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Since 1989, the dissolution of the socio-political system of the Eastern bloc has shaped European history, and ideological battles over the state-socialist past have been fought among historians, politicians and in the field of literature and life writing. Differing narratives about life in the Eastern bloc have competed for attention and acceptance, many of them addressing not only the peculiarities of life in the Eastern bloc as compared with Western Europe, but also the historical cultural and social features that were shared among Europeans across the boundaries of nations and blocs, including the question of a shared modernity.
It has been argued that both the 'West' and 'Eastern Europe' have been shaped by modernity but that their modernities have taken different forms.1 The close connection between the modernity of state socialism2 and Enlightenment ideas, and the industrial-technological basis associated with modernity in general have been widely acknowledged, enabling Leslie Holmes to state that '[i]n theory, communists were quintessentially modern'.3 Larry Ray proffers the logical conclusion that if communism was the epitome of modernity, then the crisis of communism may be understood as an indication of a general crisis of modernity.4 However, he personally prefers the interpretation that the crisis of communism 'opened up new terrains of struggle for modernity', brought to view latent tensions within modernity and created new opportunities for modernity.5 It can be concluded that people's experiences of modernity since the end of World War II have borne some fundamental resemblance across different political systems, from Western-style democracy through the peculiarly changeable Yugoslav socialism to Stalinist totalitarianism. While not implying that the different political systems had no impact on people's lives, this assumption may resolve the binary opposition of Western and Eastern bloc modernity.
This article will start with some general considerations regarding theories of modernity, then proceed to test the assumption of a basic resemblance of experiences of modernity across different systems with the help of a memoir whose author, Vesna Goldsworthy, lived through different modernities in Yugoslavia and Britain in the twentieth century, and has reflected on them in her autobiographical writing. After a brief introduction to the author and her memoir Chernobyl Strawberries (2005), a close reading of the text will explore her perception of different modernities and their relation.
European Modernity after World War II: Positions and Problems
The study of modernity has evolved as an interdisciplinary field headed, in terms of the development of theories and approaches at least, by historians and social scientists. In literature and the arts, more attention has been paid to modernism as an aesthetic style which emerged in the early twentieth century. This article, though it deals with a literary text, will focus less on literary form and more on Goldsworthy's perception of socialist and Western modernity as construed in her memoir. A brief excursion into current debates among modernity scholars will deliver a framework for discussion.
As has been pointed out repeatedly, various schools of thought have developed regarding modernity, and socialist modernity in particular.6 This study does not endeavour to support any one of these schools but rather to inspect existing positions for conceptions of modernity that may offer productive routes to a deeper understanding of Goldsworthy's construction of modernity in Chernobyl Strawberries.
In his review of modernity scholarship focussing on Russia and the Soviet Union, Michael David-Fox points out that some scholars, for example Sheila Fitzpatrick, have recently suggested that the stereotype of modernity based exclusively on Western parliamentary democracy and market economy is not adequate and that there are important alternative forms, such as Soviet modernity.7 Marie-Janine Calic, Dietmar Neutatz and Julia Obertreis agree that there are different kinds of modernity, including a capitalist 'industrial modernity' and a 'socialist modernity' which can be seen as 'a variant of industrial modernity'.8 Although socialist modernity shares with Western modernity its origin in the ideas of the Enlightenment and in the 'profound transformation of traditional agrarian societies into fully developed industrial ones', it differs from Western modernity in having 'achieved progress and development through dictatorial means'9 and with the assistance of Marxist-Leninist propaganda. Although 'socialist modernity' shared with the Western variant certain principles such as 'secularisation, the claim for universal validity of ideas and the conviction of the transformability of society, people and nature' as well as ideas of linear progress, rapid change and social interventionism,10 it can still be seen as 'a version of modernity in its own right', not only an attempt to copy the material achievements of Western modernity.11 What Stuart Hall calls 'the formation of the "discourse" of "the West and the Rest"'12 corresponds to the common perception that the two systems and their versions of modernity are to be distinguished clearly because they are dichotomous.13
This simple dichotomy, however, has been questioned fundamentally by recent scholarship, while the existence of multiple modernities has been acknowledged increasingly. The 'notoriously elusive concept' of modernity has not been rendered any simpler or more graspable by the assumption of the existence of multiple modernities; rather, the idea of multiple modernities 'at once resolves and complicates dilemmas already implicitly raised by the modernity paradigm'.14 Yanni Kotsonis lists various paradoxes of modernity and concludes that 'paradox is intrinsic to modernity' of any kind, Soviet or Western.15 He furthermore claims that differences between the various manifestations of modernity in East and West can only be identified within the 'shared comparative framework of European modernity'.16 The discussion of conceptions of modernity in Goldsworthy's memoir rests on exactly this assumption: as a cosmopolitan having experienced both socialist and Western modernity, Goldsworthy locates herself and her perceptions in a European context.
Modernity has predominantly been defined through political and economic structures, but it is also possible to focus on the features of people and cultures. In terms of the political sphere, modernity has not only been equated with parliamentary democracy but also with the rise of mass politics and an ethos of social intervention and social engineering. This aspect of modernization had the down-side of erasing a local past in a war on backwardness, alienating individuals and communities, and creating urban, mobile and flexible populations.17 Uprootedness and mobility are thus features of modernity in general and not of late modernity in particular, and they apply, albeit in different forms and to different degrees, to both Western and socialist modernity.
Concentrating largely on the communist era, David-Fox identifies both measurable markers of modernization and abstract, ontological shifts, associating the latter with phenomena such as rebellion against tradition and a 'panoply of ambitious projects to remake society, culture, and man'.18 The various projects to refashion society and humans are inherent in the different versions of modernity though, again, in different forms. Calic, Neutatz and Obertreis confirm David-Fox's view by arguing that socialist modernity corresponds with Western modernity in that it also encompasses features such as 'the conviction of the transformability of society, people and nature'.19 With regard to Yugoslavia after 1945, they observe that socialism 'committed itself explicitly to the attempt to introduce modernity by comprehensive social intervention, assisted by massive "agitprop" machinery'.20 There are, nevertheless, noticeable differences among the socialist countries as their routes to modernity started at different times, under differing economic and socio-cultural conditions, and were followed at different speeds. Yugoslavia, for example, was an exception in the Eastern bloc in that it maintained special relations with the West and 'integrated liberal bourgeois values, principles and practices into its modernization strategy, including – within limits – a market economy and private property, consumerism as a fetish and freedom of movement'.21 The diverse forms of socialist modernity may serve as one more example of how a closer look at seemingly clear dichotomies reveals ambivalence and multiplicity. Individual responses to socialist and Western capitalist modernity, from longings to loathings, are bound to come up in narrative constructions of the self in autobiographical writing and are at the core of narrative constructions of the self in late-modern post-communist Europe.
Various studies have confirmed that socialist and capitalist states in Cold War Europe were deeply entangled – not only politically but also, for example, through international cooperation, cultural exchanges and the importation of popular culture, which Francesca Rolandi has explored with regard to the influence of Italian popular culture on Yugoslavia.22 Such studies provide arguments for the view that socialist and Western 'capitalist' modernities were not only different instances of the same fundamental condition of modernity but that even at the time of the Cold War division of Europe into two camps, they were marked by exchanges and connections at all levels of social life. Consequently, this study of Goldsworthy's memoir will test the assumption that there are multiple modernities (and not only Western modernity), and that modernity is a contradictory process involving different phases, rather than a static condition. The latter phenomenon will be discussed in the next section.
Into Liquid Modernity
When Goldsworthy wrote her memoir in the early 2000s, it was from a position in late modernity. Although she does not theorize in her memoir about modernity and postmodernity, reading her text as a negotiation of experiences of different forms of modernity requires that the concepts are clarified beforehand. This makes a brief digression into the conceptions of different phases of modernity necessary, and while the tremendous body of literature on this subject, and on cultural postmodernism in particular, cannot be reviewed here, a few key issues will be discussed that contribute to the theoretical framework for the discussion of Goldsworthy's memoir.
There is a connection between the supposed development of multiple modernities in the twentieth century, especially since 1945, and the classification of post-1970s Western modernity either as a different stage in or a complete break with classical modernity. Proponents of a separate postmodern era, such as Fredric Jameson, emphasize fragmentation, discontinuities, self-reflexivity and a preference for excess, play, carnival etc. as the new modes of thinking and representation, and reject universalism, essentialism, grand narratives and the belief in progress. As the reading suggested here does not approach the memoir as an instance of postmodern aesthetics but explores the complex representations of different modernities in Goldsworthy's life narrative, the focus here will not be on cultural postmodernism. It appears more appropriate to view the time since the 1970s as a new stage of modernity, in line with arguments by, for example, Ulrich Beck and Christoph Lau, who speak of a second or reflexive modernity in which the contradictions and paradoxes inherent in classical modernity surface anew.23
The problem with drawing clear-cut distinctions between first and second modernity (and postmodernity) becomes obvious when it comes to issues such as migration and uprootedness, for example, which are central to Goldsworthy's memoir. Although migration is intricately interwoven with industrialization, a core process of classical modernization that required a mobile workforce, migration and flexible identities have also been identified as phenomena of reflexive modernity. Stuart Hall emphasizes that modernity 'is not only defined as the experience of living with rapid, extensive, and continuous change, but is a highly reflexive form of life …'.24 For a mobile population, self-reflexivity may function as an attempt to impose order (by emplotment or other means) or struggle with the ambivalence and messiness of life in late modernity.
In her study of contemporary migration biographies, Elisabeth Scheibelhofer argues that, while industrial society is still largely based on traditional forms of living such as the nuclear family and social classes, these forms have been dissolving. Industrial society has become unsettled 'in the course of "reflexive modernization" and due to individuals being released from traditional relationships'.25 Thus liberated, individuals become both the result and the producer of their living situations, as well as the authors of their own life narratives, which are often pieced together like bricolage.26 Scheibelhofer agrees with Ulrich Beck and Christoph Lau27 that there has not been a clear break between first and second modernity regarding the principles of modernity, but that while first modernity is ordered by dichotomies and set boundaries and standards, these ordering principles are eroded in second modernity and replaced by plurality, fluidity and ambiguity.28 In the process of social structures dissolving, new distinctions and boundaries do emerge, but these are much more provisional, flexible and open to change. Klaus Müller observes with regard to transformations in Eastern Europe since 1990 that these processes also involved a questioning of the concept of order, that is, 'the normative horizon of classical modernization theory',29 and called into doubt accepted boundaries and the steering capacity of politics. However, these and other phenomena such as the fragmentation of society, unpredictable events, non-linearity, multiculturalism and identity politics are features which post-socialist postmodernity shares with Western European postmodernity and international relations.30 Although Müller uses the term 'postmodernity', he argues for a revision of theories of modernization in order to address the tensions internal to the Western pattern itself.31
The concept of a second or reflexive modernity overlaps with Zygmunt Bauman's concept of liquid modernity.32 Bauman uses the term 'liquid modernity' to refer to the 'currently existing shape of the modern condition, described by other authors as "postmodernity", "late modernity", "second" or "hyper" modernity'.33 As this paper will be based on the general idea of a changing modernity which has been transforming from its 'solid' to its 'liquid' phase,34 rather than work with the postmodernist assumption of a fundamental break between modernity and postmodernity, Bauman's term appears most fitting for our purposes. In liquid modernity, no form of life maintains its shape for long, and culture, Bauman argues, now focuses on fulfilling individual needs and resolving struggles in personal lives.35 Migrants assume a special place in second, or liquid, modernity. Through their migration itself as well as their self-reflexive negotiations of identity, they have partaken in the liquefaction of the rigid but increasingly brittle structures of the 'heavy capitalism'36 of which the Cold War blocs were but one expression. As Bauman argues, nomadic habits were out of favour throughout the 'solid' stage of the modern era but have emerged as a dominant pattern of liquid modernity.37 Modern nomadism, then, entails permanent individual self-constructing labours that follow the twists and turns of life, which provides a relevant point of access for the study of migrants' life narratives in late modernity.
Vesna Goldsworthy's memoir Chernobyl Strawberries fits into this framework of socialist and liquid modernity and the nomadic and self-reflexive individual because she covers her life in Eastern and Western European countries, Yugoslavia and Britain in particular. She renegotiates her sense of belonging under the conditions of liquid modernity. I will look at her text as a response to modernity but also explore how she constructs modernities in her life narrative. Beside and beyond an analysis of constructions of modernity in Goldsworthy's memoir, this study provides a discussion of how and to what effect Goldsworthy represents her life in terms of the liquid modernity that has affected both post-communist and Western countries.
Post-Communist Life Writing, Identity and Modernity
One starting point of a search for theoretical trajectories between modernity and post-communist life writing may be found in the modern obsession with the categorization and ordering of the world. As Zygmunt Bauman has pointed out, the task of imposing order has been one of the more impossible undertakings modernity set for itself, and the order 'of the world, of the human habitat, of the human self, and of the connection between all three' has often been the subject of conscious reflection.38 Baumann sees the struggle for order as one directed against ambivalence and in favour of clear categories, but concedes that ambivalence has grown and that order has become a problem as a result of ordering practices, which in turn have become a matter of power.39 This conflict between order and ambivalence has also resulted in competing conceptions of identity as a clear-cut, essentializing category on the one hand, and a hybrid, shifting one on the other.
Bauman's analysis of modernity and order also addresses the effects of modernity on human self-perception: '[c]onsciousness is modern in as far as it reveals ever new layers of chaos underneath the lid of power-assisted order'.40 On the one hand, the striving for social order results in differences and dichotomies such as 'stranger' and 'native', 'foreigner' and 'state subject', 'them' and 'us', with an asymmetrical dependence between the opposites. On the other hand, ambivalence arises as modernity's 'most genuine worry and concern'.41 Bauman discusses the 'notoriously ambivalent category of strangers' as a product of order-building and concludes that 'the strangers' only realistic project is that of embracing their ambivalent standing, with all its pragmatic and philosophical consequences'; the 'assimilation project', he argues, spawns more ambivalence and contingency, which become the human condition's lasting features.42
The obsession with order that characterizes modernity also clashes with the nomadic way of life that emerged most strongly after the break-down of the Eastern bloc and with the transformation of some ('old') capitalist institutions. Bauman's 'liquefied patterns of human interaction and dependency' in a 'liquid modernity'43 are a metaphor for the loss of the old certainties and clear categories that marked the situation and characterized life especially, though not only, in the countries of the former Eastern bloc. As liquid modernity is connected with mobility, the 'stranger' is part of it but has taken various shapes. The figure of the late-modern nomad with its positive connotation of joyful discontinuity,44 for example, has emerged in this context, and while it may be suitable for some Eastern European life stories, the concept of the migrant is more appropriate for others as it has acquired a multiplicity of meanings, including not only new opportunities but also experiences of uprootedness, powerlessness, exclusion and the pressure to assimilate. The universal condition of rootlessness that Bauman describes with reference to the German sociologist Nikolaus Luhmann, of being a universal stranger and inhabiting divergent social worlds, is repeatedly reflected in migrants' life narratives since the self faces the permanent task of integrating divergent worlds and re-imagining selfhood.45
Vesna Goldsworthy's text can be anchored within this framework of order, dichotomies and ambivalence as it reflects on the changing location of the self and addresses the ambivalence of the category of the stranger, the assimilation project and the (socially constructed and questionable) dichotomy between East and West since the 1960s. As Ann Rigney puts it with regard to the European project and past attempts to formulate a European master narrative, 'travelling, cosmopolitan and multidirectional' memories are valuable strategies to 'conceptualize memory outside national frames'.46
Here we need to return briefly to the concept of identity as one that denotes such attempts to imagine the self. Stuart Hall notices a shift in late modernity from a formerly stable sense of self to a fragmented, decentred and constantly transforming identity.47 National identities are being eroded and strengthened (by resistance to globalization) at the same time, while local, particularistic and hybrid identities have been gaining ground.48 However, despite these tendencies, a strategic essentialism49 needs to be employed in analytical work at times to make possible the discussion of national or 'Eastern European' identities. The categories are used here as discursive tools, still implying fluidity and inner diversity.
Autobiographical and biographical texts have reached an unprecedented level of popularity in the late modern era, and since the 1990s in particular. One explanation for this may be the rapid changes in political, economic and social structures and their effect of unhinging individual lives while transforming public and private discourses. Such developments have increased ambivalence in areas such as politics, sexual orientation, and 'race' and ethnicity. The struggle with the dichotomy of 'Eastern' and 'Western' Europe in the post-communist period in Europe can be seen as part of the negotiations between clear and hybrid, stable and fluid categories which can be expressed in self-reflexive life writing.
Goldsworthy's Construction of Yugoslav Modernities
Vesna Goldsworthy was born in Belgrade in 1961 and spent her childhood and youth in Yugoslavia, going on to study French literature there. In 1986 she left the country for Britain to marry a young Englishman she had met at a summer school in Sofia. In Britain, she took a series of jobs as a journalist and eventually became a literary scholar and writer. In the early 2000s, when undergoing treatment for cancer, she wrote a memoir entitled Chernobyl Strawberries, which, she claims, was not intended to be 'a book about cancer' but 'about London and Belgrade, about the Serbian and English families' to which she belongs.50 The memoir offers itself for a study of modernities because Goldsworthy is an academic memoirist who writes at a high level of reflexivity compared with other autobiographers whose strengths are, for example, humorous anecdotes and colourful descriptions.51
As she has lived in both socialist and late capitalist modernity, she is in a position to compare her observations on forms of modernity and establish differences and similarities. Her reflections are particularly noteworthy and distinctive because what she left behind is not just a country but a whole historical transnational socio-political system, the Eastern bloc. Thus she reflects not only on her own country's past, but on European socialist modernity, and she does so from the critical perspective of a journalist and literary scholar. In her negotiation of belonging and her reconstructions of self, she navigates between narratives of East-West difference and narratives of likeness and belonging, as well as between narratives of homogeneity and narratives of diversity within the systems and kinds of modernity. For the writer who left an Eastern bloc country to live in Western Europe, this means that she has to find ways to recount her life looking (back) East from the West. The task involves the re-construction and re-evaluation of socialist modernity from the position of someone looking back in from the outside, and simultaneously someone looking around in her chosen new environments, comparing and combining.
Attempting to understand the construction of modernity in her memoir, I realized that rather than just recounting her childhood and youth in Yugoslavia, her migration to the United Kingdom and the various phases of her life after this move, Goldsworthy also reflects on the experience of her transition from socialist modernity in the Yugoslavia of the 1960s and 1970s to Western modernity in Britain in the 1980s and after. The question arose as to whether she understood this transition as a move from a less modern to a more modern country, or whether she saw herself as moving between two different but modern cultures. I also wondered to what extent she located herself, and can be located, in late, or liquid, modernity. In what follows, I discuss the relationship between socialist and capitalist, or Western, modernity with the help of the intimate knowledge of both systems and the comparisons between them that Goldsworthy offers in her memoir. While since World War II modernization has often been equated with Westernization,52 Goldsworthy's life narrative of East and West, Yugoslavia and Britain, appears to support David-Fox's claim that recent scholarship has loosened the 'conceptual links between modernity and the West'.53
The multiple alignments of Goldsworthy's life are already present when, in the second sentence of her memoir, she mentions the 'winds from Ukraine' that bring rain to the strawberry fields near Belgrade. In 1986, 'the year of Chernobyl' and of her 'move to England', she remembers the strawberries as being as fragrant as ever, but, by establishing a connection between Ukraine, Chernobyl and Belgrade, between Eastern Europe and Yugoslavia, she deftly captures the contradictory influences of the East, and the USSR in particular, on Yugoslavia, recipient of both nurturing rain and the radioactive precipitation implied in the concept of Chernobyl (1).54 By starting with 1986, marked as 'the year of Chernobyl and the spring before the summer of my move to England', she introduces her transition from one country to another and from one modernity to another as the central theme of her life narrative. Later, she adds that she made strawberry jam in 1986 but did not take a single jar of this jam to England (29). She immediately questions this metaphorical act of leaving everything Eastern behind, asking, 'Or did I?' and musing that it was not clear if the strawberries had been radioactive (29) (and the Eastern influence damaging). Her metaphorical negotiation of the impact of the East and of her own idea of having left it behind concludes with the suspicion that her clean break was only imagined, that she probably did take some things with her and that not everything is likely to have been contaminated. This attests to her insight into the complexity and ambiguity of Eastern (socialist) influences in her life and into the continuities and connections running through phases of life that seemed detached from each other.
Nevertheless, Goldsworthy gains a distance from Yugoslavia which is cast in terms of time as well as space. Revisiting it from a 'distance of twenty years and well over a thousand miles', she is able to see that the 'socialist experiment' she has departed from is also a 'social order' (2). Locating her memoirist self after and outside of socialist Yugoslavia, she reconstructs it as the social environment of her youth and portrays her young self as being entangled in this society. While conceding that she was certainly no dissident and did not leave via a dangerous escape route, she emphasizes her familiarity and attachment to Western popular culture and modernity by including anecdotes about smuggling some French LPs of chansons by Georges Brassens and others from Paris into Yugoslavia. The rise of an international, largely global generational youth culture has been described as a form of enculturation of modernity,55 and Goldsworthy certainly sees Yugoslavia and herself as partaking in these developments.
Her assessment of socialist Yugoslavia shows a keen awareness of socialist modernity as part of the 'solid' stage of modernity. She even asks how 'something that seemed so solid' as Yugoslav state socialism could disappear so easily (4). Goldsworthy experienced the power of the 'authoritarian state' in the rituals of a border control, expressing in small scenes such as this the rigidity of the institutions of socialist modernity. She describes the socialist world of her youth as 'dull and stable as something out of a nineteenth century bourgeois play' (9–10), capturing in this comparison the 'solid' industrial capitalist class structure and class conflict associated with first modernity. It is striking that she links 1960s and 1970s socialist modernity with nineteenth century capitalist modernity, somehow alluding to the argument that the socialist transformation in most Eastern European states brought industrialization to the backward agrarian societies and with it developments towards (first) modernity.
Since she perceived Yugoslav modernity mainly as stable and solid, she is almost disappointed at the speed of the transformation process which takes place in the 1990s, but with this insight also acknowledges that modernity, even Yugoslav socialist modernity, was ever evolving and ready to enter a new phase, never having been fully apart from capitalist modernity and its development into second modernity. This becomes particularly obvious when she describes how the pressure exerted by the International Monetary Fund on Yugoslavia to repay its foreign debt in the 1980s led to a rapid decline in the prosperity of the population (6), indicating how the country was interwoven with the Western economic system and dependent on it.
Besides characterizing socialist Yugoslavia as a solid system, she also includes in her narrative the country's post-World War II route into fully-fledged first, industrial modernity. In 1961 Goldsworthy's own family moved from poverty and life in two earth-floored rooms with an outdoor water tap and lavatory to a better, and later an 'enormous' New House. As Goldsworthy explicitly equates her family's initial poverty with that of her country (5), their move from plain traditional rural to luxurious urban housing may be read as a metaphor of pre-war agrarian Yugoslavia's catching up with capitalist first modernity through industrialization and modernization. Goldsworthy herself suggests that the New House represented 'an idea rather than an edifice' (7), her parents' dream of a large extended family and prosperity, a belief in progress. She encapsulates the rapid modernization process in which her family partook in the phrase that they moved 'from being shepherds to skiers in three generations' (8), skiing holidays iconically representing the middle-class lifestyle of modernity.
Goldsworthy does not give the impression that modernity started with Yugoslav socialism but mentions 'pre-war industrial edifices in the style of the European Modern Movement' (11) and the pre-war urbanization of peasants to indicate that industrialization started earlier. Woven into Goldsworthy's comprehensive reflections on the genealogy of her family are references to the relatively stable life of labouring people in the first half of the twentieth century on the one hand, and on the other to the extremely changeable political situation, wars, restlessness and mixing of nationalities that characterized Yugoslavia's history (13–17). Her contemplation of her ancestors' roots and routes points to the continuity of basic processes of modernity: Goldsworthy does not find her own movements any more unusual than any of her ancestors', 'at least not since they decided to leave the mountain ranges of the Balkans and get going' (20). This getting going turns out to be her family's history of early twentieth century migrations, not only in the Balkans but also to the United States, resulting in Montana and Montenegro becoming the 'mythical poles' (21) of her family's world. As a keen observer of her family history, Goldsworthy also recognizes the more recent development of women migrating, studying and marrying abroad, adding so many new branches to the family tree that her English in-laws are 'hardly outlandish' (22).
Reviewing Goldsworthy's introduction to her family history, it appears that she describes Yugoslav modernity as something that developed throughout the twentieth century, displaying typical features such as urbanization, industrialization and a greatly mobile population that moved from the country to the city and to workplaces in other countries. As she recounts a boost in opportunities in the 1960s and 1970s and then stagnation and decline due to the IMF's measures from the 1980s onwards, she recognizes that Yugoslavia participated in the events and processes of modernization in Europe and beyond, and that its modernity was deeply linked with Western modernity even after World War II. On the other hand, she acknowledges the specificity of socialist modernity in Yugoslavia. The picture she paints of her native country is composed of anecdotes about, for example, the celebration of International Women's Day (42), her school excursions to cheer Tito and his various guests (109–110), her tightly controlled poetry reading on TV, her national defence training (69–71) and her brief time as a member of the Communist Party (64, 75–77). The rigid structures and centralized control of political, educational and media institutions and events represent the solid aspects of Yugoslav socialist modernity, a modernity which also shaped the life of Goldsworthy's mother, who is described as a person who stayed in her job, town and marriage throughout her adult life (53). This kind of stability is one feature of first modernity.
Goldsworthy, however, balances her stories of encounters with (superficially) solid state socialism with stories of resistance, diversity and links to the West as well as her own volatile affiliations and loyalties. Family memories of agricultural collectivization, the social and physical costs of her maternal grandfather's resistance to it, the subsequent impoverishment of her mother's family and her maternal grandfather's cursing of Tito and communism (51–52) are also included. In this context, she mentions her own ambivalent and changeable attitudes towards Tito and the Communist Party and retrospectively reads her joining of the Communist Party as an early step in her 'career of not belonging' (75): she became a Party member at a time and in a social environment where people tended not to join, and even her own father, a 'reluctant communist' (65), advised her against it. Two years later, she dropped out of the Party. These tales of her childhood and youth in socialist Yugoslavia reveal a deep ambivalence regarding her own entanglement in socialism and highlight her and her family's blend of positive and negative attitudes to and experiences of Yugoslav socialism. They contradict a simplified image of solid socialist modernity and proffer a view in which Yugoslavia undergoes first modernity industrialization and urbanization and experiences the rigid structures of the socialist stage of modernization on the one hand, yet maintains close links with capitalist modernity and experiences a social and spatial mobility that permits an evolution into second, liquid, modernity on the other.
At the level of values, culture and education, Goldsworthy also emphasizes similarities and continuities between different forms of modernity and between East and West. Even in her youth she is able to travel quite freely in Europe, and as a student of literature, aspiring poet and speaker of French and English she not only reads widely in European literature but also meets literary visitors to Belgrade such as John Updike, Allen Ginsberg and Czeslaw Milosz, whose attention creates in her the 'illusion', as she self-critically remarks, that she is part of the wide literary world (172–173). In the field of artistic production at least, she finds the Yugoslav élites participating fully in modernity as well as modernism.
There are, however, more instances where Goldsworthy portrays her youth in Yugoslavia as being deeply entangled with Western thought and culture. One example of her dismantling of East-West binarism is her interpretation of the film Dr Zhivago. She observes that 'the Great Russian Soul, as sieved through the quintessentially English melancholic view of history, was absolutely irresistible' and that '[t]he English played the Russians with the respect and care' that indicated that 'one Empire was nodding to another' (67). Although Goldsworthy mentions her membership in the Communist Party, she characterizes her own communism as 'the stuff of Hollywood fantasy in which tall men and slim, bookish women argued passionately', of illegally printed leaflets and brutal police – a communism that held no room for Stalin and Marxist theory (68). When she declares that the 'West was clearly in love with its enemy, and [that she] understood that love story perfectly well' because it was 'underpinned by the same longing for simplicity, sharing and self-denial' that now makes the British buy Birkenstock sandals (69), she depicts her own brand of communist beliefs as youthful, harmless and romantic and likens them to those held by romantic communists in the West, establishing an ideological closeness and staking a claim to membership in a transnational romantic communism which has been part of modernity in general. Even the very notion of a romantic communism presupposes a shared system of ideas characteristic of modernity and its Enlightenment roots.
Goldsworthy also confesses that she 'entertained the very Western idea that [her] first responsibility is towards [her] own happiness', disregarding her parents' wish that she settle down and start a family (7). The point is that she phrases her pursuit of self-fulfilment as a 'Western idea', as a modern attitude and youthful selfishness that was shared across the East-West divide, dissolving clear boundaries between Yugoslav socialist and Western modernity. Her experience of social class in Yugoslavia is another case of shared modernity. On various occasions, she asserts that being young and middle class in Yugoslavia was very similar to being a middle-class youth in Western Europe, which later makes her claim convincingly that she felt at home in England 'from the very first day' (152). This commonality of experience also applies to values, or rather virtues, as she claims that her communist upbringing 'certainly stood [her] in good stead' in her working life because a 'virtue is a virtue wherever you are, East or West. A transferable skill' (39). The déjà-vu moments continue when she finds British austerity, bureaucracy, meetings and her grey university office strongly reminiscent of their counterparts in socialist Yugoslavia, and even her job at the university becomes so bureaucratized that it reminds her of her mother's tedious office work (182–184).
Such constructions of belonging to transnational socio-cultural groups are particularly visible in her account of her youth, when she defines herself as 'an ordinary bright girl in an ordinary middle-class world' (3), born to 'the original yuppies of the sixties' boom' (8), brought up with piano lessons and French, and attending an elitist secondary school which, she claims, 'in today's Britain would be called a city academy' (71–72). I would argue that such instances of writing her childhood and youth in terms of British (middle-class) culture, of translating and thus assimilating them into English concepts represent another strategy of foregrounding the commonality of experience and not only a rhetorical gesture towards her son and an English-speaking readership, although marketing strategies and 'packaging the eastern post-communist "other" to meet western consumerist expectations' may also have been a factor, as Ioana Luca critically remarks.56 Goldsworthy frequently asserts that many of her experiences were more or less shared across Europe, and with Western Europe in particular, and that her relocation to Britain lacked any 'existential drama' or 'cultural baggage'. Moreover, she refuses to define herself as an exile or refugee (36–37). This denial of any fundamental differences between socialist Yugoslavia and capitalist Britain due to their shared social, cultural and ideological structures forms a major premise of her view that the different modernities are simply variations of a general European modernity. Her recognition of the solid aspects specific to state-socialist modernity is countered by as well as reconciled with the general perception that Yugoslavia partook in many of the processes of first modernity and the transition to liquid modernity.
The Migrant Yugoslav, Identity and Liquid Modernity
Since Goldsworthy is an academic autobiographer familiar with current identity debates and literary criticism, she achieves a high level of reflexivity. Although she does not record the kind of lasting restlessness that other Eastern European writers such as Kapka Kassabova57 suffer from, she, too, travels extensively and reflects explicitly – though monologically – on her various trajectories of belonging and the fluidity of identifications. Her reflections are also statements about the condition of (late) modernity in Yugoslavia, the UK and post-communist Europe. With regard to a sense of belonging to and within the Eastern bloc, she remembers that, as a young student on a research stay in Bulgaria, she 'felt almost at home' with the language, food and people, 'but for that noticeable difference in atmosphere which (she) associated with being behind the Iron Curtain, in the Eastern Bloc proper' (153). Clearly, it is essential for her narrative of identity to distinguish between Yugoslavia and the 'Eastern Bloc proper', of which Bulgaria was part. Goldsworthy seems to be aware and proud that Yugoslavia was at the top of the unwritten hierarchy among the countries of the Eastern bloc with regard to prosperity and degree of freedom, a hierarchy which employed the concepts of Western modernity as a measure. Her keen observations attest to her noticing both East-West differences and differences within the Eastern bloc, as well as the ambivalent position occupied by Yugoslavia and her own ambivalent feelings of being both at home in and slightly outside the Eastern bloc.
However, as Goldsworthy leaves Yugoslavia behind, her ruminations about belonging and identity assume a new quality and urgency. While her concept of identification remains a dynamic one, she reflects repeatedly on her need to belong and the volatility of this need. After her arrival in Britain, she feels that being English and Serbian at the same time is the only way she will be happy (203), but later speaks of the 'fashionable, travelling, global postmodern subject' that she has created of herself (214). When reminiscing about married life in England, she claims that she became 'almost' English but loves the 'almost' because its means 'foreign, but not quite', clearly favouring ambiguity and flexibility over clear boundaries. The same sentiment is expressed in her enjoyment of 'reinventing' herself every day (150). She also notes that in some sense she 'remained an alien' because, coming herself from an often-colonized country, she could never fully grasp her father-in-law's nostalgia for India. However, she recognizes that she shares with him a homesickness and an awareness of multiple loyalties (221–222).
This changes again with her cancer diagnosis, which catapults her from being 'once happy in not belonging' to now wanting to 'be all in one place', longing for shelter and protection, and feeling English, for better or worse (261). The complexity of Goldsworthy's narrative politics of identification and of her relationships with Yugoslavia and the Balkan past also becomes evident when the Balkan War of the 1990s breaks out and, working for the BBC World Service,58 she recognizes that despite her having become English in every possible way, there are still Serbian 'fault lines' in her emotional responses, her pain and her clinging to her mother tongue (214). As with her complex discussion of Yugoslav modernity, she does not maintain a binary opposition of identities between which she moves, but rather ties her sense of identity to her social and emotional needs at different stages of her life, acknowledging the power of her Yugoslav socialization and mother tongue as undercurrents but also occasionally asserting 'I am English now' (3). Through the way she recounts the shifts in what or where she identifies with, she moves away from the more essentialist, solid conceptions of migrant identity in first modernity, passes through a phase in which she sees herself as a 'global postmodern subject' and finally arrives fully as a cosmopolitan in liquid modernity. Within this liquid, reflexive modernity, a return to a more unified identity is still possible, however, and even desirable in situations where the individual craves security, as Goldsworthy did during her cancer treatment.
In her 'Epilogue to the paperback edition', Goldsworthy recounts that after the publication of her memoir she received numerous letters, many of which offered 'personal histories of displacement' and came from readers 'whose notions of home can only ever be multiple'; here, in response to her readers, she acknowledges her kinship with refugees, migrants and displaced persons, although immediately afterwards, near the end of the book, she maintains that her own story is simply one of 'moving from one end of the continent to the other at the call of youthful love' (301), a move she more or less sailed through with the help of the virtues of the all-European educated middle class. By rejecting categories such as 'exile' or 'expatriate' for herself, she claims for her life story a late-modern cosmopolitan pan-European identity which simply incorporates her Eastern European socialization into her life narrative, resulting in the feeling that 'in its fragmented way, [her] life makes perfect sense' (283). Ioana Luca argues that, by catering to some extent to British expectations, 'Goldsworthy's life writing becomes a privileged space for enunciation and subversion, enabling a critical reconfiguration and reconceptualization of the inherent "otherness" of Communist and post-Communist Eastern Europe'.59 In my reading, though, I have not found a clear 'inherent otherness' in Goldsworthy's flexible constructions of post-communist European identity. I do agree with Luca, however, that 'Goldsworthy does not provide a grand narrative of the demise of Yugoslavia, the kind discredited by postmodern critics like herself, but presents scattered bits of stories', painful and powerful.60 In doing so, she acknowledges the lack of clarity and the abundance of ambiguity that mark liquid modernity.
At the level of form, Goldsworthy's memoir also represents reflexive liquid modernity, in perfect accordance with her confession that she studied poststructuralism and passionately supported postmodern writers while rejecting the realist, nationalist ones in 1980s Belgrade (171). She reflects explicitly on the non-linear form of her narrative, a form that for her is the only adequate expression of the workings of her memory, of the 'shifting vantage point' over the course of a life and the unstable, 'makeshift' meanings that result (286). In the face of death, during her cancer treatment, she embraces the dislocations, fractures, arrivals and departures of her life, concluding that fragmentation, shifts, moves and ambiguities are part of the condition of the world. She calls her memoir 'an imprint of individual memory' and 'not a faithful reconstruction of the past' (287), assigning it the qualities of a representation of reflexive modernity. Therefore I agree with Ioana Luca that Goldsworthy 'establishes difference from, rather than connections to, the tradition of the communist life stories' in her fragmented transnational narrative.61 Luca also observes that Goldsworthy occasionally exoticizes the Yugoslavia of her childhood and employs popular national clichés, hinting, in her accounts of family history, at its archaic and marginal nature and participating in the Othering of the Balkans62 that Goldsworthy the scholar63 had critiqued. I would suggest that some of these old family stories are told with an ironic touch and from a temporal authorial distance, expressing her ambivalent attitude rather than full identification or intentional exoticization. Through such pieces of family lore, Goldsworthy alludes not only to a pre-modern Yugoslavia but also to the permanence of features such as migration and to Yugoslavia's rapid transformation into a modern country after World War II and its special brand of semi-socialist modernity.
In her memoir, Vesna Goldsworthy provides a retrospective autobiographical narrativization of Eastern European experiences before and after the political changes of the 1990s from her vantage point in England in the 2000s. Although a growing number of Eastern Europeans who moved to Britain and other Western countries have written and are writing in English about their experiences in the Eastern bloc and their later transnational lives for a readership mainly outside of 'Eastern Europe', writing this kind of memoir poses particular challenges. Beside the general questions of identity and belonging raised by migration, the memoirist also has to negotiate similarities and differences between different countries and kinds of modernity.
With regard to her perception of Yugoslav socialist modernity and Western (British) modernity, Goldsworthy's narrative is largely ambivalent. While she recounts events and experiences peculiar to (Yugoslav) state socialism on the one hand, she frequently emphasizes the commonality of experience of, for example, a young person in the 1960s or a daughter of middle-class parents across the different countries and political blocs. In doing so she blurs the dividing lines between socialist and capitalist modernities and maintains an ambivalence with regard to clear distinctions. She reinforces this blur by likening her own experiences with British bureaucracy to her mother's with the Yugoslav brand and by commenting on the usefulness of some socialist virtues in the capitalist work place. With some incidents of migration in her family's history, she also illustrates the continuities between first and second modernity, never distinguishing clearly between them but rather combining them quite randomly in her fragmented life narrative. Her accounts of her different phases of identification as Yugoslav, English, both, or a travelling global postmodern subject, scattered throughout the memoir and evoked by changing circumstances, attest to her locating herself in the liquid modernity Zygmunt Bauman described, with its critical category of the strangers and their attempts to embrace their ambivalent standing. This in turn produces more ambivalence and contingency.
Goldsworthy saw herself as moving between two different but similarly modern cultures. However, through narrative fragmentation and ambivalent assessments, her memoir neither endorses dichotomous categories of (national) identity, nor does it attempt to formulate a new European master narrative. Instead, Goldsworthy constructs transnational, cosmopolitan memories, reflecting as she does so on the fluidity of identification throughout her life. The transnational character of her life and life narrative is closely connected with her conception of a transnational experience of both first and second modernity. Nevertheless, her memoir testifies to a permanent longing for order and belonging, and to an ongoing quest for a community with which values, virtues and experiences are shared, and which transcends the authors' Eastern European roots. Goldsworthy's conception of the relationship between socialist and Western modernity has certainly been shaped by her life story and historical and social situatedness, but despite the references to differences, the overall frame is that of ambivalence and of values and cultural elements shared across politically constructed divides.
Goldsworthy's reflexive life writing is but one attempt to capture the complexities and ambivalences of the experience of a writer from the former Eastern bloc who went to live in the West. It may be due to the particular form of state socialism in Yugoslavia, her background as a middle-class academic and her migration as a middle-class wife that features of a shared European culture determine her assessment of socialist, capitalist and liquid modernity alike. Nation, class, gender, time and circumstances of migration have an impact on transnational life narratives of East and West and may result in much clearer perceptions of differences between modernities, as memoirs like Gazmend Kapllani's A Short Border Handbook64 illustrate, although even Kapllani occasionally mentions connections. Goldsworthy's memoir, however, provides ample proof that the condition of modernity can be considered shared European heritage and a shared contemporary challenge.


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for the New City
155 First Avenue
Thurs.-Sat. at 8:00 PM
Sun. at 3:00 PM, June 11-June 28, 2009
A Puerto Rican woman sits at a table in an imaginary New York City café musing about the pleasures of coffee, what women do and do not talk about, and the secret that affected the lives of her and every girl in her family. Tomando Café is good to the last drop!
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subset: commoncrawl


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Crunchy coconut prawns
Member recipe by bottlegreen
ServingsServes 4
Golden and crunchy these are so tasty they are irresistible, serve as a starter, appetizer or light summer lunch.
This recipe has been submitted by the Good Food community. Sign in or create a My Good Food account to upload your own recipe creations. Please note that all recipes will be moderated but they are not tested in the Good Food kitchen.
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- 20 large shell on fresh prawns
- 2 tbsps plain flour
- 1 egg
- 6 tbsps desiccated coconut
- 6 tbsps fresh breadcrumbs
- 8 tbsps bottlegreen lime and coconut cordial
- 1 large red chilli
- 2 tbsps rice wine vinegar
- Oil for frying
- Remove the shell from the prawns keeping the tail on, prepare 3 bowls, one with the flour in, one with the beaten egg and one with the coconut and breadcrumbs mixed together. Dip the prawns first in the flour, then the beaten egg and finally toss in the coconut mix until evenly coated.
- To make the dipping sauce, place the cordial, chilli and rice wine vinegar in a small saucepan, bring to the boil, simmer until reduced a little and syrupy.
- Heat the oil in a pan, cook the prawns until golden for approx. 5 mins, turning half way if shallow frying, drain on kitchen paper.
- Serve the prawns with the lime and coconut dipping sauce


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Nowadays People are actually constantly running to win a decent living standard for themselves and their families. In such a scenario, it becomes extremely difficult to do trivial tasks such as clearing the bills. The situation is especially true when both the partners are working.
Airtel understands the concerns of its users and has introduced the services such as online clearance of the bills. The brand has already ruled over the heart of its users by offering superb network which is available even at far off places. The superb connectivity and seamless services of Airtel is one of the advantages of Airtel which helps it to stand out among the other players in the market.
The Airtel Postpaid bill payment services can be availed through the digital platforms like Mobikwik, Phonepe or Paytm. One can visit the website of the concerned service provider or download its mobile app. The mobile apps can be downloaded on any device such as a smartphone or PC as it is most compatible with all the software such as iOS, Windows or Android. The user interfaces of these mobile apps are extremely simple and friendly; hence even a naïve can easily use them.
The payment through these digital platforms offers the convenience of clearing the due payments at any time, even while sitting very far away. Hence, it saves a person from the going anywhere for clearing the due bills. The Airtel postpaid bill payment can even be made while driving back to home. Hence, Airtel has upkeep it promises of making people always connected with each other.
The transaction process is secured by the encryption; hence, one can relax about the safety. One can cash on various offers and deals for saving a huge amount which is generally offered by the service provider.
Steps for clearing Airtel Postpaid bill through the online mode:
- Visit the desired service provider or download the mobile app.
- Open the section with 'pay bills' option.
- Fill up essential details such as user ID and number.
- Select the billing period.
- Fill up the exact billing amount.
- Select the mode of payments which can be either through e-transfers, or debit or credit cards.
- Clear the payment.
At this, a text message will be generated and sent to the mobile number of the user to confirm the transaction process. In case of any error, the person can immediately contact the support cell of the service provider which is eager 24X7 to help its users. One should take care to fill the billing details carefully while making the payments to prevent any error.
It is always better to make the payments some day before the given date as the actual transaction may take about two days. There is no need for pre-registration with the digital platforms offering the facilities online bill payment. Some of the reliable names such as Paytm offer services like Paytm wallet for ensuring the safety of the transaction. Hence such providers are highly dependable and hence worth selecting.


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SACRAMENTO (CBS13) – CVS Pharmacy says it will soon start selling cannabis-infused products.
The drug store said they will carry topical creams, sprays and lotions infused with the non-psychoactive cannabinoid CBD.
These items with be available at CVS stores in eight states, including California.
CVS did specify, though, that they will not be selling any CBD supplements or food additives in their stores.
Hemp-derived CBD products have become increasingly popular as marijuana regulations across the country have loosed. Beauty products like bath bombs, oils and face creams are being infused with CBD – with producers touting its anti-inflammatory properties.
Popular makeup retailers like Sephora and Ulta Beauty have already started carrying CBD-infused products.
Experts are still undecided, however, on if CBD is at all a beneficial ingredient.


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2018 Infiniti QX30 Luxury FWD
Dealership Information
345 York Rd
Warminster, PA 18974
Welcome to CarsIndex, where we strive to provide the utmost customer experience.
We take pride in the quality of our cars. All of our vehicles are guaranteed to pass inspection, and are meticulously maintained during the short time each remains on the lot. Because we boast some of the lowest prices in the tri-state area, our vehicles sell fast. Stop by today and speak with our experienced team of sales and finance specialists, or click Apply For Credit to get pre-approved!
If you would like to know more about a specific vehicle or schedule a test drive, give us a call at (215) 672-7900!
- Leather Steering Wheel
- 110 Amp Alternator
- 13.2 Gal. Fuel Tank
- 2 LCD Monitors In The Front
- 2 Seatback Storage Pockets
- 2.654 Axle Ratio
- 3 12V DC Power Outlets
- 4-Wheel Disc Brakes w/4-Wheel ABS, Front Vented Discs, Brake Assist, Hill Descent Control, Hill Hold Control and Electric Parking Brake
- 80-Amp/Hr Maintenance-Free Battery
- 956lbs. Maximum Payload
- Air Filtration
- Airbag Occupancy Sensor
- Aluminum Wheels w/Silver Accents
- Analog Display
- Black Grille w/Chrome Surround
- Body-Colored Front Bumper w/Metal-Look Rub Strip/Fascia Accent
- Body-Colored Power w/Tilt Down Heated Side Mirrors w/Driver Auto Dimming, Power Folding and Turn Signal Indicator
- Body-Colored Rear Bumper w/Metal-Look Rub Strip/Fascia Accent
- Cargo Area Concealed Storage
- Cargo Space Lights
- Carpet Floor Trim
- Chrome Door Handles
- Chrome Side Windows Trim, Black Front Windshield Trim and Black Rear Window Trim
- Clearcoat Paint
- Cruise Control w/Steering Wheel Controls
- Curtain 1st And 2nd Row Airbags
- Day-Night Auto-Dimming Rearview Mirror
- Delayed Accessory Power
- Driver And Passenger Door Bins and 1st Row Underseat Storage
- Driver And Passenger Knee Airbag
- Driver And Passenger Visor Vanity Mirrors w/Driver And Passenger Illumination
- Driver Foot Rest
- Driver Seat
- Dual Stage Driver And Passenger Front Airbags
- Dual Stage Driver And Passenger Seat-Mounted Side Airbags
- Dual Zone Front Automatic Air Conditioning
- Electric Power-Assist Speed-Sensing Steering
- Engine Immobilizer
- Engine Oil Cooler
- Engine: 2.0L I-4 DOHC Turbo -inc: idle stop start
- Fade-To-Off Interior Lighting
- Fixed Rear Window w/Fixed Interval Wiper and Defroster
- Front And Rear Anti-Roll Bars
- Front And Rear Map Lights
- Front Cupholder
- Front-Wheel Drive
- Full Cloth Headliner
- Full Floor Console w/Covered Storage, Mini Overhead Console and 3 12V DC Power Outlets
- Galvanized Steel/Aluminum Panels
- Gas-Pressurized Shock Absorbers
- GVWR: 1,940 kgs (4,277 lbs)
- Heated Front Bucket Seats -inc: 8-way power adjustable front seats, 4-way power front lumbar and memory seats
- HVAC -inc: Underseat Ducts and Console Ducts
- Illuminated Locking Glove Box
- Interior Trim -inc: Nappa Leather Instrument Panel Insert, Leatherette/Piano Black Console Insert and Metal-Look Interior Accents
- Leather/Metal-Look Gear Shift Knob
- Leatherette Door Trim Insert
- LED Brakelights
- Liftgate Rear Cargo Access
- Light Tinted Glass
- Lip Spoiler
- Manual Tilt/Telescoping Steering Column
- Manual w/Tilt Front Head Restraints and Manual Adjustable Rear Head Restraints
- Manual-Leveling Fully Automatic Aero-Composite Halogen Daytime Running Headlamps w/Delay-Off
- Memory Settings -inc: Door Mirrors
- Multi-Link Rear Suspension w/Coil Springs
- Outboard Front Lap And Shoulder Safety Belts -inc: Rear Center 3 Point, Height Adjusters and Pretensioners
- Outside Temp Gauge
- Passenger Seat -inc: Power 4-Way Lumbar Support
- Perimeter Alarm
- Perimeter/Approach Lights
- Power Fuel Flap Locking Type
- Quasi-Dual Stainless Steel Exhaust w/Polished Tailpipe Finisher
- Rear Child Safety Locks
- Rear Cupholder
- Rear Fog Lamps
- RearView Monitor Back-Up Camera
- Redundant Digital Speedometer
- Remote Releases -Inc: Power Cargo Access
- Rigid Cargo Cover
- Selective Service Internet Access
- Side Impact Beams
- Strut Front Suspension w/Coil Springs
- Systems Monitor
- Tire Specific Low Tire Pressure Warning
- Tires: 235/50R18 AS Run-Flat
- Transmission w/Driver Selectable Mode
- Transmission: 7-Speed Dual Clutch Automatic -inc: overdrive and paddle shifters
- Variable Intermittent Wipers
- Wheels: 18" Silver Painted Aluminum Alloy
- Window Grid Antenna


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Trial on N. Y. lawsuits challenging U.S. Census citizenship question to begin
Opening arguments set for Monday
Yatziri Tovar came to the Bronx from Mexico when she was two years old. Now 26, she's staying in the U.S. legally under the DACA program that grants temporary status to immigrants brought to the country as children. Some of her 10 family members are U.S. citizens; some are undocumented.
She says that if a representative from the government came to the door and asked her family whether they were citizens as part of the census, they wouldn't answer - maybe they wouldn't even open the door. That means they wouldn't be counted, meaning they wouldn't be considered when their electoral district was drawn, meaning their local schools, organizations and government wouldn't get as much federal funding.
"It's not only my family that won't be counted, but it's entire neighborhoods. This could impact hundreds of people, not only people in New York City but also in New York state," Tovar said.
Tovar works for Make the Road New York, an advocacy organization with more than 23,000 members that is a plaintiff in a lawsuit challenging putting a question about citizenship on the 2020 census. In March, U.S Secretary of Commerce Wilbur Ross ordered that the upcoming census include a question about citizenship for the first time since 1950.
Six lawsuits, two filed in the Southern District of New York against the U.S. Department of Commerce and Census Bureau, argue that adding the question would intimidate immigrants and undercount the census. The first in New York was filed by 17 states, seven cities and the U.S. Conference of Mayors in April. The second was filed by a coalition of non-profits in June. Opening arguments in a consolidated trial are set for Monday in Manhattan.
In the Capital Region, Ladan Alomar, director of civic organization Centro Civico, works with many undocumented immigrants in Albany and Amsterdam. She said asking about citizenship would stoke fear and alienate immigrants.
"If you're undocumented and you say this is your address, it's very easy for the government to know exactly where you are and come and get you," Alomar said. "If you are wanting all the people to be counted, you don't ask those types of things unless the intention is to create fear and hysteria, and as a result, a particular group of people who are not counted."
"People's citizenship should not have anything to do with counting all people in our communities," Alomar added.
U.S. Department of Commerce Secretary Wilbur Ross said in a June memo that the Department of Justice requested the addition to better enforce the Voting Rights Act.
The lawsuit filed by Make the Road New York and others argues the move is "a naked act of intentional discrimination" that would intimidate immigrant communities, stunt their political growth, and deprive them of economic benefits.
The complaint says asking about citizenship will result in an inaccurate census count because some immigrants won't answer. The Census Bureau already refers to minorities, immigrants and non-English speakers as "hard-to-count" populations.
Nearly one in four New Yorkers is foreign born, according to the 2010 census. Half of those are not U.S. citizens. The Migration Policy Institute estimates there are 850,000 undocumented immigrants in the state.
A citizenship question was dropped from the census in 1960 and added to a longer list of questions asked to a small minority of residents in 1970. After 2000, the question was only asked on the American Community Survey, a poll of a fraction of the population conducted more frequently than the census.
Elizabeth OuYang is a census consultant with the New York Immigration Coalition, another plaintiff in the lawsuit, and the coordinator of New York Counts 2020, a statewide coalition of more than 85 groups advocating for a fair and accurate census. She said the only way to stop a question about citizenship on the census now is a court ruling or a political shift after the midterm elections that would result in Congress passing a measure against it.
She and other organizations are also pushing for more state funding for census outreach. A report by the Fiscal Policy Institute published last week said $40 million was needed to reach New York's "hard-to-count" populations and avoid undercounting in 2020.


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Osinbajo, Ambode and Sanwo-Olu meets in Lagos
The vice president Prof Yemi Osinbajo on Monday met with the governor of Lagos State, Akinwumi Ambode and the All Progressive Congress (APC) Governorship aspirant in Lagos State, Mr Babajide Sanwo-Olu in Lagos.
The vice president who was in Lagos to monitor the Tradermoni scheme in the state was joined by Ambode and Sanwo-olu as they visited Bariga, Ketu and Oshodi markets
Speaking with newsmen after the visit, the Senior Special Assistant to the Vice President on Media, Mr Laolu Akande, disclosed that Osinbajo was in Lagos to see the impact of the Tradermoni scheme and assured them of government commitment to increase the funds to capture more people.
He maintained that the target of the government was to capture 2 million people before December.
"The visit of the Vice-President to Lagos was to see the impact of the scheme and interact with the traders in the markets, and he assured them that the fund will be increased to capture more people," he noted.
"Our plan is that between now and December, we would have captured the two million traders.
"Already, we have handed the fund to 800, 000. We have enumerated all the two million and we know who they are.
"That does not mean that this is the end of the programme. Our plan is to achieve the two million before the end of the year and add more people to subsequent tranches," he added
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Fitness and Character development for ages 7-70+. Karate is an activity that helps each student develop at their own pace but encourages constant improvement. Shotokan karate is a non contact martial art but teaches self-defense and perseverance through Kata, Kihon, and Kumite (3 elements of most martial arts.) This class is for children and adults with both beginner and junior ranks participating. Testing for belt ranks is not necessary but encouraged if you continue training. (This is a separate fee managed by the instructor). Please wear shorts and a T-shirt and ensure that toe nails are clipped short.
Note that this program has been changed since the guide went to print. It is 12 classes and the registration fee is $132.


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Please use this identifier to cite or link to this item:
Neurogenic Pulmonary Edema Induced by Anterior Hypothalamic Lesions in Rats
|For UH users only
|Adobe PDF
Item Summary
|Neurogenic Pulmonary Edema Induced by Anterior Hypothalamic Lesions in Rats
|Yee, Brian
|Biology (department)
|Date Issued:
|15 Jan 2014
|University of Hawaii at Manoa
|Head trauma and brain damage have long been associated with the occurrence of acute pulmonary edema. This study explores the possibility that neurogenic pulmonary edema (NPE) is hypothalamic in Qrigin and due to a deficit of control. Rats received bilateral electrolytic lesions in the anterior hypothalamic region of the brain. The lesions were varied intentionally in both size and specific location. The occurrence of behavioral changes associated with pulmonary edema were nQted. The rats were subject to gross autopsy and the appearance of the lungs and lung weights were recorded. The brains were removed, fixed in buffered formalin and frozen serial sections (40 or 80 u thick) were studied. The brain section with the most bilateral cystic damage (by visual inspection) was regarded as the lesion midpoint. The anterior-posterior (A-P) lesion midpoint location and extent of overlapping A-P bilateral brain damage due to the lesions were recorded. With good quality 40 u sections, it was possible to estimate the (A-P) lesion locations to the nearest 0.1 mm. With preparations of poorer quality the lesion coordinates were determined to the nearest 0.2 mm. Of 26 rats, five were found to have developed NPE within 3 hours of lesioning (NPE is defined as having a lung wet weight/body weight ratio over two standard deviations above the mean of the ratios for rats without NPE.) Unlike some earlier reports, a consistent relationship was noted between the size and placement of the brain lesions and the incidence of NPE. Edema-generating brain lesions were found to be a minimum of 1.2 mm long (A-P). In 5 rats with NPE, the bilateral lesion midpoint was within the anterior hypothalamus in the region 8.0-8.4 mm rostral of the interaural line (a region rostral to the optic chiasm). Rats with lesion midpoints between 8.0-8.4 mm and not demonstrating NPE were found to have lesions less than the critical minimum·length of 1.2 mm. Our results clarify some of the paradoxical observations made by previous investigators and suggest that a discrete anterior hypothalamic region is normally responsible for preventing pulmonary vascular hypertension in rats.
|21 pages
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Slip Rings
Slip Ring Union
Rotary Unions
Technical Support
Communication Slip Ring In The Fan System
Energy is an issue currently facing mankind. Traditional energy slowly decrease, already cannot meet people's needs, more serious, such as thermal power generation, oil and gas, environmental damage is very large, therefore, the development of new clean energy has become an inevitable trend. Among them, the wind power is a clean energy future, more and more people's attention. Communication slip ring for wind power generation, as the pitch system power supply, transmission control signal and communication functions important part, which is mounted on the hub rotates coaxially with the speed gearbox low speed shaft. After the fan speed, communications slip ring as a carrier of the transmission signal may fail, so that the system cannot normally receive pitch over speed signal speed information, cockpit issued timely action cannot respond to, such overdrive fans cannot get timely containment. Therefore, there is a big security risk fans, how the fan speed, reliable protection of the pitch system, it becomes quite important.
The general solution is in communication through the slip ring tail install encoders, encoder and communication slip ring bearing synchronous rotation, detecting the number of revolutions of the fan, the encoder measured fan revolution number signal delivered to the master system, the master system to the number of revolutions of signal processing, computing, to give the fan speed per unit of time - that is, the fan speed signal; the fan speed signal and the main control system programmed maximum speed value comparison, if higher than the set value , then the fan speed, the main control system control unit sends a signal, through the slip ring to the pitch, the pitch excitation system actuators quickly the OARS, to protect the fan. In this way, under normal circumstances can solve the security problem in the fan speed status. However, because the speed of the process through more components, long communication process, the speed signal to go through multiple conversions can finally pitch into the system, with a certain delay, but also multiple conversions to generate attenuation and signal transmission error. Moreover, the domestic wind power technology is not yet mature, communications slide slip ring communication function is not reliable, it will be affected by interference and external conditions inside the equipment, etc., so that the signal transmission is not accurate, even in the case of overs peed, communication slip ring failure, resulting in signal cannot be transferred. Thus, there is still a big fan of security problems, so to develop a new fan system for domestic wind power development has important significance.


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Siding Contractors in Garnet Valley PA
Are you in need of help from siding contractors in Garnet Valley PA? Impriano Roofing & Siding offers quality, affordable solutions to a variety of exterior remodeling needs. For generations, our team has provided homeowners with customized siding solutions to meet their specific needs. Working with the industry's top manufactures, we work hard to supply you with the siding of your dreams.
The Impriano team has been repairing and installing quality siding for over 40 years. In that time, we've learned how to approach each project differently and uniquely. This keeps our contractors fresh and ready to handle the unexpected. When you call on our service, you can expect an expert to go through the different options we offer before asking you to make a decision. Once you do, the siding installation is up to us! To learn more about our process and our products, give us a call today!


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|18 Apr 2019
Excel 2019, lag when opening second instance
Excel 2019, build 1903.
Office start screen disabled (opens new spreadsheet).
1) Starting Excel initially using start menu = fast.
2) Ctrl + N = fast.
3) Clicking on Excel using start menu after Excel is already open = 3-4 second lag.
Word, Powerpoint etc don't experience this lag.
It's annoying because it also happens when opening additional spreadsheets, but it's not related to any of my spreadsheets since the lag occurs even when opening blank spreadsheets.
Since it's only happening with Excel, I wonder if it is related to a setting unique to Excel.
Excel 2016, didn't have this problem.
|My System Specs
|19 Apr 2019
Windows 7 Home Premium 64 bit sp1
Hi Macomb, welcome to the Forum.
Have you tried running an Office repair. In Office 2013, which I use, open Control Panel, click on Programs & Features, scroll down to Microsoft Office, Right Click on it & select Change & this will open a couple of Repair options to try. Of course I am assuming Office 2019 is the same.
|My System Specs
|19 Apr 2019
A different machine with Office 365 has the same problem.
There too it only happens with Excel.
Looks like it's a Microsoft bug since it happens on two different machines, one with Office 2019 and one with Office 365, and only in Excel.
|My System Specs
|19 Apr 2019
Windows 7 pro 64-bit sp 1
I suggest that you post on 10 forums since 2019 is only on 10. Windows 10 Help Forums
|My System Specs
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There are many things to do in the local area, to suit all interests and age groups. The immediate local area is a paradise for walkers, cyclists and birdwatchers. The spectacular Andalucian lake districts of Iznajar and Ardales are both within a 1 hour drive, as are the famous El Torcal and El Chorro. The Pink Lagoon, is a favourite watering place for pink flamingos. The ancient city of Antequera is well worth a visit. Granada, home to El Alhambra is a 40 min drive away. Malaga and the beaches of the Costa del Sol are 45 minutes south. We can also arrange Spanish lessons on site.
In the nearby village of Villanueva del Rosario you can also have a go at pottery at Ceramica El Jaral. Try your luck on the potters wheel or use your imagination to make other pottery crafts. If you are with us for a week you can easily schedule in two visits so that you can take home your finished product.


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Love happens they say,
When u think of someone all day,
Someone, somewhere is hurt
But there are tears on your face
Love hurts when you break up with some one.
Hurts even more when someone breaks up with you
But love hurts the most when the person,
You love has no idea how you feel.
I loved her from my heart,
She touched my soul n shake my heart,
I found her mine, but that wasn't true,
I cried all night but she never dew,
Was it wrong to express my love?
Was it the same reason she left?
The tradegy about life is not death itself
But it's when something dies within you while
U still alive bcoz u live 2 fell the hurt,
Love is very important in life and it almost died within me
But u came and rescued it.


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- Infiniti M37/56 Premium LED Interior Package (2011-Present)was $105.00 Special Price $70.99
- Infiniti M37/56 LED Interior Package (2011-Present)was $70.00 Special Price $39.49
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PrecisionLED.com offers the best Infiniti LED lights to replace dim and worn out incandescent and halogen factory bulbs. We carry the largest variety of LED light bulbs for upgrading the interior lights, headlights and tail lights. DIY with our 200+ How-to videos on YouTube.


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Due Diligence
Due diligence is the basis for each and every acquisition of a company and the related determination of the corporate value or purchase price. The data of the company to be acquired is thoroughly examined in order to identify potential risks from the transaction. As can be seen in the following chart, this applies not only to the possible financial risks in financial due diligence, but also to the investigation of tax or legal risks and encumbrances in tax due diligence or legal due diligence.
Financial Corporate Analysis with Due Diligence
The time pressure for the analysis of a company prior to an acquisition or a merger is high, as are the expectations for the required due diligence. The financial due diligence includes an assessment of past, effective data, and plan figures such as balance sheet, income statement and cash flows, as well as evaluation of the structure of the personnel, order volume, or the customer base. In this process, the net assets, financial position, and results of operations at a target company are analyzed on the basis of external and internal metrics for the company. However, due diligence must be clearly differentiated from a review such as an audit of the financial statements or a company valuation since due diligence very specifically generates information relevant for the principal.
Objective of Due Diligence for Company Acquisitions
As part of our services, we calculate, for example, normalized earnings, net debt, and identify significant financial risks and impacts on key metrics. Together with our tax and legal partners, we rapidly prepare a report on current questions, potential deal breakers, and recommendations for purchase price clauses or guarantees.
The following input may be relevant for this:
- Sustainable, adjusted earnings
- Sales and earnings growth
- Net debt, including unreported circumstances
- Cash flow planning
- Change in working capital
- Investment activity
The design of the purchase-sale agreement is mainly based on findings and the underlying data from due diligence:
- Separation of the transaction object
- Purchase price formula
- Guarantees and warranties
Buy Side Due Diligence
For buy side due diligence, we help you as the buyer to identify opportunities and risks from the forthcoming transaction and to check certain contractual parameters in a later phase after closing. The focus here is on financial due diligence. However, the analysis and reporting can also be expanded to include tax and legal due diligence, as needed. Our goal is to document the major subjects as part of a red flag report with an experienced team as quickly as possible in order to implement the other, most efficient procedures with you and possibly to perform comprehensive due diligence.
Sell Side Due Diligence
Success always depends on preparation – also or particularly in the case of a corporate sale that requires a certain due diligence duty. Structured and detailed preparatory work as part of a sell side due diligence can allow the sale of a company to take place in a very short time and at the best prices. We provide you with support in the preparation of the sales documents (financial fact book) or also vendor due diligence, and give you in management the necessary overview.
Financial Due Diligence Consulting – a Service Provided by FAS AG
In M&A processes, things move fast! We will discuss the course and scope of the due diligence with you before the project begins and recommend examination areas based on our experience in the sector. While taking account of the client's needs with regard to budget and costs during the transaction, we will develop an individual price offer consisting of a red flag report and full due diligence on the basis of a modular approach.
- Dirk Spalthoff
- Partner
- dirk.spalthoff(at)fas.ag
- Roßstr. 92
- 40476 Duesseldorf


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Options – My Most Valuable Tips
Different Guides in Choosing a Roofing Contractor Now a day, there are some residential or
Different Guides in Choosing a Roofing Contractor Now a day, there are some residential or commercial clients who are looking for roofing contractors because these are professionals and experts in their field to maintain and repair different kinds of roof structures and this is very important to consider when you own your home. As a client, it is important for you to search and to find professional roofing contractors and with this, you should be able to know some tips or guides on how you can be able to do this in the long run so that you can be successful also. It would be better if you are going to search the internet and run thru various websites of roofing contractors because some of them have already established their presence online and this would be a very big help for you as well. It will be very helpful for you if you are going to hire a roofing contractor that is being referred to you by your family, friends, relatives and colleagues and with this you can be able to hire them properly as well and without any worries. The next thing that you are going to do is to check if the roofing contractors are professionals or experts in this field and you can do this by checking on their profile or background and this is very much important for you to know as well. You also have to consider the location of the roofing contractor that you prefer so that you can easily meet or contact them when possible or when you need them as well.
The Path To Finding Better Businesses
You need to also to consider the various roofing contractors services so that you would know what are the type of services that you can avail from the roofing company and if you will need these various services as well in the future. Since the prices of the roofing services also vary from one service to another based on the needs of the clients, you should be able to request for estimates so that you can be able to know the different kinds of prices for the different services.
Roofing: 10 Mistakes that Most People Make
You must also consider the warranty for the roofing services that will be provided to you so that it will not be too costly for you to have your roofing structure repaired or replaced again if there is no warranty from the roofing company.It is a must for you to check or to request from the roofing company if they have a warranty because if there are any problems in the future on their roofing works, you can always relay this to the roofing company and they will repair it. In order for you to hire successfully a roofing contractor, you should be able to know your needs so that you can be sure of yourself that you are going to hire a professional roofing contractor for your needs.


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Senior Member
Last Activity: 4th April 2020 05:50 PM
About Me
- About blue4you
- Service provider
- Germany - Telekom Deutschland
- Home country
- Germany
- Xperia Ray black | out of
Xperia Z1C black | broken
Xperia Z3C white | lineage 14.1
Xperia Z5C black | sold
Huawei P10 (L09C432) | stock
- Xperia Ray black | out of
Most Thanked
Post Summary
Now I did it again :D Here is my SE Stock Themes for doixanh's GingerDX. In this themes I did: framework form SE SE start anmiation non-coloured icons in setting app SE launcher icon for setting app SE launcher icon for camera app ...
Update for GDX v017 for CWM download If you have fun with it, put the thanks button :)
First to say: I like Froyobread. It's a great work of doixanh. But I don't like the theme form FroyoBread. I prefer the look of SE stock rom. For now nobody build a SE theme for FB so I have to do this by myself. I build my own theme form stock ...
Hi, I have already install GingerDX v019 in my xperia x8 using xrecovery...can somebody please tell me the steps to how to install this theme on to this gingerdx...) Use CMW and install it with option "select update.zip"...
There it is - Update for GDXv011 Guy, do you need the SE background picture?


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Welcome autumn
Hello everyone,
The first sessions for the Women of Valor project went well and it has ended temporarily for the upcoming holiday seasons to be picked up next year in the Spring. That gives me a lot of time to make more armor. I'm also discussing a full suit body armor commission with a client and I'll be starting on that in late November.
Lately, I've been working on headdresses to kind of break up the time between making armor pieces. The headdresses can be made and pushed out for display faster than the armor and that can be kind of fun. I am thinking about opening a twitch account to work on projects once a week in front of a live camera. We'll see, i'm still thinking it over in my head.
The biggest challenge for me at the moment is time prioritization. I'm listening to youtube videos to try to get tips to sort that out better.
It's taking a long time to get to the project that i'm really wanting to work on, a personal project, that deals with the origins of why Valkyrie Britannia got started in the first place. I'm hoping to get to it all soon.
Leave a Reply.
A. Thomson, Valkyrie and Daydreamer
May 2019
- Affliates -
-Big River Muddy Maker Faire (TBD)
-Planet Comicon
-Kansas City Maker Faire
- Kansas City Maker Faire


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Book a Tenerife transfer from the airport to your destination resort.
Tenerife Transfers: If you have booked your flight and Tenerife accommodation independently and are not hiring a car whilst on holiday in Tenerife, you will probably be looking to book a transfer from the airport to your destination resort.
Use the booking form below to get a quote and book your Tenerife transfer securely online. Both Tenerife North and Tenerife South airports feature, and most major towns and resorts are available in the pull down menu at the second stage of the booking process. (Back to Home).


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