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If Kansas City had a Mount Rushmore for television news anchormen, Wendall Anschutz would surely have a place among them. He passed away this morning at age 71 after a battle with throat cancer. He was the face of KCTV news for 35 years.
I first noticed Wendall back in the early 70's while I was in high school. He was a first rate reporter. He could cover hard news but also had an easy style well suited to feature stories. What I loved about Wendall is that he came across the screen as middle of the road, even keeled, and a decent man. Eventually by the time I was in college he was the main anchor at the CBS station.
I've had the privilege of working with two of the great anchormen in Kansas City who have led their stations for more than a quarter century. I worked for Larry Moore at KMBC when I first came out of college. I will never forget Larry snapping at me, "Rinkenbaugh, working with you is like trying to make journalistic timber out of a twig." He has a glee in his eye and a nose for news and a cackle that will wake up any newsroom.
I spent nearly a dozen years working alongside Phil Witt at WDAF. Phil strikes me as being a lot like Wendell. He's a great reporter with incredible news judgment. I can remember going to the 1984 Democratic National Convention in San Francisco with Phil. We were both a couple of boys from the Midwest out on the town in the big city. We made memories on that trip that I will long treasure. It included a night of shooting the breeze with the legendary Kansas City television and radio anchor Charles Gray and one of the best reporters you'll ever find in Dave Helling, at a San Francisco hotel bar.
I met Wendall only once. He was all warmth. I'm sure Larry and Phil would both agree that he set the bar very high and they loved competing against him. It makes me sad to see one of the faces that I grew up with and in a way learned from leaving the scene. Wendall Anschutz made Kansas City a better place for lending his voice to the community. Thank goodness we still have Larry, Phil, John Holt and Kris Ketz carrying on that tradition.


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The Winnipeg Blue Bombers are getting the band back together on their offensive line.
On Monday, the Bombers made it official that the entire group of starters from their Grey Cup championship season will be back in 2020 when they signed centre Michael Couture to a two-year contract.
Couture, a 26-year-old from Burnaby, B.C., started all 18 regular season games for Winnipeg but suffered a severe foot or ankle injury in the last game of the year and had to sit out the entire Grey Cup run.
"Right when the injury happened, I was pretty crushed because they knew quite quickly how long I was gonna be out," Couture said Monday.
"It happened in the fourth quarter of the last regular-season game and I was going through some stuff mentally with that.
"I had to quickly realize that the run we were going on was really something special and I couldn't waste time feeling sorry for myself. I just had to really embrace all my teammates and help them any way I could. Once I got into that mindset, then I was all good."
The signing means the Bombers will likely have a starting five again this season of tackles Stanley Bryant and Jermarcus Hardrick, guards Pat Neufeld and Drew Desjarlais and Couture.
Bryant, Hardrick, Neufeld and Couture all had the opportunity to become free agents on Tuesday, but all chose to re-sign with the Bombers before the deadline, some sooner than others.
Couture reportedly took less money than he was being offered by the Toronto Argonauts to make it happen.
"I think we set the tone physically for our whole team and guys rally behind how we play," Couture said. "To see (Bryant) and (Hardrick) and (Neufeld) re-sign, all pretty close to each other, the thought of having everybody back in the same room with coach Marty (Costello) was something I was really excited about."
Drafted 10th overall in 2016, Couture served as a utility backup for his first three seasons.
The 6-foot-4, 303-pounder took over as the Bombers starting centre last season following the retirement of all-star Matthias Goossen.
When Couture was injured, Cody Speller filled in at centre and played admirably throughout the playoffs and the Grey Cup win over the Hamilton Tiger-Cats.
Speller, who can play all three offensive line positions, will now likely take on the utility role. The Bombers also have national players Tui Eli and Geoff Gray under contract.
The line will be expected to protect starting quarterback Zach Collaros, who has a history of concussions, and continue to open holes Andrew Harris, the league's rushing leader three years in a row.
"Deep down, I knew where I wanted to be," Couture said.
"I've always felt very comfortable in Winnipeg. It was inviting from the get-go. The coaching staff has done a great job of creating a family environment in the locker room. I feel extremely tight with out O-line room and it's things like that, that made it easier to not really consider going anywhere else."
Couture could have become a free agent in 2019 as well but signed a one-year contract well before the deadline.
This time it was different, with the CFL's new "legal tampering" window, which allowed teams around the league to woo players for a week before the opening of free agency.
"This time around there was definitely some more interest so I had more options to weigh, but again, I'm very happy to be back," Couture said.
"It kind of felt like being recruited out of high school again. Programs that are looking for high school kids take them on recruiting trips and try to show the best of what their program will offer. To be in that kind of process again was interesting."
Couture also said he's close to fully recovered from his injury and will be fine for the beginning of training camp.
"I feel really good with it right now," he said. "I'm actually on my way to a workout and getting it worked on. It's not something I'm worried about at all. I'm close to getting back to 100%."
Couture looking forward to the Collaros show
Michael Couture did not get much of a chance to play with Zach Collaros last season after getting injured in the quarterback's first game with the Bombers.
However, the veteran centre loved what he saw from Collaros on the field during the playoffs and the Grey Cup.
"I think he's a great player," Couture said. "As soon as he came in, at the time of year that he did, he took control, and that's something you have to do as a quarterback. I have no doubt that he's gonna continue to do what he did for us at the end of last year."
The Bombers will have their entire offence — sans quarterbacks Chris Streveler (NFL) and Matt Nichols (released, signed with Toronto) — back for next season.
That will give new offensive co-ordinator Buck Pierce some real continuity right off the bat.
"It really shows what we have and what we do as an offence," Couture said. "I really enjoy enjoy coming into work early every morning and working with the guys that are in those rooms. That shows with all the guys that have re-signed."
— Wyman

subset: commoncrawl


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Our professor and ethics expert Deborah Rhode is quoted in Adam Liptak's front-page story in today's New York Times, "Copying Issue Raises Hurdle For Bush Pick." The story includes a graphic where you can compare for yourself.
Several articles by Michael E. O'Neill, nominated by President Bush to be a judge on the Federal District Court in Washington last month, contain passages that appear to have been lifted from other scholars' works without quotation marks or attributions.
According to the story,
Last year, a peer-reviewed legal journal, the Supreme Court Economic Review, issued a retraction of an article by Mr. O'Neill in 2004. "Substantial portions" of the article, the editors wrote, were "appropriated without attribution" from a book review by another law professor.
Our professor is noted and quoted thusly:
Deborah L. Rhode, an authority on legal ethics at Stanford, said the retraction by the Supreme Court Economic Review was "extremely unusual" and amounted to "a textbook case of conduct that casts doubt on someone's fitness for judicial office."
"That's a serious form of misconduct in an academic career," Ms. Rhode said. "I would think it would be viewed equally seriously in a judicial career. In my judgment, that would be disqualifying."


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Slowly but surely, Carrie Underwood is coming out of hiding. Following a "freak random" accident last November that left her with a broken wrist and a "gruesome" facial injury that required 50 stitches, she's returning to music. Underwood has released her new song, "Cry Pretty," a gorgeous, classic Carrie power ballad dedicated to the necessary ugliness of allowing yourself to be vulnerable. "I'm sorry, but I'm just a girl. Not usually the kind to show my heart to the world," she sings, asking for acceptance of her softer side. Ahead of the song, Underwood also shared a note to fans with an update on the status of her recovery, saying her wrist is about 90 percent healed and that her face "has been healing pretty nicely as well," leaving her feeling "more like myself than I have in a while." Underwood says the injury also provided the "silver lining" of time to write and record her upcoming sixth album. On Sunday, she'll make her first public appearance since the injury, performing "Cry Pretty" at the Academy of Country Music Awards.
Carrie Underwood Returns to the Spotlight With a Classic Carrie Power Ballad
The queen is back. Photo: Terry Wyatt/FilmMagic


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Greetings, my name is Janelle Visser and this is my online home. Among other things, I am a Grand Adventurer, Creative Mercenary and Apocalypse Survivor. Have a look around and see what those things mean to me. A selection of my writing is sprinkled here, but for more you can visit my blog: Breaking Moulds. If you're curious for more details on my professional life, check out my Linked In. For more details on the creative services I offer, such as professional editing, writing (aka content creation), website editing and design, get in touch, I'd love to chat!
All of the writing and photography on this site is my own work unless otherwise noted. All rights reserved.


text:
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A Writer's Home Office Overhaul
Posted on May 25, 2015 2 Comments
My home office is always a disaster, constantly doubling over as a sanctuary for my cats and a storage room for the piles of papers and boxes that my husband and I don't know where to put yet. But, as of a few weeks ago, my home office became my only office, at least for the next seven months, which means that I had to make it a workable space, one that I could actually see myself walking into in the morning with a cup coffee.
Before I reorganized the office, my husband and I both had already stopped using it in any productive capacity. Boxes of storage lined the walls, books were everywhere, cat hair clung to the rug and the chair. It wasn't unusable, but it wasn't an environment that I wanted to be in for very long, especially not one in which I wanted to sit down and wait for the creative muse to come and whisper in my ear. Let me just say – I wouldn't call myself an organized person, but it does feel good to be in a space in which every item has a place. My thoughts are scattered, hardly ever organized. I need to work in a place that isn't a disaster like my mind always seems to be.
To improve my home office situation, I made three big changes:
1) I bought a filing cabinet.
2) I redid my bookshelves.
3) I added two more lamps and new art/décor.
I can't believe I only just recently bought a filing cabinet. We bought a two drawer set-up (pictured below) from Office Depot that looks like a piece of furniture. I now have ample space to file away not only personal documents but also school and work documents.
My bookshelves were probably the biggest overhaul, and I know that for some people bookshelves aren't even a part of the home office space. But, for the PhD student in Literature, they are the focal point of the office — and of the work, for that matter. I first moved all my bookshelves to the same wall to consolidate space and to create a single bookshelf look. Then, I had to do something about the coloring. They were so dark that they really dominated the feel of the room. I had seen on Pinterest a few months ago that people were starting to wallpaper the backs of bookshelves in order to update the furniture or just to give it a different feel. So, I went to Lowe's and found this paper I liked – I knew I wanted to go light since the shelves were so dark. I cut and pasted the wallpaper to the inner back of the shelves with little trouble. Also, the paper I chose can be painted, so that could be another touch added. After, I was pleased with the new look. Not as dark and formal as before.
The next task was to put the books and other items back in a new order. I differ from other readers and writers in that I don't keep every book I buy. I only keep books that I truly think I'll refer back to in the future. So, as I was pulling books off the shelves before the wallpapering, I made a stack of books to give away/sell on Amazon. I also stacked the unshelved books in categories by genre. Most of the information on Pinterest had women and men reorganizing by book color and size. Wow, those must be people who don't actually read/use their books, although I will admit that the pictures looked amazing.
I organize my books by genre, sub-genre, and then alphabetical order for works of fiction, nonfiction, and poetry, meaning that I don't bother with alphabetical order for reference books and anthologies. Then, I also added in favorite items – pictures, mementos, rocks, and pieces of art – to give my bookshelves character. My husband calls this my shrine to myself. Hmm, there's probably some unflattering truth in there somewhere. Always, my 1928 Remington typewriter takes center stage on the top.
The following site was helpful for ideas on bookshelves:
In the end, I added new lamps and new décor. The lamp lighting is especially helpful, giving the room a subtle and inviting feel, not as intense as my overhead lights. I chose a new white and gold piece of artwork to go above my bookshelves to contrast with the dark wood of the shelves, and then I picked orange accents to hang on either side to bring out the orange tones in my rug. In the future, I'd like to paint the walls, but this was a quick, cheap, and efficient project that created the useable work space we needed. Now, if I can just get my pets to chill out, so I can get some work done 🙂
CRAFT OF LITERARY 1.2: Featuring Kate Gregory – "Pulitzer Prizes as Bridge Between Journalistic and Literary Arts"
Posted on May 11, 2015 Leave a Comment
Journalists and creative writers often find themselves at odds. The former follows AP style and a flat, austere sensibility toward sentence structure and detail, letting the facts dominate. The latter firmly believes in description, artfully manipulating language to create imagistic pieces that breathe life into characters and places that only exist – at the outset – in the writer's mind.
All journalists have little time for creativity and some simply don't have the patience for it. Yesterday's stories are too often gone in tomorrow's garbage, and every day reporters run, harried and without coffee, out of their warm beds toward a deadline that seems paradoxically trapped in their own shadows. Novelists, poets, and the like have the relative luxury of time, and they spend it reading, usually, and then as their ideas, like children, are born and take shape, they carefully craft masterpieces that may take as long as years; they have the singular gift of defining their own limits.
The Pulitzer Prizes are so good at reminding all of us that no matter how our attitudes and approaches toward writing may differ, journalists and literary writers have a common, important, remarkable talent for relating the human experience in a way that render audiences forever changed. Moreover, they provide their fellow writers with a new arsenal of inspiring materials – work that compels even the most experienced writer to further hone his or her skills in the hopes of writing a narrative so strong and unique that it weaves itself inextricably into the tapestry of our culture's cumulative tale.
I'd challenge journalists to stop the mad dash for a moment, if they can, to pick up Anthony Doerr's All the Light We Cannot See and note the palpable truths of life in World War II-era Europe. I'd also charge a novelist to pick up a copy of The New York Times ten steps away from them at the coffeeshop and introduce themselves to the real characters that populate the newsprint. You'll be a better writer for broadening your scope, and you'll develop more respect for people who are, at their core, your kind.
Kate Gregory has a B.A. in English from Ole Miss and an M.A. from Mississippi State. She is a lecturer of English composition at MSU, an associate at the Congressional and Political Research Center at Mitchell Memorial Library at MSU, and regular contributor for The 'Sip Magazine. She lives in Starkville, MS, with her husband and her cat. Kate has a food and travel blog, theoldcrossroads.com. Find her on Twitter and Instagram @katesgregory.
There's no poetry in driving from Louisiana to Texas, though I did think I felt something deeply poetic in the dark eyes of a black mare who I saw riding in a trailer. The horse's hair blew in the wind, and she gave the appearance of running backwards, even as she stood still in her domain. No poetry on the highway, not even when I passed by EXIT KINDER and found the name to be a rare mix of meaning and mass transport. No poetry could be derived from the fall of night or the rain that began to pour outside of Houston or the flash flooding or how no other soul was on the road, the city dark, so much rain and road water on my windshield I prepared to be shallowed whole by the city and its wet mouth. No poetry in the roadside motel I stopped at in Brenham, Texas, where the Bluebonnets blossom wild in the spring. But, the next day when I drove into Round Top, Texas, I found a rain-hazed morning, a cathedral stuccoed with seashells, poems etched in stone. ~Christie
Craft of Literary features flash essays on craft, CW pedagogy, and publishing by emerging and established writers. For more information, click here.
CRAFT OF LITERARY 1.1: Featuring Saul Lemerond – "Adverbs and Adjectives in Writing"
Posted on April 2, 2015 Leave a Comment
"He uses too many adverbs," is one of my workshop friend's common complaints.
He goes through workshop manuscripts crossing out every adverb he sees. "No one gazes 'longingly'" he says, "and no one is 'very' anything," and by this he means people in stories shouldn't be 'very good' or 'very fast' or 'very important', and even when I point out the last example in his list is an adjective, and not an adverb, he insists his point stands. Adverbs are the lazy writer's tool, and adjectives are almost as bad.
"Extremely tall," he says, is not a useful descriptive because 'extremely' doesn't give the reader a cogent sense of what's being described. "Very" is worse because it's even less specific. No one knows what amount of time 'very long' is, but if a savvy writer were to type, "it reminded her of when she was in the waiting room during her father's double bypass," then this would be the sort of description readers could really grasp.
I've wanted to point out to my friend (who is a very good writer) that the problem he sees in workshop can't be reduced to some simple rule. Writing is highly idiosyncratic, and writers need to use what they can to create whatever effect they need.
In the first two pages of The Sun Also Rises, Hemingway uses the word 'very' twice. He does it ironically, but he does it, and Nabokov almost never fails to use adjectives in his character description, which leads me to believe rules are for suckers. This post is three hundred words and contains: highly, common, lazy, cogent, really, simple, savvy, and very and many of them are absolutely necessary for conveying meaning. Sometimes writing is hard and sometimes it's very hard, but no rule is going to be perfect.
ABOUT SAUL:Saul Lemerond's originally from Green Bay, Wisconsin. He's currently working on a PhD in Creative Writing at the University of Louisiana at Lafayette. His book Kayfabe and Other Stories is available on Amazon. He's happy he's finally moved south because his hands get really cold in the winter.
You've heard of a found poem, but what about a found poet? Meet Cubs the poet and his partner in crime who set up their meal trays, typewriters, and index cards in urban areas writing poems. In New Orleans, you're never short on music or culture or booze or gumbo, but by happenstance on this day, we found word-artists at play, busy crafting metaphors at their tiny desks before then taping their finished products to the street posts, each poem for sale for $10. If you tell Cubs you're a poet, he'll insist you have a seat in his chair and type out a poem. He'll feed you cashews and tell you about his dreams to take his street poem venture across the far seas. If you buy one of Cub's poems, which have each been carefully typed on his vintage typewriter, he'll highlight in yellow his favorite lines for you before signing his name (in the form of a cub-foot symbol) along with the date at the bottom of the poem. Thank you, Cubs and company, for bringing poems into the streets for the world to bump into. ~Christie
Craft of Literary features flash essays on craft, CW pedagogy, and publishing by emerging and established writers. For more information, click here.
A Reading List for Creative Writing Students & Teachers
Posted on February 24, 2015 Leave a Comment
I'm posting the Creative Writing Studies (a broad term covering issues of CW pedagogy, theory, and craft in regards to poetry, fiction, and creative nonfiction) reading list I compiled for comprehensive examinations in my program. This list is in no way comprehensive; there are thousands of other articles and books that could be added. I chose, however, to focus on quality over quantity. Also, this is an on-going list, so I'll be adding to it as the months pass. I am also open to suggestions if anyone notices a must-read book or article not on the list.
Reading List: Creative Writing Studies
Section I: Craft of Poetry/Poetics
Aristotle. Poetics and Rhetoric
Auden, W.H. "Writing."
Bell, Marvin. "Noun/Object/Image."
Bly, Robert. "Reflections on the Origins of Poetic Form."
—. "Recognizing the Image as a Form of Intelligence."
Edson, Russell. "Portrait of the Writer as a Fat Man: Some Subjective Ideas or Notions on the Care
& Feeding of Prose Poems."
Eliot, T.S. "Tradition and the Individual Talent."
Frost, Robert. "The Figure a Poem Makes."
Fussell, Paul. Poetic Meter and Poetic Form
Hall, Donald. "Goatfoot, Milktongue, Twinbird: The Psychic Origins of Poetic Form."
—. "The Line."
Heaney, Seamus. "Digging."
—. "Feeling Into Words."
Hirshfield, Jane. Nine Gates: Entering the Mind of Poetry.
—."Poetry as a Vessel of Remembrance."
Larkin, Philip. "The Pleasure Principle."
Levertov, Denise. "Work and Inspiration: Inviting the Muse."
—. "Some Notes on Organic Form."
Levis, Larry. "Eden and My Generation."
—. "Some Notes on the Gazer Within."
Loy, Mina. "Feminist Manifesto."
McPherson, Sandra. "The Two-Tone Line, Blues Ideology, and the Scrap Quilt."
—. "The Working Line."
Moore, Marianne. "Humility, Concentration and Gusto."
Pound, Ezra. "A Retrospect."
—. "The Teacher's Mission."
—. "The Serious Artist."
O'Hara, Frank. "Personism: A Manifesto."
Oliver, Mary. A Poetry Handbook.
—. Rules of the Dance.
Olson, Charles. "Projective Verse."
Ortiz Cofer, Judith. "Tell it Slant: From Poetry to Prose and Back Again"
Rich, Adrienne. "When We Dead Awaken: Writing as Re-Vision."
Rilke. Rainier Maria. Letters to a Young Poet.
Ruefle, Mary. Maddness, Rack, and Honey.
Schmitz, Dennis. "Gorky Street: Syntax and Context."
Simic, Charles. "Some Thoughts about the Line."
—. "Images and 'Images.'"
Stafford, William. "A Way of Writing."
Vendler, Helen. The Ocean, the Bird, and the Scholar: Essays on Poets and Poetry.
Yeats. W.B. "The Symbolism of Poetry."
Young, David. "Language: The Poet as Master and Servant."
Section II: Craft of Fiction/Narratology
Bal, Mieke. Narratology: Introduction to the Theory of the Narrative.
Barth, John. "Can It Be Taught?"
Bell, Madison Smartt. Narrative Design: Working with Imagination, Craft, and Form.
Booth, Wayne. The Rhetoric of Fiction.
DeMarinis, Rick. The Art and Craft of the Short Story.
Forester, E.M. Aspects of the Novel.
Gardner, John. The Craft of Fiction.
Herman, David, and James Phelan. Narrative Theory: Core Concepts and Critical Debates.
Hemley, Robin. Turning Life into Fiction.
James, Henry. "The Art of Fiction."
Kercheval, Jesse Lee. Building Fiction: How to Develop Plot and Structure.
McNally, John. Vivid and Continuous: Essays and Exercises for Writing Fiction.
O' Connor, Flannery. Mystery and Manners: Occasional Prose.
Prose, Francine. Reading Like a Writer.
Van Cleave, Ryan G., and Todd James Pierce. Behind the Short Story: From First to Final Draft.
Section III: Craft of Creative Nonfiction
Cheney, Theodore A Rees. Writing Creative Nonfiction: Fiction Techniques for Crafting Great Nonfiction
Cohen, Dorrit. Transparent Minds: Narrative Modes for Presenting Consciousness in Fiction
Gutkind, Lee. Keep It Real: Everything You Need to Know
—. "The Creative Nonfiction Police." In Fact: The Best of Creative Nonfiction.
—. You Can't Make This Stuff Up: The Complete Guide to Writing Creative Nonfiction—from
Memoir to Literary Journalism and Everything in Between.
Miller, Brenda and Suzanne Paola. Tell It Slant: Creating, Refining, and Publishing Creative Nonfiction.
Section: IV: Related Literary Theory
Baktin, M. M. The Dialogic Imagination.
Barthes, Roland. "The Death of the Author," "The Rhetoric of the Image," "Writers, Intellectuals,
and Teachers."
Bloom, Harold. Anxiety of Influence.
Freud, Sigmund. "Creative Writers and Daydreaming"
Sartre, Jean Paul. What is Literature and Other Essays
Section V: Creative Writing Pedagogy & The Workshop
Bishop, Wendy. Released into Language: Options for Teaching Creative Writing.
—. "Teaching Undergraduate Creative Writing: Myths, Mentors, and Metaphors."
Bishop, Wendy, and Hans Ostrom, eds. Colors of a Different Horse
Donnelly, Dianne, ed. Does the Writing Workshop Still Work?
Hal, Blythe. "The Writing Community: A New Model for the Creative Writing Classroom."
Harris, Judith. "Re-Writing the Subject: Psychoanalytic Approaches to Creative Writing and Composition Pedagogy."
Harper, Graeme. On Creative Writing.
—, ed. Teaching Creative Writing. New York: Continuum, 2006. Print.
Harper, Graeme, and Jeri Kroll, eds. Creative Writing Studies: Practice, Research and Pedagogy.
Hunley, Tom C. Teaching Poetry Writing: A Five-Canon Approach.
Leahy, Anna, ed. Power and Identity in the Creative Writing Classroom: The Authority Project.
Light, Gregory. "From the Personal to the Public: Conceptions of Creative Writing in Higher Education."
Mayers, Tim. "One Simple Word: From Creative Writing to Creative Writing Studies."
—. (Re)Writing Craft: Composition, Creative Writing, and the Future of English.
Orr, Gregory, and Ellen Bryant Voigt. Poets Teaching Poets: Self and the World
Vandermeulen, Carl. Negotiating the Personal in Creative Writing.
Zhao, Yan. Second Language Creative Writers.
Section VI: Writers on Writing, Reading, and Living
Ann Patchett's "The Getaway Car"
Dillard, Annie. The Writing Life.
—. Living By Fiction.
Charlie Hebdo: Art as a Deadly Weapon
Posted on January 17, 2015 5 Comments
I'm not someone who identifies with the hashtag #IAmCharlie. Does this make me a proponent of violent Islamic extremists? A denouncer of free speech and freedom of the press? Absolutely not. The attack on the staff of Charlie Hebdo was senseless, cruel, and completely horrific. I do not nor will I ever support violence of any kind. Furthermore, I believe that censorship of any kind is a dangerous, slippery slope. All this being said, I do have a few nagging thoughts on the issue.
First of all – the hashtag – let me draw a comparison. In 2013, the death of Margaret Mary Vojtko created a viral frenzy on the web, prompting supporters to hashtag #IAmMargaretMary. Vojtko was an adjunct instructor at Duquesne University whose sudden death and lack of job security and medical benefits created a heated dialogue about the realities of adjunct instructors across the United States who, despite their credentials, often do not have job security, benefits, or a liveable wage. Margaret Mary Vojtko became a martyr for an already on-going debate in higher education, and for me personally as a college educator at the instructor level, this story hit home in a lot of ways. I proudly touted #IAmMargaretMary on my twitter because I felt this matter deeply echoed concerns of my own. For me, saying #I-Am-Margaret-Mary meant 1) I felt strongly about the issue of adjunct instructors in higher education 2) I am literally like Margaret Mary because I am also an instructor at a university.
However, there was always a logical problem with using this hashtag with the first person and copula verb because, metaphysically speaking, I was not literally Margaret Mary Vojtko. Like all hashtags, however, using #IAmMargaretMary created a dialogue over social media for people to voice their support and concerns. I personally felt that 1) the cause was a worthy one 2) that I had enough in common with Vojtko and 3) that I supported every angle of the debate enough to join in on this popularized hashtag.
However, for me, the same is not true of #IAmCharlie or #IAmCharlieHebdo. Why not simply #Charlie or #CharlieHebdo or #ISupportFreedomofthePress? Again, perhaps I'm a stickler for linguistic accuracy. I am not the publication Charlie Hebdo, so why use that phrasing? But, more meaningful to this debate is while I support Charlie Hebdo's right to publish freely, I don't support a lot of what they publish. In my mind, hashtagging #IAmCharlie, to some extent, carries with it that you not only support freedom of the press and the staff of Charlie Hebdo but there's the denotation that you also support the content of the magazine, as well.
Not sure what they publish? Here's a link to some of their content translated. It's a truth widely acknowledged that many Muslims believe that it is forbidden to depict the Prophet Muhammad, so you can imagine how these images would anger some Muslim conservatives or extremists. But Islam isn't the only religion mocked by this publication.
A few days ago, I posted the article "I Am Not Charlie Hebdo" by David Brooks on my Facebook page to much debate. But for me one part of Brooks's article is absolutely true: "The first thing to say, I suppose, is that whatever you might have put on your Facebook page yesterday, it is inaccurate for most of us to claim, Je Suis Charlie Hebdo, or I Am Charlie Hebdo. Most of us don't actually engage in the sort of deliberately offensive humor that that newspaper specializes in…Most of us do try to show a modicum of respect for people of different creeds and faiths. We do try to open conversations with listening rather than insult."
It's not like I can't take a joke. Most people who know me know that I have a very crude sense of humor. I would be a complete hypocrite to laugh at the things I laugh at and then criticize Charlie Hebdo. And yet, I don't in private or in public mock religions that aren't my own. I also don't make a living mocking sacredly held beliefs and institutions. For me, the bottom-line is this, while I believe the publication had a right to publish what they wanted to publish, if I had been on that staff (not that I would ever work for such a publication), I would have been wearing a bullet proof vest under my clothes for years. Should this be the case? Should artists and writers have to fear for their lives? Of course not. But we aren't going to change the minds of militant Islamists or any religion's extremists anytime soon. For the foreseeable future, saying or showing whatever you want to will carry with it the risk of offending someone, perhaps offending to the point of violence. They call it risky because risks are involved.
Which leads me to my next point… was it a good idea for Charlie Hebdo to publish yet another depiction of Muhammad on their most recent issue? Part of me says yes – as a way to show that writers or artists will not give into fear or intimidation. Part of me says yes, but part of me asks if this publication is worth the potential for more innocent lives to be lost. Two days ago, it was reported in the New York Times that tensions were heightening in Muslim groups around the world following the release of the most recent issue. Just hours ago, riots in Pakistan and Niger have left innocent people dead. So now, as a result of publishing the Prophet Muhammad on yet another cover, not only are the twelve staff members of the publication dead, but people are continuing to die. So tell me this… who is profiting from Charlie Hebdo's political stand? What group of people profit when the issue spans multiple countries each with different laws regarding freedom of the press? Is it a global stand against terrorism? If so, I'd prefer Charlie Hebdo to not be leading the cause.
Even one of Charlie Hebdo's co-founders seems to disagree with the magazine's latest depiction of Prophet Mohammad. See more on that here.
Let me put it this way, if I thought global censorship and freedom of the press were truly at stake here, I'd pick up my large pencil-weapons and march into battle. But I don't think this is the case. In fact, I think in some countries where freedom of the press is enjoyed that freedom is so free that anything (responsible and true or not) can be published, yet very little is happening to teach the masses how to interpret what they are exposed to – there are whole communities of people in the United States and in other countries who think that anything they see or read on the internet or television is truth… in the same way, perhaps, that extremists weren't able to overlook the Charlie Hebdo cartoons as gross, tasteless satire.
By continuing to publish the images that created the problem, this publication (and those who support it) are waving a flag for artistic expression and freedom to speak and publish, but are they really doing anything to tangibly help anyone? All I see is that more people are dying. Are they doing anything to make the world safer or better or are they just calling the bluff of the bully on the playground? Art has long since been a medium for calling out prejudice and injustice, but in this case, art is a deadly weapon, and if Charlie Hebdo continues to publish Muhammad on or in their publication, more lives will likely be lost. If they choose this path and even more people die, then they are no better than the extremists who stormed into their office wielding guns.
Writing Daily: A Habit Rather than a Hobby
Posted on January 8, 2015 7 Comments
In 2010, all of my New Year's resolutions involved various kinds of corndogs I wanted to try. Kimchi corndog. S'more corndog. I believe resolution # 3b had to do with learning how to make a sauerkraut corndog. I came up with this list both as a joke and as a reaction to my failed resolutions of years past. I know I'm not alone in feeling that resolutions are sometimes a rocky way to start a new year. Sure, they are full of hope and good intentions, but in some ways, we set ourselves up for failure by coming up with resolutions too far outside of our normal habits. I want to lose 50lbs. I want to run a marathon. I want to find a husband. I, I, I. Me, Me, Me. How grossly self-fulfilling resolutions so often are. Perhaps, we should wish for others' happiness. Perhaps, we should try something like this year I just want to keep striving in my job and stay healthy.
But there's just something so hopeful and luminous about a New Year. My culture has taught me that I need to christen the New Year with a bunch of well wishes for myself. In so doing, I welcome the New Year like the wise men kneeling before the Christ child. Here, New Year, I say. Here, take my unrealistic goals for myself. I honor your newness. By March, I've failed at my resolutions so very hard. Who am I kidding: they usually don't last a week. I then inevitably feel like a failure and at no point throughout the year do I try to pick back up. I mean, if you don't start on the 1st of January and continue it every day, then it's not legit, right?
I'm just going to go ahead and call bullshit on this kind of thinking – the kind that makes me feel like that if my goal isn't executed perfectly in a predetermined amount of time then it's over, done, a failure. I'm starting to feel like that no matter what goal we set for ourselves it should be coated with kindness and support for ourselves. It's never too late to start on a goal, to pick it back up, to revise it.
Of course, the person I'm preaching to the most is myself because I'm at the start of a very important year. This year, I took a leave without pay from my job at LSU, and I am devoting myself to my PhD program at ULL, but more importantly, I hope to make writing a habit rather than a neglected hobby.
Going from not writing daily (sometimes not even weekly) to writing daily feels like the equivalent of trying to lose 50lbs before March. I know without a doubt that it's not going to come easy. For as important as writing is to me, it's hard. I get frustrated, overwhelmed, and discouraged every time I write or revise. There's some delicate balance I need to learn this year – a balance of pushing myself to write daily even when it's a struggle while also being kind to and supportive of myself.
Recently, I read Ann Patchett's essay "The Getaway Car" and found it to be a very helpful read on the matter of creating habits out of hobbies. Granted, Patchett did sell her first book for a large sum of money and has been successful since. There are, perhaps, craft essays by writers whose path was a little more realistic.
Regardless, what all writers of any level of success have in common is that they all swear by the daily writing process. Writing daily, or at least writing regularly, on a schedule. Making writing a priority right up there with work, and students, and errands, and personal hygiene.
Now, I'm no sheep. I wouldn't walk off the proverbial jagged cliff if Ann Patchett did first. I'm also not trying to follow anyone else's exact path. That being said, if someone has excelled in a field that you aspire to also excel in, shouldn't you listen to their advice? Or, in this case, most writers who excel give this same advice: writing daily. I can't spend any more time not hearing this or not heeding it.
Also, I plan to keep a daily log of my writing activity. Last spring, I read Steinbeck's Working Days, a journal of his writing of The Grapes of Wrath. In fact, this was the only required text in Craft of Fiction: one writer's daily journal through a process of writing one of the great American novels. Steinbeck's entries are short and often written in sentence fragments with character names abbreviated. He's not trying to impress anyone in his writing journal. And yet, the collection of these short, daily snippets shows the expanse, the pursuit of the project. There are days he can't get work done. There are days when he's nervous and too hard on himself. There are days when he writes two chapters before dinner. His vision is clear throughout (again perhaps not the most realistic example), and he stays on track, continuously protective of his writing schedule.
I'm not going to call this a resolution. I'm resolved and all, but I'm not good with resolutions. This is a pursuit. A pursuit I know going in will be a struggle, and I will probably fail more than once. But I'm going to allow failure to be part of the process.
People Who Look Like Authors, Vol. 2
Posted on August 21, 2014 Leave a Comment
Dear John Barth, you're a lucky man because you look like one of my oldest and dearest friends Alex Byrd… well, when he was bald, at least. In fact, the resemblance is so close that I think there may be some similar DNA up in there. Regardless, I've only read a few of your stories, Mr. Barth, but I want to thank you for your obsession with Metafiction. You see, I get it. How can one not look to the genre that's perpetuating, facilitating all of one's truths? Why must the genre be a mere definition and not a thing to be exalted on high or at least studied within the work itself?
The English Major in Peril & What the English Professor/Instructor Can Do About It
Posted on July 17, 2014 3 Comments
Why study literature? Why major in English at all these days? These were questions that teachers, friends, and family asked me during my undergraduate studies ten years ago, but now, undergrads who love literature face an even harder decision; they feel they must choose in most cases whether to study what they love and face the prospect of few job opportunities and low wages or whether to pick a different major that will pay the bills. What this means of course is that the study of literature on the college level is in peril. In a faculty meeting last year at LSU, the department chair strongly encouraged the professors and instructors to look for strong students with aptitudes for reading and writing and convince those students to consider majoring in English. "We're hemorrhaging English majors" is how the dilemma was put. Without students, there wouldn't be a need for English departments or English professors. Therefore, a primary goal of the English professor in today's world has got to be the preservation of the study of literature and writing and all fields and sub-fields therein. In order to preserve what we know to be a vital and relevant course of study, we must carefully consider how we approach our literature and writing curriculums.
How does the literature professor or instructor compete with today's buzzing and ringing world? As Roger Kuin notes, "we should never forget that in today's undergraduate teaching we are dealing with the vulnerable, the open, the intellectually virginal, the easily bewildered, the preoccupied, who have little background, little time, and little money. We should ask ourselves continually, what our goal is in teaching them the Renaissance. What do we want to accomplish" (qtd. in Showalter 25). In addition to clearly defining what we want to accomplish, we have to figure out how to accomplish it. A highly effective method of teaching canonical literature is to pair close reading with Prezi presentations, social media platforms, websites, movies, and memes. The traditional students in today's college lecture halls have birth years just before the year 2000. They were born into a world already addicted to the Internet and social media. It's no surprise then that pairing Shakespeare's The Taming of the Shrew with Gil Junger's 10 Things I Hate About You (1999) might mean more to some students than the text alone. The possibilities for incorporating technology and popular culture into the literature classroom are endless, and we shouldn't shy away from these opportunities or brush off them off as silly or extraneous.
When it comes to teaching theories, I believe in a combination of both subject-centered and student-centered methods. Without a structured emphasis on a "subject," the class loses its focus and can begin to seem superfluous to the students. However, assuming that a course is focused on a subject and taught by a knowledgeable teacher, the focus should then be on the students and fostering whenever possible opportunities for hands-on, active learning that will lead to some kind of tangible skills applicable to life outside the classroom. Close reading is a very real skill, and we shouldn't forget to emphasize to our literature students that learning to read well and analyze what is read is one of the most important, real-world applicable skills a student learns in college.
A staple of the literature classroom is the ever-dreaded student essay (dreaded by the students but sometimes the teachers, as well). A traditional model for assigning essays in many literature courses is a short paper before midterms and a longer, final paper near the end of the course. Though, another method is assigning short, weekly essays. Regardless of which model a teacher adapts, Paul Ramsden has a point when he says "there ought to be a definite educational justification for every activity, every piece of content, that is present in a course of study. Tradition and habit are not satisfactory educational reasons" (qtd. in Showalter 25). First and foremost, an essay shouldn't be assigned if it's not somehow beneficial practice for the student. Assigning essays as a form of "busy work" is a waste of time for both students and teachers alike. Furthermore, in the literature classroom, we can't assume that our students have taken Composition I and II or that they know anything at all about writing an essay, which is why I think all literature courses would benefit from the instructor giving a tutorial on paper writing in order to prepare both undergraduate and graduate students for the kind of essay (both in terms of quality and genre) that the instructor expects of the students. This kind of preparation is especially effective when paired with useful and timely feedback, though timely isn't always easy when there are 100 essays to grade.
But, are two longer papers really needed? Some instructors definitely think so. Don't get me wrong: I think that it's highly important for students to have experience reading, researching texts, and composing arguable, original essays, but the average English major is going to write dozens of these papers throughout his or her college career. Why not give our students assignments in which we ask them how would you teach this text or how would you have written this chapter differently, allowing the students an opportunity to explore their own pedagogical or creative interests. In graduate classes, why not allow more time for discussions on professionalism, like how to submit to journals and how to write a seminar paper? Why not workshop seminar papers in graduate classes instead of assuming that all graduate students have already learned the skills of scholarly academic writing?
Last and perhaps most importantly, the teaching of literature on the college level needs to be talked about, researched, workshopped, written on – how to teach literature needs to be taught, a topic discussed by Elaine Showalter in her book Teaching Literature. The instruction of college writing (Composition and Rhetoric) is well researched and continues to be researched. Graduate teaching assistants in English are taught how to instruct college writing in classes aptly called "Teaching College Writing," but rarely if ever do we come across a class titled "Teaching Early American Literature" taught within an English Department. The idea has seemed to be that the student learns how to teach literature from taking numerous literature courses, but this does not always translate. If you've learned from a talented literature professor, you know that there's a definite skill – something beyond mere passion alone – that makes these professors so effective in their teaching. Talent like this needs to be shared with and fostered in the next generation of professors and instructors. It is the responsibility of today's tenured professors to teach graduate students and young instructors 1) how to effectively teach canonical and contemporary literature to today's youth, 2) how to bring the world of technology into the classroom, 3) and how to preserve our field of study for generations to come.
What can we say to our students when they ask us why they should major in English or why they should sign up for a literature course? Maybe we should be candid and open in our response. Are there higher paying jobs or courses that require fewer essays? Yes. But there's more to consider. There ARE job opportunities in English and literature. I know because I have one. In any field of study, there are jobs available for those who work hard and excel. Maybe too we should get back to the basics of the literature academic. In Literary Theory, Terry Eagleton writes, "English [is] not only a subject worth studying, but the supremely civilizing pursuit […] English [is] an arena in which the most fundamental questions of human existence – what it mean[s] to be a person, to engage in significant relationship with others, to live from the vital center of the most essential values – [are] thrown into vivid relief and made the object of the most intensive scrutiny" (qtd. in Showalter 22-23). Literature academics, we should tell our inquiring students, are not simply reading dusty books in their dark offices. They're examining the greatest writing of the ages and life and culture, and since most universities don't have Epistemology departments, studying literature is one of the closest ways of studying the meaning of… well … everything.
Work Cited
Showalter, Elaine. Teaching Literature. Malden, MA: Blackwell, 2003. Print.
Publishing Children's Books: An Interview with Maggie Smith-Beehler
Posted on May 25, 2014 5 Comments
Maggie Smith-Beehler is a freelance writer and editor, award-winning poet and author, and former college-level creative writing and composition instructor. With 14 years of professional writing experience and 10 years of editorial experience in educational and trade book publishing, she has worked for such publishers as the Junior Library Guild, Darby Creek Publishing, and McGraw-Hill.
Maggie, I very much appreciate you agreeing to answer some questions for PrettyRedShoes. Could you tell us a little bit about your work experience in the field of children's book publishing?
I sort of fell into it, honestly. After earning my MFA in poetry from Ohio State, I took a teaching job as the Emerging Writer Lecturer at Gettysburg College in Pennsylvania, and when that one-year position ended, I moved back home to Columbus. I wasn't sure what I would do next. I ended up interviewing for an assistant editor position with Darby Creek Publishing, a boutique children's book publisher. I got the job. The parent company of DCP also owned the Junior Library Guild, a children's book subscription service for librarians. The JLG editorial offices were headquartered in New York—and still are—but as an editor for DCP, I also worked for JLG.
For Darby Creek, I worked closely with our brilliant editorial director to develop the books. I read and responded to the "slush" (unsolicited submissions from writers), requested revised proposals or samples from prospective authors, and worked one-on-one with prospective authors to develop viable projects, including editing manuscripts and coordinating revisions. I reviewed and approved page proofs. I was also glad to put my writing skills to good use there, crafting and editing cover and flap copy, catalog copy, and marketing materials.
For the Junior Library Guild, I read all of the trade books selected by the editors in New York (approximately 264 titles per year, in galley/pre-pub form) and wrote and edited promotional and descriptive copy on each title for print and the Web, including a summary for each book, catalog copy, and general marketing collateral. It meant a lot of reading, a lot of writing, and a crash course in publishing trends for grades pre-K through 12.
I stayed with the company for two years, working for both DCP and JLG, until taking a position as an editor for an educational publisher. That was almost 10 years ago. Since then I've worked in educational and academic publishing (as opposed to trade book publishing), first as an in-house editor and now as a freelance writer and editor.
What is the accepted format for submitting to a children's book publisher? Should the writer submit a proposal or send the full story? Is there a certain format, and is sending a cover letter with a biography standard?
My best advice, and this applies to any submission of any genre for any publisher, is to do your research. Look at the company's website. It likely lists guidelines, and if it does, you should follow them. If guidelines are not available, use your best judgment. For example, if the manuscript is brief (say, for a picture book), send the whole thing, along with a professional cover letter that tells the publisher a little bit about who you are and any previous publications or special credentials you may have. (If the book is a nonfiction book about primates, and you're a zookeeper, you should certainly mention that.) If the manuscript is longer (say, with multiple chapters or sections), I would send a few chapters or sections, and be sure to explain the purpose and "arc" of the whole book in your cover letter. If the publisher is interested, you'll be asked to submit the whole manuscript for review. (To this end: Edit your cover letter and manuscript. Then edit it again. Then have a friend edit it. You might have a fantastic idea, but typos and grammatical issues will send a signal that you're not someone who should be taken seriously.)
When you go through a slush pile of submissions or proposals, what makes a certain children's book stand out over all the others?
First of all, don't underestimate the power of a clean, streamlined, well-written presentation. Go with a basic, readable font (Times is the go-to, but I prefer Garamond). No Comic Sans. Use black ink on standard 8.5 x 11 white paper. No binders. No plastic cover sheets. Nothing cutesy.
Make sure the bio tells enough but not too much. (The editor won't care that you like to crochet or fix cars or that you've won the local chili cook-off ten years running.) Also, look out for clichés, both in your manuscript and in your description of it. Publishers are looking for the next thing, so if you describe your work in a way that feels stale, the editor reading the slush won't have a difficult time placing it in the "no" pile.
Most of all, again, do your research. Read a lot of children's books so that you have a sense of the market, because the publisher certainly does. I was always impressed when a writer would a) Assure me that no other book exists on the topic, or b) Mention that other books exist but then go on to detail some of the ways that this book is better, more comprehensive, more exciting, and so on. Publishers are always thinking about the competition for a book. There's no sense in publishing something if the information (or plot, in the case of fiction) is already out there—unless this book can do something those books can't.
Are there any common, fatal mistakes made by first time writers?
Yes. See my advice under #2 and #3 for how to avoid many of them.
I have read that a writer should submit their children's book for consideration without illustrations. Is this true? If so, why is that?
In most cases, yes, this is true. The exception is the trained artist who's written a picture book. If you're a writer, however, and you've written manuscript for a picture book, submit the manuscript only. If you're lucky enough to survive the slush, the publisher will choose the artist. (Just remember: You know your artistic ability. Does it measure up to your own favorite picture books? In the slush pile, a viable manuscript can be sunk if paired with poorly rendered drawings.)
Once a children's book has been accepted for publication, does the writer get a say about the illustrations?
It depends on the publisher—and on the writer. You'd better believe that big-name writers have a lot of pull when it comes to the art in their books. But what about the rest of us? I'd like to believe that the majority of publishers are open to input and are respectful of an author's wishes. However, when push comes to shove, the investment (and, therefore, the financial risk) is the publisher's.
Here's a piece of related advice: Do your best to maintain an honest, professional, respectful relationship with your publisher. I know you're passionate about your book. It's your baby, and you've spent a lot of time and effort on it. But if you're lucky enough to have a book published, you'd like to have the shot at it again, and you certainly don't want to come across as difficult to work with, stubborn, etc.
Are there any types of publishers that new writers should avoid?
Yes. They're commonly called vanity presses. You should never (nevereverevereverever) have to pay to have a book published. Some presses may charge small reading fees to consider your work (though many will read unsolicited submissions for free), but no reputable publisher makes you pay to have your own work in print.
Are there any children's book storylines that are considered cliché in the industry and therefore almost always rejected?
Although some plotlines have been done a million times—the coming of age story, the losing and regaining a friend or significant other story, the journey (both literal and metaphorical) story—as long as they are compelling, well-written, and brought to life, they'll continue to be published. Why? Because there's something about them that rings true, something that speaks to the universal human experience. And because, above all, we enjoy reading them.
People Who Look Like Authors, Vol. 1
Posted on February 27, 2014 Leave a Comment
Dear John Steinbeck, Happy 112th Birthday! It sucks that you're no longer among the living. A cool cat named Kevin Armstrong favors you in your younger years, and he is keeping California in check for you! Also, Google (a search engine on this thing we call computers) has posted a really classy and literary tribute to you. Finally, thank you for your creative work and for keeping journals that would later be published and help young writers like me.


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Added-value services
Companies often require help with shipments in other ways and a freight forwarder will in many cases be set up to offer services which may include:
Export packing / professional packing
Supply of heat-treated pallets
Refrigerated storage / delivery
Roll-on / roll-off transport of cars, trucks etc.
In summary, the phrase that has been used of the freight forwarder, that he is the 'Architect of Transport', is surely justified. It is hard to imagine how international trade could function without his services.


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Middlesbrough | 11th October 2019 | 8.30am - 1.30pm
Primary school event at North Ormesy Primary Academy
Since 2012 we have been visiting schools around the UK working to reduce teacher workload, improve learning outcomes, and support the use of education products that are proving their impact. We are delighted to read that the 2019 edtech strategy from The Department for Education will be driving towards the same goals.
For the 26th April, we will bring you an action-packed agenda full of practical ideas to strategically reduce marking, lesson planning and back office admin - to name just a few of the key pain-points schools are facing regarding workload.
What to expect from Lead LIVE Middlesbrough
- Breakfast & networking
- Welcome from the team
- Education Speed Date - 10 innovative tools to reduce teacher workload
- Edtech Impact: A world of evidence-informed edtech
- Keynote - Christabel Shepherd
- Champagne & EdTech Prize Draw
- Peer to peer panel discussion
- Hot lunch & networking
About the Speakers
Christabel Shepherd
Executive Head Teacher at Copthorne and Holybrook Primary Schools
Christabel is a National Leader of Education, leader of the Exceed SCITT English programme, facilitator for the NPQSL, Pupil Premium Reviewer, and a system leader of school-to-school support. She has extensive experience of leading on school-wide provision for more able learners, having used the NACE Challenge Framework to audit and develop provision in two schools, with both going on to achieve the NACE Challenge Award.
Who is the event aimed at?
- Headteachers
- Business managers
- Deputy headteachers
- Assistant headteachers
- Subject leaders
- Tech leaders
- Curriculum / Phase coordinators
How much does it cost to attend?
Everything we do is free for schools, and this event is no different. Two complimentary tickets are available per school, which include breakfast, refreshments and an executive lunch.
We have space for 50 delegates per event, so we strongly recommend you book your ticket in advance!
What happens next?
Once you've registered, you don't need to do anything else - we'll send you emails in the countdown to the event with exciting and important updates. All we ask is that if you can no longer make the event, let us know in advance or send another SLT in your place.
Event partners
Can't make this event?
Check out other Innovate My School events in your area here: www.innovatemyschool.com/upcoming-events.


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Munjal-Burman's winning bid for the beleaguered hospital chain raises more questions than answers
How India's public health expenditure still lags behind many other countries
Healthcare IT player Attune Technologies has already processed 2 million patient records -- and counting
Narayana Health's founder Devi Shetty on why Narayana Hrudayalaya adopted path-breaking practices from the very start
MediBuddy reminds people about prioritising their health, and the campaign couldn't have come at a more crucial time
For Siemens Healthcare MD & president Gerd Hoefner, sportsmanship does not end off court, he takes his basketball lessons to the boardroom
Now that Apollo Hospitals' aggressive capex is done, analysts believe it is time to buy the stock
Doctors can now preset a surgery, sit back and gently guide a robot to do the procedure, even remotely
From e-clinics and virtual diagnostics to apps that alert your doctor when you miss a dose, healthcare just got way more accessible
With its Soap with a Lump initiative, Lux stresses on the importance of self-examination and early detection of breast cancer
This healthcare app hopes to bridge the distance between patients and doctors, through real-time info sharing
Dr Lal Pathlabs stands out for its unique hub-and-spoke business model and strong return ratios
With acquisition of GSK Consumer Healthcare, HUL becomes the largest foods company in India. But will the expensive bet pay off?
A committed marathoner, Rohit Sathe, the president of Philips India Healthcare, has a weakness for milky mithais and that shot of espresso
Experion has been able to capture new markets with a focus on technology-services
Apollo Munich Health Insurance offers hope through its cancer insurance plan iCan
Clensta's waterless products for personal hygiene could be a game-changer for the healthcare industry and defence forces
Despite promoter woes and possible contingent liabilities, Fortis is an asset that many are willing to fight over
After reviving the family healthcare business and expanding into education, Manipal Group's Ranjan Pai has set another ambitious target
Ever noticed how emotions influence your spending habits and sometimes leads you astray? Dan Ariely has answers to counteract them
The FY19 Budget could more likely chase votes than growth
After establishing its footprint across India, MUrgency is hoping to take its emergency medical response network global
Sameeksha Capital's founder is impressed by PSP Projects' execution and capital efficiency
JioVio's homecare kit is an ideal companion for pregnant women
Xpheno raises the bar in flexi staffing by renting highly-skilled engineers and technicians
The director of Urmin Group thinks making money in the stock market makes one lazy


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- Info
- Reviews
- Share
Soul Tax
You're a ghost who fell through the cracks of the system when you died. You see, all ghosts are required to pay taxes. SOUL taxes. For eight years you've been haunting this corporate building that was built on top of your old house, totally oblivious to your Soul Taxes, and now your delinquency is coming back to haunt YOU! The reaper is here to collect every last soul you owe, but since he's a nice guy he's willing to help you out. All you have to do is totally murder a bunch of people and steal their souls. Good luck!
As Always, Good Luck and Have Fun.
How to Play:
Arrow Keys: move / jump
Space: possess / unpossess
Z: punch (high damage, no knockback)
X: kick (low damage, knockback)
C: special ability


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Episode 143: Kenny Vaughan Remembers Merle Haggard
Kenny Vaughan shares stories about being around one of the all time great artists, Merle Haggard.
You can listen to Mount Renraw in it's entirety on the player below. Please help us spread the word by sharing this with your friends and/or including Mount Renraw on your next Spotify playlist. Mount Renraw by Otis Gibbs
Episode 142: Mount Renraw
Otis tell stories and shares a preview of his new album, Mount Renraw.
This is my love letter to the back roads and byways of old, weird America. From my new album, Mount Renraw (released January 13th, 2017). Thank you kindly for sharing this with your friends and helping me get the word… Continue Reading
It took me two hours, but I found the London alley where Dylan and Ginsberg stood in Subterranean Homesick Blues. pic.twitter.com/ybNYXwqsXJ — Otis Gibbs (@OtisGibbs) July 21, 2014
Episode 141: He Stopped Loving Her Today
Legendary recording engineer, Lou Bradley talks about recording George Jones' all time classic, He Stopped Loving Her Today.
Episode 140: Behind Closed Doors
Legendary engineer, Lou Bradley shares memories of recording Charlie Rich's classic album, Behind Closed Doors. Lou shares stories about Charlie Rich, Billy Sherrill, Pig Robbins and everyone else involved in making this all time classic album.
I visited a church in Bean Blossom, Indiana yesterday. You may have seen the news stories of it being vandalized. This area has always been special to me. I shook hands with Bill Monroe across the street from this church… Continue Reading
Fall Tour Dates In Europe
Breakfast in northern Georgia. The waitress keeps calling me Yankee and we're the youngest people in the place. You can have your overpriced, overhyped, artisan, lifestyle joints that the NY Times raves about, I'll take mom and pop restaurants like… Continue Reading
Episode 138: Billy Bragg Tells The Story Of Skiffle
Billy Bragg explains how Skiffle made the British Invasion possible.


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Welcome to Evan Lublinski's Rock Album Reviews, a site devoted to assessing and dissecting the best rock music of both the past and present.
The site is dedicated to the pioneers of online rock music reviewing who inspired me to create this page, including but not limited to George Starostin, Mark Prindle and John McFerrin.
Here are a few helpful features to help better explicate this site:


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Montana Bridge Access Bill Headed to Senate Floor
Despite disgruntlement among some landowners over "prescriptive easements," HB190 will head to the Montana senate floor for debate this week, after being passed virtually unanimously by the house and being reviewed in committee. "HB190 seeks to end a dispute that erupted in 2000 when landowners in Madison County, including billionaire absentee landowner James Cox Kennedy, put fences on county bridges. Sportsmen contended these fences denied them their right to access to public streams and rivers under Montana law." Charles S. Johnson on Helenair.com.
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"That Rainwater Is Spoken For"
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California's Bishop Creek Basin


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Choosing the right bedspread commonly has to do with three standard aspects: cost, upkeep, and style. Individuals who buy bedspreads are usually looking for an appealing bed covering that is simple to look after, while still providing a lot of choices in colors and textures, all at a practical rate. Fortunately, there are numerous methods that can make the procedure of selecting the perfect bedspread for your space.
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Other pillowcases in the market today are a little coarse and even if it claims to be made from one hundred percent silk, it does not have the luxurious quality of premium and authentic silk pillow cases. There is no contesting that superior quality silk pillow cases are your finest selection and the greatest quality of silk textile the market today can provide.


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2L Digital Jewelry Watch Coins Ultrasonic Cleaner DR-LQ20 with Heater and Timer
Enhanced Cleaning - add a few drops of standard liquid soap or detergent into the water, some basic. Acidic cleaning agents can be used also. Extensive Cleaning - Removing tarnish, carbon and rust from non-plated metals. It is recommended to use.
Specialist cleaning solution in associated using Ultrasonic cleaner. If you are dissatisfied for our product and service, please tell us the reason, before you leave negative or neutral feedback, give us the opportunity to Improve, we will try our best to do it well. Thank you for your understanding. The item "2L Digital Jewelry Watch Coins Ultrasonic Cleaner DR-LQ20 with Heater and Timer" is in sale since Tuesday, March 27, 2018. This item is in the category "Jewelry & Watches\Jewelry Design & Repair\Jewelry Cleaners & Polish".
- Brand: Derui
- Type: Ultrasonic
- Country/Region of Manufacture: China
- Tank size: 2L/150×138×100mm
- Ultrasonic / Heating Power: 60W / 100W
- Power Supply and Plugs: 110V/220V different Plugs for your country
- Material: Stainless Steel SUS304
- Frequency: 40KHz
- Used for: Clean Jewelry Watch Glasses
- Certification: CE&RoHs&FCC


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This wedding photo of the bride was created at the beach in Jacksonville during sunrise hours. The light was so pretty and the bride didn't mind to walk in the water for this photo.
Location: 503 1st St N, Jacksonville Beach, FL 32250, USA.Keywords: Beach (3), Bridal portrait (21), Landscape (48), Posed portrait (165), Summer (225), Sunrise (3), USA (21).


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Just a quick post before I head to bed to show you the shopping look I put together for my wander to the various events which are on at the moment. I decided to go a bit autumunal after all the candy inspired looks I have been wearing this week. However the pose is by *[Starry Heaven]* at the Candy Fair.
I discovered this great jewellery store called [AMNESIA]. The pieces look great with chunky beads and each style comes in several colour options so you can easily match your outfit. There were also a couple of introductory items at the front of the store which were less than $100L each so a great way to see if you like the style. However the full priced versions were each less than $300L which is a bargain for these beautiful pieces.
My skin was Essences FLF item yesterday. I don't know if its still available but these skins just get better and better so even if it's not there are lots of great skins to choose from in the store.
Then finally my top and jacket are part of a set by R.icielli at the Avenues Fashion Week and my hair is by /Wasabi Pills/ at this months FaMESHed. I teamed the jacket and top with a skirt rather than the shorts that come with the set as its a bit more practical to wear a skirt whilst shopping than hot pants even if the hotpants look awesome too.
The Outfit
Hair: /Wasabi Pills/ Jade Mesh Hair – Blonds Pack @ FaMESHed
Skin: Essences – Lily *light rose* ginger & blonde @ Fifty Linden Fridays
Necklace: [AMNESIA] DESTINY Mesh Necklace / Brown Beige
Top and Jacket: Ricielli for Avenue FW – Look #4 @ Avenue Autumn/Winter Fashion Week
Skirt: .:vive nine:. Rej Leather Pleated Mini – Chocolate
Tights: ~Cannibelle~ Dinky Dots Tights with SLink Appliers
Boots: *League* Lauren Wedge Boots -Taupe
The Pose: *[Starry Heaven]* Kipi Poses @ Candy Fair Sim One


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The Weeki Wachee Community Group meets every other Friday at 6:30 pm at the home of Christine Stephens.
If you sometimes ask yourself hard questions about your faith and the ways in which God works, then this may be the group for you! The group is casual in nature. You can brink a dish to share if you would like.
Contact the church office for more information at email@example.com.
Copyright © 2020 naturecoast. All Rights Reserved.


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