriching Kindergarten year approaches.
*The state cut-off for kindergarten enrollment is August 1st. HSE Schools have an early entrance period for kindergarten from August 1st to September 1st. We are unable to accept any early kindergarten enrollments after September 1st.
To enroll your child, you must bring the documents listed in the e-mail attachment with this newsletter. Additionally, a list of required immunizations can be found on the HSE Health Services page. A chart of required immunizations for each grade level is available there.
*Many of the schools have early registration and will allow you to pick up an enrollment packet before 4/16 by showing all necessary documents (see e-mail attachment). Call your child's home school for further information.
Ms. Stephie's Speech Spot
( rain, wind, sun), springtime activities (visits to the park, riding bikes, flying kites, picnics, butterflies, bubbles, sidewalk chalk, and planting flowers) to name a few. We will spend some time outside watching clouds and going on scavenger hunts to find and see springtime treasures. We will read books, plant a pretend garden, sing songs, and play games and complete activities that allow us to follow directions, learn new vocabulary, match, associate, draw conclusions, and sequence information related to our theme. Be sure to read the weekly speech sheet in your child's daily folder for home activities to help generalize skills outside of the classroom setting. Go outside and play with your children.... have fun and enjoy this beautiful weather!
Fun Spring Activities
Arrive early to visit the XFINITY™ booth and stock up on movie snacks at the concession stand. The City of Fishers' G.I.V.E. Committee will be selling candy, popcorn and soda during the show. This season features some of the newest and most exciting movies, including:
Maleficent – April 17
Gnomeo and Juliet – April 24
Planes – Fire and Rescue – May 1
The Boxtrolls – May 8
Dolphin Tale 2 – May 15
Earth to Echo – May 22
Big Hero 6 – May 29
Fishers Parks & Recreation strives to offer diverse, community-wide events that families of all ages and ability levels can enjoy. Movies in the Park presented by XFINTY™ now has closed captioning available for every movie. Invite your friends, call your neighbors and spend the evening enjoying a great movie in the Nickel Plate District. Don't forget to share any photos from the movie series on our Facebook page, to us on Twitter @FishersParks , or tagging us on Instagram using #FishersMovies. Additional information about Movies in the Park can be found on the City of Fishers website .
HSEHS Drama Club & Choir Department Present...
The Purdue Varsity Glee Club
Hamilton Southeastern High School Leonard Auditorium
13910 E. 126th Street, Fishers, Indiana 46037
Friday, April 24, 2015 @ 7:00 pm
Proceeds to benefit the HSE Drama Club, Choir Department and the Drama Club Scholarship. Make a donation directly to the Drama Club Scholarship Fund
Show Tickets: Adults $15.00 Students $10.00
(Doors open @ 6:30 pm, general admission/open seating)
Dinner Tickets: $10.00 Join the Glee Club for dinner @ 5:00 pm
(limitedseating/Famous Dave's catering)
Ticket Order Form HSEHS-Purdue Varsity Glee Club Fundraiser Show
Any questions, please contact Cindy and Harry Straut
at email@example.com call 317-417-1850
*Hamilton Southeastern FFA - 2015 Spring Plant Sale
The Hamilton Southeastern FFA will once again be offering a great variety of bedding plants, hanging baskets and combination patio pots (at reasonable prices) for Mother's Day and your spring gardening and outdoor decorating needs. Tomato plants and a few other vegetable plant varieties & herbs will be available for purchase as well. As in the past, the plant sale will be held on the east side at HSE High School Greenhouse - East of Olio Rd on 126th Street. The sale will begin: April 25 and will continue through May 9th. The plant sale hours are from 3 pm-6 pm throughout the week (M-F) and from 8 am-4 pm on Saturdays and from 11 am-2 pm on Sunday.
Stop by and check out our great selection and thank you for supporting the HSE FFA program! Go to our website for more information on flowers.
- Fieldtrip Forms have been sent home for the Bus presentation at HSE Schools Transportation Department. All forms are due by Thursday, 4/30.


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Posted on March 01 2019
One of the most important tasks of today is to keep our teeth healthy and intact as taking care of our overall look and appearance is one of the modern requirements that most of the people take seriously - in different extents. The main feature of our appearance is our smile, as having healthy and white teeth can be a significant plus point in anyone's personal relations or for anybody's career success.
Hence, instant home teeth-whitening kits have gathered much enough popularity in recent years as they play a helpful role in enhancing our appearance and are affordable too in comparison to high costs of cleansing by dentists.
Causes of dull colored teeth
Teeth discoloration causes due to consumption of substances, such as colored and flavored foods and drinks. Coffee, beets, tea, certain fruit juices, red wine, cherries, and berries are some of the substances that eventually discolor our teeth.
This problem can even take worsened turns due to our negative habits such as irregular and improper brushing, alcohol drinking, excessive consumption of soda, and smoking. Antibiotics can also equally contribute to discoloration of teeth.
Teeth-whitening kits for home use
The teeth-whitening process can be done at home with the help of special home teeth-whitening kits; such kits emulate the same process as an in-surgery procedure by performing the steps which are relatively similar.
A standard kit would typically include mouth trays, a whitening gel and a detailed page of instructions on how to use. During usage, the mouth trays are filled with the whitening gel and then the tray is placed on the teeth. The main motive of the tray here is to keep the gel into continuous contact with the teeth.
To make a way better contact between your teeth and gel, it would be better if you use customizable mouth trays as they are capable of keeping a better contact than genially available kits in the market. This way, you can increase the effect of whiteness and reduce the irritation that may happen due to the connection between whitening gel and the gums.
The commonly marketed whitening gels usually contain carbamide peroxide or hydrogen peroxide and the safe levels of concentration are 15% and 6% respectively as per the guidelines of FDA. Peroxide breaks down when applied to the teeth in the form of gel and releases oxygen that helps to remove stains. The oxygen molecules are known to be effective in removing the substances which cause discoloration and it simultaneously restores the natural white color of the teeth.
This process can also be excelled with the help of a laser light that can increase the speed and effectiveness of the helpful whitening gel. It will also help in releasing a big amount of oxygen onto the teeth.
The best kind of instant home teeth-whitening kits in the market usually come with their active substance at a safe level of concentration. The kits also include customizable mouth trays and sometimes a laser light in order to complete the process in less time.
The kit you buy should not only be effective but also available at a reasonable price. Go for a kit that assures the maximum level of customer satisfaction.


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Mere Sai 28th August 2018 Written Episode Update: Sai's Enlightens Ranoji's Mind
Mere Sai 28th August 2018 Written Episode, Written Update on TellyUpdates.com
Keshav tries liquor and thinks due to jalebis, liquor is tasting weird, he needs something spicy. He walks to his mother Rukmini and asks to give something spicy. Jiva asks him to have kheer. He says he needs spicy food and is very hungry. Rukmini asks Narmada to give him fritters/bhajia. Narmada fills plate with bhajia. He asks to sprinkle some spices. She does and gives it to him. He eats bhajia, drinks liquor, gets heavily inebriated and falls asleep. Kulkarni returns home and calls Rukmini. Ruknini goes to call Keshav, but his room is locked. Kulkarni gets worried that Keshav must be ill and asks Anta to break door. Anta breaks door lock. They all enter in and laugh seeing him asleep. Rukmnini pampers him and tries to wake him up. Kulkarni says let him sleep, Rukmini wanted to celebrate Keshav's birthday old way, Keshav used to fall asleep till he used to return home, even now Keshav is asleep. He sees bhajias and laughs that Rukmni overfed him bhajias, so he is asleep. Jiva asks what about all the dishes prepared. Kulkarni says let us go and finish it.
Next morning, Sai is busy in meditation when Ranoji walks to him happily. Sai asks if he did not go to work. Ranoji says he sold his blankets before afternoon itself, he stood aside smiling and people questioned him, he replied truth, people got impressed and bought all his blankets, it is all because of Sai's taweez. Sai asks if he can return taweez. Ranoji gets tensed and says his business flourished because of this taweez, how can he return it. Sai says his business flourished because of his self-confidence and good behavior, whatever happened is because of him and not taweez. Ranoji says he is not literate, but he how can he ignore what happened today. Sai asks him to return taweez, he will show what he hid in it. Keshav gives him taweez.
Keshav wakes up in the afternoon and feels hangover. He walks out to living room. Rukmini says he slept so long. Keshav asks not speak loudly as he is having severe headache. Kulkarni checks his pulse. Keshav gets tensed thinking if Kulkarni will find that he was inebriated. Kulkarni asks why his pulse is fast, if he is tensed thinking how his father will pay for his further studies, he need not worry as his father is very rich and if needed he will collect tax from whole village to make him barrister. Keshav says ok, he is feeling severe headache. Kulkarni asks Anta to bring kadha/herbal concoction. Anta brings kadha. Keshav drinks it and says it is very bitter, runs out and vomits. Kulkarni checks his eyes. Keshav gets tensed pitaji will find out he was inebriated. Kulkarni says he got excess heat and should be on controlled diet, asks Rukmnini to give him lemon juice with honey and not let him go out whole day.
Sai opens taweez and shows cotton in it, says there is no magic in it, Ranoji's wife gave it, whatever Ranoji earned is with his self confidence. Ranojisays he did not understand. Sai asks him to hold water mug till he says. Ranji says it is very light, he will hold it till Sai says. Sai gets busy with household chores. Ranoji feels pain holding mug for long. Sai smiles..
Keshav feels he should drink liquor for his hangover and picks liquor bottle, but does not find liquor in it. Keshav walks out of house. Govinda stops him and asks where is he going, mama/Kulkarni ordered not to go out. Keshaav pampers him and says he loves him a lot than anyone else in this house. Govinda asks him to get modak/sweets for him. Keshav agrees and walks out. Rukmnini comes out to get fire wood and sees Keshavi goingn out. She calls him, but he does not listen to her. Govinda says brother went out for fresh air.
Sai gives moral gyaan to Ranoji that he prepared best blanket, but because of his arrogant attitude, he lost his customers and thought educated businessmen are more competent, but his good behavior got him customers, he should do his duty selflessly and with pure mind and leave rest on god..
Precap: Sai asks if ssomeone takes Ranoji's place, if Raanoji will keep quiet. Ranoji says, he will serve Sai well and not let him complain. Sai says what if someone is more needy than Ranoji. A muslim man is shown flexing his muscles.
Update Credit to: MA


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