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NF: Why a poetics of the extreme? Where do we start?
BB: I have a habit of fetishizing the extreme: too small, too pink, too all at once. We might say all poems are extreme poems, that the act of writing a poem is an extreme act, a shouting into the void, but I want to talk about poems that take place at the void, at that intersection between the unknown and utterance. Where to start? My real thinking on the extreme begins with Carolyn Forche's Against Forgetting, poetry written in response to situations of extremity. Start by telling me about the time Carolyn put you in the isolation tank.
NF: If Carolyn had put me into an isolation tank that would have been extreme, but let me clarify: my first poetry workshop, after wandering through my twenties, nearly at the end of my twenties, was with Carolyn at a new agey retreat called the Omega Institute in upstate NY. I was not especially new agey but her work meant so much to me, both her poems and Against Forgetting, so I pulled on my black leather jacket and went. In our first conversation, Carolyn told me she'd done the isolation tank a few days earlier and pretty much insisted I try it— Omega had one on-site, behind the crystal and buddha shop. She didn't put me in the tank, but at that point I'd do whatever she suggested. The isolation tank was one of those coffin-like boxes filled with salt water, sometimes called an immersion tank, sometimes called sensory deprivation tank, that you are sealed into for an hour—there's a movie about it, Altered States, where William Hurt drops acid in an isolation tanks as some sort of experiment on what the mind can handle (note: bad things happen). A few months before the workshop with Carolyn, I'd quit drugs and alcohol, which left me raw yet open to trying new things and so I did as I was told and it was the most hallucinatory experience I'd ever had, on drugs or off. The water is body temperature, the salt makes you float, there is no light or sound—very quickly the body dissolves, and I was simply consciousness, and shortly thereafter the thread of consciousness dissolved as well. All that makes us human is so tenuous, it seems.
BB: I want to talk about what happens to the mind in isolation because part of the extreme grows out of isolation. Extremophiles in nature are organisms that thrive in conditions detrimental to the majority of life on earth – caves, deep seas – and when cavers and divers enter these environments, they sometimes report having an experience called the rapture, or raptures of the deep: the body's response to depth and darkness. For cavers, it's characterized by panic and for scuba divers, euphoria. I think that a poetics of the extreme encompasses not only writing in response to public and private violence – war, torture, murder, suicide (the dark) – but also poems of rapture, ecstasy, and love, any situation where the speaker is truly vulnerable or tenuous as you say, in the tank. I think all of our books find poems on both ends of the extreme. I'm wondering if you think there's a fundamental difference or sameness in your approach to writing poems about violence versus those about love?
NF: Just to say this upfront: I'm not fully committed to the idea of myself as an extremophile—doesn't the suffix mean "love of", as in "love of the extreme"? Like an adrenaline junkie? I don't really understand that impulse—it seems the extreme, whether it's war or torture or suicide or just death will come knocking on your door soon enough: I see no need to go looking for it. Neither embrace it nor reject it. If it hasn't come knocking yet then have a good day—death will come, always does, eventually. Let me think about your question after you define this idea of the extremophile more.
BB: Ha, yes; me neither. I am not an adrenaline junkie. I've seen enough in my day to know that everything can be dangerous. Who's to say that the creatures we call extremophiles love the extreme or merely that they've found a way to make a home there in the dark? The extremophiles offer a way to think about what happens when we enter the cave or the deep water. Though to return to Forche for a moment, I was happy to see my favorite Andrew Marvell poem, "The Nymph Complaining for the Death of Her Fawn," appear in the new Poetry of Witness, with its beautiful lines, "Oh, I cannot be/Unkind to a beast that loveth me." If that's extremophilia, I might be in.
Another included favorite is Donne's "Batter my heart:" I...never shall be free...except as you ravish me – "ravish," which holds both love and violence at its root in rapture/rape/seize/carry. What I find so interesting about the extreme is that it doesn't seem limited to just the dark, but that so many of its strategies of fragmentation can also turn toward or into rapture or love. Fragmentation appears at that threshold state; rapture doesn't always lead to ascension, but I like to look at that moment, in the cave, sea, tank, where it could, where what did you say, consciousness/self falls away. So: writing about love and writing about violence – same avenues or...?
NF: So fragmentation is a sign we've entered into this extreme realm? Maybe that's a more contemporary strategy, or a more recently recognized necessity...the Marvell and the Donne are syntactically sound, no? I love the Donne as well, the moment when faith comes up against reason, the struggle to reconcile those two needs. I'll take Donne's struggle on a purely metaphysical level, to avoid romanticizing the idea of sex and violence being inextricably linked—like death, violence will one day come knocking, but I'd rather focus on this moment when, on this plane, the only plane I really know, sex and violence exist in their own separate boxes, at least for me, at this moment (for those who like to link the two—all power to you). I do like that you used the word "threshold," for I do believe this is where poetry is found— this no-place, this elsewhere, this beyond—which bring us back to fragmentation. There's a quote that I really like by the cowboy artist Bruce Nauman: "I think the point where language starts to break down as a useful tool for communication is the same edge where poetry or art occurs. It is how the familiar and the unknown touch each other that makes things interesting."
BB: Yes; separate boxes for love and violence, please. Also, I said love, not sex. Love, like death, comes knocking. I'm asking about the way you write about each, the approach. I think for me the way toward each is the same. Maybe because both violence and love can be these threshold states where things fragment: violence as occurring at a breach of empathy and love as attempting to enter the other. It's easier to see violence as fragmentary, the broken body, the damage done, but love is also fragmentary: we cannot love the whole world or the whole person, but we can love each part as we come to know it, even in the knowledge of there is always more.
I want to turn to Chris Abani, author of one poem I don't mind calling extreme, "Rambo 3," which appears in Kalakuta Republic, in which essentially Rambo 3 is projected onto the killing wall of the prison. It's truly apocalyptic, in terms of lifting the veil: "the killing wall serves as screen." It wildly un-anesthetizes movie violence into real violence, mediated through the rapture of soda pop paired with exploding flesh. I bow before it. I started by saying I fetishize the extreme by which I mean I am in awe of this poem's power. What is extreme about this poem? Its refusal to look away and to tear away the easy ways we visualize violence, while at the same time delicately holding that simple, sweet popping of bubbles on the tongue. Recently Abani described witnessing violence through art (in The Millions) as arresting the "speed of disintegration, to step back and get a hold of the fragments. Like when you break a vase and take a step back. We see at once the detail of pieces and the whole vase. Slowly we bend, pick up the first piece and consider it. This is witness."
Let's talk about the fragmentary on the page. I'm thinking slashes, redactions in The Captain Asks For a Show of Hands; cross-outs, brackets in My Feelings.
NF: Yes, Abani's poem, which I love, takes place in an undeniably extreme place [prison] watching an extremely ridiculous film [Rambo 3], and would seem to come from being both a witness as well as being caught up in that extreme situation (as I understand it Abani was a prisoner in Nigeria for a period of time). It makes me think of two recent books I love—Natalie Diaz's When My Brother Was an Aztec and Matt Rasmussen's Black Aperture, both of which I guess could be viewed through this lens of the extreme as well. For both Diaz and Rasmussen the struggle is to understand, to empathize with, someone close to them, a brother, someone who shares their blood. Both brothers are presented to us at moments of extreme—suicide and addiction. Strange that attempts to understand those closest to us, those we might imagine would be the simplest to understand, can lead to such extremes of unknowingness and complexity.
You had said earlier "Who's to say that the organisms we call extremophiles love the extreme or merely that they've found a way to make a home there in the dark?" This suggests those writing this type of poem have no choice—be it psychically or physically—but to write from that place of extremity. I think I try to maintain my agency in this realm, to recognize that I make choices and am able to make choices, even [especially] on the level of what I think, of where I allow my mind to venture, and it does venture into some pretty gnarly places. But for the poem to work, and perhaps for my life to work, I need to be able to pulse in and out of those places—if I packed my bags and moved there, I don't know how long I would last. I like the word pulse, which I stole from Frank Bidart, to think about this, as it does seem to be what gives a poem it's life force [there's a new agey phrase for you]. But to answer your question, the fragments in my poems, when they appear, do seem to come from somewhere beyond that threshold of what I consciously know.
BB: I think certain poems do find a way to make a home in the dark and the way they do it is precisely through agency, in a Gregory Orr's Poetry As Survival kind of way. And extremophiles do control their environment. They take the energy source in that environment and convert it into life force (and in a literal, not new agey way!). Maybe it's a balance between exerting control where we can and letting the fragmentation exist at those places or pulses of the unknown.
Abani was crucial to me in the writing of Temper, where I wanted above all to honor the violence by keeping it violent. Not violence for violence's sake, but made all the more horrifying because it is also human. Temper might be me at my most extreme because the gaze is at that threshold where the head wants to turn (like we said, nobody loves violence) but maintains that uncomfortable liminal space. And I love a poem that respects exactly how extreme violence is. And I love a poem that treats love as honestly. And I think your poems about love are as open as your poems about violence. I'm thinking about your "Epithalamion" – a wedding song which begins with the statement that no one can promise permanence? That's extreme. An epithalamion is by nature a threshold poem, a poem for the bride on her wedding day. I think what I keep coming back to is that an extreme poem is one that beholds and holds a threshold space and that fragmentation is one marker of the threshold.
Sometimes I use white space as akin to a sonnet's volta – the moment of shift or change, a threshold space, a space of interrogation – I think as you say in one poem in Feelings, not the how but the why. Remind me again what you said about the monks and punctuation in Reenactments. I bet it has something to do with thresholds, too.
NF: I like that, punctuation as an extreme...I had pointed out that in early Christian texts, illuminated manuscripts, bibles written out by hand, there was not only no punctuation but also no space between the words, for the fear of horror vacui, where Satan flies in and occupies any empty space, even the space between words. One monk, a radical, put a small mark on a page, to slow down the reading, perhaps, and this eventually grew into what we call punctuation. So at that moment a comma becomes an extreme act.
I like that you brought up love as a counterpoint to violence—I remember Patti Smith saying that love was the only radical act left, and at the time that resonated for me, as a way to turn away from lurking in the shadows, where I thought all poetry was hidden.
BB: Extreme punctuation @!!*#*?! Cartoon physics, emoticon. Horror vacui, yes, that's it - but is it a fear of space or a fear of silence? I looked up those monks in the pause and found a book called, Space Between Words: The Origins of Silent Reading, which argues that a lack of spaces makes it nearly impossible to read silently and I love this idea that removing pause (punctuation or line break in a prose poem) might lift a poem off the page into the threshold of speech.
Saying I love you for the first time, sometimes, is the height of speech at its threshold. For all the talk of extremities, in the end, they are connected to the core, the body, the torso, the chest. The body is a border, one liminal space you can enter. But so is the heart. Definitely, Patti. Also, Derrida who speaks of love as a threshold: "coming toward the other but without crossing the threshold" and loving even the part that is inaccessible and keeping it safe as the other.
I think as we try to delimit the extreme, it might be useful to ask where/if confession fits in? I said at the outset that for me part of the extreme seemed to be a truly vulnerable/open speaker. Let's go back to our first books for a moment. When Some Ether debuted it was described as post-confessional and then a decade later when Temper debuted it was reviewed as anti-confessional, which you revised to ante-confessional, another threshold state. What are we now: before, after, or during?
NF: Confession, post-confession, anti confession—it all leads back to a lyric impulse, poetry as an utterance from some inner realm that presses up against outer realities (Abani in the prisonyard, or Bachmann (you) in Temper trying to understand—or at least approach—the murder of your sister). And in that case I'm not sure what separates the confessional from the lyric. Maybe some confessional poetry can veer toward the realm of self-pity, but those are poems
that won't be remembered. These days, now that we are on the other side of all that, confessional does suggest the extreme, a risk that the poet is veering too far from the safe realm of irony, and this is maybe what some folks react against. But I've found that once you cross a threshold, there is always something beyond it, some deeper mystery. Unless you are doing it for some effect, some shock value, but that's not what we are talking about.
BB: I ask because I thought My Feelings could be your most confessional or most extreme book because I felt 'the I' there is the most naked. To put it in terms of lucha libre, you risk the mask. To confess means to acknowledge/admit but to do so with an audience, to speak in front of another even in face of danger/harm/suffering. I'm thinking of the bracketed [yes]'s in "AK-47," which to me read like a threshold moment, the moment of confession, where the lyric I says yes, yes, yes.
NF: About the idea of confession before an audience, it makes me think of Wayne Koestenbaum's Humiliation, where he distinguishes between shame (inner) and humiliation (outer), and offers: "Humiliation, an educating experience, breeds identity." About the brackets, I do think that any parenthetical thought is a way to step outside the seeming confines of the poem—I'm thinking of Bishop's last line of "One Art" (Write it!) which perfectly echoes Hopkin's last line of "Carrion Comfort" (My God!). Likely a monk invented the parenthesis so he could insert his own commentary into the Bible. The parenthetical is not simply a pause but a leaping outside the poem into the consciousness of the author, which forces us, the readers, to recognize the artifice of what the poet is doing and commenting on it in some way.
BB: I want to think about confession in terms of catharsis, because we've written these books about repetition: memory making in your Reenactments and Do Not Rise, my book about PTSD as a memory disorder, a failure to forget. My favorite moment in Reenactments (and since it's a book about memory making, I feel at liberty to remember my reading rather than look it up!) is where you get asked about catharsis for the millionth time and patiently reveal that reconsolidation of memory in a stressed state is the opposite of catharsis; we might instead term it cathexis, which has holding at its root –
NF: Cathexis means holding?
BB: It has its root there; I think of it as the act of holding the memory in the body, in the breath, in the mouth, the ear, the hands, the poems, which I guess brings us back to Forche, Against Forgetting (anti-). But catharsis has its root in purging, so I usually laugh and answer that's not what I was going for aesthetically: vomit. I've heard us again and again take a breath at the catharsis question and find a gentle way to say, no. And yet in "AK-47," confession, that yes, feels like a
purging, an act of admission itself. I was shocked because I always think yeah, yeah, we are writing these books about repetition and holding on, and I think of us as more engaged in a poetics of memory than a poetics of confession, but here I thought that maybe through confession there is a leap into some sort of letting go. What do you think? Is there a balance or tension in this book between holding on and letting go?
NF: Simone Weil talks about the Iliad as the poem of force: there's no hesitation, no pausing, no considering the other. This gets back to the monks and punctuation, pausing adds humanity, considering the other, allowing the self to come out. But we probably think of the Iliad as the more extreme—enactment versus embodiment. The Iliad seems like an enactment of violence whereas your poems, they are embodied, the violence is in your fiber, your body, your soul; this violence is in the body. It is, as you say, a repetition, but it's also trying to reveal something.
BB: I'm going to go back to catharsis and bodies via the Cathars, a 13th century religious sect, who believed God didn't make the body, Satan did and to be pure is to be bodiless. How is a poem embodied? What is extreme embodiment in a poem vs enactment? How would you rid a poem of its body? I'm stretching here but one thing I think maybe to take the line breaks out or the punctuation? How could you make a poem formally pure?
NF: I have some prose poems in the new book, as do you in Cease. The prose poem has a body too. We think of novels and prose as generally taking for granted that the words will fit into a block on the page, but poems think of language as material, as substance, not merely as an abstraction of ideas. One of the reasons we have line breaks is the pleasure of arranging words on a page, which highlights their possibilities—their essence—as sculptural substances. In my attempts at prose poems, I take a seemingly straightforward narrative but attempt to move within it like a poem—the moves, on one level, are more unfamiliar, more unsteady. What about you?
BB: I could turn here to Robert Duncan, my muse for Cease, where the unpunctuated prose poems appear. Cease begins with an epigraph from Duncan's "Often I am Permitted to Return to a Meadow," which sounds like it could be a poem of repetition, of memory, of holding, PTSD, but the line I distill is "that is a field folded." A field is another threshold space, a space between, and to fold it makes it more multidimensional like one of those models of architectural space I'm always pulling you over to when we pass one, which we frequently do. When I think 'field,' I think across, horizontal, now up, sky, and finally, the singularity of a field in its surrounding space thus as threshold space. What I love about Duncan's poem is that it seems to fold time too: often I get to go back to a present meadow but what I go back to is a first permission (a past in the present) that is also an omen of what is (the future of now: the new now) so the poem is 3D in terms of time too!
I love that it says too, as if it were true "that certain bounds hold against chaos," as if it were true that chaos could be limited/contained, as if the meadow itself could exist as a space, of peace/meditation. As if we could lie in a meadow and look up at the sky and say, it's some ether after all, some beauty and hold it, box it, cage it. That as if is also a longing, a question, if?
And Cease is a book about peace.
NF: Cease rhymes with peace.
BB: Peace is that fleeting and I tried to capture that loss of sound and space in the unpunctuated prose poems, which are informed by the Century of the Child exhibit we went to and you know I always linger at models of architectural space, dollhouses, dioramas, and the one we saw there that stayed with me was Van Eyck's design for the Municipal Orphanage, where open spaces and squares were meant to act as transitional spaces that mitigate anxiety in traumatized children. What I wanted to do in Cease was the opposite: to increase anxiety in an effort to capture the pursuit of peace as a fleeting state. I didn't want to close the field: I wanted to fold it as a way of squeezing out its breath – not to suffocate it, but to resuscitate it, to make it breathe again, sometimes meditatively, sometimes in panic.
So a prose poem can play with breath and motion in those ways and maybe in a heightened way?
NF: I remember that show, at MOMA. What did they put in the orphanage to make children calm?
BB: Squares, literal transitional space.
NF: Ah, right. I always wondered if Duncan was riffing on Dickinson — "You cannot fold a Flood / And put it in a Drawer."
BB: I thought she said, no floods in bowls?
NF: She probably said both. "You cannot fold a Flood / And put it in a Drawer," begins My Feelings. I take it to mean that you can't take a moment of disaster and tuck it away—it will always leak out. Whereas Duncan does try to do that and says he can return, yet the poem itself is rangy and wild, which is perhaps closer to life, to memory.
BB: But one is a field and one is a flood so maybe Duncan folded flood into field, crisis into meadow, or threshold at possibility of meadow? Because again the whole poem is in the realm of if. And you're right, the meadow is a memory, "a scene made-up by the mind," which is a good place to shift to Stein. That same day we were at the MoMa exhibit, we also attended a talk in The Walls and Bridges series put on by your French friends, Villa Gillet, about Salon de Fleurus, which essentially was about threshold space (interactions with the doorman, which was either the entry to the salon or the salon itself) but which seemed to also be a talk about Stein's continuous present. Part of the prose poem for me with this project is trying to maintain peace, which doesn't last for very long so the prose poem present tense provides this thrust. Or I like what my old favorite Gwendolyn Brooks says, "my last defense/is the present tense."
NF: Maybe you're just trying to outrun the PTSD?
BB: Yeah and I think in terms of catharsis, I have these wall poems –
NF: Talk about those –
BB: Well, I think that Do Not Rise, the book about war –
NF: Now you've written both War and Peace . . .
BB: Back to back! But I'd say Do Not Rise is not a book about catharsis or confession. It's a book about the terms of surrender – what are you going to surrender to, speech or silence or love or the water overhead, but there's also this tension of rebellion there, an inevitable rising up against the command. The title is Do Not Rise but the unwritten subtitle is fuck you/watch me. But it's also Donne, "Stay, O sweet and do not rise!" Love and violence, rapture/rupture.
But in the third book, Cease, I really am trying to surrender to peace; I'm trying to surrender and let go. So those poems are much faster. Because I can maybe get a little closer before I lose it again but in the wall poems, there is a catharsis in tearing down the wall; the first poem ends with 'a big fat bombglow' and that is a kind of catharsis, but an easy kind that doesn't last. So the wall poems –
NF: I like that there's four walls too, you've built a room but the first wall gets blown up.
BB: yeah, there's always another wall. But I think Robert Frost's "Mending Wall" would have to be the spirit animal there. What does Frost say? "Before I built a wall, I'd ask to know what I was walling in or walling out" so there is this sense of threshold and boundary but there's also "something there is that doesn't love a wall...that wants to tear it down." Is a wall necessary for peace? We need boundaries to maintain peace but what are other kinds of walls? Catharsis could also be a silence of full disclosure, a breaking down of boundaries between speech and secret, walls and privacy and trying to break down those walls between bodies/people, and I think you talk about it in Feelings too –
NF: It's My Feelings. You keep calling it Feelings. I don't want to make any claims on anyone else's.
BB: I like that song, you know. Trying to forget my feelings of love. It's anti- Forche Against Forgetting. Catharsis/Cathexis again!
NF: I know you like that song.
BB: Ok, sorry: My feelings: very millennial. But I'm thinking of the poem where you talk about that feeling of not having to say anything, of being known in the silence, so if there is a confession or catharsis for me, it's in that tearing down the wall but in the knowledge that there is always another wall. I was saying before about Derrida and love and trying to cross the threshold of the other but not being able to and keeping safe that part you cannot know. So a wall is not just something to tear down but also something to protect.
NF: So that's the project: you have these walls and you're tearing them down, not constructing, or?
BB: Well, in the end, there are four walls so I'm trying to build a house; I'm trying to find a safety. I guess if you fold a field enough times you get a cube.
NF: Like this truck here driving by with the camouflage and duct tape on the wheel wells. But there's probably no poetry in there.
BB: Just pure patrol.
NF: Petrol. The poem you're referring to, where the silence, the need not to speak, becomes a type of catharsis—that poem actually doesn't end well. It is a temporary stay against confusion at best.
BB: Another wall, but with a passage in between (Duncan again – "there is a hall therein"). Should we talk about terrorist extremists? Why not? In my pursuit of defining the extreme, I came across an online quiz: are you an extremist? And the first question was: do you believe in evil? Yes or no?
NF: Of course evil things happen in the world, but I'm careful not to proscribe to what is known as devil theory—a view of history as containing a fixed number of bad guys, and that if you get rid of them (Hitler, say) then everything will be fine.
I'm much more interested in Arendt's Banality of Evil—bad things happen by people not paying attention, by taking the easy way, by seeking comfort or convenience. So it seems the quiz is saying that unformed belief systems can lead to extremism.
BB: I guess it's the first checkpoint.
NF: Let's go back to this idea of a poetics of the extreme, without drifting into this idea of extremism. I'm thinking about hearing Amiri Baraka read a poem with the repeated line "We Were Slaves" when I first got to New York, which was electrifying in its incantatory simplicity, or reading Franz Wright's Walking to Martha's Vineyard, which ricochets between the sacred and the profane, reaching for god but struggling with demons. Wright's book before Walking to Martha's Vineyard, The Beforelife, feels more fully in the demon world (or at least wrestling with his own demon's), and the book after, God's Silence, feels more fully in the sacred (or at least wrestling with the sacred)—I guess you could say those are more extreme but for me the one that has the deepest pulse is Walking to Martha's Vineyard.
BB: I think that's why for me the extreme led me to the middle, that for me conceptualizing the extreme was my threshold to get to the threshold.
Again when I think of the field folded, I think that's the way for me to see it as a field, as its own entity, so maybe we think of the extreme as bounding both sides but what we are most interested in is that space in between that is heightened in these extreme circumstances.
NF: so Duncan's taking all this chaos and folding it and trying to contain it –
BB: – but also saying as if it could be, but also knowing that it can't. That tension there is what we seem to be most excited by –
NF: and he's pulsing in and out of it—he can't stay in it, the tenses keep changing, shifting . . .
BB: Yeah and I think back to this question of belief in evil? Well, there are evil acts and there does need to be a word for those moments. But believe sounds like the wrong word for the asking. Like I think of Rimbaud, "have faith in this poison." Do you believe in it? I think of it more as unbelievable; it's something I cannot fathom. That to me is what makes it threshold – how does a person cross into that kind of violence, how does it happen, and I think that aspect is more intriguing. So failing the extremist quiz, I'll settle for liminal sibyl.
Another question on the quiz, though, had to do with susceptibility to groupthink, which in some way sounds like the opposite of the lyric I (there's no I in team), which maybe we could talk about in terms of your disclaimer at the start of My Feelings. Because like the confessional, the lyric I can be dismissed as too personal/ enclosed. And yet, it's not that there is no I; it's that there are many. Talk about the need for a disclaimer to accompany your title.
NF: The other side of groupthink is the collective unconscious and I'm very interested in that. In Seattle recently (Hugo House) I taught a three-hour workshop and we spent the first hour on introductions, which may not seem the best use of time but to me, there is no other way to do it. I deeply respect and deeply want to hear why each person is there and what they bring to the table.
As for my disclaimer, let's be honest: if you are writing poetry, all anyone's really writing about is their feelings; you may think you are just describing the world, you might think you're playing linguistic games, you might have a lot of ideas about what you are doing but basically it is all coming from how you perceive the world, which is your feelings, your perceptions as an individual consciousness. Sentience. A conscious subjective experience of emotion. If a poem is randomly generated by a computer, we are not as interested in it. At least I'm not.
That said, there is something deeply uncomfortable about the title, which is why it stayed as a title. It seemed so deeply unsettling to call a book that, it kind of incites in people this deep response, that I trust there's something behind it.
BB: It may be the most extreme title ever! And this from the author of Another Bullshit Night in Suck City. I think it's important you say you are drawn to its level of discomfort. Because a liminal space, a space of decision, is by nature uncomfortable: you are between two things, where going one way means not going the other.
NF: The wind is picking up. Should we go inside?
BB: Let's stay here. We're almost through. It feels right to begin and end our talk on the extreme with Forche, who I heard on a podcast, with her parrot in the background –
NF: Carolyn has a parrot? Are you sure you're not making that up? There's a parrot in "The Colonel." You just took the parrot from "The Colonel" and put it in real life.
BB: Hey, it's what we learned from Reenactments: memory is in the present tense. I make memory and in my memory, there was a parrot echoing. Speaking of repetition, again, holding on. What she, or the parrot was saying, is that "we don't live after something; we live in the aftermath," "in the actual presence of the debris field..." And I remember walking through an exhibit with you last year put on by the Center for Historical Reenactments, Johannesburg, entitled "After-after tears," which had really good words like "after burial" on display and afterwards I kept calling everything the new after, the new now, which brings us to now.
I think we could end by going back to something you said at the beginning, describing the threshold as a "no-place;" that hyphen, a bridge itself, is beautiful;
NF: I've stolen the idea of a place that is no-place from Celan.
BB: Right, Celan's Meridian. U-topia with the hyphen to mark it as a no-place, but I think he later drops the hyphen – doesn't he? – to cross us into that no-place which is the site of the poem. Because I guess a threshold, like a hyphen, is both bridge and divide. It's that moment of touch, but I want to brink it even more via a classic movie you've written about in The Ticking is the Bomb, and call the threshold a no-place, like home. Some things live (something lives) in the in- between.
I think that's good. Should we call it a day?
NF: Yeah, that's good. Let's call it a day.


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subset: commoncrawl


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If you've been to Hotel BPM lately, you'd notice that the dining area is looking a little different. We've upped our game and made it the ultimate hang-out spot. With a new and soon-to-be finished DJ Booth and bar, the space will be yours to grab a few drinks while you party all Friday and Saturday night with our live DJ sets. Book now to soak it all in.
The space is also set to host the BPM New Year's Eve party - complete with DJ Bijal spinning beats. We will also be serving up beer, wine, and champagne. (RSVP only, call 718.305.4182 for tickets).


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Solo Exhibition
»Back in Touch«
Torbjørn Rødland
Any attempt to decode the images by Norwegian-born, Los Angeles-based photographer Torbjørn Rødland throws up new questions for the viewer. His work frequently unites disparate visual worlds in which increasingly mysterious and sometimes disturbing details emerge. At the same time, Rødland's photographs arrest our gaze and captivate us thanks to their intelligence, peculiar lighting, as well as their intuitive, erotic innuendoes.
On the last exhibition weekend (March 10 & 11, 2018), C/O Berlin offers additional public guided tours & extended opening hours:
Guided Tours on Saturday, March 10:
In English: 6 pm | In German: 2 pm · 4 pm · 8 pm · 9 pm
Guided Tours on Sunday, March 11:
In German: 2 pm & 4 pm
Opening Hours:
On Saturday, March 10: extended until 11 pm (exhibitions & Café)
On Sunday, March 11: regular opening hours until 8 pm
Read more on the C/O Berlin website!
Parallel on view at C/O Berlin: Joel Meyerowitz . Why Color? Retrospective
Dec 9, 2017 — Mar 11, 2018
Opening Reception: Friday, Dec 8, 7 pm
+ Artist Talk (in english) & Book Signing: Saturday, Dec 9, 4 pm
with Torbjørn Rødland & Ann-Christin Bertrand
Read more & book ticket online
+ Guided tours:
In German: Sat & Sun 2 pm & 4 pm;
In English: Sat 6 pm
book tour & ticket online
Amerika Haus, Hardenbergstraße 22-24, 10623 Berlin
[Charlottenburg | Charlottenburg-Wilmersdorf]
Opening hours: Daily 11 am – 8 pm
Winter break: Closed on Dec 24, 2017
View exact opening hours during the holidays
Admission: 10 € / reduced 6 € | Online Ticket
Public Transport:
S+U+Bus Zoologischer Garten
BVG Journey Planner
Photography exhibitions/events in…
PiB's current print issue
PiB Guide Nº29
Discover great photography exhibitions/events in Berlin in PiB's bi-monthly print issue, the PiB Guide. The PiB Guide Nº29 MARCH/APRIL 2020 is currently available for order! Booklet, A6 format · 40 pages · English & German · worldwide shipping.


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Learn windsurfing in Goa with the 'Start Windsurfing' certification course and get introduced to the world of windsurfing. Windsurfing is a unique water sport because it is a combination of sailing and surfing. Get personal attention from our world class instructors. Our Windsurfing course is a great opportunity to learn a sport that will build not just skill, but character and self-confidence. Sailing inculcates discipline, focus and decision making. Discover the world of sailing!
If you are beginner learn the art of windsurfing and if you are an experienced windsurfer, Goa is the best destination to enjoy the sport of sailing and windsurfing.
START WINDSURFING if you are looking to:
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Our Start Dinghy Sailing course is a great opportunity to your child to
Learn sailing with Start Keel-boating Sailing course at Gateway of India, Mumbai.
Add an amazing dimension to your long week end or to your travel itinerary.
Per Head
× ₹8,500
2 Persons
× ₹14,900
3 Persons
× ₹20,900
Copyright © 2018 Aquasail India. All Rights Reserved.


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Dining Guide
Average Entrée Price
The Hideaway Bar & Grill
Essential Information
2565 Franklin Blvd.
Sacramento , CA 95818 916-455-1331
If ever a dive bar could give you the warm fuzzies, it's this Curtis Park stalwart famous for its deep-fried pickles. Feeling decadent? Get them as a side with the Royale Burger, a garlic-stuffed beef patty topped with onion rings, avocado, bacon, Swiss cheese and grilled mushrooms. Feeling disciplined? The Hideaway also has creatively named salads like the Love Lust (mixed greens, feta, black olives, bell pepper, onion, tomato, cucumber and red wine vinaigrette). The look is retro kitsch, with pinup art on the walls and tabletops covered with postcards, flyers and customer drawings on napkins under glass, and, in another nod to bygone times, you won't find any of the convivial neighborhood regulars texting and drinking while bellied up to the bar or chilling on the spacious patio.
Additional Information
Neighborhood: Curtis Park
Average Entrée Price: $10 and under
Serving: Dinner
Offering: Outdoor Seating


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You are currently browsing the tag archive for the 'doodling' tag.
As an obsessive doodler constantly getting in trouble in meetings and classes for doodling, I read with much satisfaction an article in the UK Guardian — you know, the UK one, the smart one — quoting new studies that suggest doodling should be encouraged because it focuses one's attention span.
I so feel like sending this article to my first boss out of college who reprimanded me for not paying attention. And my tenth grade math teacher who called me out in front of the whole class. Suck it, narrow-minded losers!
Now, the article does not go into doodling analysis. But friends have commented that they think it's weird that my doodles aren't so much "doodles" but "crazy scientist" rambles. I write the alphabet over. and over. and over. Which I don't think is really strange. But apparently it's a little disconcerting when they look over and see a whole page filled with tiny letters.
No. I am not a loony. Though I do think the world will end. Very soon. We will be visited by our cosmic brethren. Who come declaring peace and offering unlimited powers. Until they take over our brain. Hail, superior beings.
Okay. Apologies for this post. I woke up thinking it was another year.
VIA UK Guardian


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Jarrita, Cockatoo 2L, Fluted
Product Details
Impressive and statuesque, this striking fluted cockatoo jug, mosaicked in Abalone Shell, is the belle of the ball. A fantastic centre piece for your dining table and the perfect water jug size.
Double Mexican silver plate on hand-beaten copper.
Please do not put us in the dishwasher but polish and rub us with care, with non abrasive silver polish. Do not leave water standing in our jugs for long periods of time. An old housewife's trick is to place aluminium foil in a bowl, fill with warm water, bicarbonate of soda, a pinch of salt and place tarnished item in there. Rub gently, remove, dry and polish clean with a soft cloth.
Approx. Size - Diameter 18cm x Height 28cm
Max. Capacity - 2L


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Cindy Milstein
I'm not sure I've ever received a better love letter (though I'm happy to be proven wrong in the future!). Nor a more startling one, and one that truly warranted "Be still, my beating heart!"
Out of the blue, a friend forwarded a letter with some other, mostly junk-mail. As I flipped through one piece after another to toss, a pristine envelope with a familiar hand appeared, as apparition, as ghostwriter, as if out of the grave.
My first thought was, "How could she send this?" Some nine months ago, I held my second (chosen) mom's right hand, her writing hand, her beloved hand that often held my hand with tenderness, as she died; I helped wrap her into white envelope of cloth; I accompanied her still body through sublime Michigan countryside to crematorium, and eased her journey to ash. How could pen, paper, card, and hand reach out to me?
I stared at her name, in her script, then her room number, the room I'd helped move her in to and spent countless precious hours with her in, late into the evening, we night owls both, and she a wise one. I don't recall breathing for what seemed minutes; I don't remember if my heart was throbbing with confused anticipation, ache of absence, or fear of this spectral letter, or if my heart was cold and quiet as a gray-granite gravestone. I stared at it. Placed it with somber care in the middle of my cleaned-off desk, as if altar. I went to sleep, woke, stared at her handwriting more reverently, bewildered by this message. I went about my day, or ghostwalked through it. And finally, as dusk fell, slowly sliced open the envelope.
"Love" emerged. A twinkling heart swung gayly from a tiny silver thread (like Mary, who never failed to wear precisely the right costume jewelry for her palette-perfect thrift shop outfits, and whose eyes were piercing-twinkling, curious, mischievous, guiding stars). Two hearts entwined, embracing each other. And on all three other pages, words from February 2015, meant as salve for an especially hard time in my life, meant as harbor, assuring me of my strength and her love, her as my chosen family, always there.
Always here. In this letter written then; maybe now.
For love remains, or rather, love lives, lettered into us.
* * *
(Photo by Cindy Milstein; love letter by Mary Burks, October 2016.)
If you want to get word when I put out new musings, sign up at cbmilstein.wordpress.com. Enjoy, share, reprint, post, tweet any of my writings as long as it's free as in "free water" and "freedom."


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Tuesday, May 26, 2009
Volunteer Chronicles 2
First Prize: P5,000 worth Powerbooks Gift Cards + Free trip for two (2) to Boracay via SEAir + Free Accommodations for two nights at Punta Rosa Resort + an opportunity to do a Hands On Volunteer Vacations project in Aklan
Second Prize: P3,000 worth Powerbooks Gift Cards + Free trip for two (2) to Bohol via Cebu Pacific + Free Accommodations for two nights at Amarela Resort + an opportunity to do a Hands On Volunteer Vacations project in Bohol
Third Prize: P2,000 worth Powerbooks Gift Cards + Free Accommodations for two (2) at Taal Vista Hotel in Tagaytay + an opportunity to do a Hands On Volunteer Vacations project in Laguna or Batangas
Deadline is on August 31, 2009
See complete contest mechanics.
Friday, May 22, 2009
Corel Digital Art Competition
Discover the freedom to create your way in the Corel 2009 Asia-Pacific International Digital Art Competition.
From now until the end of May 2009, share your designs with the world and grab a chance to Win Great Prizes. Grand prize valued at US$12,000! Find out more and submit your entries at http://www.corel.com/apac-contest
FREE Food from Sentro 1171
Saturday, May 16, 2009
Free Book from OMFLit!
If you love books, got a blog and would like to dabble in writing book reviews, this promo is for you!
Email your name and a link to your blog (or Facebook, Friendster, Multiply, MySpace account) to email@example.com. Twenty lucky bloggers will be randomly chosen to get advanced copies of this book. In exchange, read it and post a blog about your review in your blog AND the OMFLit's site.
Win an iPod and a Mac book
The summer heat is on! Yet a long season ahead to discover another stretch of our paradise! Take pleasure in everything these 7,000 plus islands have to offer and send in your anecdotes in snapshots, videos, blog features or original music compositions of "YOUR" best experiences on Philippine travel destinations, local delicacies, crafts, traditions and festivals.
Let those creative juices flow and get your hands moving as you make those captured moments beautifully immortal through Apple's latest iPhoto, iMovie, iWeb, or a PRO-like music composition experience with GarageBand '09. Organize, customize, edit, enjoy, and share your photos, videos and blogs and compose your own music the iLife way — superbly fun, breathtakingly cool and like a PRO! Take your music skills to the next level with GarageBand! Get the most out of your photos, videos and web pages with the available vibrant effects, dynamic themes, templates and easy-to-use tools for creating much more fun I Love Philippines "iMemories!"
Reposted from Philippine Star
Friday, May 15, 2009
Make Your Day Brighter with Red Ribbon's Cookies & Cream Cake
1st Place: P1000 Red Ribbon Gift Certificate
2nd Place: P600 Red Ribbon Gift Certificate
3rd Place: P400 Red Ribbon Gift Certificate
For complete mechanics to this yummy contest.
Adarna House's Back-to-School Sale
Enjoy big discounts when you go to the Adarna Showroom!
Thursday, May 7, 2009
Kiddie Kwela-ABC 5 AUDITIONS!
- 4 pcs. 2x2 pictures
- Birth certificate
Reposted from http://kidsahoy.multiply.com/journal/item/144/
Wednesday, May 6, 2009
Ika-Anom na Premio Tomas Arejola para sa Literaturang Bikolnon
Ika-Anom na Premio Tomas Arejola para sa Literaturang Bikolnon
c/o Museo de Caceres, Holy Rosary Minor Seminary
Elias Angeles St., Naga City, Philippines
Open to all Bicolano writers and literary enthusiasts writing in any of the Bikol languages. There shall be no discrimination on the basis of age, gender or religion. Contestants under 18 years of age are, however, required to submit a certificate of parental consent.
The 6 TH Premio Arejola is open in the Poetry, Fiction, Essay, Drama and the Novel categories.
- Entries for the Rawitdawit (Poetry) category must consist of at least 10 poems but not more than 15 poems.
- Entries for Osipon (Fiction) should be at least 7 pages in length but should not exceed 12 pages.
- Entries for the Osipon na Pan-aki (Stories for Children) should be at least 5 pages in length but should not exceed 10 pages. Entries with a plot and narrative suitable for an illustrated storybook of at least 30 pages are preferred.
- Entries in the Halipot na Dula (One-act Play) must be of sufficient length to approximate a performing time of at least thirty minutes. Halawig na Dula (Full-length Play) should have a performing time of at least an hour and a half. Entries in the play categories may be intended for children and/or adults. Plays for children, however, should be directed principally to promote Bikol values and traditions in the grade school level, ages 7 to 12.
- Entries in the Salaysay (Essay) category should be at least 5 pages in length but should not exceed 8 pages. Informal, personal essays about the Bicolano way of life are preferred.
- Entries in the Nobela (Novel) may deal with any subject, provided it is tackling issues relevant to Bikol realities.
Only new and unpublished works are eligible. A work that has been awarded a prize in another contest is not qualified for the awards.
All entries should be written originally in Bikol and not a translation of a work written in another language. The works must show literary merit and social significance.
Contestants may join in all categories but can submit only one entry per category.
Entries in the regular categories must be submitted in four copies, double spaced on 8 1/2 X 11 inches bond paper with one inch margin on all sides and the page number typed consecutively, e.g., 1 of 8, 2 of 8 and so on. Font must be Arial and font size must be 12. Entry must be submitted with pseudonym only and not the author's real name. Author's name and pseudonym must be submitted in a separate sealed envelope together with a bio-data containing the author's literary background, an ID picture, and contact information. A notarized declaration of originality and authenticity of authorship must accompany the entry.
Finalists in each of the categories shall receive the Premio Tomas Arejola Diploma of Merit. A top winner will be chosen from among the finalists who shall then receive the Premio Tomas Arejola medallion and P3, 000 cash prize. The said category winners are eligible for the Grand Prize, the winner of which shall be named Parasurat kan Taon (Writer of the Year) and will be awarded P10, 000. and the Naga City Jaycees Writer of the Year Trophy.
II. MGA RAWITDAWIT para ki INA Category
To honor the 2010 Tercentenary of the Bikol Devotion to the Lady of Peñafrancia, the Patroness of Kabikolan, the Premio Arejola shall once again have a poetry category for high school and elementary students. To be known as Rawitdawit para ki Ina , this category shall have the following rules:
- Participants may submit more than one entry but each entry must be computer-typed
and accompanied by a) the author's brief bio-data duly signed by a class adviser or a faculty coach and b) a certificate of parental consent.
- Entries must be written in the Bikol language, original, unpublished and not previously awarded a prize in any literary contest.
- There are no restrictions in length and style but all entries must articulate a young person's devotional sentiments to the Lady of Peñafrancia, as well as the significance of such devotion in today's world.
- Out-of-school youth not more than 18 years old are also enjoined to participate.
- Finalists and their adviser/mentor will each be awarded the Premio Tomas Arejola Diploma of Merit. The three best entries will be chosen from among the finalists who shall each receive the Naga City Jaycees Rawitdawit para ki Ina Medallion and P2, 000 cash prize. The adviser or mentor of the top three winners will receive medallions and prizes. In the event that an out-of-school youth wins, the prizes intended for the adviser/mentor will be awarded to the participant's parent or guardian.
The category is open to book authors, book designers/ illustrators, anthologists/editors and publishers of Bikol literary titles. To qualify, the book must be written majorly in the Bikol language, anthologized/ edited, designed/illustrated by a Bicolano native or resident. Only titles published and distributed between September 2007 and September 2009 are eligible.
Individuals involved in book publishing may nominate by submitting a copy of the book accompanied by a letter from the nominator testifying to the book's meritorious contribution to Bikol letters. Copy of winning entry shall remain with and become property of the Premio Arejola.
The winner will receive a testimonial plague, P5, 000, and shall be listed in the roster along with the winners of the regular category and Lifetime Achievement Awardees.
Entries for all categories must be addressed to the Premio Tomas Arejola para sa Literaturang Bikolnon, sent at the above address not later than June 30, 2009. Entries sent by mail or courier must be postmarked /invoiced not later than June 25, 2009.
Entries submitted via e-mail must be a Word Document file and sent as an attachment together with the contestant's bio-data containing his/her literary background and a notarized certification or authenticity of authorship of the entry. The original copy of notarized certification and ID picture must then be sent to 2009 PTALB thru mail. Entries submitted via e-mail must be submitted not later than June 25, 2009.
Failure to comply with any of the requirements shall result in disqualification from the awards.
Copyright of the works remain with the author but the latter grants, assigns and transfers into PTALB the right without necessity of any payment other than the prize which may have been awarded to publish the winning entry or portion thereof as it may at its discretion.
The Premio Arejola has the right of action against the author if it may later on discovered that the participant is not the creator or owner of the copyright to the winning work. The Premio Arejola shall not be liable to any court action if a third party files a case against the winner and/or contestant who plagiarized the work of the said third party.
Winners of all the aforementioned categories shall be responsible for the payment of government taxes.
Names of the finalists will be announced in local weeklies and radio stations on the first week of September 2009.
The names of the winners and members of the Board of Judges shall be announced on or before Sept 14, 2008, Tomas Arejola's 144 th birth anniversary, in an awarding ceremony in Naga City.
Reposted from panitikan.com.ph
Tuesday, May 5, 2009
BE a FREEDOM FIGHTER!
How would you like to just disengage yourself from the trappings of life and enjoy for once?
BPI is offering you the chance to enjoy life more as you take car of your needs, anytime and anywhere convenient to you.
Just shoot a video of what you will do with your free time.
Upload it as a video reply to www.youtube.com/expectmorefreedom
Ask your friends to view it. One view = One Vote
Promo ends on July 27.
See complete contest mechanics
Friday, May 1, 2009
Vado HD Pocket Video --- FREE!
NOw, this is simply heaven. I've read it's review and it's pure fun to use it. It is so small and light, you can take this anywhere.
HOw would you like to win this baby? I would! Yep, I certainly would.


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Farewell Summer Jazz Funeral Kure Beach NC
Farewell Summer Jazz Funeral As we close the door on another Summer season, we'll once again pay tribute with the Kure Beach Jazz Funeral. This year's event has been rescheduled for Friday, October 14th at Ocean Front Park. Festivities kick off at 6:00 pm. The Town will be selling $5 souvenir packs of beads and masks to adjourn yourself with for the procession. At 7:00 pm Dixieland All Stars band will lead the procession, starting at L Avenue and heading towards the Pavilion, with a concert to follow. The public is encouraged to participate; wear your fancy hats, lacy parasols, and finest dress to escort the casket down the Boardwalk. Unfortunately, T'Geaux Boys Food Truck will not be able to join us for the reschedule date, but you can grab a delicious meal from one of our restaurants before or during the event. We hope you'll join us to bid a fond farewell to the end of our beloved summer season!Read More


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Events for 02/21/2020 › Visitor Events
Events Search and Views Navigation
Notice: Utilizing the form controls will dynamically update the content
7:00 pm
Free Dance Lessons with Country Dancing in the White Mountains
Come enjoy free dance lessons from Country Dancing in the White Mountains! Dinner, Drinks, and Dancing!!Find out more »


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Utah based 3 Irons commissioned international street artist Vexta to create a five-story tall, 150 ft long mural in the heart of downtown. Adding to the vibrant arts corridor that spans from Gallivan Center to Eccles Theater, the mural is currently underway, located on the south face of the building home to Impact Hub and Richter7.
Vexta, a native-Australian, is a renowned street and gallery artist, with art on public display worldwide from Sweden to Mexico. She began her work on Sept 6th, and anticipates completion by Sept 14th.
"The arts can only flourish with a mix of publicly funded projects, and private initiatives," said 3 Irons creative producer, Joy Haynes. "We were blown away with the willingness and enthusiasm of these donors to support this huge and complex project to bring downtown Salt Lake City the largest mural in Utah."
The project is being financed completely by private donors, which is rare for such a large and prominent piece of public art. The primary supporter of this project is art lover and real estate developer Andy Renfro who owns the building being painted. Additional major supporters include advertising firm Richter7, residential treatment program Eva Carlston Academy, as well as Salt Lake City Residents Rheda Fouad & Amy Leininger and Steven Labrum.
"Downtown is the cultural core of the state, where art is available in theaters, museums and upon buildings themselves." said Downtown Alliance executive director Jason Mathis. "This new mural is not only a fantastic addition to a great street art scene, we hope it encourages other private groups to undertake similar projects."
In addition to the mural, filmographer Brent Rowland is making a short documentary which will be screened and available this fall. Downtown Alliance is a sponsoring partner for that film.


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Sourced from 2 Naramata Bench vineyards: Artemisia Vineyard (3 Mile Rd) and Maple Leaf Spirits (Naramata Rd). Harvested Oct. 24 th . Sugar level averaged 23.2 Brix and acidity 7 grams/litre. Following de-stemming and crush, we cold soaked for 2 days prior to starting fermentation. Pressed after the completion of fermentation 17 days later. Aged in a combination of premium American and French oak barrels for 21 months.
100 cases. Alc. 15.2%
Out of stock


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« ПретходнаНастави »
The following outline of Armenia's claims to be brought forward at the Peace Conference is given on the authority cf Boghos Nubar Pasha, the son of the famous Nubar Pasha, Prime Minister of Egypt, to whose work of regeneration Lord Cromer and Lord Milner have both paid tribute. He is the President of the Armenian Delegation, appointed by the Catholicos, and as such the recognised leader of the Armenian people. He is supported by all Armenian .parties, whatever the country of their adoption.
The geographical boundaries of the new Armenia and the system of government necessary for its security during the period of its reconstitution will be determined at the Peace Conference. In the meanwhile there is reason to expect that the broad lines of the settlement proposed by the delegation will be adopted. Armenia's interests clash with nobody's save the Turk's, and he has forfeited the right, and lost the power, to resist her aspirations to a new birth. The adjustment of frontiers with other new States—Georgian, Tartar, and Arab—to the north and east and south, is a matter of minor importance. The lines of nationality are fairly clear, and are not likely to involve serious dispute. The existence of a compact, autonomous Armenia is the main thing, and I gather that the delegates will not prove unaccommodating in respect to the interests of their neighbors.
The most important development in the scheme of reconstruction is that the young Armenian Republic of Ararat have agreed to throw in their lot with the Armenians of Turkey in a united State. This decision has greatly simplified the question of settlement in the Near East. The Armenians' moral claim to the independence which they have proclaimed is indisputable; the only argument against an independent State that could be used by the friends of Turkey is that the Ottoman policy of extermination has been so thorough that there are not enough Armenians left to form the nucleus of a population—an argument for non-intervention that would establish the principle of the murder of small civilized nations to admit the survival of barbarism.
This for many years has been the policy of the Turk, but Talaat's cynical boast that he would settle the Armenian question by doing away with the Armenians has not been realized. The statistics of massacre vary, and we have no certain data, but it is estimated that the Ottoman Government have eliminated by mob murder 800,000 of the Christian population of Turkish Armenia since 1915. Another 600,000 are believed to have escaped. These, with an almost equal number of "deportees" and settlers, who will seek repatriation as soon as the home of their origin has been purged of Turkish control, will form the nucleus of the liberated Armenia which used to be subject to Ottoman rule. But the question of a majority in United Armenia will settle itself by the inclusion of the two million Russian Armenians now that they have expressed their willingness to be incorporated in the new State.
As regards government, Armenia will not be strong enough for a long time to stand on her own feet, and experience has shown that a divided international control is too cumbrous, slow, and complicated to admit of smooth and uninterrupted progress. Armenia asks for a mandatory—one of the Entente Powers, England, France, or America, to stand sponsor for her while she is developing strength. This Power would organize a government, lay down the main lines of administration, and provide troops for the protection of life and property during the period of transition. A large force would not be necessary, as an Armenian gendarmerie could be enrolled almost at once. /The 25,000 Armenian troops in the Caucasus could be called in, and the 8,000 with Allenby, as well as drafts from America and elsewhere. Under the provisional government the principle of self-administration will be developed, perhaps with a nominated Council in the first place, to be succeeded by an elected one. The delegation believe that in a few years the new Armenia would be capable of self-government and self-defense. Nubar Pasha reckons on a population of something like two and a half millions so soon as there is confidence that no shadow or vestige of Turkish suzerainty will darken the prospect of the future.
As regards boundaries. The new Armenia including Russian Armenia, the six Turkish vilayets, and Cilicia, or Armenia Minor, will, if the proposal of the delegation is accepted, extend from the Black Sea to the Mediterranean. On the Black Sea Samsun with its interior communications with Anatolia will naturally be Turkish. A stretch of coast east of this port to a point east of Trebizond will be the Armenian littoral. Between Trebizond, the port of Erzerum, and Batum, which will be the outlet of Georgia, the Armenian-Georgian boundary will be fixed. The Armenians lay no claim to Trebizond on historical grounds, but a thin strip of land on their northern border, interposed between them and the sea, would form an economic barrier which no unprejudiced commission could accept. From the Black Sea coast the northern frontier of the proposed Armenian State will run eastward, including Ardahan, Kars, Alexandropol, to the present boundary of Erivan, beyond which the Tartar element predominates. South of this the eastern limits of Armenia will extend to the Persian frontier down to the Kurdish country. A line of demarcation will be drawn east and west, separating, as far as possible, on a national basis, the territory of the Kurds and Armenians. This line would pass through the Bitlis and Van provinces, to Diarbekr, where the Arab frontier remains to be settled, and from Diarbekr southwest to Alexandretta, on the Mediterranean. Westward the boundary on the Mediterranean coast would include Mersina, whence a line drawn north to a point between Samsun and Ordu on the Black Sea would form the western frontier of the new State.
The case of Armenia is morally stronger than that of any of the small nations whose destiny is to be decided at the Peace Conference. The geographical parallel between Armenia and Belgium and Serbia holds; all these small nations have stood in the path of the German. Armenia's crime was that she lay between the Turks of Europe and their Tartar kinsmen of the Caucasus and Central Asia. Her exis
tence was incompatible with Pan-Turanianism. In the spring of this year the remnants of the Armenians held back the wave of the Turkish Army from Persia and the Caspian for five months, and when the armistice was concluded, bands of them were still carrying on a guerilla warfare in the hills. Andranik, the scourge of the Turk from the beginning, never submitted.
It is not likely that the Allies will fail in reparation. Our own debt is great, for our policy in backing Turkey against Russia was responsible to a large extent for the Armenian atrocities before the war. In the treaty of Berlin and the Cyprus Convention, by eliminating Russia we removed the only safeguard of the Christian population in Turkey, contenting ourselves with Ottoman promises of reform, which we had no power to enforce, and which we might have known Turkey had no intention to fulfil. Now after four years of blood and sacrifice, we are at last able to step in and save what survives, and it should be unnecessary to quote Blue-books and precedents to prove that the maintenance of any Ottoman authority in the affairs of Armenia would vitiate the whole scheme.
We are sure to hear a great deal about the liberalism of the Turk in the near future, but centuries have proved that he is incapable of reform. He is mere appetite, destroying what he cannot consume. Apart from its iniquity, his policy of extirpation has been a species of economic suicide, for it has killed the seeds of productivity. Fertile lands lie sterile under the dead hand of the Turk, whereas the Armenians are among the most practical, intelligent, industrious, and prolific races of the East. Each one of these qualities has been a count in the Turk's indictment


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Starmore Desk H633-27 Signature Design by Ashley
*Flat $30 Assembly Fee per order
- In Stock (Delivery within 5-10 business days) Please choose from the available delivery dates at checkout page.
Product Information
For fans of urban industrial design, the Starmore desk steals the show. Tabletop is crafted with a mix of acacia veneer and wood beautified with an oiled walnut-tone finish. Incorporation of sleek tubular metal frame and linear, large-scale pulls pull it all together. Cutout shelf on desk's front side incorporates added dimension.
|Material :
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|Includes :
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2 Exploring System.Net.Mail Classes
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This FAQ section will explore the main classes of the System.Net.Mail name space. This is not a complete listing of all the classes, but rather the ones that are most commonly used. They include:
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Blackcurrant chestnut entremets2h Serves 8 persons
You will need
- Sponge cake : 120g of flour, 120g of sugar and 4 eggs
- Chestnut mousse : 425g of liquid cream 35% fat, 250g of chestnut paste, 130g of chestnut cream and 5g of gelatin (or agar-agar)
- Blackcurrant jelly : 200g of blackcurrant puree, 80g of sugar and 3g of gelatin (or agar-agar)
- White chocolate crisp ( 1Kg)
- Ivory pearl velvet
- 25 dome meringues
1 Sponge cake
Place the eggs and sugar in a bowl. Mix then whisk the eggs until you obtain smooth cream. Blend int he flour progressively. Stir delicately, folding over the mix. Butter and flour a sponge cake mould, fill to 2/3 with the mix. Place in the oven, demould onto a rack and allow to cool.
2 Chestnut mousse
Rehydrate the gelatin (or agar-agar) in cold water. Add the chestnut paste, the chestnut cream and 40g of liquid cream in a pan, heat gently. In the meantime, transfer the rest of the liquid cream into a cake mixer and beat to obtain a whipped cream. When the chestnut cream mix has boiled, remove from the heat and add the rehydrated gelatin (or agar-agar). Allow to cool. When the mix has cooled to 30°C, add the whipped cream delicately.
3 Blackcurrant jelly
Rehydrate the gelatin (or agar-agar) in cold water. Heat the blackcurrant puree and the sugar in a pan until boiling. Once boiled, remove from the heat, add the rehydrated gelatin (or agar-agar) and pour into a 16cm circle. Place in the freezer for at least 2 hours.
4 White chocolate crisp
Heat the crisp gently in a microwave oven or water bath.
5 Ivory pearl velvet
Temper in the oven or in a water bath at 50°C – 55°C. After removing the entremets from the freezer, blow over with a compressed air gun.
6 Assembly and finishing
Place the sponge cake at the bottom of a 20cm diameter circle. Heat the crisp and spread onto the sponge cake (about 5mm thick). Place in the freezer. When the crisp is cold, pipe 2/3 of the chestnut mousse, place the blackcurrant insert in the centre and press gently. pipe the rest of the mousse, and smooth with a spatula. Place in the refrigerator. Then, demould and decorate with a few meringues on top. Using a compressed air gun, spray the velvet from a distance of 25cm over the entire surface of the entremets.


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Everything tagged
Stories tagged: tara westover
Sun., Sept. 9, 2018
Tara Westover, a featured author for Spokesman's Northwest Passages Book Club, to give presentation at UI
Author Tara Westover will take part in the Runstad Lecture Series at 7 p.m. Monday with a presentation on her book, "Educated: A Memoir." Last May, she was a featured …
UPDATED: Fri., May 18, 2018
'Educated' author Westover talks in Spokane about her survivalist childhood, meaning of learning
Best-selling author Tara Westover talked to a crowed of about 700 people Thursday night at the Bing Crosby Theater as part of The Spokesman-Review's Northwest Passages.
UPDATED: Mon., May 14, 2018
Tara Westover book talk moves to larger venue
The Spokesman-Review's Northwest Passages Book Club welcomes best-selling author Tara Westover to Spokane on Thursday and is moving the event to a larger nearby venue to accommodate ticket demand. Westover …
UPDATED: Fri., May 18, 2018
From survivalist to storyteller: Best-selling 'Educated' author Tara Westover comes to Spokane on Thursday
Tara Westover grew up in a survivalist family on an Idaho mountain. She watched the school bus roll past, but never joined the local kids at school. She never saw …
Sun., April 22, 2018
Best-selling 'Educated' author Tara Westover comes to Spokane
The Northwest Passages Book Club will host the best-selling author on May 17.
Sun., April 8, 2018
Reading the Northwest: An unlikely journey from Idaho isolation to halls of Harvard
Tara Westover was raised without a birth certificate, medical care or a formal education. "Educated," the gripping story of Westover's self-invention after a brutally hard upbringing, is winning acclaim across …


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Search the Community
Showing results for tags 'coupon'.
Found 3 results
Hey all, It's Black Friday coming and tons of interesting offers are on their way too. In order not to miss anything, I suggest collecting here everything that may be of use on Squarespace website. How do you like the idea? It will be great if someone supports me. I would like to know what services you use and also subscribe, but with discount 😈 PS. I'll start first: BLACKFRIDAY2019 - 50% coupon for https://elfsight.com/ PSS. @danieljs can you help with putting this initiative forward? So that more people could see and share their offers.
Import csv of vouchers from WP
geeewizz posted a question in Coding and CustomizationHi, I am looking to transfer a client over from Wordpress to SS. He has a CSV list of about 500 gift vouchers. (Code, Value, Email, Name etc). Is there a way that this could be imported into the squarespace voucher system? Thanks for any advice. :)G.
Enhanced Ecommerce Coupon
chrismccreery posted a topic in CommerceDoes Squarespace not send the Coupon Code over to Enhanced Ecommerce reporting in Google Analytics? I'm not seeing them come in with orders. Thanks


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Newly discovered long noncoding RNA plays critical role in brain growth and signaling
A new study from the Scripps Research laboratory of Sathyanarayanan Puthanveettil, Ph.D., peers deep within the nucleus of developing brain cells and finds that long noncoding RNAs play an important role in the healthy functioning and maintenance of synapses, the communication points between nerve cells in the brain.
"Long noncoding RNAs are often described as 'the dark matter of the genome.' So, systematic interrogation of their function will illuminate molecular mechanisms of brain development, storage of long-term memories and degradation of memory during aging and dementia," Puthanveettil says.
RNA are the master regulators of the cell, tiny chains of nucleotides that read, transcribe and regulate expression of DNA, and build proteins. While scientists have gained great insights recently into the genetics underpinning how brain cells reach out and communicate with each other, the role of noncoding RNA is poorly understood. Research suggests that the longest of these noncoding RNA, those over 200 nucleotides long, help determine which genes are activated and operating in brain cells at various times. But which ones?
Writing in the journal Proceedings of the National Academy of Sciences, Puthanveettil and his colleagues on Scripps Research's Florida campus report that a specific long non-coding RNA, GM12371, controls expression of multiple genes involved in nervous system development and functioning. Furthermore, it affects the developing neurons' shape and ability to signal.
In mouse hippocampal cells, learning-related signaling upregulates GM12371, while its reduction produces inactive neurons, ones with sparse branches.
Together, the results suggest that healthy growth and development of brain cells and brain circuits depends not just upon specific proteins but also upon specific long noncoding RNAs, which scientists are now beginning to explore.
What role GM12371 dysfunction may play in diseases of the brain and nervous system demands further study, Puthanveettil says.
"Both coding and noncoding RNAs are increasingly viewed as druggable targets. Identifying their specific roles in the fundamental biology of functioning of neural circuits might eventually open new ways of treating neuropsychiatric disorders, such as autism and Alzheimer's disease," Puthanveettil says.


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First day of work
Today was the first day of work.
Actually, I went to work on the 5th. But there were not so many
colleagus on that day. So, I felt today was the first day.
I went to one of our client with one of my boss to discuss what
will we do in this fiscal term. There were many vague points,
but we dicided that we'll do feasibility study of implementation,
and our client will make senarios.


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Callebaut Single Origin Chocolate-Sao Thome-Dark Bittersweet Callets- 70% Cacao 5.5 lbs
Callebaut Single Origin Chocolate- Sao Thome
What's the fuss over whether beans come from a single region?
Answer: Cacao beans- much like tea leaves, coffee beans, and wine grapes- are a terroir product. This means they take on the flavor profile and characteristics of the region they grow in--flavors unique to that soil, climate, and environment.
Some regions have very specific flavor profiles. Beans from Sao Thome Island tend to have fruity and citrus notes. Chocolate made from beans from a single region allows the flavors to truly shine.
This chocolate is made with Amelonado cocoa bean varieties from the island Sao Tomé. In 1822, São Tomé and Príncipe were the first African islands to import cocoa from Brazil - for which they were baptized 'the chocolate islands'. Today still, a few direct descendants of the original Forastero plants from South America can be found on the island, yielding very high quality beans.
Callebaut's Sao Tomé chocolate has a very intense and complex taste, rich in roasted cacao, and with plenty of refreshing fruity notes: apricot, red fruits, citrus and even hints of tea. Sao Thomé is great to savour as such.
For pairings, our chefs recommend to combine it with fruits that have a moderate to high acidity and sweetness. Slightly bitter ingredients such as walnuts or mild coffees and spices such as Sichuan pepper that have a tingy effect on the tongue also create beautiful harmonies. With its standard fluidity, you can use Sao Thomé in a broad range of applications: moulding, enrobing, ganaches, flavouring pastry crèmes and mousses, etc.


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It's been a cold and wintery week and I did feel a bit sorry for Dave yesterday, skippering in the rain for a couple of hours. We had some lovely conditions underwater, however, with 10m viz and flat calm conditions. This weekend it's looking good for the Bay with nice clean in-shore confitions.
This week we've been playing thoughts of Sodwana over and over again in our heads… Only 4 spots left on our trip!! Try and book now if you're on the fence but we may be able to organise a few more spots if you miss these last few. Chat to Carel directly on email@example.com or 084 4481601 for the finer details.
A nice view of Reefteach in Sodwana Bay – where we'll be diving in October!
A Pisces friend, Martina, caught our boat viewing these Southern Right Whales in False Bay this last weekend.
This Friday, the Big Bay Life Saving Club will be hosting The Long Walk, a very interesting seminar about an attempt to "walk" the sea floor between the main land and Robben Island and will be looking for volunteers to partake in the "walk" with sub-walkers! Space is limited so RSVP to firstname.lastname@example.com. International Coastal Clean-up Day is back on the radar and is fast approaching for 20 September 2014. A seminar on iSpot will be held in Stellenbosch on Wednesday 27 September for the last few underwater photographers that haven't gotten the news about it! Check our Facebook page for more details.
Launches for the Weekend:
Friday 22 August:
1000 Partridge Point (max depth 21 metres)
1200 Pyramid Rock (max depth 14 metres)
Saturday 23 August:
0900 meet *Shore Dive* Andre will lead – just pay for rental and cylinder
0900 MFV Princess Elizabeth (max depth 36 metres)
1200 Partridge Point (max depth 21 metres)
1400 Pyramid Rock (max depth 12 metres)
Sunday 24 August:
0900 MV Rockeater (max depth 34 metres)
1130 SAS Pietermartizburg (max depth 21 metres)
1400 Pyramid Rock (max depth 12 metres)
PADI Advanced Open Water Diver course starting 21 August at 0900
PADI Open Water Diver course starting 22 August at 0900
PADI Open Water Diver course starting 26 August at 0900
PADI Emergency First Responder course on 28 August at 0900
PADI Navigation speciality starting on 30 August at 0900


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Helen is taken back to her cell and Meg tells Bea of Helen's decision to stay in Wentworth. Erica decides that Helen will have to forego her privileges and, therefore, the officer assigned to protect her will be withdrawn and she will be put to share a cell, with Bea for instance. Marilyn goes back to Eddie and apologises to him. Vera notices Helen and Bea squaring up to each other and breaks the news that Helen is to be moved in with Bea and Doreen. Greg suggests that Helen could help herself by distracting the women from their boredom by running beauty classes for the inmates. Mum sees Lynn looking out for Doug and tells her to try and forget everything to do with prison. Helen asks her lawyer Mr Guthrie to arrange Lynn's appeal and let everyone know who's paying for it. She also gives him Meg's name and he visits her at home to get her opinion on Lynn's case. Marilyn's friend (and fellow prostitute) Yvonne turns up and goes out for a bottle of booze. Meg gets into trouble over press coverage of Lynn's case, as it says that the investigation of her case has been abandoned. (And a fascinating article it is too, it begins "The quick brown fox jumped over the lazy dogs. Now is the time for all good men to come to the aid of the party.") Erica isn't the only one who has seen the press coverage: the Bentleys also discuss the newspaper article. Mrs Bentley agrees to go to stay with her mother, despite her suspicion that it will just give her husband the opportunity to get one of his girlfriends to stay overnight. In Helen's absence, the women make a mess with the cosmetics and the class is cancelled. Eddie arrives home to find Marilyn and Yvonne getting drunk: he asks Yvonne to leave and Marilyn goes with her. Sure enough, Paul Bentley is straight on the phone to invite an air hostess around for the night. Their night of passion is interrupted by Mrs Bentley's unexpected return home. The air hostess overhears their argument in the course of which Mrs Bentley admits to burying Richie and when he picks up the phone to call the police, she threatens to report him for raping Lynn. Bea shows the paper to Lynn, who is distraught that Meg seems to have broken her promise. Mrs Bentley is arrested (but, oddly, Mr Bentley is not). Mr Guthrie assures Helen that she will not be convicted unless something "drastic" happens, but James attempts to blackmail Helen to give him control of part of her cosmetics empire by threatening to give incriminating evidence about her "accident" to the police. He tells her he came back to the hotel room and she wasn't there. After saying goodbye to Mum (and getting the same old lecture about forgetting prison), Lynn is released.
- Marilyn's friend Yvonne was played by Jane Clifton, who would go on to play a prominent character, Margo Gaffney.
- At this point in the series, the decision was made to extend Prisoner beyond it's original 16 episodes. This was mentioned in the commentary for Episode 001 by Ian Bradley. He had returned from Christmas break at the time, which also suggests that this episode was the last to be filmed in 1978.


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Product Description
Lene Bjerre Marble Chopping Board a stylish essential for your kitchen.
A fabulous crafted marble chopping board or presentation food platter that makes a wonderful gift or item for your own kitchen in a two tone design of white / linen.
Its perfect for any cook as the weight of the marble means that it won't slip and slide on the worktop, and it has four pads on the bottom to further prevent slipping. Ideally suited for indoor or outdoor use.
A useful carrying size so you can take it with you from the kitchen to the dining room or garden. A fantastic option for all kinds of treats, this board is ideal for food preparation, cheeses or antipasti.
With a convenient hanging string for storage, and a contemporary design which easily complements existing kitchen accessories.
Due to the properties of marble the colour and markings will differentiate between products. The picture shows a good representation of our stock, but please note that marble can vary in colour.
Made by Lene Bjerre. Polished finish. Hand Wash only.
Dimensions: 31 cm x 22.5 cm
Clean, classic with a Scandinavian twist, Lene Bjerre is renowned for creating beautiful furniture and accessories that bring a sweep of fresh Nordic style into the home. Offering an inspirational collection of refreshing homewares, designer furniture and outdoor rugs, Lene Bjerre's seasonal collections create a rustic-meets-modern aesthetic which will really make your house a home. Founded nearly 40 years ago, this leading Danish design house based on the banks of Limfjorden in Jutland, became quickly renowned for their uplifting interior style. Lene Bjerre is described by brand director Suzanne Sand as 'Scandinavian, classic and feminine.'


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A Day Well Spent
Written by frequent market goer Robyn Salguero
I spent a leisurely evening at the farmers market tonight, sipping cider, chatting with friends, and perusing the colourful offerings artfully displayed on checkered tablecloths and in weathered wooden crates. I think it's one of my favourite summer activities.
I love the people watching too -- folks seem just as thrilled as I am to be freed from the multiple layers of wool socks and underclothes, free to wear flowering skirts and airy shorts and expose sun-starved shouldered to the light. In reusable bags and baskets, on bicycles or with friendly pouches, their arms are laden with irresistible fresh produce and baked goods and craft beer. And always, always, there is the cloth bag slung over a shoulder with leafy beet tops or carrot fronts announcing themselves and waving merrily behind them, bobbing and tickling other patrons as they pass by.
The vibe at the South Osborne Farmers' Market is my favourite in the city. It is so charming and lovely and has a wonderful mix of vendors and attendees. There is live music and refreshing drinks and passionate speakers (tonight's topic was about creating queer community food spaces) and stunning goods. Including those craggy heirloom tomatoes that I can never get enough of.
Follow Robyn's food journeys and wonderful creations on Instagram @allegra.eats.the.world
Leave a Reply.
March 2020


text: Contact us Enter your questions/comments below… Name Email Address Message 11 + 13 = Submit Send us an email Visit our contact page. Need more help? Visit our support page Create Beautiful Testimonials for Your Website Start using Testify today and begin converting your site visitors into customers. Get Testify now


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Rod Lift Systems
Get years of reliable production with our proven rod lift systems and controllers
The name of the game is sustaining production as long as it is economically viable—and reducing your overall cost to produce a barrel of oil. We get that. And for many declining wells, rod lift fits those criteria perfectly, which is why we offer a full portfolio of Lufkin rod lift systems.
We are here to help you find the right artificial lift solution to meet the needs of your field and your economic model. Our complete line of rod lift systems includes beam pumps, downhole reciprocating pumps, and monitoring and control equipment. We have the experts and software to help you design systems for your new installation and analysis software to make sure your existing systems are performing at their best.
For your field operations team, our hands-on training and in-depth classes will give them the knowledge they need to produce your fields efficiently and profitably.


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Source:China.org.cn Published: 2017-11-9
The "aftershocks" of political tremors caused by Nepal`s newly formed communist alliance in the national and international arena have multiple dimensions.
It has sparked a frenzy of speculation as there is a trend of taking every development in Nepal to be a result of a concentration of "power centers." After the dramatic announcement of the alliance, many conspiracy theories have emerged in Nepal and abroad over the search for the "mysterious glue" that could successfully stick two major rival communist parties.
Analysts are pondering on who actually helped forge the alliance. Many people including a significant section in New Delhi suspect Beijing is behind the latest perky political episode.
Immediately after the announcement of the alliance, some Nepali media tried to portray the "China factor" citing recent high level bilateral visits and growing Chinese engagements in Nepal. Even the top leaders seem to carry such speculation. Senior leader of Nepali Congress Ram Chandra Paudel consulted Chinese Ambassador Yu Hong in Kathmandu suspecting whether China`s backed the alliance.
The "China factor" behind the left alliance has been a matter of debate though no conformist discourse has yet been formed. But, everyone shares a common view that China is happy with the leftist parties` bond. Many analysts in Nepal agree that regardless of its alleged involvement, China is in high spirits after the announcement of a left alliance on the eve of federal and state level parliamentary elections in strategically neighboring Nepal.
While filling the nomination for the House of Representative in district Taplejung bordering China, (CPN) UML influential leader Yogesh Bhattarai said, "China wants political stability in Nepal and is happy with the formation of left alliance but India wants continuation of chaotic situations in Nepal and is unhappy."
Having his own reservations, veteran Nepali journalist Yubraj Ghimire shares a feeling that China may have some reasons to be happy for the recent political developments in Nepal but defines it more as a failure of Indian diplomacy in Nepal. He adds, "When Dahal (Puspa Kamal Dahal`Prachanda`) ditched Deuba (Sher Bahadur Deuba) and joined ranks with Oli (KP Sharma Oli), it marked the failure of India`s Nepal policy, yet again."
While negating the role of China to forge the alliance, Ghimire suspects Christian donors to be behind itas they are worried about the fragile and ambiguous secular provisions in Nepal`s constitution which, according to him, can be secured only when there is communist majority in the parliament.
Senior communist leader Radha Krishna Mainali has offered a different opinion on it. He thinks that though the alliance has given communist China reason to be happy, there is not been any direct involvement from the northern. He says, "It is all done by pro-Indians within CPN-UML who want to weaken anti-Indian and pro-China rhetoric of alliance`s top leader KP Sharma Oli."
One of the ideologues of the alliance and chief of the Maoist Centre "Prachanda" has categorically denied any Chinese role in the formation of left alliance. Talking to The Himalayan Times (10-23-2017), Prachanda said, "China had no role, but they might be happy when the left alliance proceeds in Nepal. It is wrong to say the Chinese have invested in creating the left alliance." Prachanda`s remarks make it clear that there is a belief even among top political figures of the alliance that China is happy with the alliance formation.
All these comments reflect a certainty that China is still a mysterious factor in Nepal and Nepali politics.
I expressed my curiosity to Dr. Chen Xiaochen, a researcher at Chongyang Institute for Financial Studies in Remnin University of China who recently visited Kathmandu, about the Chinese attitude towards the newly formed left alliance in Nepal. He simply shrugged and believed that there is hardly any "Chinese thought" on the alliance formation because in his opinion China was too busy with its own internal affairs as the five-yearly communist party conventions was going on in Beijing. "I don`t think China has any `thought` on it as such at the moment because we were too busy with our own businesses and next thing we shouldn`t forget is, China keeps itself always from any kind of intervention on domestic affairs of its neighbors." Completely negating any emotive reaction from Chinese side towards the left alliance, Dr. Chen said China wants good relations with all the existing parties in Nepal.
In the past China was supposed to be across the Himalayas. Now, its presence is substantially more visible in the international arena and also in the neighborhood. The interesting thing is that one of the biggest economies in the world is bordering Nepal and Nepal seems to have much difficulty in understanding the Chinese psyche. The million dollar question is "why is China so much of mystery in Nepal to this day?"
Analysts in Nepal share a common feeling that despite being closer geographically, lack of easy access is the main hindrance between China and Nepal. Being a neighbor yet not having easy access is a question to mull on.
People to people relations have not been as close as possible because of cultural and linguistic gaps. The books and the media content written by Westerners are not sufficient for Nepalese to understand China the way it is. But, there is no alternative for commoners and even to politicians in Nepal. Our limited understanding of China has significantly limited our capacity to judge it and its actual attitudes towards our affairs.
Chen Xiaochen is director of the International Studies Department at the Chongyang Institute for Financial Studies at Renmin University of China.
Key Words:Nepal China Alliance Chen Xiaochen


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Bill Clinton riffs on Colorado during problem-solving Denver summit
Anybody here from out of town? Former President Bill Clinton might as well have dropped the comedian's icebreaker at the Clinton Global Summit in downtown Denver this week. His best lines during the three-day event aimed at solutions to America's problems were gentle elbows to his hosts in a swing state that could help decide his wife's fate as a presidential candidate.
Gov. John Hickenlooper, a fellow Democrat and Clinton friend, got the first witty dose from the former commander in chief on the main stage Tuesday morning. It was Colorado pot's turn on Wednesday.
Honored to welcome @ClintonGlobal #CGIAmerica to Colorado & get mocked by @billclinton for wearing a suit #ItHappens pic.twitter.com/xkB8xKEWeb
— John Hickenlooper (@hickforco) June 9, 2015
Hick's reputation for casual wear is apparently known in the highest reaches of power and politics.
"I want to thank Gov. Hickenlooper," Clinton said in a wind up to his pitch. "He always impressed me how he could be so substantive and issue-oriented and so informal.
"And I felt almost guilty that he felt constrained to wear a suit today."
People laughed. Colorado Democrats probably laughed the hardest, for it's a rare moment when Hickenlooper is upstaged on witty quips.
"We are delighted to bring together so many passionate thinkers and doers," Colorado's governor told the crowd of about 1,000 in the Grand Ballroom at the Sheraton Downtown Denver Hotel Tuesday.
He did, however, reference Monday night's festivities around STEM education, calling it "an evening of mind-bending trivia and beer education."
Extending the economic recovery to more people, however, "is a subject we're even more passionate about in Colorado than beer," Hickenlooper said.
Agriculture Secretary Tom Vilsack told Clinton during a one-on-one discussion on stage Wednesday that more people are turning to locally or regionally grown foods, which is good news for farm communities.
"Now with the exception of the state of Colorado and a few other states that legalized another product, there are not many commodities you can plant" in urban areas, Vilsack said.
Clinton apparently has inhaled conversations around the subject matter of Colorado's latest cash crop.
"Dear Lord, that's all I need, one more story," Clinton said as the laughter began to rumble across the room. "If only the marijuana growers would invite me to give a speech."
Clinton also joked about his aversion to e-mails in the early days of the World Wide Web.
"I've found people have said embarrassing things on email and I didn't want to be one of them," he said, a bit tone-deaf to his wife's current e-mail problems.
Fox News appropriated the quote to cite an apparent inconsistency between the remark and Hillary Clinton saying some of the private e-mails she hasn't produced for Benghazi investigators were exchanges between her and her husband.
That inconsistency only holds up, though, if you leave out the context of the conversation and how Bill Clinton prefaced the joke, which the Fox News web article omitted: "One of the changes that was largely unnoticed when I was in office was the dramatic increase in the number of people who were making a living working out of their homes, huge, by the millions."
In the March, a political blog in the Wall Street Journal quoted Bill Clinton's spokesman saying the former president has rarely used e-mail, which Fox News referenced Wednesday.


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I design sound for storytellers and interactive media makers. I appreciate patient film making and vérité approaches to sound design. I was the sound director of the Peabody award winning and Emmy nominated interactive documentary HOLLOW. My production venture SLO is the result of an interest in combining natural aural aesthetics and observational film, creating space in media for reflection, activity and critical thought.
I'm a classically trained electronic musician and pitched percussionist. I'm also an avid collector of records - '50's cowboy music, old SFX compilations and '80's synth jams being some of my favorites. I'm a fervent Star Trek fan. I love cats, station wagons and my bicycle.


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© 2020 Not Socks Ltd. Your Go-to Gift Gurus |
Get match ready with this beautifully unique Rugby Ball toilet bag.
Its definitive shape is sure to delight any rugby enthusiast on their special day.
Looks exactly like a real rugby ball with entry zip hidden within seams.
Product dimensions: W330 x H140 x D150mm
Shipping Details
*Please note that due to the COVID-19 lockdown couriers are currently limited to essential services. All orders will be dispatched as soon as couriers are widely available again.
Order by 1pm weekdays & your order will be delivered:
- Urgent: Next day
- Standard: 2-3 weekdays
- Rural: 3-5 weekdays
- International: 3-10 weekdays
Product Information
- Brand: Moana Road