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The DR181 is the latest version of the reliable and popular DR180 series. The DR181 in a 12-lead configuration records 12-lead / 9 channels of data without shortcuts. The 12-lead system does not use arithmetically derived or reconstructed data from non-standard Holter lead hook-ups. It provides a high quality research and clinical evaluation tool. The DR181 12-lead settings can be adjusted to fit the 12-lead recording requirements, intervals and strip lengths are also adjustable.
- Meets EC-11 and EC-38 standards;
- Ergonomic design and proven reliability;
- Removable digital storage memory (compact flash);
- Reimbursement for all applicable CPT (Current Procedural Terminology) codes for Holter;
- Shielded cables and Pacemaker detection standard;
- Foreign language interfaces;
- Industry-leading 3-year warranty;
- Cable options – 5-lead, 7-lead or Oxymetry (oxy plus 5-lead) cables;
- Maximize good quality recording cycles;
- Reliable digital recording;
- Pediatric (high sensitivity mode);
- Compatible with NorthEast Holter LX® Analysis software.
- 12-Lead Patient Cable
- Recorder Pouch and Straps
- DR181 Battery Door Cover
- DR181 12-Lead Hook-up Kit
- DR181 Memory – SD Flashcard
- Nonin Sensor Finger Probe
- Nonin Flex-wrap pkg – 25
- Nonin Flex-Wrap (infant) pkg – 25
- Nonin Finger Clip
- Nonin Ear Clip
- Nonin Forehead Sensor
Ordering Info
(2) 10-lead/12Channel patient cable
(3) 10 wires for 10-wire/12 channel patient cable (wires only)
(4) Pouch with shoulder and waist strap
(5) 2GB SD Flash Memory Card
(6) Users manual
(7) Hook-up guide
(8) Hook-up kit[/info_list_item][info_list_item list_title="Ships within:" list_icon="Defaults-plane"]7 business days[/info_list_item][info_list_item list_title="Manufacturer's Warranty: " list_icon="Defaults-thumbs-o-up"]
NorthEast Monitoring, Inc. warrants that the company's products meet the labeled specifications of the products and will be
free from defects in materials and workmanship under normal consumer usage for the period(s) outlined below.
Warranty Period for:
a) Holter Recorders, Event Recorders and combination Holter/Event Recorders is Three (3) years from the date of shipment from NorthEast Monitoring, Inc.
b) DR180+ and DR181 Holter Recorder Shielded Patient Leads, including the DR180+ and DR181 Oximetry Shielded Patient Leads is Six (6) months from the date of shipment from NorthEast Monitoring, Inc.
Note: Due to the limited life of the oximetry sensor, this part of the cable system is not under warranty.
The warranty is void in cases of:
a) Acquisition of Products through Unauthorized Channels (applies to products delivered outside the US only).
b) Periodic maintenance, repair and replacement of parts due to normal wear and tear
c) Defects or damage that result from improper operation, storage, misuse or abuse, accident or neglect, such as physical damage (cracks, scratches, etc.) to the surface of the product resulting from misuse; contact with liquid, water, rain, extreme humidity or heavy perspiration, sand, dirt or the like, extreme heat, or food; subjecting the Product or Accessory to abnormal usage or conditions.
d) Use of Non-NorthEast Monitoring, Inc. Products and Accessories;
e) Unauthorized Service or Modification;
f) Products or Accessories with (a) serial numbers or date tags that have been removed, altered or obliterated;
g) Software Embodied in Physical Media;
h) Products that are Lost or Stolen.
If a product covered by this warranty is determined to be qualified under this warranty,
and the warranty claim is made within the warranty period, NorthEast Monitoring, Inc.
will, at its discretion, repair or replace the defective part(s) free of charge.[/info_list_item][/info_list]
Request More Information
[si-contact-form form='5′]


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|SA National Motocross Round 3 Report
|Tempe, Bloemfontein, free State
|Saturday 19 May 2018
|South Africa National.
Tennant's Bloem four out of four
Q4 Fuel Husqvarna Racing totally dominated the senior classes in Saturday's third round 2018 TRP Distributors SA National Motocross Championship in Bloemfontein in the Free State as Caleb Tennant stormed to four wins out of his four races in both the 450cc MX1 and 250cc MX2 classes to see him move into the championship lead in both classes. Tennant's Q4 Fuel Husqvarna teammates Maddy Malan made it a Husqvarna 1-2 in MX1, while young Niel van der Vyfer took fifth for the day in the 65cc class.
"Saturday still feels quite surreal to me," Caleb admitted. "I have put so much heart and effort into this sport and my riding, and to have it pay off like it did yesterday has been the most incredible feeling — we could not have wished for a more perfect day in Bloemfontein. "I qualified in pole position for both classes and won all four motos after taking the holeshot and leading all the way with the quickest time in every heat, against the most talented and hungry racers in the country to walk away with the points lead in both championships!
"I could not thank enough, the team and people I have in my corner — it is so awesome to have the support I do from them and I cannot thank my team Q4 Fuels Husqvarna Racing enough too — from Fred and Morne for all their efforts, to my dad, my mechanic Shaun as well as Anthony and Willie, to Mark du Plessis for all the effort he has put into my suspension and of course all my sponsors."
It was a mixed weekend for Maddy Malan, who took a third and a second to make it a Q4 Fuel Husqvarna 1-2 in MX1 overall, but a collision saw him out of the opening MX2 race before Maddy bounced back to third in the second moto. "That was a tough weekend," Maddy explained. "We did a 1-2 in MX1 and congratulations to Caleb on his huge weekend, but I came together with another rider in the first MX2 moto and that destroyed my front wheel. "That is racing I suppose, but I have to thank the Q4 Fuels Husqvarna Racing lads for getting me back out for race 2. "Now I need to get back on top next time out, but a huge thanks to the team and everyone else for all the help and support."
Little Neil van der Vyfer continued to impress in his step up to the 65cc class aboard his Q4 Fuel Husqvarna. "We had another awesome day at the 3rd round of the motocross nationals in Bloemfontein," Neil confirmed. "I had a solid first heat and finished fourth, but I struggled to find my rhythm in the second moto, although I still managed a decent sixth place in that race, which brought us fifth overall for the day, so many thanks to my dad and my team and everybody behind me."
"The Bloemfontein national motocross weekend is something of which dreams are made," Husqvarna Motorcycles South Africa Brand Manager Fred Fensham concluded. "Caleb Tennant did an incredible job to totally dominate the senior classes for Q4 Fuels Husqvarna Racing and to take charge of both the MX1 and MX2 national championship chases. "Neil had a good day in the 65cc class and he is making steady progress — now we can't wait for our home race at Terra Topia.
Issued on behalf of Husqvarna Motocross
For further information please contact firstname.lastname@example.com
Click on thumbnails to Download images

subset: commoncrawl


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Introduction: Take Control - Turning LED On/off With a Button.
Hey guys! Want to learn how to read input into arduino and use it to control the output? Well here you've got the perfect tutorial on how to do so! In this instructable, I will guide you through the simple steps needed to make an led glow when a button is clicked an turn it off when it is clicked again.
Teacher Notes
Teachers! Did you use this instructable in your classroom?
Add a Teacher Note to share how you incorporated it into your lesson.
Step 1: Step 1: Downloading the Arduino IDE
Download and Install the Arduino IDE (Interactive Development Environment) using the link below:
Choose and save the version that best suits your operating system and configuration.
Step 2: Step 2: Hardware Materials
- 1 Arduino board
- 1 breadboard
- 1 Button
- Jumper wires
- Resistors
Step 3: Step 3: Building the Hardware
1) Connect one pin of the LED to port 5-e and the other at 6-e on the breadboard.
2) Connect one end of the jump wire at port 13 on the arduino board and the other end at port 5-a on the breadboard.
3) Connect one end of the second jump wire at port GND (ground) on the arduino board and the other end at port 6-a on the breadboard.
4) Add a button which will act as an input
5) Above picture shows how the connections should look like.
Step 4: Step 4: Downloading and Running the Program
Download the attached arduino program to your laptop. Connect the arduino to your laptop, and run the program. You should have a LED that turns on and off with a button click.
Step 5: Step 5: Understanding the Program
LED has two methods:
- digitalWrite(ledPinNumber, HIGH) which sends a HIGH signal to LED making it glow.
- digitalWrite(ledPinNumber, LOW) which sends a LOW signal to LED turning it off.
In setup method, declare pin 4 as Input and intializes buttonOn as false. pin 7 is declared as output.
In loop method, the current value of button input is read. if it is pressed, it toggles the button from off to on. Next time the button is pressed it toggles from on to off. Delays are added to reduce noise and avoid changing the output too quickly. When buttonstate is On, HIGH is sent to LEDPin causing the LED to glow. When buttonState is Off, LOW is sent to LEDPin causing the LED to turn off.


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1. SMOKE SCREEN, by Sandra Brown. (Simon & Schuster, $26.95.)
2. THE BOURNE SANCTION, by Eric Van Lustbader. (Grand Central, $25.99.)
3. ACHERON, by Sherrilyn Kenyon. (St. Martin�s, $24.95.)
4. THE GUERNSEY LITERARY AND POTATO PEEL PIE SOCIETY, by Mary Ann Shaffer and Annie Barrows. (Dial, $22.)
5. MOSCOW RULES, by Daniel Silva. (Putnam, $26.95.)
1. THE OBAMA NATION, by Jerome R. Corsi. (Threshold, $28.)
2. STORI TELLING, by Tori Spelling with Hilary Liftin. (Simon Spotlight, $24.95.)
3. THE WAY OF THE WORLD, by Ron Suskind. (Harper, $27.95.)
4. ARE YOU THERE, VODKA? IT�S ME, CHELSEA, by Chelsea Handler. (Simon Spotlight Entertainment, $24.95.)
5.WHEN YOU ARE ENGULFED IN FLAMES, by David Sedaris. (Little, Brown, $25.99.)
1. THE LAST LECTURE, by Randy Pausch with Jeffrey Zaslow. (Hyperion, $21.95.)
2. THE SECRET, by Rhonda Byrne. (Atria/Beyond Words, $23.95.)
3. YOU: STAYING YOUNG, by Michael F. Roizen and Mehmet C. Oz et al. (Free Press, $26.)
4. JUST WHO WILL YOU BE?, by Maria Shriver. (Hyperion, $14.95.)
5. DECEPTIVELY DELICIOUS, by Jessica Seinfeld. (Collins/Harper/Collins, $24.95.)
1. THE SHACK, by William P. Young. (Windblown Media, $14.99.)
2. BAREFOOT, by Elin Hilderbrand. (Back Bay/Little, Brown, $13.99.)
3. THE ALCHEMIST, by Paulo Coelho. (HarperOne, $13.95)
4. THE KITE RUNNER, by Khaled Hosseini (Riverhead, $15.95 and $14.)
5. WATER FOR ELEPHANTS, by Sara Gruen. (Algonquin, $13.95.)
1. THREE CUPS OF TEA, by Greg Mortenson and David Oliver Relin. (Penguin, $15.)
2. A LONG WAY GONE, by Ishmael Beah. (Sarah Crichton/Farrar, Straus & Giroux, $12.)
3. EAT, PRAY, LOVE, by Elizabeth Gilbert. (Penguin, $15.)
4. I HOPE THEY SERVE BEER IN HELL, by Tucker Max. (Citadel, $12.95.)
5. BIG RUSS AND ME, by Tim Russert. (Miramax/ Hyperion, $13.95.)
1. MONEY, AND THE LAW OF ATTRACTION, by Esther and Jerry Hicks. (Hay House, $16.95.)
2. A NEW EARTH, by Eckhart Tolle. (Plume, $14.)
3. SKINNY BITCH, by Rory Freedman and Kim Barnouin. (Running Press, $13.95.)
4. THE POWER OF NOW, by Eckhart Tolle. (New World Library, $14.)
5. WHAT TO EXPECT WHEN YOU�RE EXPECTING, by Heidi Murkoff and Sharon Mazel. (Workman, $14.95.)


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Making Home The Most Important Place
At DANDY Home & Ranch, you will find farmhouse-inspired housewares with a mixture of new and vintage one-of-a-kind pieces. We carry home decor, furniture, and thoughtfully curated gift items for the special people in your life. Above all, we believe that home is the most important place, and hope to inspire you to create beautiful spaces and traditions in yours.
DANDY also seeks to pay homage to our rich and diverse agricultural community. We will be featuring different farms, individuals, and products from time to time to help tell the story of the role of agriculture in all of our lives. Visit our "Yuma Grown" section for gift items that speak to Yuma's unique position as "The Winter Vegetable Capital of the World."
Let's Stay Home
At DANDY we hope you find inspiration to create meaningful spaces in your own home. Home should be a place filled with comfort & beauty, as well as love & tradition. DANDY values home and family, and seeks to offer tools and ideas to help you create a space you love and one that welcomes others.
"If you want to bring happiness to the whole world,
go home and love your family"
-Mother Theresa
Blog posts
Hours & Location
We are located at:
2500 East 16th Street, Suite C, Yuma, AZ 85365
Tuesday- Saturday, 9am-3pm.
Phone: 928.302.2120


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Friday, May 31, 2019
Monday, May 27, 2019
Canadian Skincare Brands
I've been obsessing over a few skincare brands lately and soon realized they were all Canadian brands. I thought it would be perfect to put together a blogpost featuring some of these amazing Canadian brands.
1 Lux Beauty is one of the newest brands I've been introduced to. I legit fell in love with the entire collection. 1 Lux is a Canadian brand that prides itself on clean, zeo-toxic, botanical based body care products. They are also cruelty-free. I've never fallen in love with an entire collection before...instantly.
Some of my favourite products include:
- Velvet Blonde Emollient Body Oil
- SRSLY Buffed Dry Brush
- Velvet Drops Daily Botanical Body Lotion
- Velvet Mitts Hand & Nail Créme
- Cocoiste Soft Lip Scrub
1 Lux Beauty knows how much I'm in love with their brand, so they wanted to offer you guys 20% off all products using the code 'SYDNEY' until May 31st.
Cake Beauty is a brand I've known for a while now but had no idea was Canadian. Heather the founder & CEO started the brand in Kitchener, Ontario. She wanted the brand to have that girlie indulgence but with natural ingredients. Cake Beauty has created naturally luxe confections beyond bath & body into haircare and specialty items. Cake Beauty is cruelty free and vegan. When I first tried out the hand cream and foot cream below I was genuinely shocked. They were so thick, soft and luxurious.
Some of my favourite products include:
- Cake Walk Foot Cream
- Cake Heavy Cream Hand Cream
- The Take Out Dry Shampoo Sheets
- Cake The Wave Maker
Nuda is a fairly new Canadian brand that specializes in spray tanning products. They do sell a lot of their products to tanning salons but you can also purchase the Nuda skincare line. Nuda includes natural, handpicked ingredients that are vegan, cruelty-free, made without paraben or gluten. The last few months I've been using their tanning lotion and absolutely love the natural glow is gives me.
Some of my favourite products include:
Barefoot Venus is a brand I've talked a lot about. Barefoot Venus is a Canadian brand from out west. Three sisters created the company and they make straight-up natural products in seductive scents. Everything from the packaging to the scents are truly wonderful. My mom and I are both in love with the brand and our favourite scent is Maple Blondie.
Some of my favourite products include:
What are some of your favourite Canadian brands!?
-Sydney Hoffman
* Some of these products in this blogpost have been gifted*
Posted by Sydney Hoffman at 9:09 AM 3 comments
Labels: Best Canadian Skincare, Canadian, Canadian Skincare, SkinCare
Saturday, May 25, 2019
Monday, May 20, 2019
Cottage Essentials - What to Pack for the Cottage
I was just at the cottage for the long weekend and as I was going through my products, I thought I would share what I brought and what I think is essential for a cottage weekend.
I rarely style my hair when I'm at the cottage so I love to spritz some Matrix Rough Me Up - Salt Infused Spray. It adds a little bit of texture and a little wave to my hair. Perfect for when you don't want to do much, but still look somewhat put together.
Another hair product I always bring to the cottage with me is John Frieda Frizz Ease. I like to use this after coming in from the dock. Especially if we are heading out to town I like to add a little to my hair for those frizzy flyaways I usually get when I'm out at the dock.
When I'm at the cottage I wear little makeup so this Clinique Pep-Start - pout perfecting balm is great. It's a balm with a nice touch of colour. Ideally I would love this to have SPF in it...so if anyone knows a great balm with an SPF and a bit of colour, let me know.
Speaking of SPF I usually like to bring a few options with me. I just recently tried out the Neutrogena Hydro Boost sunscreen in SPF 50 and love it. It's super hydrating and gentle on my skin. I even applied it to my face one day and I had no bad reaction. I'm thoroughly impressed with this sunscreen.
Another favourite is the Hawaiian Tropic Island Sport in SPF 30. Whenever I know I'm working out in the sun or doing a lot of activities that day I usually grab this and can count on it for being lightweight and protecting my skin.
On to my face SPF! I have always been a mineral sunscreen fan for my face. This Clinique Mineral Sunscreen in SPF 50 is fantastic. I think it does a great job at protecting my skin, with no irritation and being a great base for my makeup. In the past I've also used the Skin Ceuticals and Kiehl's mineral sunscreen for my face and have also loved those.
Whenever I'm at the cottage I know I'm usually going to be outside the whole day which is why I start off with the mineral sunscreen and then apply my tinted moisturizer after. The bareMinerals Complexion Rescue tinted moisturizer is my latest obsession. On regular days I just apply this without the mineral sunscreen because this tinted moisturizer has SPF 30. However, when I'm at the cottage I like to make sure I'm not missing any spots on my face so I apply the mineral sunscreen and then my tinted moisturizer. Although I wear this tinted moisturizer as my base most days, it really is perfect for the cottage because its lightweight and no fuss. It gives a nice glow and even complexion and thats all I need.
After sitting and playing in the sun all day going from the water to the dock, it can take a toll on our skin. Obviously I try to wear SPF all the time but sometimes I can get the odd burn which is why I like to pack the Avéne After-Sun Repair Creamy Gel. To be honest even if I don't burn but have been out in the sun all day I like to use this after the shower at the end of the night. It's very soothing and cool and feels amazing on my skin.
Now for the more random but necessary things for a cottage weekend.
Slides!! Last year I didn't have any slides and I kept stealing everyones shoes to head down to the dock. I find I'm constantly going in and out of the cottage so having slides is crucial. The furthest you go is the dock so you need something comfy, breezy and easy to slide on. Already this weekend I used these the entire time.
Slides: Roots
Hats, comfy sweaters and track pants are a must for a cottage weekend. Whenever it gets chilly at night or in the morning you will want to snuggle up in a big comfy sweater and track pants. If you are sitting out by the fire you will want a sweater and track pants so you don't get attacked by mosquitoes. When it gets a bit windy down by the water you will need your sweater. Waking up early while it's a bit cool out to drink coffee on the dock...you will need your sweater. Many, many reasons why you must pack a sweater or two. Make sure they are big and comfy!!
Sweater: Roots
Making sure you have hats is a no brainer for the cottage. Not only is a hat protecting me from the sun but usually my hair has not been brushed or styled all day so a hat just makes my crazy lake hair look a bit better.
Hat: Roots
Lastly, a great beach bag. There are some days I will throw a few things in a bag and stay down on the dock all day. Having a large beach bag is so convenient so you aren't juggling all the things you need at the dock for the day.
I know bug spray may be a common one I didn't include but if I'm out late by the fire I just cover myself up from head to toe. Bug spray just smells and feels nasty on my clothes and skin so I try to skip bug spray as much as possible.
There are definitely some things I'm missing so let me know what are some of your cottage essentials!?
-Sydney Hoffman
*Some of these links contain affiliant links and some of these products mentioned have been gifted to me.*
Posted by Sydney Hoffman at 8:24 PM 1 comments
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About the Post Graduate Program in Rural Development (PGDR), Interdisciplinary Area of CAPES (Coordination for the Improvement of Higher Education Personnel):
The Post Graduate Program in Rural Development (PGDR) began its activities in 1999 with Master's degrees and in 2003 with the Doctorate Program. The PGDR is connected to the School of Economic Sciences of the Federal University of Rio Grande do Sul (UFRGS). Although it is a new program, the PGDR is heir to a long tradition of studies about the rural environment and agriculture at UFRGS. Its creation substituted and extended the Post Graduate Course in Rural Economy (created in 1963, with the cooperation between MEC-USAID), and its headquarters is the Center for Studies and Research on Economy (IEPE/FCE/UFRGS).
The PGDR is graded 6 on the evaluation by the Interdisciplinary Area Committee of CAPES (Ministry of Education).
The program is defined as a multidisciplinary post graduate course because of the understanding that certain issues and research subjects call for approaches that go beyond discipline borders. This is the case of social, economic, cultural and environmental dynamics, which affect people, activities, resources and the rural environment. In this sense, the PGDR sees rural development as a process resulting from articulated actions that seek to cause socio-economic and environmental changes in the rural space in order to improve the well-being of rural populations.
The PGDR aims to train professionals at a Master's and Doctorate level who are able to work as professors, academic researchers and to participate in intervention actions, who completely understand methods and concepts that allow them to execute projects and coordinate planning activities towards rural development.
The Curricular Structure of the PGDR is organized by semi-annual disciplines, divided into mandatory and optional and common to both the Master's and Doctorate programs. It has only one area concentrating on Rural Development, structured in three lines of research. Besides that, professors, students and contributors of the PGDR participate in Research Groups.
In the areas of teaching and research, the PGDR also participates in national and international cooperation projects, such as the Inter-institutional Doctorate (DINTER) with the Federal Institute of Technology of the North of Minas Gerais, the Academic Cooperation Program (PROCAD/CAPES) with the Post Graduate Program in Amazon Agriculture (PPGAA), of the Federal University of Pará (UFPA) and also the Doctorate Program in Sociology of the University of Cape Verde.
On the undergraduate level, the students connected to the PGDR, besides participating in disciplines from different undergraduate courses at UFRGS, work on the Course for Planning and Managing Rural Development (PLAGEDER), on the distance education modality (EAD).
Workload: 360 credit hours
Course period: August 2014 to December 2015
Target: Undergraduate-level professionals who belong to EMATER/RS.
Participants: 1 class of 40 students.
a) Offering the professionals selected by Emater/RS the opportunity for academic specialization at a post graduate level, thus optimizing their professional performance and consolidating production locally and regionally, centered mainly on family farming, sustainability and social participation.
b) Training professionals to act as agents for sustainable rural development at regional and territorial levels, who are able to identify, investigate and make available to the extentionist teams a set of options for socio-organizational, technical and non-technical, which are compatible with the needs of the beneficiaries and their space.
Workload: 360 credit hours.
Course period: 2001
- Coordination
- Student body representatives
- Administrative
- Members
- Comissions
- Professors
- Previous Administrations (Coordinators)
The PGDR believes that people make the program and enable interdisciplinarity. The Coordination of the Program, elected every two years, is responsible for the academic and administrative management of the PGDR. The coordination always seeks to strengthen the multidisciplinary character of the program and answers to the Post Graduate Council.
The program has a multidisciplinary faculty, with permanent professors and contributors, as well as contributing researchers who are connected to different units at UFRGS and other academic institutions.
The different origins and training of the professors is an important and desired characteristic of the program. This results in the amplification of interdisciplinarity both in the training of our students and in the performance of the PGDR in research and extension programs.
It also has a technical support team that enables the PGDR to act on different areas like teaching, research and extension.
1. Academic Cooperation: universities, networks and research groups.
- Program CAPES-WAGENINGEN - Netherlands
- Program CAPES – UDELAR - Uruguay
- Academic Cooperation Agreement with the University of Cape Verde (UNICV)
- Academic Cooperation Agreement with the Eduardo Mondlane University (UEM) - Mozambique
- Cooperation Agreement with the University of Cape Verde (UNI-CV) – Cape Verde
- Red de Posgrado e Investigación en Desarrollo Rural en el Cono Sur - REDSUR
- Program of Academic Cooperation between European Union and Latin America (ALFA)
- Academic Exchange Programs – PGDR – Foreign countries
2. Other types of international insertion
3. National Academic Cooperation
- Federal Institute of Technology of the North of Minas Gerais - IFNMG
- Federal Center for Technological Education of Bento Gonçalves (CEFET/BG) and Federal Center for Technological Education of São Vicente do Sul (CEFET/SVS)
4. Institutional Partnerships
1. Academic Cooperation: universities, networks and research groups
Program CAPES-WAGENINGEN - Netherlands
The PGDR was selected by the Program Capes-Wageningen through Official Notice 020/2006, regarding projects for cooperation and exchange of professors and researchers during the years of 2007 and 2008. The project "The Heterogeneity of Rural Development: socio-technical interfaces, environmental practices and political-institutional processes in a comparative perspective – Brazil and Netherlands" had the goal of stimulating the cooperation and the formation of human resources at a post graduate level, with research, scientific production and the organization of joint academic activities.
In 2007 work and study missions (post-doctorate and doctorate sandwich programs) started to happen, with research and academic activities from Brazil to the Netherlands and vice-versa. The project is coordinated by Prof. Sergio Schneider, from the PGDR, and by Prof. Jan Douwe Van Der Ploeg, of the Department of Rural Sociology of the Wageningen University.
It is worth mentioning that the research group in rural sociology and development Wageningen University/Netherlands is among the most mentioned and productive among contemporary European rural studies, and has great influence on the academic field and the political-institutional one. The Brazilian team with the PGDR is also formed by professors Jalcione Almeida, Fábio Kessler Dal Sóglio, Marcelo Kunrath Silva and José Carlos Gomes dos Anjos, and doctorate students.
The Netherlands team has professors Alberto Arce, Henk Renting, Paul Hebink and Henk Oostindie. The partnership between PGDR/UFRGS and Wageningen University gained impulse from the visit of Professor Van Der Ploeg, in 2005, and from a frequent exchange of information and publications. With the approval of the Capes/Wageningen agreement, the perspectives of intellectual approximation gained impulse and the possibilities of more studies grew, especially in view of the exchanges on the research fields, of theoretical and methodological questions and the formation of human resources.
To this day, two study missions have been carried out, with two doctorate students, and four work missions, with short stays by professors from the PGDR. In May 2009, CAPES renewed the support for the Academic Cooperation between the PGDR and Wageningen University - WUR for two more years (2009-2011).
Program CAPES – UDELAR - Uruguay
In September 2008 the agreement between CAPES – UDELAR came into force with the research project "Systems of relations, interests at stake and public policies regarding on the South of Brazil and Uruguay: a comparative study", coordinated by Jalcione Almeida - PGDR/UFRGS (email@example.com) and Marta Chiappe - Facultad de Agronomia e Posgrado en Desarrollo Rural de la Universidad de la Republica (email@example.com).
The project seeks to determine the positions, alliances and arguments of the main agents fighting for their interests regarding biotechnology (and GM crops, in particular) on the South of Brazil and Uruguay; to investigate how it is configured and what is the dynamic of the biotechnological arena in these countries when influenced by the "biotechnology issue" in general and by the issue/polemic regarding GM crops in agriculture in particular; to observe how the biotechnological arena if shaped by the presence of particular fields and how the arguments of agents specific to these fields are incorporated into the debate about technology; and to identify how the environmental issue interfered/influences the biotechnological arena and the public policies and, more specifically, the discussions about biotechnology.
From an academic point of view, the execution of this project should be accompanied by the elaboration of scientific articles and by the encouragement of the production of dissertations and theses about a theme that until now has not been researched/analyzed from the point of view of social sciences in Brazil and Uruguay, especially in the area of Sociology. We propose the opening of new frontiers for the theme of biotechnologies in agriculture, discovering new concepts and analytic points of view, favoring and broadening the debate inside and outside academic circles and stimulating the exchange of information in scientific events.
This colaboration will stimulate studies in the post graduate programs for rural development in both countries (PGDR/UFRGS and Posgrado en Desarrollo Rural da Facultad de Agronomia da UdelaR), contributing for the discovery and experimentation of new agricultural practices where biotechnology will be better "managed" by family farming in order to improve local development.
Academic Cooperation Agreement with the National University of Cape Verde (UNICV)
The Federal University of Rio Grande do Sul (UFRGS ) is among the Brazilian federal institutions that has performed more actions for the improvement of teaching and research structures with academic institutions of Cape Verde. UFRGS is a participant from the beginning of CAPES negotiations, in 2005. From then on, the agreement between UFRGS and UNICV has enjoyed each new official notice regarding Africa in order to add a new dimension of reflection about the idea of integrating university and community. Currently, the PGDR is working with the UNICV from the approval of a project with Official Notice MCT/CNPq n. 012/2008, which aims to create a Research Center for Local Development and Territorial Organization at the University of Cape Verde (CIDLOT).
This cooperation, if it happens, will strengthen the research groups of the PGDR, of the Prost Graduate Program in Sociology at UFRGS and of the UNICV, in order to install, in the near future, an interdisciplinary center for research about development involving researchers from Brazil and from Portuguese-speaking African countries.
Academic Cooperation Agreement with the Eduardo Mondlane University (UEM) - Mozambique
Since the creation of the PGDR, the Program maintains the admission of students from institutions of countries from the Mercosul, from other Latin America countries and, more recently, from Africa, which culminates in the signing of cooperation agreements. One example of this exchange is the signing of a cooperation agreement with the Eduardo Mondlane University, in Mozambique, in August 2006.
The MDA, through the NEAD, has also systematically supported this exchange between the PGDR and the Eduardo Mondlane University. In 2006 it supported the exchange with hotel stays and plane tickets for the members of the faculty committee that went to Mozambique for the International Workshop PUBLIC POLICIES AND RURAL DEVELOPMENT: PERCEPTIONS AND PERSPECTIVES IN BRAZIL AND IN MOZAMBIQUE.
Besides that, in 2008 it financed the trip of a Mozambican doctorate student back to her country for data collection.
Cooperation Agreement with the University of Cape Verde (UNI-CV) – Cape Verde
It is the object of the Cooperation Agreement to join efforts in order to:
1. Favor the strengthening of an institution network around the issue of sustainable rural development in Cape Verde, with the support of the Federal University of Rio Grande do Sul and the Agricultural Development Department;
2. Create conditions for the emergence of a center for rural development at UNI-CV, with the goal of scientific monitoring and proposing public policies for the sustainable development of family farming and food safety;
3. Consolidate the line of rural development of the first doctorate program in that African country, based on a scientific dialogue between Brazil and Cape Verde about family farming and sustainability.
The target audience of the short duration Courses and the other scheduled activities is divided into two groups:
1. Public policy managers from government Departments and organs, representatives from professional organizations and NGOs that act in the areas of science, culture and technology, and future university professors in Cape Verde.
2. Group of professors, researchers que technicians from Cape Verde with whom the Brazilian team will meet to articulate the continuing of the activities for implementing the doctorate program in Social Sciences and its research projects.
Red de Posgrado e Investigación en Desarrollo Rural en el Cono Sur - REDSUR
The Red de Posgrado e investigación em Desarrollo Rural en El Cono Sur – RedSur, which is coordinated by professor Jalcione Almeida, is an initiative of post-graduation programs from countries from the Southern Cone of Latin America (Brazil, Uruguay, Argentina and Paraguay) with the goal of promoting more academic interaction in the common areas of knowledge regarding rural development and contributing for increasing the integration among research groups.
This initiative was led by the PGDR from the organization of the International Workshop on Public Policies and Rural Development in the Southern Cone, which happened in 2007 in Porto Alegre.
Between April 22 and 24, 2009, in Buenos Aires, happened the II Meeting about Rural Development and Public Policies in the Southern Cone and, at the same time, the 3rd meeting of RedSur.
The next meeting will be in Montevideo, in July 2010.
Program of Academic Cooperation between European Union and Latin America (ALFA)
In October 2004 the PGDR began to integrate the Program of Academic Cooperation between European Union and Latin America (ALFA), from the joint signing with UnB (coordinating institution), as a member institution of the SMART Network – Strategic Monitoring of South-American Regional Transformations. In 2005 began some discussions about the development of studies coordinated by professors Paulo Dabdab Waquil andJalcione Almeida. In September 2008 in Porto Alegre, Campus do Vale – Pantheon Room of the IFCH/UFRGS, happened a Seminar for the members of the network.
Academic Exchange Programs – PGDR – Foreign countries
Students of the Program
- Oscar José Rover – Doctorate 2003 – Period: August 2004 to April 2005 – University of Coimbra – Center for Social Studies - Portugal – Foreign co-advisor: Professor Pedro Hespanha –Alban Program – Sandwich.
- Norma Kyiota – Doctorate 2003 – Period: October 2005 to September 2006 - University of Sussex/Institute Development Studies (IDS) – Brighton – UK – Foreign co-advisor: Professor Andrea Cornwan –Alban Program. Sandwich.
- Miguel Ângelo Perondi - – Doctorate 2003 – Period: January 2006 to August 2006 - University of Sussex/Institute Development Studies (IDS) – Brighton – UK – Foreign co-advisor: Professor Zander Soares Navarro –Alban Program. Sandwich.
- Jorge Luiz Amaral de Moraes – Doctorate 2004 – Period: September to December 2007 – University of Coimbra – Center for Social Studies - Portugal – Foreign co-advisor: Professor José Diniz Reis – CAPES/PDEE. Sandwich.
- Flávia Charão Marques – Doctorate 2005 – Period: December 2007 to August 2008 – Wageningen University/Rural Sociology Group – Netherlands – Foreign co-advisor: Professor Jan Douwe Van Der Ploeg – CAPES/Wageningen. Sandwich.
- Emanoel Marcio Nunes – Doctorate 2005 – Period: October 2008 to January 2009 – Wageningen University/Rural Sociology Group – Netherlands – Foreign co-advisor: Professor Aberto Arce – CAPES/Wageningen. Sandwich.
- André Sousa Martinello – Master's 2008 – Programme des futurs leaders dans les Amériques (PFLA) – Canada. Foreign Trainee Program.
- Cláudio Machado Maia – Doctorate 2008 – Technical University of Lisbon – Portugal – ALFA/ReDeTIR Program. Sandwich.
Students in the program:
9. Ana Maria Delgado Alemán – Doctoral candidate from the Universitat Autônoma de Barcelona/Institut de Ciência e Tecnologia Ambientals – Spain – Period on the PGDR: June to August 2006. Brazilian co-advisor: Professor Jalcione Pereira de Almeida. Sandwich on the PGDR.
10. Karine Peschard – Doctoral candidate from the McGill University – Canada – Period on the PGDR: June 2006 to August 2007. Brazilian co-advisor: ProfessorJalcione Pereira de Almeida. Sandwich on the PGDR.
2. Other types of international participation
Specialized meeting on family farming – REAF
The REAF was created in 2004 by initiative of the Brazilian government as an support organ for the Common Market Group (GMC) (manager of MERCOSUL), with the goal of strengthening public policies for family farming, land reform and generate income for the farmers by facilitating commerce.
All MERCOSUL full members participated (Argentina, Brazil, Paraguay e Uruguay) and the invited associated countries (Bolivia, Chile, Venezuela)
Among its merits, it promoted the organization of social movements connected to family farming in countries where they were not strong yet. There have been occurring propositions for joins measures, public policies based on the mutual learning. Much more than commerce, it is MERCOSUL's recorgnition of a social category that has its specificities (historical, ethnical, cultural, institutional) that must be considered at the moment of regional integration. Professor Carlos Guilherme Adalberto Mielitz Netto, professor at the PGDR, is the representative from the Agricultural Development Department (MDA) at REAF.
Slow Food International Association
In October 2006 was signed the Protocol of Intentions between the Federal University of Rio Grande do Sul and the Slow Food International Association, with the goal of cooperating mutually in teaching, research and extension activities.
This Protocol between UFRGS and SLOW FOOD has the goal of mutual cooperation in order to integrate teaching, research and extension activities and jointly use the experience and specialization from each of its respective working areas for protecting the agricultural biodiversity of cultures and the identities connected to them; for protecting the environment; protecting natural resources and the rights of populations of using them for the common good; protecting the characteristics of the products in view of risks of genetic pollution; supporting in terms of promoting, training and teaching about quality agri-food production in small scale and sustainable economically, socially and ecologically; supporting the right people have to self-determination regarding food; valuing the rights of communities to germplasm; and the education of the civil society and training of operators for the agri-food sector in all objectives mentioned above.
The contributing professor,Renata Menasche, now teaching at UFPEL, represented the PGDR until recently. The present representative of the PGDR on the Slow Food is the Coordinator, professorSergio Schneider
3. National Academic Cooperation
Federal Institute of Technology of the North of Minas Gerais - IFNMG
In June 2009 an agreement for Technical and Scientific Cooperation is being processed and will be signed by the IFNMG and UFRGS. This agreement has the goal of establishing technical-scientific cooperation between the participants for the formation of a class of Doctorate in Rural Development with an Interinstitutional character – DINTER.
This cooperation will attend the needs of technical qualification of professionals from the IFNMG and has the goal of:
a) training specialized professionals for acting as professors at the IFNMG;
b) enabling the training of doctors who will create and strengthen lines of research that answer to regional needs and amplify institutional commitment with the development of the region;
c) supporting the strengthening of teaching and research groups in the referred area and areas referring to it.
Federal Center for Technological Education of Bento Gonçalves (CEFET/BG) and Federal Center for Technological Education of São Vicente do Sul (CEFET/SVS).
Since August 2005 the PGDR has worked with the direction of the Federal Center for Technological Education of Bento Gonçalves (CEFET/BG) towards the consolidation of a partnership. A cooperation protocol was signed and a partnership term for the execution of the undergraduate technological course Planning and Management of Rural Development – PLAGEDER, a distance learning course.
During the discussions for the works in partnership with the CEFET/BG, the cooperation was broadened and included the Federal Center for Technological Education of São Vicente do Sul (CEFET/SVS).
4. Institutional partnerships
Secretary for the Environment - SEMA
In July 2006, a partnership between UFRGS and SEMA was signed with the goal of joining efforts to develop actions towards the sustainability of the Atlantic Forest.
The provost José Carlos Ferraz Hennemann signed a partnership with the State Secretary for the Environment (SEMA) Cláudio Dilda, with the goal of continuing the project "Samambaia-preta" (Black fern), developed by the Post Graduate Program in Rural Development in Maquiné. Besides carrying out studies with the goal of understanding the ecology of the species, the Project has been seeking to improve the life conditions of the workers who extract it, not only by legalizing the activity and identifying adequate management, but also by developing alternatives to diversify the economy of local families. On the occasion, the provost emphasized the participation of the SEMA, who has had other partnerships with the University and the work developed by Post Graduate courses for the development of the State and, especially, this area.
Multi-purpose Room
Josué de Castro Room
Celso Furtado Room
Video Studio
Inaugurated on 03/025/2010, the Video Studio of the Distance Education Team of the School of Economic Sciences (FCE/ UFRGS) is located on the building of the Center for Studies and Research on Economy (IEPE). It has the goal of producing and editing videos and video-classes, editing images and organizing and supporting video-conferences.
The Studio had the decisive support of the Distance Education Department (SEAD), of the Open University of Brazil (UAB/ CAPES), of the direction of the School of Economic Sciences, of the coordination of PLAGEDER and of the Center for Studies and Research on Economy (IEPE).
Activities and Scheduling
Scheduling the video studio or web conference activities must be done with an electronic form. After registering, the request will be confirmed by the manager of the Team by email.
See more information about the Video Studio on the website of the distance education team.
Post Graduate Program in Rural Development
Telephone number: +55 51 3308-3281
Email address: firstname.lastname@example.com
Faculdade de Ciências Econômicas
Av. João Pessoa, 31 1º andar
Bairro Centro Histórico
Campus Centro
Porto Alegre/RS - Brazil


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Prepare for a dynamic career protecting critical infrastructure with a certificate in homeland security management.
With a graduate certificate in homeland security management from University of Maryland Global Campus, you'll gain practical experience in performing security risk assessments, planning for and managing operational recovery, and developing strategies to protect people, facilities, and critical infrastructure. UMGC was named a National Center of Academic Excellence in Information Assurance and Cyber Defense Education by the National Security Agency and Department of Homeland Security. Source
These program requirements are for students who enroll in the 2019–2020 academic year. For prior year academic requirements, visit the catalog archive in the Current Students section.
About the Homeland Security Management Graduate Certificate
Perfect for mid-career professionals, your coursework for the graduate certificate in homeland security management will include issues in emergency management, cyber security, bioterrorism, and energy security, as well as core courses in business management. You'll use real data from real crises in assignments and projects and practice making executive-level decisions.
What You'll Learn
Through your coursework, you will learn how to
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- Apply risk methodologies to the energy industry
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- Manage intercultural environments
Coursework Examples
In past projects, students have had the opportunity to
- Use one of the Department of Homeland Security's daily summaries of current critical infrastructure issues to write hypothetical article
- Write a job description for a chief risk officer, including the resilience, response, and recovery skills required for the job
- Analyze one of the critical infrastructures designated by DHS and make recommendations on ways to protect and assure continued availability of services from this infrastructure, providing your judgments together with experts' opinions
Homeland Security Management Graduate Certificate Requirements
Our curriculum is designed with input from employers, industry experts, and scholars. You'll learn theories combined with real-world applications and practical skills you can apply on the job right away.
Required Courses
(to be taken within the first 6 credits of study)
(must be taken as one of the first two courses in the program)
Overall Certificate Requirements
- To pursue a certificate program, you must be admitted as a UMGC student.
- You are responsible for notifying UMGC of your intention to complete certificate work before completion of your last course.
- If you apply credits from your graduate certificate to a related master's degree, then you must apply for your certificate once you have completed its requirements before finishing the master's requirements.
- All required coursework for the certificate must be completed with a minimum grade of B (3.0). Certificate courses cannot be taken pass/fail.
- All graduate certificate requirements must be fulfilled within five consecutive years. Any transfer credits, if applicable, must have been earned within the five-year time frame to be applied toward a graduate certificate.
Career Preparation
This program is designed to help prepare you for management work in security risk assessments, operational recovery management, and strategy development to protect people, facilities, and critical infrastructure.
Experience Recommended for Success in the Program
This program is designed for midcareer professionals or those new to the field. We recommend you have strong writing and analytical skills. We recommend UCSP 605 if you'd like to improve your graduate writing skills.
Student Clubs and Organizations
Type: Student organization
Available To: Undergraduate and Graduate
The Public Safety Student Association encourages discussions on careers, current events, and topics within the public safety field. Previous activities have included webinars on related topics and careers.
About the Faculty
Our world-class faculty members combine academic credentials with a wealth of experience in the field.
Faculty members in this program hold or have recently held positions including
- Branch chief for port and facility compliance
- IT analyst
- Program analyst
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- Transportation security officer
- U.S. Army medical sergeant
- U.S. Army officer
- U.S. Army security branch chief
- U.S. Customs and Border Protection officer
Our faculty work or have worked at organizations including
- Transportation Security Administration
- U.S. Army
- U.S. Coast Guard
- U.S. Customs and Border Protection
- U.S. Department of Homeland Security


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The Slobbies, Full-Blooded Mutt, Heavy Necker, Joe Hart Band and The Only Humans at Paul's Pub -live tonight! Hope to see you there! Click here for the Facebook Event. 7$ 21+/10$ under 21. ID's Required.
Tag: The Slobbies
Two Nights This Weekend!!
That's right, ya'll! This is our second show this weekend! It's time to put it in over driver as we fall in to the Somerville establishment known as PA's Seafood Lounge. Vilifi, The Slobbies and Full-Blooded Mutt about to the rock the house, on a Sunday night. We usually don't book Sunday nights but what the hell -it's fun! This is an automated blog post for when we hit the stage sometime after 9:00PM on Sunday, September 30, 2012 in Somerville, MA. PA's Lounge is located at 345 Somerville Avenue, Somerville, MA. Their phone number is 617 776 1557. Give them a ring and tell them how much you like Full-Blooded Mutt, The Slobbies and Vilifi! Lol! Rock on, brothas and sisters!
Shows announced at FullBloodedMutt.net! Check it out, next up we're playing Charlie Bravo's in Putnam, Connecticut. This will be our first show in Connecticut -that's the reason why I jumped on this show. Two more states and we will have covered all of New England, ya'll! After Connecticut, we will be playing Arty Walch's Fallout Festival 2012 in Shrewsburry, MA. The Fallout Festival 2012 is on Saturday, September 22, 2012; starting at noon. Check out Arty's new web site, run by yours truly, online [ http://www.artattackentertainmetn.com/ ]. Also, check out that event page, people! One hundred and fifty two people clicked going to the Fallout Festival 2012! This show is going to rock! So far here is the line-up: Love and Opium, Full-Blooded Mutt, Speak, The Slobbies, 3sk, Ferris, Jon KrazyAce, Sheez Late. Oh, yeah -it's on!
After the Fallout Festival, we will be playing in Methuen on the following Saturday. Paul's Pub is a great location to have a show. We've played there a bunch of times now, and hope to keep playing there. Make sure you check out this venue. Finally, finishing up this this mini-tour, we will be back in Somerville for the first time in a few years. We will be playing PA's lounge for the first time ever, and I'm eagerly looking forward to it. I hope you get a chance to check out Full-Blooded Mutt at some of our next dates. Thank you.
After our 6/23 show in Sunderland we're playing the following Saturday at Paul's Pub in Methuen. Ch-ch-ch check it out! ;-P
This show consists of various bands from easy listinging to Hard Rock at the end of the night.
7.00 21+
10.00 Under 21
The Slobbies
Full Blooded Mutt
Insatiable Band
Peace Beneath The City
Hey Mutt fans, we got not one but two super, awesome shows for you this weekend! Start of your weekend right at The Magic Room in Brighton on Beacon Street. Full-Blooded Mutt will be opening the night for Mother Ton and the most charming Manifest. This is a night that's sure to please all and go down in the records of rock and roll hysterectomy, er, I mean history. Hehe. Come on down to 155 North Beacon Street, Brighton, Massachusetts 02135. It sure to be a stupendous adventure in debauchery for all! The place has a crazy lighting system and I hear their going to be projecting movies onto us! Yippie, hippy! The action starts at 8PM. Be there, if you know what's good for you. *finger eyes*


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What do the regulations state about work and parents?
The current labour regulations in Uganda make certain mentions of family associated issues. However, the mentions are quite brief and do not provide a specific understanding of how working parents should be treated at the workplace. For example, the regulation states that employed working men whose spouses have delivered or had a miscarriage should be given four days of paid leave, but it does not specify how such men should be treated while they have not yet taken their leave or after coming back from the leave, except that they should be allowed to continue with their work.
What do the regulations say about paternity leave?
The regulations state that when a child has been born or a miscarriage has occurred to the spouse of a male worker, he is supposed to get four days of paid paternity leave immediately after the child is born or a miscarriage has occurred. The male worker may ask for the paternity leave from his employer and return to work after completing the leave without being treated unfairly by the employers.
Does the law consider child care?
There are no exact provisions in the regulations for child care. However, as part of best practice some employers do provide child-related services such as time for breastfeeding and a room for it. Some employers also pay school fees for the children of their workers in addition to providing scholastic materials such as pens, books and school uniforms.
Some arrangements made between the employers and workers representatives, for example in the flower sector, also puts into consideration extra support to breastfeeding mothers or those who have just given birth by providing food for both the mother and the child.
What occurs if a child is ill or there is a problem at home?
There is no exact provision in the law for a boss to allow an employee to attend to a child who is ill or any grave problem at home with the exception of death. However, a boss may allow it out of sympathy for the worker.
However, numerous negotiated agreements between employers and workers' representatives usually state how to deal with issues of child ill health or other problems at the home of a worker.
What about study leave?
In order to develop his or her career, an employee may request a period study leave from his or her boss, even though it is not a legal obligation on the part of the employer to offer the study leave to the employee.
In most cases Ugandan workers are granted study leave, particularly during exam times and with pay, so as to enable them to undertake a course of their choice. Employers generally prefer to support their workers when they have enrolled for a course which fits well with the work which they are doing at the company/organisation or a career path that fits within the objectives of the company/organisation.
Usually, negotiated agreements between employers and workers' representatives take into account paid study leave for the worker to be able to make progress in his or her career for their own advantage as well as for their families.
What should an employer do for the family of a worker who has died while working?
In case, a worker dies while working for a given employer, and when the family of the worker has been conveyed to the place of employment by the employer, the family shall be taken back to their initial homeland at the expense of the employer. The family also gets other advantages including contributions made to NSSF (in the case of private sector workers) or gratuity and/or retirement benefits (in the case of civil servants).
Some negotiated agreements include additional support which should be made by the employer to the deceased worker's family in order to help them to start a new life.
What should an employer do if an employee loses a family member or a close relative?
The boss can allow a worker to be missing from work for a time span of three days to mourn for the deceased family member or relative. However, inside any calendar year an employer is only obliged to permit a worker to be absent for the overall period of six working days, which means that an employee can lawfully attend only two funerals where each is taking three days.


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Check out Gary Beck's latest books EARTH LINKS, MORTAL COIL, THE BIG MATCH, STILL DEFIANT, DESPERATE SEEKER. Congratulations!
Volume 4 Issue 2
Steven B. Rosenfeld–Interview
Describe your creative space. Do you work at home, in public spaces, etc.?
My wife and I each have home offices in our West Village apartment, so I am fortunate enough to have my own creative space, and do almost all of my writing there.
What kind of materials do you use? Do you write by hand or type? What is your favorite writing utensil?
I use my home computer, both for writing and for the online research I do for my stories, when research is needed. It's very efficient, because it allows me to pause during writing or revision, when I discover that I need to check or research facts, do the research, and have the draft right there on my screen to access as I do the research.
What is your routine for writing?
I wish I had one. Even though I am "retired" as a full-time lawyer, writing is still very much an avocation for me. I'm involved in a lot of volunteer work as well as being a father and grandfather, so the quantity and quality of time, and my ability to block off allotted time for writing, varies widely. When I do find that I have time, I try to allot at least half of the day for writing/revising or writing-related activities—such as answering this questionnaire.
How long have you been writing? When did you start writing?
As a practicing lawyer in New York City, I have been writing for over 40 years—numerous briefs, articles in legal periodicals, op-ed pieces and reports, including large portions of the 1972 Report of the N.Y. State Commission on Attica, which was nominated for a National Book Award, and the public reports of the NYC Conflicts of Interest Board, which I chaired from 2002 to 2013. However, I only began writing short stories, originally just for fun, about three years ago.
Who is your intended, or ideal, audience? Who do you write for?
I don't really have an intended or ideal audience. I think I write for whomever might enjoy the particular story I'm working on at the time, which I guess varies as widely as the subjects of my stories, which have included things drawn from my own memories and experiences, humorous/satirical pieces or, like "Risky," a (somewhat tongue-in-cheek) suspense story.
What inspires you to write? If you are blocked, what do you do?
I think I'm most inspired by the sheer joy of writing itself, whether or not what I'm writing is ever going to be read beyond my loyal circle of friends and family. When I first began writing short stories, I was – and still am – inspired by this quote from one of my favorite writers, Gabriel Garcia Marquez:
". . . because of my helpful suspicion that perhaps nothing I had experienced . . . was true, I did not have to ask myself where life ended and imagination began. Then the writing became so fluid that I sometimes felt as if I were writing for the sheer pleasure of telling a story, which may be the human condition that most resembles levitation."Gabriel Garcia Marquez
I like to think that I'm never "blocked" (do doctors have doctor's block?), but when I am having trouble thinking of ideas for new stories, I have taken in-person or on-line workshops designed to stimulate new ideas. One of them, run by Beth Bauman at the West Side Y in NYC, is called "Filling the Well"—and it's helped fill mine several times.
What other things do you do besides writing? Do you dance or play golf, etc.?
I read The New York Times every day, The New Yorker every week, and more short story magazines than I can get through, so the pile on my bedside table keeps growing. I occasionally read (or listen to) novels as well. I don't dance or play golf, but my wife and I are frequent theatre, opera and concert goers—and diners-out. And I work out with a trainer twice a week.
What is your favorite part of the creative process?
Getting a new idea and jumping head-first into it. Getting an acceptance email is a close second, though.
What is your advice to aspiring writers?
Just do it—don't be afraid to tackle any idea that occurs to you. Take all the writing workshops you can (in-person, if you can, on-line if you can't), because it puts you in touch with other aspiring writers and shows you that, even though the actual task of writing can feel lonely, you're hardly alone. Oh, and even if you're 70+ years old like I was, it's never too late to start.
Check out Steven's work in Volume 4, Issue 2. Check out his story "Cousin Dora" published in The Flatbush Review.
Theresa Williams–Interview
Describe your creative space. Do you work at home, in public spaces, etc.?
I work at home. Since all our children moved out, I have taken over half of the house. In one room I have an art desk. In another room I have my computer and most of my books. And in still another, I have a big table where with a paper cutter, various staplers, more books, and a tall tool box where I keep my art papers and finished work.
What kind of materials do you use? What mediums do you work in?
Water and Copic proof markers, Copic markers, colored pencils, pastels, and gel pens, mostly.
What is your routine for art? Do you always sketch first?
Not always. For The Diary of Lea Knight, I sometimes draw images on paper and glue them on the journal pages. That way if the picture doesn't turn out as well as I'd like, I can try again. I think of it like doing a collage. Sometimes if I feel confident, I draw directly on the journal pages.
How long have you been making art? When did you start making art?
Since I was a child. I ALWAYS wanted to be an artist first. I got an undergraduate degree in studio art at East Carolina University. When I graduated, though, I got two Master's degrees in English and upon graduation taught English courses at the university level. I thought it was a more stable path financially. I didn't draw for a long time. I came back to it about 7 years ago. My plan all along was to somehow combine art and writing.
Who is your intended, or ideal, audience? Who do you make art for?
I make it for myself first. I make the sort of thing I'd like to see or to buy. I want to have fun with my art. I trust that my concerns are universal enough that they will connect with others. My ideal audience would be people interested in the inner life of a character, not so much lots of action.
What inspires you to create? If you are blocked, what do you do?
I get curious about how a person would handle certain difficult situations. I've written a lot about death because I think that's the hardest experience for people to come to terms with. So a lot of my work has to do with loss and dealing with loss. The Diary of Lea Knight, for example, is about a woman who lost a baby and is in a rocky marriage. Her diary is her way of coming to terms with hard times. If I come to a standstill, I read whatever interests me. I have lots of books and am always buying more. I also have lots of art books and I look at them to get ideas about subject and composition. I rarely get blocked anymore, but I do come to a pause sometimes, and then I need to think about where to go next.
What other things do you do besides art? Do you dance or play golf, etc.?
I'm really mainly consumed with art and writing. I don't do a lot of other activities. I teach nine months out of the year, and that takes a lot of time. So when summer comes, I just want to be creative. I don't want distractions.
What is your favorite part of the creative process?
The surprise. Each day is an opportunity to explore something different. I don't like to plan too far ahead with my work. I have a rough plan but work organically. For instance, Lea's birthday diary entry was only supposed to be four pages or so, but the idea grew as I worked. It took me places I hadn't planned to go. It was exhilarating.
What is your advice to aspiring artists?
Just to do it. Inspiration is overrated. Your ideas come from working. You discover as you go. Work with archetypes. Use what's universal but discover the personal, too. To find your personal archetypes, you have to draw and sketch a lot of pictures; that's the only way. Don't emulate any certain style. Forget about being Leonardo Da Vinci or anyone else. Find your own style.
Check out Theresa's work in Volume 4, Issue 2, and upcoming in Volume 5, Issue 1.
Theresa won The Magnolia Review Ink Award for "From the Diary of Lea Knight" in Volume 4, Issue 2. Check out the announcement here.
Paul Mills–Interview
Describe your creative space. Do you work at home, in public spaces, etc.?
If I'm working to a tight deadline, it doesn't matter where I work; I can be productive anywhere. At other times though, I find there are too many distractions if I try to write at home, so I often find a coffee shop, or a pub or even a park to write in. (A park may not seem like an obvious choice, but there's no wifi, so you have nothing to do other than writing!)
What kind of materials do you use? Do you write by hand or type? What is your favorite writing utensil?
I always write on my laptop.
What is your routine for writing?
Routine? Ha haaa ha ha ha ha ha ha! Routine! Ha ha ha!
No. I have no routine. If I have a story I'm really passionate about, I'll find the time to write it by setting aside some spare hours in the evenings or weekends to sit down and write. This results in maybe one story a year, which is a distinctly unsatisfying average. So to get myself to write more, I recently started finding ways to give myself deadlines. At first, this meant entering competitions, but I still wasn't getting that much written. So a little over a year ago, I set myself a goal of writing a story a month for a year, and to make sure I stuck to this, I set up a club on the internet of like-minded people, and every month I gave us all a prompt and a deadline. The knowledge that the other club members were expecting me to write a story gave me the motivation I needed to force myself to meet the deadline. Typically, I'd do pretty much nothing for the first three weeks, and then get the story written in a mad rush in the days coming up to the deadline, and at least once I stayed up until six o'clock in the morning on the night of the deadline to get my story finished. (I figured that so long as I finished it before I went to bed, it counted as having met the deadline.)
It worked out really well for me. I find that having a deadline forces me not only to make time to write, but also to come up with ideas I would not have had otherwise. I now have twelve new stories (admittedly, of variable quality) that I never would have written otherwise.
How long have you been writing? When did you start writing?
I guess I've written on and off since I was a kid. After university I started writing more regularly because I joined a writing group, and we met weekly to share what we had written that week. It meant that if I went more than a week without writing anything, I felt a bit foolish, because I'd be coming in to the meeting saying 'Um… I didn't write anything again this week. So, er, who's next?' But it's hard to find groups like that that meet weekly, and when I moved to a different city, I found I pretty much stopped writing. I only started writing more seriously again within the last couple of years, because I started my one-story-a-month project.
Who is your intended, or ideal, audience? Who do you write for?
I write for myself. I figure that if I succeed in writing something that I would enjoy reading, the chances are that there'll be other people out there who would enjoy reading it too.
What inspires you to write? If you are blocked, what do you do?
It's difficult to generalise about what inspires me. The story "Slow Fade," in this edition of The Magnolia Review, was written because the first sentence just appeared in my head, and I figured I could write an interesting story from it, but that's not how I usually come up with stories. Often I have a message I want to convey and I try to write a story that illustrates the message.
If I get blocked, I go for a long walk. It works for me. That said, I rarely get very blocked if I have a deadline looming.
What other things do you do besides writing? Do you dance or play golf, etc.?
I play the piano. Well sort of. What you're supposed to do when you're learning an instrument is start off with easy pieces and get gradually harder, but I couldn't be bothered with that, so I started with Maple Leaf Rag, by Scott Joplin, which is not an easy piece at all. I've learnt it, but it took me about a year of going through the sheet music chord by chord, painfully slowly, then very gradually getting faster and faster. Now when people hear me play it, they're very impressed, and they assume I'm a fantastic pianist—they don't realise that it's the only piece I can play!
What is your favorite part of the creative process?
I love the whole thing. I love thinking about stories I could write; I love the mental effort of actually putting the plot in order, making sure all the information is in there; I love reading over what I've done; and I get a huge kick out of hearing positive feedback from other people.
What is your advice to aspiring writers?
Read as much as you can, write as much as you can. That's it, really.
Check out Paul's work in Volume 4, Issue 2.
Simon Perchik–Interview
- I write in a public space, a coffee shop most often. Sometimes the YWCA.
- I use a fountain pen, write by hand,.
- At 9 am I'm at the table and write till about 12. Sometimes later, depending on progress of the poem.
- I began writing in college, but when I retired in 1975, I began writing full time.
- I don't think about who will read what I write. I just want something to be there that wasn't there before.
- Great question. Especially since I have the answer. I have attached my essay dealing with this question (read it below). It also deals with how never to be blocked from writing.
- I read. I estimate I read 5 or 6 poetry books a month.
- My favorite part is when the poem is finished. The process is not enjoyable in any sense of the word. It's brutal.
- My advice is not to take anyone's advice. But read. You have to know what's been done.
And to read more about Simon on Writing, check out the essay "Magic, Illusion and Other Realities."
Where do writers get their ideas? Well, if they are writing prose, their ideas evolve one way. If, on the other hand, they are writing poetry, their ideas evolve another way. Perhaps some distinctions are in order. Distinguishing the difference between prose and poetry may not be all that simple. There are many definitions, all of which may be correct. For the purpose of this essay allow me to set forth one of the many:
It seems to me that there is available to writers a spectrum along which to proceed. At one end is prose, appropriate for essays, news, weather reports and the like. At the other end is poetry. Writers move back and forth along this spectrum when writing fiction.
Thus, prose is defined by its precise meaning that excludes ambiguity, surmise and misunderstanding. It never troubles the reader. To define it another way, prose is faulty if it lacks a coherent thrust guided by rules of logic, grammar and syntax. It will not tolerate contradiction. Poetry, on the other hand, is defined by its resistance to such rules. Poetry is ignited, brought to life by haunting, evasive, ambiguous, contradictory propositions.
This is not to say poetry is more or less useful than prose. Rather, they are two separate and distinct tools, much the same as a hammer and a saw. They are different tools designed for different jobs. If an essay is called for, the reader wants certainty; exactly what the words you are now reading are intended to give. If, on the other hand, consolation for some great loss is called for, the reader needs more: a text that lights up fields of reference nowhere alluded to on the page. This calls for magic, for illusion, not lecture. Thus, one of the many definitions of poetry might be: Poetry: words that inform the reader of that which cannot be articulated. To be made whole, to heal, the reader needs to undergo an improved change in mood, a change made more effective if the reader doesn't know why he or she feels better. Exactly like music. That's where poetry gets its power to repair; an invisible touch, ghost-like but as real as anything on earth. A reading of the masters, Neruda, Aleixandre, Celan…confirms that a text need not always have a meaning the reader can explicate. To that extent, it informs, as does music, without what we call meaning. It's just that it takes prose to tell you this.
This is because prose is a telling of what the writers already know. They have a preconceived idea of what to write about. With poetry it's the opposite. The writers have no preconceived idea with which to begin a poem. They need to first force the idea out of the brain, to bring the idea to the surface, to consciousness. With poetry the writer needs a method to find that hidden idea. If the originating idea wasn't hidden and unknown it isn't likely to be an important one. Let's face it: any idea that is easily accessible has already been picked over. It's all but certain to be a cliché.
To uncover this hidden idea for a poem the writers each have their own unique method. As for me, the idea for the poem evolves when an idea from a photograph is confronted with an obviously unrelated, disparate idea from a text (mythology or science) till the two conflicting ideas are reconciled as a totally new, surprising and workable one. This method was easy for me to come by. As an attorney I was trained to reconcile disparate views, to do exactly what a metaphor does for a living. It's not a mystery that so many practicing lawyers write poetry. Lawyer Poets And That World We Call Law, James R. Elkins, Editor (Pleasure Boat Studio Press. Also, Off the Record, An Anthology of Poetry by Lawyers, edited by James R. Elkins, Professor of Law, University of West Virginia.
The efficacy of this method for getting ideas is documented at length by Wayne Barker, MD. who, in his Brain Storms, A Study of Human Spontaneity, on page 15 writes:
If we can endure confrontation with the unthinkable, we may be able to fit together new patterns of awareness and action. We might, that is, have a fit of insight, inspiration, invention, or creation. The propensity for finding the answer, the lure of creating or discovering the new, no doubt has much to do with some people's ability to endure tension until something new emerges from the contradictory and ambiguous situation.
Likewise, Douglas R. Hofstadter, in his Godel, Escher, Bach: An Eternal Golden Braid writes on page 26:
One of the major purposes of this book is to urge each reader to confront the apparent contradiction head on, to savor it, to turn it over, to take it apart, to wallow in it, so that in the end the reader might emerge with new insights into the seemingly unbreachable gulf between the formal and the informal, the animate and the inanimate, the flexible and the inflexible.
Moreover, the self-induced fit is standard operating procedure in the laboratory. Allow me to quote Lewis Thomas, who, in his The Lives of a Cell, on page 138. describes the difference between applied science and basic research. After pointing out how applied science deals only with the precise application of known facts, he writes:
In basic research, everything is just the opposite. What you need at the outset is a high degree of uncertainty; otherwise it isn't likely to be an important problem. You start with an incomplete roster of facts, characterized by their ambiguity; often the problem consists of discovering the connections between unrelated pieces of information. You must plan experiments on the basis of probability, even bare possibility, rather than certainty. If an experiment turns out precisely as predicted, this can be very nice, but it is only a great event if at the same time it is a surprise. You can measure the quality of the work by the intensity of astonishment. The surprise can be because it did turn out as predicted (in some lines of research, 1 per cent is accepted as a high yield), or it can be a confoundment because the prediction was wrong and something totally unexpected turned up, changing the look of the problem and requiring a new kind of protocol. Either way, you win…
Isn't it reasonable to conclude that the defining distinction between applied science and basic research is the same as that between prose and poetry? Isn't it likewise reasonable to conclude that the making of basic science is very much the same as the making of poetry?
In a real way I, too, work in a laboratory. Every day at 9 am I arrive at a table in the local coffee shop, open a dog-eared book of photographs, open a text, and begin mixing all my materials together to find something new.
For the famous Walker Evans photograph depicting a migrant's wife, I began:
Walker Evans Farmer's wife
Tough life, mouth closed, no teeth? Sorrow?
Not too bad looking. Plain dress
This description went on and on till I felt I had drained the photograph of all its ideas. I then read the chapter entitled On Various Words from The Lives of a Cell. Photograph still in view, I then wrote down ideas from Dr. Thomas's text. I began:
Words –bricks and mortar
Writing is an art, compulsively adding to,
building the ant hill,
not sure if each ant knows what it will look like when finished
it's too big. Like can't tell what Earth looks like if you're on it.
This too goes on and on with whatever comes to mind while I'm reading. But all the time, inside my brain, I'm trying to reconcile what a migrant's wife has to do with the obviously unrelated ideas on biology suggested by Dr. Thomas. I try to solve the very problem I created. Of course my brain is stymied and jams, creating a self-induced fit similar to the epilepsy studied by the above mentioned Dr. Barker, M.D. But that was my intention from the beginning.
Sooner or later an idea from the photograph and an idea from the text will be resolved into a new idea and the poem takes hold.
No one is more surprised than I. Or exhausted. The conditions under which I write are brutal. My brain is deliberately jammed by conflicting impulses. Its neurons are overloaded, on the verge of shutting down. I can barely think. My eyes blur. The only thing that keeps me working is that sooner or later will come the rapture of discovery; that the differences once thought impossible to reconcile, become resolved; so and so, once thought impossible of having anything to do with so and so, suddenly and surprisingly, has everything in the world to do with it. Or has nothing to do with it but can be reconciled with something else it triggered: one flash fire after another in the lightening storm taking place in my brain.
Getting the idea is one thing but the finished poem is a long way off. And to get there I abstract so my subconscious can talk to the reader's subconscious, much the same as an artist abstracts the painting so the viewer's subconscious can listen to the artist's subconscious. There will be nothing anyone can point to and say, "That's why". Exactly like music, the most abstract of all the arts. Thus, for each poem its opening phrase is stolen shamelessly from Beethoven. He's the master at breaking open bones and I might as well use him early on in the poem. Then I steal from Mahler whose music does its work where I want my poetry to do its work: the marrow.
Perhaps marrow is what it's all about. Abstraction, since it contradicts the real world, is a striking form of confrontation which jams the brain till it shuts down confused. It befits the marrow to then do the work the reader's brain cells would ordinarily do. And though what the marrow cells put together is nothing more than a "gut feeling", with no rational footing, it is enough to refresh the human condition, to make marriages, restore great loses, rally careers.
Of course abstraction is just one of the ways writers arrive at the poem with their idea. But however they come they all leave for the reader poetry's trademark: illusion. It is that illusion that builds for the over-burdened reader a way out.
Perhaps, as you may have already suspected, a poem, unlike a newspaper, is not a tool for everyday use by everyone; it's just for those who need it, when they need it.
Check out Simon's work in Volume 3, Issue 1, Volume 3, Issue 2, Volume 4, Issue 2, and Volume 5, Issue 1.
TJ Neathery–Interview
Describe your creative space. Do you work at home, in public spaces, etc.?
I prefer local coffee shops (note the plural use of "shops"). I appreciate a change of scenery now and then. Right now I have about three or four coffee shops that I cycle through any given month. I just love the ambient noise and the little distractions that help energize my writing process.
What kind of materials do you use? Do you write by hand or type? What is your favorite writing utensil?
Ideally, I like to write longhand in a college-rule notebook. I wrote my first novel manuscript on two notebooks. The ability to take notes is important to me. For example, I might think of a scene that should come ten pages later so I just write that idea in the margins. I can't really do that as easily on a computer. I also love writing with Pilot G2 07 pens. Those are the best pens. End of discussion.
What is your routine for writing?
Waking up around 7:30 am and heading to a coffee shop. Granted, it depends on the project. Right now I'm writing a weekly local artist feature/interview. The routine for that is much different than, say, writing a novel or short story. Deadlines are a big difference. But the length is a factor, too. I can sit down after a long day of work and transcribe an interview just fine. It's harder to do that with a novel. That's why I like blocking out larger sections of time to write fiction.
How long have you been writing? When did you start writing?
I wrote my first stories as a kid—five or six years old. However, I started taking fiction writing seriously my junior year of college after taking my first workshop. A professor encouraged me to pursue my MFA and so I did.
Who is your intended, or ideal, audience? Who do you write for?
Someone who's honest about problems in the world and someone who still has hope despite that honestly. Someone who's willing to engage in theology but, again, in an honest and vulnerable way.
What inspires you to write? If you are blocked, what do you do?
Many of my stories were inspired by friends who wrote in different styles and genres than I did. I don't really write sci-fi or fantasy. I lean more realistic or historical. But a friend in grad school challenged me to write a sci-fi story and it was fun being able to incorporate new themes into my writing. It also pushed me outside my writing comfort zone.
Personally, I'm inspired by faith. In almost all of my stories, I'm exploring how characters struggle with and are influenced by religious faith in some shape or form. My writing hero is Marilynne Robinson, and her book Gilead has been extremely important to my identity as a writer.
What other things do you do besides writing? Do you dance or play golf, etc.?
One of my hobbies is collecting tangible music. CD's and vinyl mostly. I own about 350 CDs that I've amassed since high school. There's just something about listening to a full album that relaxes me. Spotify is great, but sometimes I get tired with the scattered, never-ending playlists that I listen to. Records end and I have to make the conscious effort to flip the album over to the next side. That's kind of crazy in today's media environment. Plus, I love being able to pick up a keepsake whenever I go to a memorable live show. For those of you familiar with the Enneagram, I'm a type five. That explains the memento thing.
What is your favorite part of the creative process?
Having my work published. Just kidding. I love the moment when the story "clicks." It's the same with writing academic, argumentative essays. I often spend a lot of time doing research and creating outlines and writing bits and pieces to explore my characters. But there's always a moment when I realize something. "Oh, that's what the central conflict will be!" or "That's the key motivation!" After that, the story just opens up and I can breathe for a second. It's moments like these that keep me writing.
What is your advice to aspiring writers?
Find out what you can and can't compromise on. If you decide to only write dark/horror novellas about train conductors told from the second person, then I wish you the best. But you might find it difficult to find homes for your work, and you might want to rethink your standards/requirements. Then again, if you're championing a special cause, trying to love another human being through your work, or if you're contributing a unique voice to the writing community, then by all means follow your passions and don't compromise. Here's an example from my life. I prefer reading and writing longer short stories (6000-7000 words). However, current publications tend to prefer 3000 word stories or even flash fiction. Of course, I'm trying to keep the integrity of my writing intact, but I'm currently pushing myself to work within these shorter restraints. And I'll likely become a better writer for it. Crisp, efficient writing never hurt anybody.
Check out TJ's work in Volume 4, Issue 2.
Michael Whelan–Interview
Describe your creative space. Do you work at home, in public spaces, etc.?
My prime space is a sitting area in my bedroom, where I have a great rocking chair, which is where I do my writing on NOTES in my mini-pad. I also like to write in the Starbucks right down the street from my condo. In spaces like that I get a sense of creative energy from the people around me.
What kind of materials do you use? Do you write by hand or type? What is your favorite writing utensil?
I write almost exclusively on my mini-pad, using the Apple NOTES app. I revise constantly as I write and go back many times during the day to look and re-write again when I am onto creating a new poem that has promise.
What is your routine for writing?
Often, I write first thing in the morning — before breakfast and before looking at any emails or other business. I find that time of day my mind is most open to exploring creatively and going in new directions.
How long have you been writing? When did you start writing?
Have been writing poetry as my main focus for about 10 years. Have written all my life — professionally as a business journalist, corporate marketer, creator of a series of writing seminars that I taught to international financial executives (World Bank) in 30 countries. In between I wrote creatively in both prose and poetry on occasion, including magazine and newspaper feature pieces.
Have mentors played a role in your writing?
Very much so — particularly in writing "After God," my first published collections of poems, which took me four years to write. It's a memoir in verse, tracking my experience with the enigma of God from age four to the present. At two points in the writing, I turned to different outstanding writers mentors — both had been friends with me for many years before I asked their input as a mentor. The first was Dermot Healy, one of Ireland's leading poets, novelists and dramatists, and the second was Terence Winch, who is both poet and musician highly regarded in the Washington DC and US poetry world. I turned to them after I had written most of the text and their editing suggestions and other guidance were invaluable in boosting the quality of my final product.
Who is your intended, or ideal, audience? Who do you write for?
I don't have a specific audience, but I do write for people who are reflective and who enjoy play of language. My style is deliberately accessible. It seems to work because many people who like my writing tell me that they usually don't usually read poetry but they like reading mine.
What inspires you to write? If you are blocked, what do you do?
I am currently working on a new collection of poems on the philosophical — including awe and mystery — of quantum physics and relativity. These will be poems designed specifically for people who give me a funny look when I tell them what I am doing. There will be a lot of humor in the poems, and lots of play on metaphors springing out of science — by which I hope to make the poems accessible to non-science readers.
If I'm blocked I either write on free form without worry about wording or content — or I let the idea of the poem sit (for a few days or a few months) until it takes more shape in my mind.
What is your favorite part of the creative process?
Looking at the empty screen or the empty page — just at the moment when writing begins. And not knowing where or how my piece will end. And the creative discoveries I will find along the way. And the ways I can and will play with sound, rhythm and all the fascinations of language.
What is your advice to aspiring writers?
Attend good-quality writing workshops to start. Early on, I attended an excellent Getterysburg Review workshop and an Aspen workshop taught by former poet laureate Robert Pinsky. One-week workshops are ideal for in-depth learning and getting feedback from both peers and the expert writers who teach the courses. Also, look for a good mentor to work with. You need other eyes looking at your product, especially after you have done early drafts.
Check out Michael's work in Volume 4, Issue 2.


text:
Ralph G. Johnston ( Redding 1963 )
posted: Sep 9, 2008
Ralph died September 4, 2008. He started work with the Forest Service on the Angeles N. F. right out of high school, spent three year in the Army, and returned to the Angeles. In 1957 Ralph was Air Officer for the Angeles, was Superintendent of the Chilao Hotshots 1960-61 and later was Helicopter/Helitack Specialist for R-5 in Redding. Ralph was the first USFS Helicopter Trainer and he worked with and trained Helicopter Managers in all nine regions. During his career, Ralph trained over 7,000 personnel.


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Is Unity of Austin your church home? Would you like to participate more fully? Becoming an official member affirms your desire to engage deeply in your spiritual growth as part of this community. Also, as an official member you can vote on organizational matters, stand for a seat on the Board of Trustees, and serve on Board Committees.
You are invited to attend the upcoming Membership Course to learn about Unity and to discern your own call to becoming an official church member. It is required that anyone who desires to become an official member of Unity of Austin complete the entire Membership Course of three classes.
It is recommended that you attend services regularly for at least six months in order to become a member. Your attendance at these classes does NOT obligate you to join.
All are invited to attend for fresh look at Unity— long-time members and congregants as well as newcomers are encouraged to attend this informative course. We will hold the Membership Course twice per year.
Unity of Austin Membership Course 2020
#1 – Sunday, Jan. 26– 12:30 – 2:30 PM – History & Foundations of Unity
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Sunday, Feb.23 – 11 AM Sunday Service – New Member Installation Ceremony


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We make adventure games.
We are Glitch Games, where glitches are only part of the story.
We believe that some of the greatest things around were created by accident, just look at sticky notes and the slinky. So at Glitch we embrace – no encourage – accidents, glitches and bugs of all nature, we then turn the best of these into features.
Glitch Games Ltd is a company registered in England and Wales with company number 7926093.
#Veritas update - v.1.0.7 rolling out now. This will fix all the game saving / backing up issues you may have experienced. If you've lost your game you can now jump in at the start of any chapter - glitch.games/support/export…
@Lteyn63 Wow that's amazing, so wonderfully convuluted!
@Papapreneur There's another step to the puzzle yea
@FullMetalBtch Sorry about this! Sorting out a fix as I type but if you want I can give you the code that it should have given you so you can keep playing
@Noblemanomar It means "Simulation"
Glitch Games Ltd is a company registered in England and Wales with company number 7926093.


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