text:
"the war", one previous film pops up, keeps popping up the way that calls for mercy and help do from one catastrophic war to the other, featuring some kids, a donkey, and wounded dog with a red cross bandage.
One, an American, John O'Hara, appears to be modeled on what whiffs Handke has got of the modus operandi and being of John Huston or John Ford.
Two, Machado, his Spanish counterpart, is modeled more closely on the author himself and his own experiences directing in Spain, his surrogate Yugoslavia, but also bears some resemblance to Bunuel [these resemblances are not entirely insignificant; and "film director" is of course a kind of iconic archetype - and they josh around, a bit self-consciously as celebrities can. The John Ford type wants to do the exteriors, the Bunuel type does the surrealistic innerworld.
The directors help move the piece along; that is, the presentation of what might be included in the film, discussions of who might be its main character; occasionally comment trenchantly on the art of presentation.
"O'HARA: That'll do. No commentaries. My films have no commentaries.
MACHADO: And my films take nothing for granted. "
The use of twin directors harks back to Handke's then most recent play Preparations for Immortality for the purpose of playing with two sides of the same Juan coin, but at least on my so far reading are not as diametrically opposed as they might be, nor need to be in this instance...
A third director of sorts, a bit more pushy, The Announcer [a stand-in-in for "the author" who has fled!], a kind of stage manager, also moves the piece forward, and in fact has a kind of authorial control over what is meant to be shown to the directors ["and now I am going to present the two historians."] but can also impersonate other characters, e.g. turns into one of the locals who witnessed the war, presents the speech of a would-be president at one point, and so, as in so many fortunate instances in the piece, is not locked into a securely identifiable character-role…
How usefully and artistically Handke exploits the economic need to double and triple up roles is something playwrights might take note off.
Focusing just on how these three "Movers" weave the material together, one notices that Handke's forte as a creator of flying carpets, he our master weaver and cuckoo from Griffen, is very much intact, except for a long stretch in Act II of what I regards as unstitchable cast iron…
I at least feel happy to report that I could not be happier by the way that the author handles the introduction of the themes of the war, neighborliness, history… in feathering these [propeller! not goose down fashion] the way the Two Directors, the Announcer, the Forest Madman, The Chronicler and Historian toss the balls back and forth during the first third of the play… even some of the longer speeches do not prove tiresome, there, at any event not upon several readings… cut no doubt though they, too, will need to be for performances
The Forest Madman – by far the most interesting character and based on a famous German legal case of a Serbian who was tried and convicted in Germany according to current! German military law for failing to stop an atrocity in Yugoslavia [and at whose marriage in prison Handke was best man! A stellar deed by a man who has done his share of dastardly ones! More about him and "denial" anon] - now begins to intrude with some fairly short comments, especially his "fuck the neighbors refrain", making his "primal sounds", the first notes as it were of what will become the piece's most complex melody… but gradually turns into the piece's main character, as the Two Directors discover him to be, becomes the most multi-faceted because he has acquired - by accident more than design - more historical brambles than any of the others: he appeared on International T.V. as one bad guy among others [he's got touches of the paranoid/schizophrenic Bloch the Goalie who resurfaced in W.A.T.V. as one of the three worker-clowns], was arrested as the innocent by-stander, served five years in a German jail, where he lost all sense of guilt, returns to live in the region, but instead of being feted as a hero, is 86ed because he won't admit his guilt… is regarded as mad… his only real relationship appears to be with the forest… at the end is brow-beaten by "The Bearskin Woman" as one might to call "Die Fellfrau" in American [who doubles as the "Beauty Queen]… and if one regards this telescoping of the Forest Madman's qualities from a filmic perspective, this is not only some kind of yet other genius notion, but potentially represents the "Mother Courage" of the piece… though its kaleidoscopic layout of course has nothing of the sort in mind…
By the time of the appearance of the Three Internationals on page 56 [German Edition], nearly halfway through the play, a lot of matters have been put on display: the Historian has despaired of history, half-comically so, the Beauty Queen has appeared and The Directors feel that she deserves a bigger part than the script envisioned for her; the Historian has sought to demolish the Chronicler's heroic version of the origins of his tribe,
The Internationals [who appear on mountain bikes] do not know where they are any more, now that it is peace they recall the land only from wartime, but they have their paranoid memories... The first long speech by # 3, confesses that he never really knew where he was even then, that he hated the damned land from the moment he set foot in it, could only get along with his translator guide, but whom he had to import from outside since he couldn't trust the native viewpoint; hates these people especially because they re-invented war "they are victims but not innocent ones", he hates them so much he wants to throw an atom bomb on all these warriors and be done with them… which is why he doesn't really want to know where he is… But after a couple of pages of this sort of thing their self-immolating self-representations, for my taste, especially the self-derisiveness with the alphabet acronym soup [KFOR type stuff], become so excessively pointed as to be a caricature of the author's own hatred of them, in speeches that present them to be mad hunters of war criminals, judges with utterly closed minds, self-righteous reporters… for The Internationals, too, transform into or are interchangeable with representatives of the International News Organizations…
Theatrically, this entire second act - News folk + Internationals - within the three act play without pauses, is a remake of a section from Handke's They Are Dying Out. Extremely eery for me its translator to find for one instance that a speech from this 1973/4 text has been lifted rhythm for rhythm beat for beat with new but not better wine in the vessel, and though I have some considerable admiration for the "Johann Sebastian Handke" side of my man, the pulling of this organ stop hints at something of a rush job or an act of vanity in thinking that a particularly successful aria ought to be used twice, but perhaps Handke with all the different melodies he sings has only one real attack aria in him, it is used once more, in more modified form in the big mixed bag – some of his greatest writing, some ugly lying, a lot of tour de force moments - of a 2008 novel MORAWIAN NIGHT.
The overly long "International" stretch cited just now also contains some kind of tortured, basically incomprehensible account of something like the Srebrenice massacre, on which Handke had a more accurate take in Summer Sequel/ Reprise [Ein Sommerlicher Nachtrag 1994] where it elicited a fearful wish not to be a Serbian [no matter that no one had asked him to be! and that he was only half-Slovenian Austrian national and half German with a German actual father and stepfather, [see # 3] whatever kind of mongrel that is!]. Taken together with the here perpetrated notion that "history" is a falsifier - in the sense that a photo that elicits the memory of a German concentration camp, ought not to be confused with something along those lines [a notion put into the mouth of the International Historian and reiterated by a "total madman" [who is merely a slightly more mad chap than the Forest Madman, a "split-off part" of him] and of the The Greek Reporter] - the play, which I think starts off as a comparatively even-handed attempt to entertain an understanding of the Yugoslavian catastrophe, turns into something too confusing to make heads or tails off for an audience [although that may be the point!]
A TOTAL MADMAN appears, he might as easily be the Forest Madman, who accuses the Internationals of being the ones who set off the bombs, the poison in the bomb… and that their images and voices on television have produced a monster child… and goes into a kind of total denial reversal "the corpses from the massacre came from the mortuary… the national library burnt of itself…" and claims to have become a mass murderer because his impulse to help was thwarted… "like mother's milk gone sour…" which is a very interesting though odd idea indeed… and with considerable psychological truth on its side [though it is he of course who needs the help which he claims to have wanted to provide to others - not that there is any evidence to corroborate the claim, at least in this instance; though someone here might consider, examine the mechanism of frustration as being part of that equation. However, the theme of the milk of human kindness going sour, or poisonous, is one of the deepest themes coursing through the play, and on that score Handke personally cannot be faulted.
The Internationals claim that they own the language for the war, and with the appearance of "The Greek" [a reporter who hasn't toed the international party news line] there ensues a confrontation about the manner of news-gathering and representation that is first rate and makes up for some of the preceding: the Greek takes detours, recounts how he hit on a village full of city refugees, who had nothing left but their outrage, "the vanguard of the still and once again unknown people - of an aboriginally hopeless but therefore that more brightly continuing humanity that is walking its way through the night and wastes of time." [ shades of similar sentiments from W.A.T.V. and some of Handke's fine observations, say the way he sees passengers on buses in No-Man's-Bay]
"The Greek" confesses to his being filled with hatred "against known and unknown. And since the hatred against a known quantity cannot be poured out, it must be directed against unknown. And more and more is made unknown today especially by means of the everyday revelation and information. And therefore the hatred against unknown literally grinds away in us." [again shades of W.A.T.V. not that that takes anything
away from the truth value of the observation of the prevailing world-wide psychosis.]
THE INTERNATIONALS thereupon have a nearly Brechtian little dance:
"You won't change it. That's the way it is. That's the situation.
That's the way the world is. That's the market. That's the price...
We are the market. We are the world. We write history. And history
requires guilt, culprits, retribution..." -- which gruesome chain the entire play, all of Handke's best endeavors since W.A.T.V., have indicated the heartfelt wish to put a stop to…
A series of long speeches is given to The Greek, who basically espouses views in words similar to those that Peter Handke has written over the past twenty years: "A mankind in a state of whetted appetite to be a discoverer, not underway into the forced performance called entitled 'history' but into [he stops a second'] -- inbetween time..." He envisions "hopelessly quiet masses of people on the central plazas, who no longer are intent on storming parliament"… and to the International Reporters he says: "For a decade now you've been pissing your ready-made piss on the invariably same trees. All these marvelous Dinarian woods are stinking to the high moon from your piss," truths of these observation being shared by this commentator.
The newsmen are given ample space to reply, but I will not try to summarize the to-and-fro but to say that the points scored by both sides are lost in what strikes me as an overkill of verbiage, Geschwätzigkeit is the fine German word for this, and most unusual logorrhea in the instance of our usually so laconic author. And not state of the art in media analysis I might add.
The play even manages to "work in" some typical Handke stuff about "sacred rage" and puts it into the mouth of the I.T.s, as well as the frequent charge against Handke, especially again then – around 1999 - that "he has flipped out" - and in that fashion, I suppose, the play imagines that it inculcates itself against such very charges, a variation on the tactic of tactical concession, but taken well before entering the malaria infested territory of public discourse...
The IT.'s claim that they have nothing but good intentions is met by The Greek's response: "There is an indifference that is more helpful than your blabbering about being humane, as the right hand pets some of us like Mother Teresa, and the left hand swings the sword of the tribunal against others. Little devils of goodness. Humanity hyenas. There is no one less open to suffering than you official humanitarians. Mars bodies that appear as the protectors of human rights… The people here have become as evil as they are not. And the war has made you tourists as evil as you are. [the verbal casting resembles W.A.T.V.'s "the brown pistol holder is not but the blue sky is."]
The Greek calls for an absence of all reporting, of all media intrusion.. for a ten year period… but how would Handke stand not being in the news for that long? Not being photographed?
The upshot is that the I.T.s resolve that their view cannot be changed, they are unalterably locked into their language, and that they are the language. And the bitter truth of that can be seen in all the U.S. wars since and current preparations for more of the same.
There is a nice moment, after the directors have inquired of The Greek what it might be that he sees beyond the apparently self-evident, and he replies "The wind," and laughs and all the others laugh, too. And then the Greek has one last speech in which he attacks the notion that photos speak in the sense that the photos of Yugoslav camps, by being reminiscent of German concentration camps, spoke falsely, or only seemed to speak. [a notion to similar effect was broached by The Historian already early on in the play and we have reached the nub of the rub of atrocities, and guilt, and historical memories which Handke, in the instance of Serbia has had such a hard time stomaching, - and which I comment on at greater length in some of my footnotes. [3]
By page 100, after approximately 40 pages devoted to the I.T.'s in their various guises, much of it in a shrill tone, and much unGoethlike derisiveness, that already seeped into the interchanges between The Historian and The Chronicler in the first 60 pages, after a nice side-stepping transition, we come to the section devoted to the Forest Madman and the Beauty Queen/Bearskin Woman during which the F.M. and B.M. rediscover love and the simple things in life, in part a la the kind of lovely simple interchanges, indirect discourse, that we find at the end of W.A.T.V.
The F.M. recounts his prison days in Germany and how he lost his sense of guilt. "Peace, peace here means: the heart is bleeding." And turns into a kind of complete mourner and only seeks the great pure life of mourning; and recounts his life in the forest, rhapsodizes about the taste of raspberries, and then
The play-space Handke has created for himself [and us] in these works for the stage [and in a different fashion in his prose work, a matter I won't go into since I have done so at length in pieces in the novels at the various Handke sites] allows for the existence of "another world", for that hovering just a touch above the floor, it is a space that allows for the freedom of serious matters to be gently [or less so in this instance] entertained by the mind and heart - for the main actors to represent, externalize themselves through spoken texts - not act out through naturalistic mimicry, or present in other versions of what is known as epic theater, "action" is always "offstage," in the imagination, something referred to, no blood is spilled on Handke's stage, the only thing that is real in Handke's "as if world," is the playing, which thus becomes as it were far realer than any naturalism ever can. In that Handke has remained true to himself since his beginnings.
In the instance of Dugout, the presentation and discussion of possible scenes from a prospectus allows for some real efficiency, juggling, etc. and I recall becoming aware of Handke's collage method about 20 years ago when I analyzed the screenplay for Wings of Desire. Compared to some of Handke's other 80s through 90s plays [whose formal completion, rounding out, overwhelms, consummates their collage quality] D.C.'s handling of the collage method allows for a lot of breathing room - at times. This is my feeling: but translating and directing Handke's work can make for some amazing discoveries
HISTORIAN: Yes, isn't that what you wanted: to be by yourselves, each one for himself, as you are now, alone with your plum tree whose crown has been blown off, your pig and lamb walking on three legs, and the neighbor's rusty tractor now yours.
FOREST MADMAN: If you say "neighbor" one more time, I'll cut your throat.
CHRONICLER: All this business about living together peacefully for centuries on end was only invented by some of the warlords here, meant for the tourists from the foreign capitals, a sales pitch for the politics of war. Harmony between this guy and that guy over there? An idea grabbed out of thin air, built on sand.
HISTORIAN: Why not build on sand? Can't such a construction sometimes stand more firmly than any other? And why not grab the idea of belonging to each other out of the air? Where else do you grab it from but from there.
CHRONICLER: And a historian says that? A scholar?
ANNOUNCER: [leafing around his grab-bag of notes]: At this point the author is already hinting at the future statesman and visionary…
...anyhow into a more multifaceted, poetic philosophical realm, fastened down to the very earthy though it is, too, on occasion with very hands-on peasant language, than the author's own public engagement in matters Yugoslavian might make one expect; that is, the play is a delightful, mordantly funny, extraordinarily graceful, juggling act… for long stretches anyway.
These differences in development [or, if you like, perversion] make for the kind of surrealism that is one of the delights in the play:
E.g. forest people confront "Internationals" on mountain bikes; "natural" people go mad, so that at the play's more poetic moments we have the impression we might go off into a world of The Tempest; and a feeling that has been growing in me, that the time for verse in serious drama is again upon us, is only reinforced at this and many other moments, but I find only one contemporary German playwright engaging in it successfully, not Handke so far.
The war in this piece is meant to be receding into the kind of fabled past that all such wars have had no choice but to while they are very keenly still with us, as they are in this piece. Dugout plays on that edge I would say... threshold if you like... between forgetting and keen awareness: after all, it's is the 29th film for which this screenplay has been prepared of which they are doing a run-through… and in one of its fine mordant comic relief scenes, there appear the stars from the previous internationally acclaimed "masterwork": A POET with CHILDREN, a Dog and a Donkey, like some Faulknerian / Shakespearean comic relief character; the dog has a bloody wrap around its wounded belly, or is it the children, they are a team that raises funds for UNRA, he's the poster child and the poster dog and donkey in person as it were… some characters only appear "dimly": as seen as silhouettes through semi-opaque windows… the silhouette play is creeping into the artistic proceedings… if my grand idiot savant isn't always state of the art! He also adds stage directions calling for SOFT FOCUS! I would say that within a few pages we are also in some respects in a kind of madhouse of the Vienna woods, visually all this is spectacular.
D.C. is prefaced by three significant quotes:
1] from Ivo Andric, who ponderously addresses what we call the wages of self-righteousness, the fact that a wounded judge can be especially vicious [a notion that the play's author in his own controversial public statements might well have heeded!], the potential Robespierre in so many... and one that could not be more true, intra-psychically! The archaic super-ego. The question of "justice" pervades the play. "I want to go to justice" is a Walk About the Villages quote [as is "Everyone is in the right."] the former of which, however, cannot be said to address the fact [or the series of facts] of the rational irreconcilability of ethnic, religious and rurally rooted land ownership, identity demands and demands for vengeance, in a landscape whose economic basis is disappearing under their feet… or the by and large question of a vacuum that arose in Yugoslavia/ [FILL IN THE BLANK] when the 'center would not hold' for a host of reasons, though the play does bring to the fore the question of how neighbors from one day to the other can become murderous, looting enemies during the implosion… to which in this country our periodic riots during "exceptional situations" provide the same kind of incendiary answers… more on justice anon.
2] A Goethe quote that indicates what kind of piece we may expect: "Poetischer Vortrag", where Vortrag ought not to be translated as "lecture" as much as "presentation," a poetic showing, not entirely devoid of the didactic... but, here surrealistically Volksstückhaft [rooted in the Austrian tradition of popular rural plays], mordant, highly theatrical presentation, illustration… Goethe with a Viennese, graceful Horvarthian touch… a fine prospect… and which in the proper kind of forum might actually make for a fine post-play discussion.
One way of getting a purchase on the play, of situating it, might be to think of how some other 20th century German playwrights have approached similar subjects. Certainly Dugout does not entirely lack all qualities of Peter Weiss' Oratorio The Investigation, a Heinar Kipphardt probably would approach the same material much along the lines of a docu-drama a la The Case of J. Robert Oppenheimer; a Hochhut with his penchant for focusing on leaders might have an interesting time with that approach: Clinton - Handke of all people called him a "Schmutzfink" - at the time of the Kosovo war, Milosevic, Holbrooke, Galbraith, Margaret Albright suddenly remembering her Jewish ancestry as Frau Koerbel and trying to use it as an extenuating circumstance, Isobetgevic, Tjudmann locked-up in a fore-room to hell? Hochhut would most likely condemn each and every one of them, including the leader of the Kosovo Albanians to the gallows. Günter Grass' The Plebeians Rehearse the Uprising comes closest to Handke's way of proceeding rehearsal like. Heiner Mueller [or Brecht] would no doubt bring qualities just as biting to the subject as Handke, but would have had their own poetic takes on this material, the Brecht of the Post-WW-II Ensemble would have constructed, delineated, worked out with his collaborators a fine fable for the story of the hapless victim of new German military justice visited on an innocent by-stander who failed to intervene; which no doubt would have been very different from Handke since they would not have enjoyed, if that is the word, the same close and madly intimate and contentious affiliation to the former Yugoslavia as has Handke, who with his kind of Goethean Vortrag, though not exactly trying to take some idiot Olympian perspective, succeeds in trying to dis-engage himself a little from the kind of attack-dog close-quarter infighting wounded love-child fit he so very publically threw as his beloved "9th Land," the imaginary land of peace, started to disintegrate – in Dugout those familiar with the public controversy will note that Handke, sober pencil in hand, is grimly skeptical of the two different united Yugoslavia's viability that existed during two stretches of the 20th century, and actually also decimates someone who engages as he himself did. However, some matters do get a lot more personal. After the premiere Handke had his daughter Amina interview him on Austrian T.V., affording him the opportunity to insist on the play's objectivity – I imagine as compared to some of his own views; and I would say that that is the case, the play cannot be tied to some of his public comments or, but emotionally, even to his series of travelogue and other writing on the subject, except perhaps in the one instance of conflating texts by George Packer of the NYRB and Larwence Wechsler for the otherwise superb section of journalistic mishmash that all the war reportages then amount to. There are better examples than to use the work of educatable intelligent journalists for that purpose. And this is the only instance where I share the otherwise abomination of a review the play received from J.L. Marcus in the NYRB with its knives out for anyone who failed to blame the Serbs. How fundamentally stupid and literal-minded this no doubt the lowest Marcus in that family of enviable intellectuals shows himself to be is when he berates Handke and the play for the Bearskin Woman's line "what war?" – as though Handke were denying it! - [the query in its context means: it will be forgotten once we ride the DUGOUT CANOE again, as all such wars eventually subside in memory – who, after all, in Europe still has the 30 and 100 and Napoleonic wars ever-present in their minds but their historians? Certainly not in the manner in which WW II is ever present to Handke or me, or the Yugoslav disintegration for him. From one generation of war babies to another as it were!.- Yes how abominable stupid can you get – well if it is the case of flaunting Wilsonian moral superiority it appears to a very deep degree.
3] As per the third quote "Da selo sa selom pase" [a village wants to graze with another] from King Dusan's Codicils # 72,[???!!!*] indicates the devoutly to be wished for trotting peacefully alongside of each other of the occasionally vicious dogs, and for which idea the play towards the end has as its metaphor that DUGOUT CANOE that however can unfold like the petals of a flower, or anyhow unfold into several umbrella parts… with the assistance of an absolutely Baroque Deus ex Machina, and is a transposition of a steadfast peace angel magic notion of Handke's throughout the works of the past 20 years, and for which he has found a variety of representation throughout this period… especially in the plays; the author who has three near epileptic fits a day, and prays so much for peace since he knows of his own propensity for violence.
[* so it is claimed - whereas this might as easily be some kind Handkean joke, a la the Oracle of Dordona's "stay in the picture" that prefaces Hour, where Handke is quoting from his own W.A.T.V.! and acknowledging his own competitiveness for the lime light, if you see a green apparition in the night sky, that would be him!];
…but lacks a possible 4th quote, say from Freud's Why War, or one of Freud's other communications to Einstein, explaining why human beings can so enjoy killing each other; or some 5th about what mad dogs human beings can turn into during the course of hundreds of years of being fucked over and fucking each other over in a balkanized world… Peter Brook's "The Icky Icks" comes to mind! and then stake their wishes on notions of ethnic togetherness.
The Bearskin Woman gets her sequence, during which The Announcer informs The Directors that according to the script her ignorance, in this case of the war of which she has no recollection, gives her a certain
"Semi-sleep therapy; semi-sleep spas as the future of the country?" asks The Announcer.
"But isn't everyone alone in a state of semi-sleep?"
Bearskin: "No, you ignoramus: at this edge there still exists a We as nowhere else anymore." She directs everyone, since the D.C. barely holds one person, to form a kind of super Dugout., which they do, a flag or feather is put in front, the concretized mirage takes off, and a kind of United Nations flagship - our author's Deus ex Machina - descends from the ceiling as the sonorous sound from the Art of Asking or the Journey to the Sonorous Land begins to fill the room.
While descending the machine opens multicolored steel fingers that interject between the bodies that have formed the huge Dugout, and pushes them gently apart. A literal illustration of the author's wish for both separation and individuation without the chain of retribution, as ordered by our Lord Peter Handke out of a the theatrical heavens! The machine ascends. Film light is cut, leaving behind the Two Directors and The Announcer.
The Two Directors don't know what to make of what they've been shown, call for a translator, new simultaneous translators, the opposite of the inquisition, translators as pure understanding, and decide not to make the film. O'HARA feels that he knows as little as he did at the beginning, but the chief reason he doesn't want to make the film is because it is still to early to make the film, or what they've been shown requires a different rhythm. Too much pain. He doesn't like tragedies. And MACHADO doesn't want to make it because, as a director of social works, he finds that there is no society left here, and echoes some of the author's [then] recent statements in that there is enough guilt to go around for everyone, guilty ones sitting in judgment of other guilty ones, things have become too thuggish for him. [Directing the play in the United States I would here use a photo of that stupendously tongue-died moron our "National Security Advisor" Berger – 1990]. As a matter of fact, he won't make any more films at all. The world is too mad for him.
"But not mad as in antiquity or in a Shakespearean sense," says O'HARA and inveighs against the three great demythifications, disenchantments that lack counter enchantments: that an individual's life-time counts as nothing as measured against eternal time; the
second, that the planet Earth is lost in space,; and now the third, that we humans are entirely the wrong ones for each other, that man is every man's wolf... the dragon's seed of history has sprouted… it is the time after the last days' of humankind…
I apologize for the length of these notes. It is my feeling that despite their length they convey too little of the complexity and of what is really interesting in the play.
MICHAEL ROLOFF, AUGUST 1999, SEATTLE [revised December 2009, July 2012 "Still Seattle."]
The play received its Austrian premiere at the Burg Theater under the direction of Klaus Peymann about the time of the end of the Kosovo war, best as I've been able to ascertain with great deference to the text [whatever that might mean, but apparently lacking any cuts] at which point wife # 2, who had been taken along on the first famous trek that resulted in Voyage to the Rivers: Justice for Serbia – 1994, and who noted as Handke notes in Justice his propensity for denial, had split with one of the actors, the second wife to leave our salamander cold lay-a-broad, but not such a bad deal since Handke already had for a main squeeze a Serbian girl; but Handke himself, by the premiere of the play, since he fervently opposed the actions of NATO, had become something of a battleground and very public one person performance act himself.
matters, as in that respect that it did mine.
3] Packer/Wechsler. As noted above, I think to use texts of these two respectable American journalists for what I call the "Mish-Mash" section is not only not the way to go, but unjust, since benighted "Internationals" as they cannot help but be, one grants them the respect of doing better on closer acquaintance. My candidate are Roger Cohen's texts of the time. As also mentioned in the second footnote, Handke's The Cuckoos of Velica Hoca then, after all those travelogues with the laconic comments, is an exemplay piece of intimate reporting and of a kind that might set the standards higher than they are in the U.S. if writers of that ability could be trained.
4] To P.A.J's "welching" on an agreed-upon contract after a year during which I thought I had put that project, Walk About the Villages, to bed, and had left the so distracting city and extracted myself from its sybaritic down-town life style, I responded with as tough a letter I could manage, and copies to P.E.N., because P.A.J., even though they felt they could welch wanted some other piece of work of mine and I wanted to make certain that nothing of the kind would ever transpire – the one principal who is no longer with P.A.J, Gautum Dasgupta, also was someone I myself at one time, as publisher of Urizen Books, had given work to, cc also to Handke.
In the mid-80s I was not someone you wanted to fool with, nor threaten. Handke's response was that to write such a letter was something "that could not be done TO HIM!" and he threatened abrogation of a friendship. As far as I was concerned, Peter Handke had abrogate whatever possibilities for personal friendship existed with certain actions in 1975 and 1976, I realized the man lived in a delusion when we three all met at the Algonquin for tea one afternoon.
The upshot of all this was that [1] Handke turned to Ralph Mannheim to do a second translation of thetext, which Handke, in my translation, had called the "best he had ever seen," and which was eventually published by Ariadne Press, an outfit that never sends review copies even to Publisher's Weekly or Library Journal, and [2] that I was free to be even-handed and also critical of Handke texts, and eventually write a great length about him and his work, including a psychoanalytic monograph. [3] That Handke memorialized my sending him postcards from various hamlets all over the Chihuahua desert that I and my new wench loved our way through during the year 1985-8, prior to the blow-up.
When Alfred Kolleritch once published a critical piece about Handke in Manuskripte he, too, our Pasha also threatened that he would never get another Handke text if he persisted, as we find out in Malter Herwig's Handke biography Meister der Daemmerung
It appears it was a bit of a shock for Don Cuckoo from Griffen to find out that he had been a known quantity for a decade, and but for this act of dastardliness he might have had a happier time in NY while writing and coming acropper on the novel section of what is called A Slow Homecoming in American, since, though I worked late hours, I also did some downtown clubbing during those so musical years. Thus, though there are occasional instances when I am quite critical of Handke's work, that is when I feel that he is not living up to his own standard of wanting to be judged within his own terms, I cannot be said to feel ambivalent about it, as I do about the person, who can also be a sweetheart of a darling and generous, as his ex Marie Colbin testifies as well, no matter that she blew him out of the water as well about at the time of the premiere of Voyage by Dugout. Marie and I considered getting married at one time, we thought we'd never get bored telling each other Handke stories!
5] Here a note from Scott's diary:Several hours ago NATO and the Yugoslav Parliament came to some kind of agreement ending the bombing after 78 days. And, I'm just back from the world premiere of Peter's "The Play of the Film of the War," directed by Claus Peymann. I've never attended the world premiere of a play of this magnitude; and I've seldom been this moved, this challenged, by a work of art. Peter has filmmakers John Ford and Luis Buñuel in a Serbian town ten years after the war trying to decide how to make a film of the war. Characters who appear before the directors tell conflicting and complex stories as the play feels its way to questions about war and its aftermath. The really bad guys of the play, three "Internationals" who know all the answers, who dictate all the terms, who can think only in absolutes, appear on the stage as follows: "Three mountain bike riders, preceded by the sound of squealing brakes, burst through the swinging door, covered with mud clear up to their helmets. They race through the hall, between tables and chairs, perilously close to the people sitting there. 'Where are we?' the First International asks. 'Don't know,' the second answers. 'Not a clue,' the third says."American and European moralists, functionaries with no hint of self-irony or humor, absolutists who run the world because of their economic power – these sorry excuses for human beings were depicted this evening as mountainbike riders. Žarko, I said, Don't you ever tell Peter I ride a mountain bike. No, he whispered, I'd never do that. Rich with thoughts, savory with sentences, the voyage by dugout was also a riot of comic action in Peymann's staging. It was over before I even realized it was underway. The play drew on several incidents from our trip, including when Peter put his coat around the shoulders of the OSCE woman in Višegrad. The long sentences and long speeches of the play felt like well structured seriousness. The play trusted the audience to pay attention, and rewarded those who did with intellectual and aesthetic depth. But the play is playful too, and Peymann's direction brought that out impishly. The juxtaposition reminded me of the scene near the end of "Wings of Desire" where Peter's long and reflective sentences are being spoken against the sounds and rock staging of Nick Cave and his Bad Seeds.


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First Presbyterian Church
First Presbyterian Church
Service Times
Sunday School for all ages 9:30 a.m.
Sunday Morning Worship 10:45 a.m.
God comes to us in free and undeserved favor in the person of Jesus Christ who lived, died, and rose for us that we might belong to God and serve Christ in the world.
Who We Are
The members and friends of First Presbyterian Church welcome all persons regardless of race, ethnic heritage, religious backgrounds, political views, and belief systems. We believe that followers of Jesus Christ are called to submit themselves to Jesus' Lordship and that the Scriptures of the Old and New Testaments are the authoritative source for discovering our Lord's will.
Our Faith
Presbyterians affirm that God comes to us with grace and love in the person of Jesus Christ, who lived, died, and rose for us so that we might have eternal and abundant life in Him. As Christ's disciples, called to ministry in His name, we seek to continue His mission of teaching the truth, feeding the hungry, healing the broken, and welcoming strangers.
In fellowship with the Covenant Order of Evangelical Presbyterians (ECO) Our Core Values
Click button below to view our core values.
Rev. David Dobi
Church Secretary
Sue Blum
Music Director
Michael Bray
Kathryn Gray
Head Custodian
Jackie Grisetti
David Fay
Bible Studies Opportunities
Studying the Word of God is an important part of our church. Opportunities to study God's Word are provided during our church morning hours, Kerygma on Sunday evenings, Thursday morning Women's study, monthly women's circles, and Saturday ECO classes.
Pray and Worship
Sunday mornings at 9:00am in the church library anyone is welcome to come pray for our church, community, and world. Feel free to come join us.
Grow as a Church
939 Prayer Program is a prayer partnership where adults pray for the youth of our church.
We have many community outreach programs. If you are interest in helping call the church office.
Adaptations for Disabilities
We want to accomodate all who would like to worship with us. We have elevator access to all the church levels, large print bulletins, and Wilson hearing devices.

subset: commoncrawl


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Club_Handbook_2018-19.pdf Club_Advisor_Guide_2018-19
The Student Life and Leadership Center (SLLC) welcomes the opportunity to work with club officers and advisors in continuing the club tradition at Cosumnes River College. Our purpose in providing this guide is to give you a tool that will enable you to work effectively with your organization and to introduce you to the services provided by SLLC. We have attempted to include current information wherever possible, however, keep in mind that policies and procedures change. We hope you will take the time to read through this guide and provide us with your feedback. Should you have questions or need assistance in conducting club business, please feel free to contact the staff in the Student Life and Leadership Center. We're here to support you.
Benefits of the club guide:
Have a great year!


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The Apothecary Library eBook Set
The Apothecary Library eBook Set
Our ebooks are full-colored bundles of fun! Buy all three and save over 15%! Why, you can even use your savings to buy a couple of cups of tea to enjoy while reading through them. Lovely!
❤ You'll receive all three of my ebooks:
(Psst... You get all current and forthcoming ebooks for free with your Lunar Apothecary membership!)
Enchanted Herbal Recipes for Delicious Awakening + Resolute Magnificence
Create mornings of mischief with our new fully enchanted, full-color ebook! Morning Mischief is full of herbal recipes - 25 in all! - but so much more, including:
☆ A workbook to getting your morning groove back!
☆ Inspirational mini-poster printouts (featuring unicorns + rocks + spoons + sunlight)!
☆ A guide to Tissue States - Western Herbal Energetics!
☆ Plant profiles for herbs to start your day with!
☆ Planetary recipes for aligning your stars!
☆ A guide to creating your own foundations for herbal yum!
More than just a recipe book, Morning Mischief is a ❤ HEART ❤ book for plant folks, apothecarians, urban homesteaders, rural wonderkin, + those looking to infuse their world with the magick of herbal medicine + mystery!
☆ Acknowledgments
☆ How to Use This Book
☆ Morning Salutation
☆ Follow Your Compass : Following the Direction of Your Groove
☆ Get Mischievous! : 10 Tips for Mornings of Mirth
☆ How To Make Tea (+ Brew Up Friendship)
☆ Western Herbal Energetics: Tissue States
☆ Herbal Foundations: Where Herb Meets Nerd
☆ Flower + Gem Essences
☆ Awesome Aromatherapy : Essential Oil Blends for the Morning
☆ Recipes + Materia Medica
☆ The Book of Planetary Awakenings
☆ Resources
☆ About
Joyful Recipes for the Dark of the Year
Our newest book in our recipe series from the Apothecary featuring some of our favorite remedies! Create remedies to keep you and your loved ones healthy through the winter! For less than a $1 per recipe you can create endless pots of Star of Yule Tea, soak to your heart's content in our Crescent Snow Salty Bath Tea and make gallons of our super popular Merriment Elixir! The Winter Apothecary is full of hand-drawn recipes, lots of color, and digital delights to fill your winter months with joy and brightness!
An excellent gift for the winter holidays, folks who like plants, people who have to be told that they cannot sing Christmas carols until after Thanksgiving, Yule Log aficionados, heathens, students, new parents, old parents, wizards, people who like snow, those who dislike the cold, aspiring herbalists, and everyone in-between!
You'll get the following original, exclusive, + fully enchanted recipes:
☛ Star of Yule Tea Blend
☛ Crescent Snow Salty Bath Tea
☛ Cantankerous Dragon Digestive Elixir
☛ Krampus Tea Blend
☛ Swedish Chai Tea Blend
☛ Merriment Elixir
☛ Zombie Bait Herbal Powder
☛ A guide to Flower + Gem Essences for the Winter Holidays
☛ A hidden link to a BONUS recipe!
★ Blessed Winter! ★
Recipes for Witches, Wizards, + the Pursuit of Wellbeing
Our first recipe book in a new series from the Apothecary featuring some of our favorite remedies! Create remedies to keep you and your loved ones healthy during the darkening year - with a healthy dose of spooky and just a touch of fake gross to keep things interesting! For less than a $1 per recipe you can create gallons of Cauldron Polish and keep your house well stock with our WIZARD! Herbal Coffee Alternative. The Haunted Apothecary is a full of hand-drawn recipes, lots of color, and digital delights to excite both your mundane and psychic vision!
An excellent gift for students, parents, people, herbalists, folks who like plants, individuals who listen to spooky music, aspiring potion-makers, long-term communards, those who are nostalgic, and everyone in-between!
You'll get the following original, exclusive, + fully enchanted recipes:
☛ Witch's Delight Tea Blend
☛ WIZARD! Herbal Coffee Alternative
☛ Cauldron Polish Cold Care Elixir
☛ Troll Gas Digestive Bitters
☛ Ogre Snot Syrup
☛ Dumbledore Tea Blend
☛ Zombie Bait Herbal Powder
★ Happy Hauntings! ★
◊ ★ ◊
Purchase is for all three Apothecary digital PDF ebooks including Morning Mischief (122 pages), The Winter Apothecary (34 pages), and The Haunted Apothecary (34 pages).
Non-refundable purchase.
◊ ★ ◊
"These books are incredible! I'm so excited to delve deeper into them over the next few weeks!"
"Equal parts wit, whimsy, wisdom & wonder in an artfully produced herbal! Thanks"
"Amazing! Truly brilliant written work."
"Such a helpful set of ebooks! <3"
"well thought, instantly downloaded and delicious ideas."
"Classic Worts & Cunning wit and wisdom, rolled up into a delightfully spooky educational tomb of herbal wonders!"
"Like everything else Alexis puts together this recipe book is full of magic and smiles. I can't wait to whip up some of these goodies! Thank you!"
"Awesome as usual!"
"Looking through it now...recipes look so wonderful. Hubby and I want to try the Wizard coffee substitute. Delish! Love the hand-written touch. Thank you!"
"Looking forward to creating some of the recipes thanks"
"Such a lovely book, I look forward to many happy mornings because of it :)"
"Wonderful. Really valuable knowledge presented in a delightfully fun way."
"Thank you so much a wealth of information for me to enjoy! xo"
"Full of charm, magic and wonderful info!"
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"what a FUN well put together piece. THANK YOU. I love it."
"This book is so bright and cheery! I'm learning lots from it! Thank you so much for offering your knowledge to us."
"So much fun and lots of great info!"


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Site builders could be building more homes but they are being crippled by a shortage of skilled labor. This shortage is hitting their bottom lines.
With low interest rates and relatively low new home costs, buyers are hungry to move into their new home before the interest rates start to climb up from the lowest they've ever seen.
Now the cost of new housing is beginning to go up fast and one of the biggest reasons is the cycle time it takes to build a new home. Site builders could have a house up and ready for occupancy in 6 months just a few years ago but that time frame has increased to 9 months in many areas including the Northeast and South. Labor prices have increased about 10% this year.
The housing industry has lost over half of its production builders along with the subcontractors that supported them. It's not like these guys are waiting by the phone as its been 6 years and they have moved on and found other work.
Many former construction workers moved on to facilities maintenance work or remodeling or whatever they could find. Now site builders are finding it difficult to replace them because today's market demands highly skilled workers and there is simply no available labor base. In the past builders would hire unskilled labor and train them in the field but they can't afford that luxury today. Nearly 50% of all new construction will be green by 2014.
Modular home factories should see this an opportunity to market modular home construction to both custom and production site builders and begin doing it now!
Modular factories offer:
- Skilled labor force
- Good wages for production people
- Design and engineering people on staff
- Clean and dry building environment
- Knowledge of latest green and energy building techniques
- Fixed costs
- Shorter cycle times
- Greater customization than ever
Going modular also allows the site builder to book more houses because up to 80% of the house is complete in the factory along with the elimination of certain inspections that are performed in the factory and not required in the field.
Here is the best reason for site builders to go modular - - - - TIME SAVED!


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- Annuals and perennials
- Shrubs, B&B and container
- Deciduous trees and evergreens
- Fruits, vegetables and herbs
What characterizes our trees, shrubs and plants is the quality, value and consistency you get here at Gedney Farms Nursery.
As you walk through our nursery, you'll see our range of trees: evergreens, shade trees, flowering trees and fruit trees from large specimens to mature trees for focal use. We also carry an enormous selection of shrubs and container shrubs from flowering to evergreen.
Springtime is for flowers. Come see our wide selection of annuals and perennials. And if it's herbs, fruits or vegetables you're looking for, we carry those seasonally.
At Christmastime, visit us to pick out your tree and decorations. Choose from our assortment of Fraser, Balsam, and firs. We also carry wreaths, roping and cemetery pieces.


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Home > Football > Goal Posts & Nets
Model: FB2650-2
The Futsal Goal with PVC corners is a fully portable use anywhere goal; the essence of Futsal! Constructed from white PVC with sprung button locking fixings and supplied complete with net, net clips, ground anchors and a carry bag. Size: 3 W x 2 H x 1.27m runback. (Old Ref FB2650)
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But for a very good reason, I'm leaving tomorrow for Arizona and a 4 (5!) day weekend with my SO. By working late, I can take the whole day off tomorrow instead of my original plan of working half a day and then driving to the airport (about 15 minutes from work).
I fly back Monday, to see what damage the evil cats have caused.
Thanks to deviathan and deansavatar for watching the evil beasts.
Take care all!


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James Lovelock: I Was 'Alarmist' About Climate Change
Source: http://worldnews.msnbc.msn.com/_news/2012/04/23/11144098-gaia-scientist-james-lovelock-i-was-alarmist-about-climate-change
by Ian Johnston, msnbc.com
James Lovelock, the maverick scientist who became a guru to the environmental movement with his ?Gaia? theory of the Earth as a single organism, has admitted to being ?alarmist? about climate change and says other environmental commentators, such as Al Gore, were too.
British environmental guru James Lovelock, seen on March 17, 2009 in Paris, admits he was "alarmist" about climate change in the past. Lovelock, 92, is writing a new book in which he will say climate change is still happening, but not as quickly as he once feared.
He previously painted some of the direst visions of the effects of climate change. In 2006, in an article in the U.K.?s Independent newspaper, he wrote that ?before this century is over billions of us will die and the few breeding pairs of people that survive will be in the Arctic where the climate remains tolerable.?
However, the professor admitted in a telephone interview with msnbc.com that he now thinks he had been ?extrapolating too far."
The new book, due to be published next year, will be the third in a trilogy, following his earlier works, ?Revenge of Gaia: Why the Earth Is Fighting Back ? and How We Can Still Save Humanity,? and ?The Vanishing Face of Gaia: A Final Warning: Enjoy It While You Can.?
The new book will discuss how humanity can change the way it acts in order to help regulate the Earth?s natural systems, performing a role similar to the harmonious one played by plants when they absorb carbon dioxide and produce oxygen.
Climate's 'usual tricks'
It will also reflect his new opinion that global warming has not occurred as he had expected.
?The problem is we don?t know what the climate is doing. We thought we knew 20 years ago. That led to some alarmist books ? mine included ? because it looked clear-cut, but it hasn?t happened,? Lovelock said.
?The climate is doing its usual tricks. There?s nothing much really happening yet. We were supposed to be halfway toward a frying world now,? he said.
?The world has not warmed up very much since the millennium. Twelve years is a reasonable time? it (the temperature) has stayed almost constant, whereas it should have been rising — carbon dioxide is rising, no question about that,? he added.
He pointed to Gore?s ?An Inconvenient Truth? and Tim Flannery?s ?The Weather Makers? as other examples of ?alarmist? forecasts of the future.
In 2007, Time magazine named Lovelock as one of 13 leaders and visionaries in an article on ?Heroes of the Environment,?which also included Gore, Mikhail Gorbachev and Robert Redford.
?Jim Lovelock has no university, no research institute, no students. His almost unparalleled influence in environmental science is based instead on a particular way of seeing things,? Oliver Morton, of the journal Nature wrote in Time. ?Humble, stubborn, charming, visionary, proud and generous, his ideas about Gaia have started a change in the conception of biology that may serve as a vital complement to the revolution that brought us the structures of DNA and proteins and the genetic code.?
Lovelock also won the U.K.?s Geological Society?s Wollaston Medal in 2006. In a posting on its website, the society said it was ?rare to be able to say that the recipient has opened up a whole new field of Earth science study? ? referring to the Gaia theory of the planet as single complex system.
However Lovelock, who works alone at his home in Devon, England, has fallen out with the green movement in the past, particularly after saying countries should build nuclear power stations to help reduce the greenhouse gas emissions caused by coal and oil.
Asked if he was now a climate skeptic, Lovelock told msnbc.com: ?It depends what you mean by a skeptic. I?m not a denier.?
He said human-caused carbon dioxide emissions were driving an increase in the global temperature, but added that the effect of the oceans was not well enough understood and could have a key role.
?It (the sea) could make all the difference between a hot age and an ice age,? he said.
He said he still thought that climate change was happening, but that its effects would be felt farther in the future than he previously thought.
?We will have global warming, but it?s been deferred a bit,? Lovelock said.
'I made a mistake'
As ?an independent and a loner,? he said he did not mind saying ?All right, I made a mistake.? He claimed a university or government scientist might fear an admission of a mistake would lead to the loss of funding.
Lovelock — who has previously worked with NASA and discovered the presence of harmful chemicals (CFCs) in the atmosphere but not their effect on the ozone layer — stressed that humanity should still ?do our best to cut back on fossil fuel burning? and try to adapt to the coming changes.
Peter Stott, head of climate monitoring and attribution at the U.K.?s respected Met Office Hadley Centre, agreed Lovelock had been too alarmist with claims about people having to live in the Arctic by 2100.
And he also agreed with Lovelock that the rate of warming in recent years had been less than expected by the climate models.
However, Stott said this was a short-term trend that could be within the natural range of variation and it would need to continue for another 10 years or so before it could be considered evidence that something was missing from climate models.
Stott said temperature records and other observations were ?broadly speaking continuing to pan out? with what was expected.
He said there did need to be greater understanding of the effect of the oceans on the climate and added that air particles caused by pollution ? which cool the Earth by reflecting the sun?s heat — from rapidly developing countries like China could be having an effect.
On Lovelock, Stott said he had ?a lot of respect? for him, saying ?he?s had a lot of good ideas and interesting thoughts.?
?I like the fact he?s provocative and provokes people to think about these things,? Stott said.
Keya Chatterjee, international climate policy director of environmental campaign group WWF-US, said in a statement that it was "hard not to get overwhelmed and be defeatist" about the challenges facing the planet, but suggested alarmist talk did not help persuade people to act to reduce climate change.
"While the problem is becoming increasingly urgent, we?ve found that focusing on the most dire predictions does not resonate with the public, governments, or business. People tend to shut off when a problem does not seem solvable," she said.
"And that?s not the case with climate change because we can still avoid its worst impacts. We know that we already have all of the technologies needed to slow climate change down. We only lack the political will to go up against vested interests," she added.
According to the Intergovernmental Panel on Climate Change, the leading body on the subject, the world?s average temperature has risen by about 1.5 degrees Fahrenheit since 1900. By 2100, it predicts it will rise by another 2 to 11.5 degrees, depending upon the levels of greenhouse gases emitted.
Asked to give its latest position on climate change, the National Oceanic and Atmospheric Administration said in a statement that observations collected by satellites, sensors on land, in the air and seas ?continue to show that the average global surface temperature is rising.?
The statement said ?the impacts of a changing climate? were already being felt around the globe, with ?more frequent extreme weather events of certain types (heat waves, heavy rain events); changes in precipitation patterns ? longer growing seasons; shifts in the ranges of plant and animal species; sea level rise; and decreases in snow, glacier and Arctic sea ice coverage.?
NOAA reports its data in monthly U.S. and global climate reports and annual State of the Climate reports.
Its annual climate summary for 2011 said that the combined land and ocean surface temperature for the world was 0.92 degrees above the 20th century average of 57.0 degrees, making it the 35th consecutive year since 1976 that the yearly global temperature was above average.
?All 11 years of the 21st century so far (2001-2011) rank among the 13 warmest in the 132-year period of record. Only one year during the 20th century, 1998, was warmer than 2011,? it said.
In the interview, Lovelock said he would not take back a word of his seminal work ?Gaia: A New Look at Life on Earth,? published in 1979.
But of ?Revenge of Gaia,? published in 2006, he said he had gone too far in describing what the warming Earth would see over the next century.
?I would be a little more cautious — but then that would have spoilt the book,? he quipped.


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In June 2014, the Government published its report "Fuller Working Lives". This details the Government's strategy to reduce the numbers of people leaving the labour market early.
Out of the 10.2m people aged between 50 and the state pension age, 2.9m of these (28%) are out of work. But of those, just 375,000 are officially unemployed (i.e. are looking for work). There are 1m who do not work because of sickness or disability, 420,000 who care for someone and 330,000 who haven't fully retired, but aren't even trying to find employment. The reasons why older people fall out of the labour market are complex.
Men leave the labour market earlier now than they did in the 1950s and 1960s, often not by choice but by circumstances beyond their control. Rising life expectancy means that older people spend 5-10% longer in retirement, compared to the late 1990s. Pension funds become stretched as they have to cover a longer period, so putting living standards at risk.
Yet it's in the economic interest that people stay working for longer; GDP could have been £18bn higher in 2013 if the employment gap between people in their 40s and people in their 50s and older was halved, and currently £7bn is spent on out of work benefits for those aged between 50 and 65. Moreover, research suggests that youth unemployment is in no way related to older unemployment, so it is a potential win-win situation.
In order to try and reduce the numbers of people leaving the labour market early, the Government is pursuing a number of initiatives, set out in the report according to a number of different categories. Some of these are set out below, with commentary where appropriate.
Health and disability
Health is one of the factors reducing the numbers of older people in employment. Where older people work for SMEs that are unable to afford occupational health, they can fall out of the labour market when long term health problems go untreated. The Government has proposed a new Health and Work service which will provide free occupational health advice for those off sick for four weeks or more. Whilst the service will cover all employees, not just older ones, it is expected to be of particular benefit in keeping more older people in work.
In addition, and in the spirit of bringing a bit of evidence to the policy making process, the Government plans to use Randomised Control Trials for Employment and Support Allowance to test the effectiveness of different techniques of keeping older workers in work: support for two years from a Work Programme provider, support for two years from a health care professional, and increase in Jobcentre Plus Work Coach Support. There are expected to be 1,000-2,000 older people taking part in this trial, so the data that is returned should be useful.
The Government is also looking at the potential for inventors and SMEs to develop new and improved assisted living technology ("ALT"). The report states that many disabled people rely on such technologies, but that uptake is slow and ALTs are not being used to their full potential. As health, disability and age are linked, it is hoped that a series of pilot programs will be able to reveal what technologies may help particular groups.
The report says that the Government will also develop a new guidance toolkit to help employers support older workers in the workplace. The report namedrops a plethora of acronymic bodies that the Government will work with in developing this guidance: the CBI, CIPD, ENEI, ACAS, TUC, IoD and FSB. Government guidance can sometimes fail to hit the mark. It ranges from overly simplistic that it is not of any practical use, to overly complex and long with confusions, inaccuracies and mistakes creeping in. Nevertheless, the idea of developing free, balanced and practical toolkits to help employers is a good one, so cautious optimism should be reserved for this initiative.
Back to work support
Around a quarter of economically inactive people aged 50 or over were made redundant from their last job. The report states that older people are not significantly more likely than younger people to be made redundant, but are much less likely to find work again afterwards (see the latest in our series of studies for comment on this).
There was also a "Older Claimants' fortnight" run by DWP in June 2014, said to include a range of internal and external communication activities to demonstrate the benefits to business of employing older workers (this happened at the same time as rheumatoid arthritis week). Given that a Google search gives just a handful of results (at the time of writing), "Older Claimants' Fortnight" was of minimal impact.
The Government is testing a number of other initiatives, including a randomised trial of adviser led in work support and tailoring Jobcentre services for older job seekers.
Skills and workplace factors
Fewer older people engage in work-based training. They will often de-select themselves from opportunities and are less likely to change jobs voluntarily. Jobcentre Plus evidence cited in the report suggests that older people are less confident in having up-to-date skills compared to younger people.
The report refers to Professional and Career development loans. These loans of up to £10,000 are repayable one month from the end of the course. For an older person – or indeed, anyone – taking out a big loan with no guarantee of recouping your costs afterwards is a massive risk. These probably have very limited impact as a means of helping employment of older workers.
Older people need to have the skills to compete in today's labour market. Training makes good business sense as it gives business as a more skilled (and usually more motivated and productive) workforce. Because of this, a business will usually want to train its staff, but be restricted by practicalities, such as the cost of the course and the cost of lost work by having staff out of the business. Perhaps the Government should conduct a trial to explore the effectiveness of measures that make it easier and cheaper for employers to provide training, as well as making it easier for those out of work to learn valuable skills in new areas and gain high quality, recognised qualifications.
The report also refers to the Government implementing a communications strategy and working with the Older Workers' Champion to ensure that the business benefits of fuller working lives are more fully understood, so aiming to make older workers more desirable to employers.
Financial security and incentives
As stated above, 420,000 over 50s do not work due to caring responsibilities. At present, carers allowance ceases when an individual earns more than £102 a week, so deterring anyone from doing much more work. With the advent of universal credit, this will change. The benefit will be withdrawn smoothly, improving the ability of careers to combine paid work with caring responsibilities.
The state pension age is increasing to 67, which is referred to in the report as something that will help fix the older-exit issue. However, there is no suggestion or argument as to how this will boost employment rates of over 50s and it is difficult to see how delaying the state pension age would do this. Perhaps the contention is that extending the age at which someone is entitled to a pension will deter people from stopping work in the first place? It would be useful to know why the Government thinks that this will help resolve the early retirement issue.
A lot of the measures are measures that are applicable to all, for example universal credit, pension auto-enrolment and career development loans. The report reads as if every measure that might have any impact upon employment of any age groups has been included, whereas it might be better if a more selective approach were taken where only those measures of particular relevance to the issues the Government is trying to resolve were included.
Nevertheless, the reports refers to a number of randomised control trials and pilot initiatives being rolled out, that are more targeted. Trial and error initiatives are a necessity. Data must be collected, analysed and then used to develop new measures, before the process is repeated. The problem that is trying to be resolved is a complex problem with no simple answer and, to the Government's credit, no simple "one size fits all" approach is suggested.


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Discover Costa Rica's Southern Nicoya Peninsula
Costa Rica's southern Nicoya Peninsula is an area that is in high demand for those looking for lush, wildlife filled rainforest matched with quaint towns and the warm waters of the Pacific Ocean. In addition, this area of Costa Rica is classified as a 'Blue Zone', meaning that people here live to be 100 years old! And that's not just living until they turn 100, it means they live healthy, active, quality lives right up until their final days.
This area is also in high demand because if you're looking to spend any length of time, or even live permanently, in Costa Rica, it's still affordable and free of large amounts of tourists and spring-break crowds – without compromising on necessities, luxuries and activities.
Sign up now to reserve your spot on our next Discovery Weekend. The cost to you is only $299.00 per person for 4 days/3 nights and all you have to do is get yourself to San Jose airport, the developers team will take care of everything else! Your accommodation, food and beverages, airport pick-up/drop-off and transportation in the area are included in this price and you'll have a chance to experience the Playa Tambor area first-hand. And you don't ever have to worry about sales pressure... this is an opportunity for you to discover Playa Tambor and the Southern Nicoya Peninsula!
The Best of Both Worlds
It's hard to please everyone, right? Well, the southern Nicoya Peninsula may have this market cornered. Granted, you won't find any towering skyscrapers or "big box" type shopping facilities, but you can find everything from secluded beaches and waterfalls to active nightlife and markets selling anything you could possibly need. And, if you want to let someone else do the cooking, there is no scarcity of restaurants. Fresh seafood, traditional Costa Rican fare, wood-fired pizza (some of the best you've ever had, guaranteed!) and everything in between, including a variety of "gringo-friendly" options.
A short jaunt on a boat (frequent tours are easy to book onto) gets you to Isla Tortuga, an Island located just outside of the Bahia Ballena that boasts turquoise water, white-sand beaches and some of the best scuba diving and snorkeling in all of Costa Rica.
Playa Tambor is tucked right in the middle of the Bahia Ballena in the southern Nicoya Peninsula. It's succeeded in maintaining a relaxed, laid-back feel despite the various developments happening in the area. This is a huge attraction for those looking to live in an area that still clutches onto that relaxed vibe, but can offer the modern comforts of a metropolitan area.
The Developer's Team
The onsite team in Playa Tambor consists of a diverse group of professionals, from lawyers to architects and builders to client services; to ensure a comprehensive experience from the moment you arrive in the area.
Not only will you be put up in a private room of the intimate and tropical guesthouse, but you will be doted on throughout your stay. Incredible meals, welcoming Costa Rican hospitality and personalized tours of not only the towns and points of interest, but also the stunning community that you can look forward to becoming a part of.
Although we will coordinate your visit, the onsite team will be your main contacts throughout your Discovery Weekend. Not only will they welcome you to Playa Tambor, they will show you the homes and properties as well as the area. You will also be introduced to other members of the team… the builder, guesthouse staff, architects and trades people, to name a few.
Learn more about the developer's team here
Indulgences You Don't Have to Live Without
We've already told you that the area in and around Playa Tambor has restaurants to please every palate and there are beaches and shopping areas aplenty. In addition, if you're into golf, tennis, sport fishing or yoga, you won't be expected to leave these hobbies back home. The Playa Tambor area can accommodate all of your pastimes with ease.
It may seem hard to believe, but because the developer has owned the land for several years, prices on building lots are still low in this part of Costa Rica. Walk to the beach, walk onto the golf course to play a round or challange a new friend to a game of tennis; with a multitude of amenities on your doorstep, you won't need to go far to have a fulfilling day!
The community is fully serviced with water, roads, satellite TV, electricity, Internet and a modern communication system; ensuring you don't need to go without the necessities and comforts of home you're used to.
Getting There
The only airstrip in the southern Nicoya Peninsula is located right next to Playa Tambor and the development project. Sansa Air flies several times daily from San Jose's International Airport right to Playa Tambor. Alternatively, you can drive to Puntarenas, just under two hours from San Jose, and then take a ferry across to Tambor. If you're looking for a more exploratory route, you can both rent a car or a driver and drive from the airport to Playa Tambor. This will take a few hours, but it's a wonderful way to see part of Costa Rica up close and personal.
There's no guesswork when you book a Discovery Weekend though. Simply get yourself to San Jose's airport and the onsite team in Playa Tambor will take care of everything else.
Discover The Nicoya Peninsula
You can see now why this area of Costa Rica is worth visiting and considering for your second home or retirement destination. And we'd love to give you the opportunity to experience it first hand!
Sign up now and reserve your spot on our next Discovery Weekend. The cost to you is only $299.00 per person for 4 days/3 nights and all you have to do is get yourself to San Jose airport, the onsite team will take care of everything else! Your accommodation, food and beverages, airport pick-up/drop-off and transportation in the area are included in this price and you'll have a chance to experience the Playa Tambor area first-hand.
Go HERE now to reserve your Discovery Weekend!
Discovery Weekend – $299 per person
Playa Tambor, Costa Rica
- Includes 4 days/3 nights accommodation, food and beverages, airport pick-up/drop-off in San Jose and transportation in the Playa Tambor area.
- You will receive a full tour of the development including: existing homes, homes under construction, available lots and turnkey homes
- You will have the opportunity to meet the onsite lawyer, architect, builder, your future neighbors and explore the town of Tambor and surrounding neighborhoods
- You will deal directly with the developer during your time in Playa Tambor
- No high-pressure sales, no commitment, only an opportunity to discover paradise!
Note: any feedback, either positive or negative, on your Discovery Weekend experience should be directed to firstname.lastname@example.com.


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We here at Greenwillow are big fans of Andrew Smith, and we thought it'd be a hoot to introduce him to our own Emil Ostrovski, whose debut teen novel The Paradox of Vertical Flight was published this past fall. The following memorable, thought-provoking, and at times mildly profane (PG-13) conversation ensued.
(Oh, and guys, nice blatantly transparent attempt to get Greenwillow to think it's futile to play the lottery—every time a jackpot exceeds $200 million, we are totally in it to win it!)
Andrew Smith: Uh, do you really believe all that shit?
Emil Ostrovski: Haha, well "all that shit" is pretty broad so I'll try to narrow it down a bit:
– I believe everything we do in life is an act of faith, from rolling out of bed to stealing babies to fighting off imaginary bears.
– Although I think I understand the solution to Zeno's paradox (basically, infinite divisibility doesn't make a number infinitely large. Rather infinite divisibility is perfectly compatible with finitude), I still think there's something Zeno got right. Part of the problem is the difficulty of talking about what a number actually is. To see what I mean, try explaining what 'the number seven' is to someone. Anyone.
– Facebook simultaneously comforts me and depresses the hell out of me. I like that social networks make it easier to keep in touch with people. But by making it easier to stay in touch, they highlight the fact that we are, nevertheless, growing apart. And the reasons we're growing apart have to do with our priorities and values as a culture. We're taught to think of our lives as individual, private affairs, of our success in life as independent from the success or failure of other people. In fact, we derive a sense of our worth by prevailing over other people. By beating them in sports, by going to better schools, by getting more prestigious, higher-paying jobs, and so on. When this makes us feel empty, we combat loneliness with an obsessive attachment to a fairy-tale notion of love, and often search for this 'one true love' at the expense of relationships we already have. The way we think about the world is such that we would find it terribly creepy if a friend we've known for a long time told us he or she wanted to be our "life partner," not in a romantic sense, but in a let's-not-lead-separate-lives sense. Yet we find nothing creepy at all about the idea of "love at first sight"—in other words, an overwhelming feeling of intimacy and need for a person that is a complete stranger to us.
AS: As far as this concept of eternal return is concerned: If I'm reading this right, since the probability of my winning the lottery is greater than zero, and time and space are infinite, then as long as I play, I will win the lotto, right? So I should stop spending money on food and shit like my kid's undergrad tuition, right? Did that hit a soft spot?
EO: Haha, well, in theory, if time and space are infinite, and matter is finite, then specific arrangements of matter will recur infinitely many times, sure (barring, say, the heat-death of the universe). Which means that not only would you be guaranteed to win the lottery, you would be guaranteed to win the lottery an infinite amount of times.
While you will win the lottery an infinite amount of times, you will also fail at winning the lottery an infinite amount of times. And because the chances of failing to win are better than the chances of winning, the infinity of failures will exceed the infinity of wins. I daresay that using eternal return as a gambling strategy may therefore make you infinitely more miserable.
AS: Admit it, The Paradox of Vertical Flight was nothing more than an elaborate scheme on your part to never, never, be asked by anyone at any moment in the infinite span of time to babysit, right?
EO: Hey, it worked didn't it?
AS: I have a feeling that some of the undergrad philosophy papers you wrote were a bit twisted. What say you?
EO: Oh, I broke all the rules of paper-writing. I invented my own forms of citation (MLA and APA have got nothing on me), and never used footnotes, or endnotes, or notes in general (kidding, sort of). Sometimes I would talk about what I was eating while writing the paper (a snickerdoodle cookie, for instance). The main question I tried to address in my ethics final exam was why it would be wrong for one of my friends to, in the middle of dinner at the cafeteria, reach across the table and strangle me (or vice versa, though let's be honest, I weigh like a hundred pounds, so I'd be unlikely to be the one doing the strangling). Also, for my entire last semester, I was obsessed with camels, and managed to work camel references into a good chunk of my coursework. It was pretty awesome.
AS: I need to know more about the bear on the yacht.
I mean, its Tommy's yacht. How should I know why in the world he had a bear in it? I'm not exactly a specialist on sea-faring bears or anything.
Andrew Smith is the award-winning author of several young adult novels, including the critically acclaimed Winger and The Marbury Lens. He is a native-born Californian who spent most of his formative years traveling the world. Grasshopper Jungle, to be published February 11, 2014, is his seventh novel, and Greenwillow can't recommend it highly enough.
Emil Ostrovski emigrated to the US from Russia when he was two years old. He graduated from Vassar College in the spring of 2012 and is now attending Columbia University's MFA program for creative writing. His first novel, The Paradox of Vertical Flight, was published by Greenwillow Books last September and is available at booksellers everywhere.


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by James
(Salt Lake City)
my girlfriend and I have always had this game of calling each other the most random name we could think of. Here's a small list of good ones: Mervis, Roadante, Trixebelle, Girdle, Tigelily, Ragina, Frida, Murddle, Moxie, Fantasy, Moonbeam. Theres alot more but I cant rememeber all of them.
Join in and write your own page! It's easy to do. How? Simply click here to return to Bad Baby Names.


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2311 Wilson boulevard
This ground-up building in search of an anchor-tenant not only had more amenities than any local offering, but also a boastful location in the Courthouse-Clarendon Corridor. By day, the building keeps tenants happy with light-filled offices, spa-like fitness center, on-site childcare and terraces with commanding views. By night, the building's proximity to neighborhood dining and entertainment, made telling the story of a 24/7 work/life experience easy for companies in search of employee interest and retention.
Hickok Cole Creative built a brand strategy and marketing brochure around a preexisting logo for 2311 Wilson.
Strategy, Art Direction and Design: Hickok Cole Creative
Client: Carr Properties


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PUB-DT-2007-3 - Life Insurance Riders
Clarifies how life riders will be treated for insurance duty purposes under the Duties Act 2001. This Revenue Ruling applies to all life insurance policies, including temporary or term insurance policies. Effective from 1 Jul 2007.
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Details the Schedule of Apportionment under Section 187 of the Duties Act 2001. Effective from 16 July 2008. Superseded version PUB-DT-2001-5 (16 July 2001 to 15 July 2008).
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Clarifies the status and effect of Revenue Rulings. Effective from 30 September 2014. [/br][/br] a href="http://www.sro.tas.gov.au/domino/dtf/SROWebsite.nsf/v-all/4A8837931181B41CCA2578BF000C96B5/$file/PUB-GEN-2011-3.pdf"Superseded version PUB-GEN-2011-3/a (1 July 2011 to 29 September 2014). [/br][/br] a href="/domino/dtf/SROWebsite.nsf/v-all/17D285A27C2395ADCA25760000238C39/$file/PUBGEN200829.pdf"Superseded version PUB-GEN-2008-29/a (1 July 2008 to 30 June 2011). [/br][/br] a href="/domino/dtf/SROWebsite.nsf/v-all/A832C7DEA4BA7881CA257ACC000303C6/$file/PUB-GEN-2005-5.pdf"Superseded version PUB-GEN-2005-5/a (4 July 2005 to 30 June 2008). [/br][/br] a href="http://www.sro.tas.gov.au/domino/dtf/SROWebsite.nsf/v-all/39704D6E417B02E6CA257D330000ECCF/$file/PUB-GEN-2001-1.pdf"Superseded version PUB-GEN-2001-1/a (23 February 2001 to 3 July 2005).
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Education Abroad Programs
Director: Annie Phillips
Education Abroad Specialist: Carolyn Becker
Location: Pioneer Center for Student Excellence, Room 230
Phone: 940-898-4115
Email: firstname.lastname@example.com
TWU Education Abroad Programs offer a variety of ways to experience cross-cultural education. Faculty-led, credit courses to other countries are offered in selected academic components throughout the University at the undergraduate and graduate levels.
In addition to the faculty-led courses, TWU provides opportunities for students to live and study abroad for an entire summer, fall or spring session. Academic credit earned while participating in education abroad may be applied toward a degree program. However, coursework must be approved prior to departure. Interested students should seek guidance from Education Abroad Programs prior to applying for these experiences.
A variety of opportunities for financial support are available. Education Abroad Programs can assist students in identifying funding sources. All TWU students participating in education abroad are encouraged to apply for the TWU International Education Scholarship. For more information on any of the education abroad opportunities at TWU, contact Education Abroad Programs at 940-898-4115 or firstname.lastname@example.com .


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My 6 Sunglasses Picks for Summer!
Say that title 5 times fast lol
The sun is here! Sun safety and summer style is important. Get both and stand out with some cool shades. I linked for you a pair I purchased along with 5 sunglasses on my wish list from Jewelry Bean ! All these shades are under 35$! Shop the links and if a pair or two catch your eye... ( Damn I'm Cheesy!)
Use my 20% off code: VIK20
*code works for all accessories on ilymix.com
*All photos except for title image are from ilymix.com
Mauna sunglasses in Pink are a show stopper
Adri sunglasses - Glam alien vibes, I'm into it
Visby sunglasses - My sunglasses collection is full of statement shades , I needed a pair that was pretty and chill for the summer. I purchased these because they are feminine and edgy.
Malsta sunglasses - These molten red tinted shades will make you pop in every group selfie
Retro Lennon Style Round sunglasses - Instant It Girl. Perfect with messy beach hair
Bangu sunglasses - Comes in 4 different colors to take your outfit to the next level
Happy Shopping!
XO Vik