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SOURCE Conference Seattle
On October 12th and 13th I was given the opportunity to share some of my Domain Generation Algorithm (DGA) research to another SOURCE Conference audience, this time in Seattle, Washington.
Day 1
Richard Thieme kicked off the conference with his talk entitled "Play Through the Pain? – The Impact of Forbidden Knowledge on Security and Intelligence Professionals" touching on the stresses associated with working in a field where you cannot discuss the details of your day's work to anyone. I have had the pleasure of hearing Richard speak on this subject before at SOURCE Boston, and have only begun to understand the wealth of information he has on this topic. I look forward to hearing more from him in the future.
Next up was "DGA Antivenom: Stopping New Configurations before Analysis" by myself on track one. For a few details on my presentation, take a look at my writeup from SOURCE Boston. I focused more heavily on some aspects for this audience and was able to answer a few questions with discussion at the end. Bryan Brake of the "Brakeing Down Security podcast" captured a photo of my presentation in progress.
Really gr8 work by @ChipMcMalware on analyzing and breaking down future domain names #sourceSeattle pic.twitter.com/XsarWyaIgT
— Bryan Brake (@bryanbrake) October 12, 2016
I was followed by "Adversary Analysis and Defenses Using Domain and DNS OSINT" by Tim Helming of Domain Tools. It was a great pairing to be able to shift from one aspect of using DNS in my presentation, then to their use of pivoting off different information within DNS records, including historical information, to hunt and gain intelligence on threat actors.
The last presentation before lunch was from Shane MacAuley of IOActive. Shane's talk focused mainly on memory forensics of cloud instances and some of the tools and techniques he uses to analyze them. For myself, once the tools come out, everything else fades into the background. He has an impressive set of tools that are available on hit github pages K2 and ShaneK2.
Now let me take a moment to acknowledge and thank the food trucks of Seattle. Mmmmmmmm.
Following a satisfying lunch, was a satisfying keynote from Masha Sedova of Salesforce, entitled "Expanding the Blue Team by Building a Security Culture Program." I have firsthand experience of the SalesForce security culture as a guest, and three things are very clear when you visit. The security culture there is different, it is real, and it works. The magic behind it is the brainchild of Masha, a culture of security that is rewarding and fun to those who involve themselves in it.
If the keynotes and talks are the meat, the career development tracks are the potatoes of SOURCE Conference. The first potato was the Speed Networking session. Rob Cheyne, the conference organizer, leads a sort of mixer, where you break off in randomly chosen pairs and answer some icebreaker questions. I enjoyed this before in Boston, I was glad to see it again in Seattle. It turns a "recognizable conference attendee number one" into that person who would travel remote regions of the world if they had unlimited resources and time. It adds a character to the conference that I am very fond of.
The final keynote of the day was from Diedre Diamond, the founder of Cyber Security Network (CyberSN), on "Words to Stop Using Now." The meta overview of this is that there are certain words used commonly that disempower the people you are communicating with whether you intend to or not. Sometimes it is the word itself, and sometimes using a synonym in the same context only softens the blow. It is difficult to avoid them, and in writing this particular paragraph, I am making an effort to do so. Doing so does not come easily and the effort must be made in order to succeed. The overall goal, is to speak to enable, or empower others.
The last talks of the day were lightning talks, given by anyone who volunteered to do so. Short, five minute talks on any subject. To quote Bill Nye, "Everyone you will ever meet knows something you don't." These lightning talks can attest to that. Knowing you are surrounded by security professionals you already expect talks on security and business, but to hear talks on topics like bonsai and free climbing helps to loosen up the atmosphere a little and have something else to talk about to break the ice.
Day 2
I started day two off by joining the "Brakeing Down Security podcast" with host Bryan Brake by giving a small overview of my presentation, and talking a little about the conference itself.
Following opening remarks, was the first keynote of the day from Michael Roytman of Kenna Security. Michael went over a new project he had been working on related to Common Vulnerabilities and Exposures (CVE). He was able to map CVEs that exist to those seen being used by adversaries and malware in the wild. After removing the CVEs that had been patched, he found that many of the CVEs being exploited today were first identified between 1996 and 2014. This revealed that, although we are very good at patch management now, the old vulnerabilities still exist and are still being exploited today.
Next up was "At the Dawn of CET: Hunting Valid Gadget with Big Data" by Ke Sun, Ya Ou, Yanhui Zhao, and Xiaoning Li. In this talk, we learned about Control-flow Enforcement Technology (CET) from Intel and Control Flow Guard (CFG). CET is designed to stop certain types of exploits utilized by malware where the "return to" address of the function being executed gets replaced with some other address while its running so it can take over the process. CET does this by keeping its own copy of "return to" addresses (Shadow Stack) and verifying it later. GFC is something that must be enabled by the developer of a piece of software, and works by keeping track of valid addresses that a program can jump to and does not allow any invalid addresses to be jumped to. CET validates each jump it takes using CFG. Their research was focused on finding valid gadgets (pieces of code) that could be exploited using any of the above mentioned techniques.
Mike Shema of Cobalt.io followed up with a presentation on "Evolving a Bug Bounty Program." He touched on things like consistency in the rewards given and being firm about what differentiates how critical a bug is to you and your company. One thing I had never considered was that sometimes a bug that is identified may be less critical than it seems to the person who found it, but you need to be able to acknowledge that they found it and still not give away your infrastructure in explaining why it is not as critical to you as they may think.
Then we had Sean Malone of FusionX presenting "Using and Expanded Cyber Kill Chain Model to Increase Attack Resiliency." Sean's work focused on taking the Cyber Kill Chain® and extending it where it was often misunderstood as the end of the line. Once an adversary reaches the internal network, there are many different strategies to utilize to minimize damage, not to mention, not all attacks originate from the outside. This expansion added a tree model, which illustrated the different attack vectors used, and lateral movement between them to the next target showing a full overview of an attack.
Speaking of lateral movement, following another food truck lunch (Mmmmm), we had another session in the career development track. This session was the Personal Development Panel, featuring Rob Cheyne (Big Brain Security), Richard Thieme (Thiemeworks), Masha Sedova (Salesforce), and James Wann (TUNE). The lateral movement here I speak of, is that everyone on the panel started somewhere other than where they are now. Stories of personal experiences were shared along with some other helpful tips.
@modMasha @neuralcowboy @rcheyne and James (TUNE) #srcsea16 panel discussing personal dev helps to navigate ones career @SOURCEConf pic.twitter.com/mGW88X87hW
— Mark Arnold (@lotusebhat) October 13, 2016
Following the Personal Development Panel, we had a talk from Rob Fuller of R5 Industries entitled "Attacker Ghost Stories – Revisited." This was a themed presentation, that always went back to a campfire slide, which I thought was great. Rob spoke on various security subjects which are things that should be common knowledge in the security world, but are often overlooked and ignored.
The last presentation was from Rob Cheyne of Big Brain Security. Rob taught us, how he teaches security to others. Although I am a visual learner and teacher myself, his use of analogs to describe principals of security intrigues me. I always enjoy being able to teach concepts to others and finding acceptable analogs, that everyone understands, may help in that.
Overall, SOURCE Seattle was a great conference for myself, and I'm sure it was for everyone else. I look forward to other SOURCE Conferences in my future.


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Prototype and description of the function setsilence()
(This function needs no unlocking)
setsilence() Switching of the target for GeoDLL messages as MessageBox or in the EventLog. Prototype of the DLL function in C++ syntax (attend lower case!): extern "C" __declspec(dllimport) unsigned long __stdcall setsilence( unsigned long lSwitch); Prototype of the DLL function in Visual Objects syntax: _DLL function setsilence(; lSwitch as logic); // 4 Byte as logic pascal:geodll32.setsilence // 4 Byte Errors, that adversely affect the operation of the GeoDLL, will be displayed to the user as messages. The function setsilence() switches the output of GeoDLL messages in the EventLog on or off. By default GeoDLL messages are shown at run time in MessageBox dialogs. A program that runs in a service (e.g. SQL server) or in batch, may not open a dialog. Here it is better to register the GeoDLL messages in the EventLog. If in lSwitch the value TRUE is passed, the GeoDLL messages will be written to the EventLog. If in lSwitch the value FALSE is passed, the GeoDLL messages will be shown in MessageBox dialogs on the program surface. After starting the program run and loading of the DLL, the output of GeoDLL messages ot the EventLog is switched off as default. The messages then are shown as MessageBox dialogs. The entries of the EventLog can be viewed in the Event Viewer: "Start / Control Panel / Performance and Maintenance / Event Viewer". In the Event Viewer open the folder "Applikation". Search entries with the source "GeoDLL xx.xx" and double click them. Im the lower part of the description you find the warning or the error note. There are further switches, which prepare GeoDLL for the operating in different environments. These are the functions setinternerrsys() setstringallocate() setmultithreading() setstaticuse() The parameters are passed and/or returned as follows: lSwitch Switch for the output target of GeoDLL messages. TRUE Output of GeoDLL messages in the EventLog. FALSE Output of GeoDLL messages in MessageBox dialogs. (default) returnVal In case of an error the function returns FALSE, otherwise TRUE. Unlocking: This function needs no unlocking.

subset: commoncrawl


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You may have thought Eddie Huang's globetrotting Fresh Off The Boat covered just about everything imaginable in its first season. Nonetheless, the BaoHaus proprietor/author/food personality is back with the second season of his VICE-backed series. Kicking off in Mongolia, the new season's first episode sees Huang taking part in the Naadam festival – a celebration of the "three manly sports" of archery, horse racing and Mongolian wrestling – before discussing the country's recent shift toward democracy over a cup of home-brewed camel vodka with some local herders.
Enjoy the first part of the Mongolia-set piece above and stay tuned for part two.
Check out this link and video:
"Fresh Off The Boat with Eddie Huang" kicks off Season 2 in Mongolia


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Politics & Government
Obama heads to Seattle for campaigning, fundraising
Today's Election Day visit from President Barack Obama will be a good reminder to procrastinating Washington state voters to mail in their ballots or stop by the polls.
Mainly, though, Obama is in Seattle to headline a pair of fundraisers expected to add hundreds of thousands of dollars to U.S. Sen. Patty Murray's already sizable campaign war chest.
The presidential appearance underlines the national implications of today's results.
Republicans in Washington, D.C., hope voters will send Dino Rossi to the Nov. 2 ballot and help their chances of eroding — or even ending — Democrats' majority in the Senate, which they have wielded to overhaul health care and financial industry rules, confirm two Supreme Court justices and pass a $787 billion economic stimulus.
The stimulus and Democrats' other efforts to kick-start the job market will be Obama and Murray's emphasis this morning as they meet with three Washington state business owners who have success stories.
The visit is unlikely to have much effect on today's "top-two" primary, which determines the pair of candidates that will advance to the November ballot. Ballots must be postmarked by today or returned to a county's election office or its drop box by 8 p.m.
Secretary of State Sam Reed predicts a 38 percent voter turnout for the election.
To read the complete article, visit www.thenewstribune.com.


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It's time to say "Thank you!"
"In everything give thanks"
Recent research affirms what we all know to be true "grateful people are happier, less depressed, less stressed and more satisfied with their lives and social relationships." (Wikipedia) We would all be more happy and healthy if we imitated Pollyanna.
Pollyanna is the young heroine of a famous children's book, Pollyanna by Eleanor Porter. When her mother dies Pollyanna is sent to live with her wealthy, but sour aunt. Pollyanna has developed a philosophy of life that focuses on gratitude and staying positive. She always plays what she calls "The Glad Game." The glad game is simple: find something to be glad about in whatever situation you face. One Christmas when her parents were still alive, the local church allowed the family to choose a present from the missionary barrel. Pollyanna was hoping for a doll, but the barrel held only a pair of crutches. Her father made up the glad game and they decided they could be glad, because they didn't need the crutches. Pollyanna developed a habit of gratitude that not only helped her but changed those around her.
I am grateful to God for all the wonderful customers and friends he has given us over the years. I'm grateful for the helpers we have helped find work and for the positive changes we've seen in the lives of many of them. I'm grateful for our Arrow team, who everyday serve with heart and mind. Our office is a cross-cultural mix of Americans, Hong Kong Chinese and Filipinos. We have learned so much from each other. It is a privilege to go to work with this team. Sometimes it is so fun, it doesn't seem like work at all. I'm super grateful for my wife Ione, my daughters Jen and Colleen, and for my grandson, Ethan. I could go on and on, but now it's your turn. Who and what are you grateful for?
Please come and join us in giving thanks to God this November 23rd. Please let your Arrow lady know the details and encourage her to attend. It is good to give thanks.
Allan Smith, Arrow


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Interxion wins StorageCraft Technology Contract for Data Centre Services
About Interxion
Interxion (NYSE: INXN) is a leading provider of carrier and cloud-neutral colocation data centre services in Europe, serving a wide range of customers through more than 50 data centres in 11 European countries. Interxion's uniformly designed, energy efficient data centres offer customers extensive security and uptime for their mission-critical applications.
With over 700 connectivity providers, 21 European Internet exchanges, and most leading cloud and digital media platforms across its footprint, Interxion has created connectivity, cloud, content and finance hubs that foster growing customer communities of interest. For more information, please visit www.interxion.com.
About Storage Craft
The StorageCraft family of companies, founded in 2003, provides best-in-class backup, disaster recovery, system migration and data protection solutions for servers, desktops and laptops. StorageCraft delivers software products that reduce downtime, improve security and stability for systems and data, and lower the total cost of ownership. For more information, visit www.storagecraft.com.
StorageCraft and ShadowProtect are trademarks of StorageCraft Technology Corporation. Other company and product names may be trademarks or registered trademarks of their respective owners.


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Resonance Capital is a real investment company with certificate which is online and reliably paying since June 2016.
One of the few projects that are legit, long-term and worldwide growing. Here you have the possibility of real profit which you can withdraw weekly or reinvest if you want.
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Two offices of this company are in the U.S. and Lithuania.
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You can also get an agreement that will be sent to your home. Just verify your account by filling up your data in your profile.
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There is a BONUS to every deposit – an extra adpack that will earn you extra money! E.g. if you invest $50, the bonus will be an extra $10.
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The list of investments plans – packs
You can see at every plan how many packs of that plan you can buy at Available to Activate. You can buy 10 packs at the majority of the plans.
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Guest Blog: by Lireko Dorothy Ncube
In business, as in life, I frequently hear the saying: "There is light at the end of the tunnel". However, we need to remind ourselves that even though sometimes it is quite difficult to walk through the tunnel, particularly in the face of challenges or hurdles (and this particularly applies in the entrepreneurial space), we just need to give ourselves a little push and keep walking.
This same philosophy applies to hard times too, which inevitably surface from time to time in business, and in life - we tend to lose focus when things are going bad, and focus all our energy on the negative, instead of concentrating on the lessons learnt and what we can take positively out of a challenging situation.
So, here are 3 ways to say positive when you're facing seemingly overwhelming challenges.
1. Embrace the Negatives
When you acknowledge and face challenges head on, you are more likely to deal with them in a much more positive and focused way, than if you let yourself get stressed and lose focus, or dwell too much on the negative. Instead, increase your focus on positive thoughts whilst accepting that sometimes things do not always go the way we want them to.
2. Set Goals
Every little achievement attained must be celebrated. So no matter how tough things are, set goals for yourself. Once your goals are in place, and you have set timelines as to when you want to achieve each goal by, it is highly unlikely that you will focus your energy on the negative. Yes things may go wrong sometimes along the way, but it is of the utmost importance to pick yourself up and "keep walking". Even giants fall sometimes, but it's what they do after falling that matters. Don't stay down. Slowly rise up to the top and aim to achieve your set goals as planned.
3. Aim To Do Better
If you want something badly enough, then just do it. Grasp new concepts, open yourself up to new ideas, and put them into practice. Creating new ideas can revive the inner you, as well as help you to improve on your past mistakes. Keep an open mind, collect as much knowledge and information as possible from anyone and everybody, and decide what to use to help you to improve.
"The trick is to not repeat the same mistakes that you have made in the past, but instead learn from them and do better next time."
Finally, don't beat yourself up, challenges are a part of life and they should not destroy you, but instead make you stronger!
Lireko Dorothy Ncube is a guest editorial contributor to Lionesses of Africa, living and working in South Africa, and will be a regular blogger on the site on a number of lifestyle and communications topics over the coming months.


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Local Obituaries
Trailblazing politician Grantland Johnson dies at 65
Grantland Johnson, a trailblazing politician who rose in rank to serve his native Sacramento as a city councilman, county supervisor and top health official in state and federal governments, died today.
He was 65 and had been receiving dialysis in recent years for kidney failure caused by hypertension and diabetes.
Johnson was widely respected in the community as a thoughtful leader with keen political instincts and a passion for ideas. Although often viewed through the prism of race – he was the first African American elected to the Sacramento County Board of Supervisors – he was a conciliator who worked with disparate interests in search of solutions to common problems.
Appointed to the Sacramento Regional Transit board in 1976, he was elected to the Sacramento City Council in 1983. He won a close race for county supervisor in 1986 and was re-elected to a second term four years later.
He left local government in 1993 to serve in the Clinton administration as Western regional director for the U.S. Department of Health and Human Services. Six years later, he was tapped by Gov. Gray Davis to be director of the California Health and Human Services Agency and served in the state Cabinet until Davis was recalled from office in 2003.
A full news obituary will be published online later today and in The Bee's print edition tomorrow.


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Book Tour and Activities on the Go!
You will be received and transferred from Srinagar Airport to Sonmarg
After arrival, you will receive a welcome from your road captain
You will then be checked in to your hotel
The evening will be followed by a tour briefing on safety & rescue
After breakfast in the morning, we will leave for Kargil, by visiting Sonamarg (Known As Meadow of Gold).
We will also cross the famous Zojila pass, Drass Village (2nd coldest inhabited place in the world).
On the way, we will come across magnificent views of Kargil war's famous peaks (Tiger, Tololing) from Vijay war memorial hall site.
We will arrive in Kargil by evening.
Overnight stay at Kargil.
This morning, after we are done with our breakfast, we will leave for Leh.
Falling on the way are Mulbek, Giant Living Buddha Sculpture on Rock Mountain, Lamayuru, one of the oldest Monastery of Ladakh and enjoy the view of Moon Landscape.
You will also be visiting the mysterious Magnetic Hill, the famous Pathar Sahib Gurudwara and the Hall of Fame museum.
You will arrive in Leh by Evening.
Overnight stay at Leh.
On this day, after breakfast, you will be riding on the highest motorable civilian all weather pass in the world – Khardung La - at 18,380 feet.
Even after being at such a height you will find yourself riding on some of the smoothest roads so far, with a breathtaking view of peaks and valleys around.
We will have a short celebration at Khardung-La pass and then descend into the cold desert of the Nubra valley.
Dinner and overnight stay at Camp in Nubra Valley
Going offbeat is our motto today, as we ride on one of the most uncommon routes in Ladakh area, via the recently available Shayok village.
Enjoy the scenic view of unending mountains and ranges.
This route has some of the best waterfalls.
Reach Pangong Tso by evening and check into camps
Dinner and overnight in Pangong camps
Have your breakfast and then ride towards the village of Hanley through Maan Merak and Chushul village.
Hanley is a small hamlet with only 400 families living here. The village was only recently opened for domestic tourism.
You will take the rest of the day for exploring the village.
Enjoy the most beautiful and star-laden sky ever.
Overnight homestay in Hanley.
This is the day when we will start our journey early in the morning, tentatively around 5:30 a.m after the breakfast, towards Umling La- 19300ft- which is now the highest motorable pass in the world, recently opened in Ladakh (Umlingla Pass is 1000ft higher than Khardungla). Riding on this pass is very tough because of the terrain, the oxygen level is also very low as compared to Leh city.
You will be attempting to drive on Umling La and will be driving for more than 2 Hour above 18000 ft.
After reaching Umlingla, we will come back from the same route again towards Hanle.
Overnight in Guest House as Hotel is not available at this location because of the remoteness
After breakfast, we start riding towards Tsokar Lake, which is known for being a saltwater lake.
Arrive at your next stay in Guest House.
On this adventurous day, we will have the opportunity of exploring Himalayan Rock Salt.
Return to your guest house for overnight stay as Hotel is not available at this location because of the remoteness
After having a delicious breakfast, we begin riding early in the morning towards Jispa.
This is going to be a long ride, enroute you will enjoy the beauty of More plains, Pang landscapes.
Today we have to cross 3 more passes including Nakee La, Lachung La (Approx 16000 ft).
We will then have to cross 21 Gata loops (hairpin bends).
After reaching Sarchu, we will have our lunch.
We will then start riding towards Jispa.
We will have have to cross Baralacha La Pass (Approx 16000 ft.).
Overnight stay in camp/guesthouse.
This is the final leg of our road trip.
We start our day early and ride from Keylong to Manali. The route is slightly rough, so this day you will be trying to as much distance with minimum stopovers.
We arrive in Manali by evening and hand over the bikes and gear.
Later in the day, we celebrate the completion of our journey.
Dinner and overnight in Manali
Return from Manali to Delhi.
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- Who We Are
- What's ON
- The Waterfront
- Learning
- Support Us
What's On Calendar
Friday, April 6, 2012
Evan Webber and Frank Cox-O'Connell - Ajax & Little Iliad
Friday, April 6, 2012
World premiere. A double bill of intimate, intermedia works that break apart the troubled relationship between storytelling and war, audience and actors. Co-produced by Harbourfront Centre.
For details, inquire at the Info Desk or call 416 973 4000.


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Thanks, I thought I was the only one.:)) But let's just establish this point first: overthinking anything, however way we term, justify, or defend it, is worry. And worry, in the face of what God can do, is short on faith on that capability (and faithfulness) that characterizes God. So now that that's out…
I haven't quite lived down overanalysis. In fact, right now a million thoughts run through my head begging for attention. Sometimes, I like to think of it as wisdom (to stop and think). Sometimes I just get confused. I think about everything. I think about things not even happening yet. I dream up scenarios and imagine my best response or decision. You would probably think I'm good at chess or math. But not really. Not even close. Math and I agree to never consult each other unless necessary.
While I have yet to completely shed my tendencies to worry, today I got reminded of what I was missing that leads me straight into overthinking. I was reading Exodus 1 and 2 today and there are four things that caught my attention.
1. The Hebrew people feared/loved God, and therefore obeyed Him. The Pharaoh felt threatened by the increasing number of Israelites in their land. To make up for this, the Egyptians treated the Israelites ruthlessly in every way. When the Pharaoh issued a law to kill all Hebrew baby boys (even at labor), the Israelites sought to do instead what was right by God. There was faith in their actions knowing that God is above any power of the Pharaoh. When we seek to obey God, there is no fear of the future or any consequences because we know that we are obeying a good and just God, because we know that He is above everything we can possibly think of. Any worst-case scenario is overpowered by the grace and the goodness that is God's.
2. They did what they can. The Hebrew midwives tried to protect the newborn sons (and God blessed them in their own individual lives). Moses' mother hid him even though Pharaoh ordered that all Hebrew boys be drowned in the Nile. In Hebrews 11, Moses' parents were among the Hall of Famers of Faith. It took their faith also to save Moses' life because they saw that he was a fine child (they saw his potential), and ultimately a deliverer for their people. Moses' sister watched as he was caught up by the Egyptian princess' arms in the tiny basket, and volunteered to find a Hebrew woman to serve as the princess' babysitter – which was no other than Moses' mother. She did what she could to protect her baby brother. While we're so often tempted to do it all, we usually forget to do what we could and let God handle what we couldn't. The difference in this is that we continue to pave our own way instead of letting God present us opportunities and grabbing them.
3. Ask God's wisdom. Moses, having been raised a prince and yet aware of the plight of the Israelite slaves, felt for his people. When he witnessed an Egyptian man ruthlessly punishing Israelite workers, he killed the man in secret. Now this would have sounded like a "defending the defenseless" thing, the one thing Moses missed was asking God what he could do – by His standards. Sometimes we think that the end justifies our means, but that is not the case when we want to do right by God. He didn't know that God had another plan of deliverance for the Israelites in mind. Surprising for Moses, the Israelites didn't appreciate his "act of valor", in fact, they became very afraid of him. When the Pharaoh discovered what Moses did, he sought to punish him for it.
4. God always protects who are His. This came as a relief for me. Moses, knowing that Pharaoh is sure to punish him for killing an Egyptian (probably a possible rebellion is in the Pharaoh's mind), fled to hide from him. He didn't know, or maybe he was little aware, that God was watching over him and he sent him to people who could help him. It's a relief to know that God does not disown us when we screw up, but once we are His, we are His forever. He continues to watch over our lives and direct us to where He wants us to be.
When we displace worry, we remember that God accomplishes what He has in store for our lives, even without our "help". Overthinking doesn't do much for us except cloud our minds of God's wisdom and ability. Thinking beforehand of our actions and decisions are well, but we have to remember to seek God's will and His standards, obey in faith, do only what we could and put our trust in God for what we couldn't, and stop kicking ourselves when we do something wrong, and instead repent and thank God for His grace in our lives. Putting God first, fixing our eyes on Jesus, leads us to actually aiming at the right mark, where no distraction such as worry can hold us back. The next time we overthink (yes, I included myself), we can put a stopper to that with these. Ultimately, when we seek God everything that's confusing in our lives become clearer and easier to understand.
Seek the Kingdom of God above all else, and live righteously, and he will give you everything you need. – Matthew 6:33 (NLT)


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Nanotechnology Products and Applications
Product Details
Product: X-SEED 100
Manufacturer: BASF
Product page: (external link)
Product Sector: Construction → Concrete → Hardening Accelerator
Unique hardening accelerator for cementitous materials - essential component of the Crystal Speed Hardening concept.
X-SEED 100 is an engineered suspension of crystal seeds containing nanoparticles, designed to boost the hydration process of early age cement (6-12 hrs). Based on unique and innovative seeding technology, the growth of the essential Calcium Silicate Hydrate crystals is strongly accelerated.
X-SEED 100 promotes concrete hardening at low, ambient and even heat curing temperatures. Unlike traditional acceleration methods and thanks to the unique mode of action - the virtually barrier-free crystal growth of the seeds in between the cement grains - early strength development is accelerated while the final microstructure benefits from equivalent or improved properties.
X-SEED 100 is optimized for all kinds of concretes, especially for structural precast elements where high early strength development is a key success factor for the producer. X-SEED 100 is a relevant alternative to heat curing methods and the strong promotion of hydration in particular supports the use of binders with lower clinker content.


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Star Wars: The Force Awakens - new photos released
There are only four months left until the release of Star Wars: The Force Awakens and now the Entertainment Weekly deals with the film in its latest issue.
Twelve new images have been released by EW, which feature mainly the new characters. The villain Kylo Ren is on the cover of Entertainment Weekly.
Star Wars: The Force Awakens will debut in theatres on December 18.
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One of the many reasons I love blogging is the friends I have made along the way. I count Stacy and KariAnne as two of my dearest blogging friends. They always inspire me and make me laugh, so taking Not Just a Housewife's Styled x 3 challenge was a little intimidating. So intimidating that I procrastinated. Okay, I always procrastinate, but I do my best work under serious pressure. Stacy sent us each a wood slice. Hmmm, what to do?
By the photographs, you already know. Rather than just making something, I wanted to make something we would truly use. I thought about making a picture for the lake house, but I didn't want to jinx it. I thought about my lengthy list of things to purchase for our home and realized that we have yet to purchase a stool for our new powder room. With 3 littles and a tall sink, a bathroom stool is very necessary. Fortunately it was an extremely quick project! It was made, stained and photographed in less than 30 minutes. Win, right?
If I had planned ahead, I might have purchased an unfinished wood stool and attached the wood piece to the top, but planning ahead just isn't my style so I did what any good crazy lady would do and ran to the craft store. I couldn't find much, but I found a little decorative "spring" chair at Hobby Lobby that fit perfect and had surprising sturdy legs, especially for 30 pound kiddos.
To create your own rustic wood stool you'll need:
small chair, unfinished stool, legs
wood plaque
1 1/4″ speedbor drill bit {or one that is the width of the legs
Gorilla glue
The details:
- Remove the back of the chair and then hammer the top away from the legs. Use the hammer to press nails down.
- Hold your base to your wood plaque and mark the diameter of each leg onto the plaque with a pencil.
- Drill holes 1/2″ deep where marked. Add gorilla glue and adhere.
- Stain and add a coat of polyurethane if you desire {I did not}.
I love anything forgiving. This wood stool is perfectly imperfect and a great fit for our new powder room. I know the girls will spend all too much time on it washing their hands {aka playing in the water}, but it brings me so much joy to watch them have fun.
Are you as excited as I am to see what Stacy of Not Just a Housewife and KariAnne of Thistlewood Farms did with their wood slice?
What would you have done with the wood slice?
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1997 Inductees
Robbie Bosco, Quarterback
Bosco put on a courageous performance in the 1984 game, as he rallied BYU to a 24-17 win over Michigan, which clinched the National Championship for the 13-0 Cougars. Despite a sprained ankle, he led BYU on an 83-yard drive in the closing minutes of the game.
Craig James, Running Back
James was a key player in the 1980 game, often referred to as "The Most Exciting Bowl Game Ever." James ran for 225 yards to set a Holiday Bowl rushing mark that stood for 13 years. He had 45- and 42-yard scoring runs as SMU built up a seemingly commanding lead only to lose to BYU, 46-45. James played in the NFL with the New England Patriots and is now a television sports analyst.


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What Is The Police Activities League?
PAL is a year round program designed to give community children a safe program to attend after school and during the summer. Through our partnership with the Salvation Army, P.A.L. offers various programs that will give each member an opportunity to learn new and exciting things as well as make new friends. P.A.L. offers homework assistance, various sports, and a wide variety of different activities that gives each member an opportunity to build character and become a productive citizen.
Where is the P.A.L. Center Located?
960 East Walnut Street Pasadena, CA 91101
What programs do you offer?
P.A.L. offers are music, Soccer, Archery, Basketball, Golf , Flag Football, Boxing, Horseback riding, Entrepreneurship (Lemonade Brigade), Culinary Arts and Computer Classes. More info on our programs here.
How do I donate to the P.A.L Center?
On the Pasadena P.A.L. website click DONATE or come visit us at our center and speak with the director
What makes P.A.L. different from the Boys & Girls Clubs, Learns, & YMCA?
The Police Activities League was started by law enforcement and to this day, a P.A.L. chapter cannot be a member of California PAL without the support of the local Chief or Sheriff. The Pasadena P.A.L. programs ultimate goal is to bring together "Cops and Kids" in an effort to reach the most "at-risk" youth that may not have the resources or opportunity to participate in any other programs. P.A.L. is a low-cost program which allow for those families that don't have the financial ability to otherwise get their kids involved with an organization that provides programs in a safe and supervised environment.
Will P.A.L. be able to pick up my child from school?
PAL is able to pick up several kids for a selected group of schools. These schools include Jefferson, Longfellow, Webster, Madison, Washington Middle and Elementary, Eliot, Blair, PHS, Marshall, Cleveland, Hamilton, Norma Combs, Don Benito, McKinley, Wilson, and Aveson.
What are the requirements for my child to be in the program?
In order for your child to be admitted into the program he/she must be between the ages of 9 and 17. In order for your child to be picked up he/she must attend one of the schools we pick up from. If your child fits those two requirements the next step is for the parent to bring their child to our PAL center and meet with the director. Once the director has approved that the child may become a member a $40 fee is required upon filling out the application.
What does a membership include?
The membership includes a $40 fee, breakfast and lunch during the summer and snack after school during the school year, mentoring and tutoring, conferences with parents and teachers, transportation from school to the center, and little to no out of pocket cost for the many field trips we offer.
What are the After School hours?
The PAL Center is open Monday through Friday unless stated otherwise. The after school hours are Mondays 12:00pm-5:30pm Tuesdays to Fridays 2:00pm-5:30pm.


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A recent study this week has published that being surrounded by green space in childhood may improve mental health of adults. It has been... Read More
Year 3 have been getting up close and personal with nature! The children have enjoyed taking part in the RSPB's 'Wild Challenge', and we... Read More
Once again the issue of electronics and young children has reached the headlines. I feel very strongly that research into this area must be... Read More


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email email@example.com
Kunick Arms Training was established to meet the need of individuals looking to receive firearms training to advance their personal interests such as safety (concealed carry), recreational shooting, targets and competition shooting.
Each and every class presented through Kunick Arms Training will focus on safety first. Safety is the foundation of properly handling any firearm, and this primary concern will be the basis for each students actions and mindset.


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A new permanent exhibition, 'Manchester Science: discoveries that changed the world', has opened in the Museum's Main Building.
The Gallery explores scientific achievements that have and are being made in Manchester, from atomic theory to thermodynamics and pioneering research in medicine, astronomy and computer technology. The spine of the gallery is a 200-year timeline featuring Manchester science achievements against a backdrop of world science discoveries, e.g. Darwin's origin of species. Dovetailing with the timeline are displays focusing on the work of four world-renowned Manchester-based scientists: John Dalton, James Joule, Ernest Rutherford and Sir Bernard Lovell. The Museum's collection of original apparatus used by Dalton and Joule, along with scientific instruments made in Manchester by Ronchetti, Dancer and others for these two eminent scientists. Along with many of the objects that were in the Measuring Up! Gallery, a range of other scientific apparatus and instruments used and made in Manchester is also on permanent display for the first time, including a mass spectrometer and a scanning electron microscope.
For those who enjoyed the Measuring Up! Gallery, please come and see the new Manchester Science Gallery, and give us your views on it!
Jenny Wetton Curator of Science Museum of Science & Industry, Liverpool Rd, Manchester M3 4FP. Web: www.msim.org.uk. Direct telephone 0161 606 0119; fax no. 0161 606 0186


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In recent years, more and more users of production equipment have become aware of the weaknesses of the traditional way of verifying the accuracy of equipment such as machine tools or presses, by means of reference artefacts such as straight edges or square references. Such measurements are very time-consuming to make, and often fail to provide a complete picture.
By combining traditional methodologies with modern 3D systems, SP has developed unique methods for geometry assurance of production equipment. Such verification usually takes only a fraction of the time required by traditional methods, and the resulting information is often easier to use when considering how to adjust or modify the equipment.
Phone: +46 10 516 53 78


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Published at Tuesday, February 26th, 2019 - 21:42:03 PM. Trekking Poles. By Damien Denis.
I've been hiking and trekking with poles for 16 years. That includes trips on the Sea-to-Sea Route (7,775 miles, 11 months), the Great Western Loop (6,875 miles, seven months), the Alaska-Yukon Expedition (4,700 miles, six months), and a half-dozen high routes in the Mountain West. Fortunately, in those years, I've seen pole manufacturers shift away from models made from heavy aluminum, uncomfortable plastic grips, and squeaky, heavy "anti-shock" springs.
This summer, I tested eight pairs of poles representing a range of prices, features, and designs. I had used some of these models in years past, but I gave them all a fresh look while guiding and hiking in California and Colorado. My first pair of trekking poles cost $100 and were nothing fancy. Poles have improved over the past 16 years, and while I really liked some options that push $200, the poles I recommend for most people, Cascade Mountain Tech's Carbon Fiber Quick Lock trekking poles, retail for just $45.
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Any content, trademark's, or other material that might be found on the Afrahplaza website that is not Afrahplaza's property remains the copyright of its respective owner/s. In no way does Afrahplaza claim ownership or responsibility for such items, and you should seek legal consent for any use of such materials from its owner.


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Someone wanted a tutorial for this picture a really long time ago. I just had an epiphany as to how to make it so here it goes! I hope the person who requested this sees it!
Step 1
Save the Before image and open it up in Paint Shop Pro.
Step 2
Go to Effects > Photo Effects > Black and White Film.
Step 3
Layers > New Raster Layer and fill it with this color: #9f0c43
Step 4
Set the Layer Blend Mode to Lighten.


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In our skydive school the Swiss/USA rated instructors will guide you through a variety of courses. Skydive Switzerland offers the Accelerated Freefall training course.
Accelerated Freefall (AFF) is an eight level progression course designed to teach you to become a skydiver. Instruction begins with 5-6 hours of ground school followed by your first tandem skydive with 1 on 1 personal training in freefall and the fundamentals of canopy flying for a safe landing. Then wearing your own parachute system, two instructors will accompany you on your jumps through to level 4, followed by one instructor through to level 8. Once you have completed the 8 level course you are cleared to jump without an instructor but not yet licensed. All training is personalized and you will progress at your own rate.
Course Price: CHF 2980.00
Course price incl.: AFF ground school, pre-jump training, eight levels of advancement and all the required equipment. The AFF course is the industry standard for achieving your skydive certification.
Freefly, Canopy Piloting and RW training available on request.


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Dear PR Student: An Open Letter
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Dear PR Student,
Not long ago, I was in your shoes (maybe even in your seat), progressing toward graduation and thinking about the next step. Where do you go from here? What is this going to take? Soon enough, you'll be walking across the stage, grabbing the diploma you've worked hard for over the last few years. And once you cross that threshold to "adulthood," you'll ask yourself, "What am I going to do with the most expensive piece of paper I'll ever own?"
Panicking? Well, don't. As the McGrath/Power "college whisperer," I'm here to help guide the ship and prevent you from sailing into the abyss with monthly blog posts addressing the needs of students like yourself. With this series, I aim to help you avoid those rocky waters that I (and many others before me) fought through post-graduation.
A little about myself: I attended San Jose State University pursuing a degree in public relations with a focus in communications. As the first person in my family to go to college, success was the only thing on my mind. Failing was never an option. I drove myself to be the best I could be, never losing sight of my goals. I had positive and negative experiences while in school, of course, but I can honestly say I never gave up, and the good and bad made me who I am today; I am the sum of my experiences.
As I look back and share these experiences with you, along with some of my colleagues', I hope my posts will serve as a guide during the last leg of your college journey. Hindsight is 20/20, and there were many moments when I needed guidance. Not to steer me back on track, but to help me establish a plan for success. There is advice that I wish I had received while in college as preparation for entering the real world, and through my monthly series of posts, I'll share with you what I learned in hopes of helping you dodge the hazards that can be avoided.
Much more advice is to come in the future, but I want to leave you with the top piece of advice that pushed me to go above and beyond to succeed in school:
What you put in is what you'll get out.
Whether you are in a classroom, participating in an extracurricular activity or at work, be sure to give what you expect in return. If you go into anything with half the enthusiasm, dedication and ambition, you will only get half of what you could have out of it. Take this advice to heart – if you walk away having learned anything from this series, let it be this.
I hope these posts will remind you that you are not alone on this journey. I look forward to sharing my experiences with you in next month's post, and the many more to come.
If you're interested in joining the McGrath/Power team, visit our Available Positions page or send a letter of introduction and resume to firstname.lastname@example.com.
- Hillary Conlin, San Jose State University Class of 2012, @HillaConlin


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Contact Us
Rehab Technology Pty Ltd
Telephone 1300 60 99 50 (Tollfree Australia)
To contact us please fill in this enquiry form and one of our team members will be in touch shortly!
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Ask an Expert. Our trained staff are ready to answer your questions, help with choices and determine the most suitable product for your needs, your patient's needs or your facilities needs. Click here to contact us direct.


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Assistant / Associate / Full Professor - Menopause and Mature Women's Health
Job description
Job FieldJoint Department of Obstetrics and Gynaecology – Sinai Health System, Women's College Hospital and the University Health Network
Sinai Health System (SHS) and Women's College Hospital (WCH) in partnership with the University of Toronto, Faculty of Medicine, Department of Obstetrics and Gynaecology, is seeking a full-time physician with demonstrated excellence and subspecialty training in menopause and mature women's health. The anticipated start date is April 1, 2018.
The successful candidate will be involved in the care of mature women in the Menopause and Premature Ovarian Insufficiency Unit at Mount Sinai Hospital and the Familial Ovarian Cancer Clinics (FOCC) at WCH. The physician will contribute to the maintenance and enhancement of an internationally recognized tertiary care program that cares for menopausal women. The candidate will provide innovative program development and engage in research activity. The successful candidate will engage in continuing medical education (CME) and teaching of trainees at all levels in the Department of Obstetrics and Gynecology as well as other interdisciplinary health professionals. The physician will participate in the hospital call roster for general gynaecology.
The qualified applicants should be certified (or eligible for certification) by the RCPSC and must hold an MD degree, be licensed (or eligible for licensure) in the Province of Ontario. The successful candidate must be eligible for an academic appointment with the University of Toronto's Department of Obstetrics and Gynaecology at the rank of Assistant, Associate, or Full Professor. Salary and rank will be commensurate with qualifications and experience. The successful candidate will promote and demonstrate excellence in professional practice and conduct.
WCH and MSH have a diverse workforce and the hospitals are equal opportunity employers. All qualified candidates are encouraged to apply. However, Canadians and permanent residents will be given priority. The Department of Obstetrics and Gynaecology, as well as the University of Toronto, are strongly committed to diversity within their communities and especially welcome applications from visible minority group members, women, Aboriginal persons, and persons with disabilities, members of sexual minority groups, and others who may contribute to the further diversification of ideas. All qualified candidates are encouraged to apply.
Qualified candidates are requested to apply with a letter of interest, three references and curriculum vitae to:
Dr. Jodi Shapiro, Head, General Obstetrics and Gynecology at: [email protected]
Mailing Address:
Mount Sinai Hospital
600 University Avenue, Room 19-111
Toronto, ON M5G 1X5
The closing date for application is February 28, 2018, although the position will remain open until filled.
For more information on the Department of Obstetrics and Gynaecology at the University of Toronto, please visit, http://www.obgyn.utoronto.ca
Job Field: Clinical
Department: Obstetrics & Gynecology
Campus: St. George (downtown Toronto)
Job Posting: Mar 7, 2018


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The Story of Montrose Graham Ross as told to Moreen Hull
There are so many Burnside stories, some delightfully funny, and some devastatingly sad, but this story is a simple one. It is a story of how the first boy in the Burnside Homes for Children, who always wanted to become a sailor like his boyhood friend, through some strange twist of fate was to have his life's destiny changed completely.
Softcover, A4, 86 pages, 1991


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Art & Culture
Iran's Guide
Persian Language & Literature
Images of Women in Classical Persian Literature and the Contemporary Iranian Novel
By: Dr. Azar Nafisi, 2003
hahrnush Parsipur's novel, Tuba va Ma'na-ye Shab (Tuba and the Meaning of the Night, Tehran, 1989) begins with a series of interesting images. It opens at the end of the Qajar dynasty, at a time when western thought and new ways of living directly begin to influence and change the traditional closed society of Iran. The heroine's father is an adib, a poet-scholar, and yet simple man who is preoccupied with philosophy and poetry. One day as he walks the streets immersed in his thoughts, a foreigner on horseback runs him down. The insolent foreigner whips the adib across the face. Later he is forced to go to the adib's house to apologize. This incident is the adib's first and last direct encounter with the western world. The most important result of the encounter is his startling discovery that the earth is round. Before, he had been vaguely aware of the earth's roundness, but he had preferred to ignore it.
For several days the adib contemplates what the roundness of the earth means for him. He instinctively realizes the connection between the foreigner's presence, the roundness of the earth, and all the changes and upheavals yet to come. After several days he announces his conclusion: "Yes, the earth is round; the women will start to think; and as soon as they begin to think they will become shameless."
The most important point in these scenes is that women play a central role in any form of change in the society. Indeed, in most Iranian narratives women are central to the plot and given much space. My main goal is to analyze various images of women in the contemporary Iranian novel by looking at their antecedents in classical Persian literature. In fact, I would like to construct a literary history for the recurring images of women in the contemporary Iranian novel, rewriting them through the shine and shimmer of their enigmatic past.
The first known counterpart of Romeo and Juliet is a beautiful narrative poem, Vis va Ramin (Vis and Ramin). Written in the tenth century by Fakhr al-Din Gorgani, it is probably the oldest as well as the most important Persian narrative of its kind. In one scene in the poem Ramin, who has not seen Vis since they were children, watches Vis's litter go by. 'A sharp spring wind' lifts ('steals') the litter's curtain, revealing Vis. Ramin's first glace at Vis is 'disastrous'; he swoons, and is thrown off his horse. Vis va Ramin is followed by a long series of similar love stories, most notably Khosrow va Shirin, shirin va Farhad, Layla va Majnun, and Bijan va Manijeh. Like Vis, the women in these stories are equal in love and courage to their men. They are brave and independent, and have a loyalty most of their men lack. Most important of all are the dialogues they create. They create a negative dialogue with the outside world, which is insensitive to their love, and a positive dialogue with their lovers, through which they defy the rules of tradition. In fact, the structure of the narratives is built around these two parallel dialogues.
An archetypal image for transcending a particular confine of Persian culture is the softly radiant image of Shahrzad, in Hezar va Yek Shab (One Thousand and one Nights or Arabian Nights). The king in the frame story represents ultimate masculine power. Because of a woman's 'deceit', he severs all positive relations with women and in fact with the whole world. The king is powerful enough to revenge his wife's betrayal through first marrying and then killing a virgin every night. This power masks an inherent weakness: without a healthy relationship with a woman, without trust in the possibility of such a relationship, the king is gripped by a disease with which if literally destroying his whole kingdom.
Shahrzad, a victim of the king's tyranny, is a symbol of courage, rationality and wisdom. She must use what is called 'woman's guile' in order t save the kingdom and restore peace to the king. The way she uses this 'guile' gives her the power and confidence to direct and stage the drama which step by step brings the king back t sanity. The fact that she successful uses the tale the narrative, as the king's medicine points to the healing power of fantasy over 'reality.' Shahrzad uses her wisdom and skills - and uses them consciously - not only to change but also to heal her man.
In all the above-mentioned narratives the relationship between the male and the female characters is the center round which all other relations revolve. Essential to all these relationships is what I would like to call 'creative subversion.' This term needs further elaboration.
All these narratives are created within a highly hierarchical and masculine society. All are supposed to revolve round the male hero. But it is the active presence of the women that changes events, that diverts the men's life from its traditional course, that shocks the men into changing their very mode of existence. In the classical Iranian narrative active women dominate the scene; they make things happen. Like the wind in Vis va Ramin they open their lovers' eyes to new insight and discoveries which determine the course of the men's future actions.
This subversive relationship redirects the traditional course of male-female relationships. The hero's submission to love in one way or another softens and 'civilizes' him, making his familiar world intolerable. This change is brought about less by the heroes' own will than by the active pressure of the women in their lives. The king in One Thousand and One Nights is healed; Farhad loses Shirin and dies; Bijan's life is saved by Manijeh; Khosrow, whose masculine identity is reinforced by his sexual conquests-even as he pines for his beloved-repents, and is united with Shirin, only to be killed while sleeping by her side; and Ramin is finally rewarded with Vis, with whom he lives for 81 happy years of married life.
Majnun's case demands closer attention. After his beloved Layla's forced marriage, Majnun becomes a mad mystic and spends the rest of his days in the wilderness. Majnun's love for Layla has been interpreted, according to the mystical tradition, as a stage toward higher 'reality.' But looking at it from the lovers' point of view it makes more sense to say that Layla's love transforms Majnun to such a degree that the world with its rules and conventions is no longer tolerable to him In the same manner Layla also negates the traditional role assigned to her. She dies rather than submit to a forced marriage.
My last example from classical tradition is the heroine in ' The Black Dome,' a story in Nezami's Haft Paykar (Sever Beauties). The story is about a king who arrives in a town where all the inhabitants are in mourning. Demanding to know why, he is made t go through the same process. He is taken outside the town and put in a large basket. A huge bird carries him high up in the air and drops him in a heavenly pasture where he meets a most beautiful lady served by lesser beauties. Every night the lady invites him to a feast and frolics with him until he desires to make love to her. At that crucial moment, she asks for patience and refers him t one of her beautiful servants. He calls her 'fancy.' In order to get her, he must show patience, but patient is the one thing he cannot be. He fails the test and loses her forever. Like the town's inhabitants, he too wears black for the rest of his live, mourning his loss.
The beautiful lady in Nezami's tale makes an important point about all the other images: they all are part of the poet's vision, a vision which in essence negates and defies external 'reality.' These images feel real to us not because they are portrayed realistically, but because their texture fits well the fictional reality created through the narrative. This fictional reality is created only as a backdrop to their mystical and transcendental identity; in a sense it is an extension of that identify. Within the context of a transcendent world, the women in the classical Iranian narrative either create love and peace in their men or taunt and tempt their men. Either way they disturb the present state of affairs, opening a path to a different world.
The images of women characteristic of the classical Iranian narratives have persisted down to the period when Iranian society as well as its literature were changed fundamentally. Of the few long narratives in Persian written after the introduction of the novel form in Iran in early 1900s, the one in which the women are most central is Mohamnmad-Baqer Mirza Khosravi's three-volume romance-novel, Shams va Toghra (Shams and Toghra, Tehran, 1910).
In one scene the hero, Shams, relates to his mistress, Queen Abesh, his feelings about the three women in his life. Toghra, his first love and wife, is his favorite, if for no other reason than that of seniority. Mary the 'Venetian,' a foreigner who acts like a typically shy and submissive Iranian girl, is so good and correct that he cannot help but love her. The Queen herself is irresistible because she is so skillful in the carnal arts. The serene and integrated image of the women in the classical tales is now divided into three. The hero's love does not make him concentrate on one woman; rather, it directs him toward different women. Shams va Toghra thus shows the Iranian narrative at a transition point. The story, with its tedious digressions, vacillates between a novel and a romance. As such, it makes a number of interesting cultural points. It is again a variation on the Romeo and Juliet theme. But Shams is luckier than Romeo; he marries his Juliet halfway through the second volume and continues to marry other women with the consent and blessing, nay, the insistence of his beloved.
The world of Shams va Toghra is still a masculine world, but it has lost its previous cohesion, and the men have lost their self-assurance. The women in classical Iranian literature were a part-a very central part- of the narrator's world view, which in essence moved against the dictates of its world. In Shams va Toghra the narrator no longer has a coherent world view; nor does he have a sense of himself, his world, or the new fictional form he is working with. In other words, he is constantly vacillating between the old and the new ways of appraising 'reality' as well as fictional reality.
The women in Shams va Toghra have kept the guile of the women in earlier tales, but do not use it to subvert the hero's attitudes, or to defy the conventions of their world; guile is used as a means of survival in a world where submission has more worth than imagination, where no man would listen for one out of thousand nights to the tales of a woman. The women in earlier tales used guile in order to survive as well as to subvert and change their men. In Shams va Toghra the women no longer subvert; they only submit.
Like the female images in the classical tales, the women in Shams va Toghra are idealizations. But unlike the earlier images, Khosravi's women characters are empty of connotations and meaning. They lack the luminosity and circularity of the women in the classical Iranian narratives, who feel more real to us even though their creators paid no homage to 'reality' or to what we call realism. Toghra and her female companions are mere figments of the narrator's imagination, products of a divided mind which is constantly confused by the new order of social and personal relations imposed upon it.
As the images of women within the Iranian narrative change from vision to daydream, their active and subversive function is turned into a passive and submissive one. The divided mind of the male narrator no longer can create a whole vision: it divides the whole image into fragments. None of the women in Shams va Toghra is rounded and complete; each of them represents a part of the complete woman; body, mind, and soul are disconnected. As Shams explains to the Queen, he needs three different women to satisfy his different needs.
As the mind discovers the roundness of the earth, as it begins to lose its own identity without gaining a new sense of wholeness (or roundness) of the self, it begins a process of disintegration in which it can no longer handle and control the 'reality' around it. This is the reason why these fictional women are not complete in themselves. They have moved away from the transcendental and unreal world of the earlier narratives to the concrete and 'earthy' world of the novel without gaining the individuality and particularity needed to illuminate and activate their presence. Without a private, individual self, without some 'interiority,' these images become orphans left in someone else's story. The women ruling with wit and majesty over the fertile land of classical Iranian literature are stripped and divided in the later romance-novels, and mutilated and murdered as in Hedayat's Buf-e Kur (The Blind Owl, Bombay, 1936). From then on, they wander around in the deserts of contemporary Iranian fiction, homeless, shadowy, and weightless.
The introduction of the novel in Iran coincides with many profound social changes which Tuba's father had the foresight to predict. One of the most important of these changes is the creation of new images for women, especially during Reza Shah's reign. The unveiling of women decreed by Reza Shah, like the veiling several decades later, caused an upheaval, and symbolically expressed conflicts and contradictions that ironically made women, without any major action or decision on their part, the center of hot and violent controversy.
During this period, almost simultaneously both 'realistic' and 'psychological' fiction started to be written. In both of these genres the role of women and women's relationships or lack of relationships with men are central. The images of women in these novels almost always become identical with, or symbolic of, the novel's central 'message.'
Sadeq Hedayat's short novel , Buf-e Kur, is divided into two parts, each a central metaphor for the other. Near the end of each part the narrator kills a woman--in essence the two aspects of the same woman. It seems as if in these two (symbolic) scenes the narrator mourns the breakdown of the idealized and sun-speckled relationships of men and women in classical fiction.
In a sense Buf-e Kur creates a distorted version of the typical classical Iranian tale. In this story all the elements of the previous narratives exist, only in reverse form. The narrator in Buf-e Kur too uses external 'reality' only to express his inner 'reality.' The women and men in his narration are mainly symbolic rather than real. In fact, the women in Buf-e Kur symbolize the two polarized images of the classical Iranian narrative: the inaccessible ethereal (athiri) woman and the all too accessible temptress (lakkateh). To the narrator in Buf-e Kur, however, both these women are inaccessible.
In this narration, Hedayat portrays not a vision, not a figment of the imagination, but an obsession which, as expressed in the famous opening line, eats away all the narrator's moments and leads to his complete destruction. The reader is confronted with three different archetypal images of woman the mother, the beloved, and the whore. All carry seeds of destruction, all are madly desired, and two are destroyed by the narrator who never recovers.
Like the frame story of One Thousand and One Nights, Buf-e Kur demonstrates that the male character is not necessarily a victim of female guile, but rather a victim of his own obsessions. In both these stories the close an paradoxical interrelationship between the oppression or liberation are demonstrated. But the female characters in Buf-e Kur are much more passive than the female characters in the classical Iranian narratives. There the women use their powers of imagination to save themselves and to create a new world; in Buf-e Kur the exact opposite happens. The attempt to communicate between the two sexes leads to the narrator's frustrating discovery of his own impotence -- an impotence which is obviously symbolic of a helpless and disintegrating psyche. The only time he succeeds in making love to a woman is when he enters his wife's (lakkateh) bed, disguised as one of her many lovers; and the sexual act itself is so violent that in order to release himself from her grasp he 'inadvertently' kills her with a knife he has brought to bed with him. Sexual fulfillment and death become synonymous.
Buf-e Kur offers many interesting insights into the cultural assumptions underlying male-female relations in Iran It also illustrates a breakdown of dialogue between men and women. In the novels which follow in the wake of Buf-e Kur we observe a lack of dialogue (a sign of the disintegration of her psyche), and a lack of structural cohesion.
In Buf-e Kur the process of the self's disintegration leads to a replacement of dialogue with monologue, and to an urge toward destruction arising out of impotent desire. The male character in Buf-e Kur becomes the first in a series of impotent and obsessive characters who crowd contemporary Iranian fiction. The inability of writers to create active female characters and a dialogue between them and the male characters becomes a major obstacle to the development of the Iranian novel.
The disintegration of fictional characters in the Iranian novel may also point to a fundamental cultural problem, namely, the disintegration of the male Iranian psyche under the pressures and demands of two diametrically opposed cultures: one, the vanishing culture of the past with its unified and hierarchical view of women; the other, the modern western-imported culture of the present with its doubting, ironic view of the world and its fast-changing view of women.
The images of women in Buf-e Kur are said to be based upon the narrator's obsessions and his negation of 'reality.' but they are still more real and have more fictional life than the images which later appear in the so-called realistic novels. In these novels the preoccupation with women becomes so obsessive that unlike in Buf-e Kur it reveals the writer's own obsession In these works the aesthetic distance between the writer and the work breaks down; there exists no cohesive structure which can place the images in creative relationship to one another. These narratives become veiled and insincere autobiographies; they also become loose and chaotic, not individualized and concrete -- mere slogans, demonstrations of condescending goodwill toward women and unfulfilled, unnamed desires about them.
The main character's lament in Hushang Golshiri's Barreh-ye Gomshodeh-ye Ra'i (Ra'i's Lost Lamb, Tehran, 1977) is one of the best examples of what happens to the displaced male psyche, to a man's desire and longing for the security of his mothers closed and circular world that, like a womb, created space, blood, and nourishment for him. Ra'i decides to leave his beloved because she cuts her hair short, flings her bag over her shoulder, and might commit the ultimate blasphemy of dyeing her hair blonde. An unstated question hangs over the whole novel, creating an atmosphere almost of bewilderment: what happened to that tamely secure image of the raven-haired beauty who spent all her moments at the service of her man?
The secure male-dominated world of the past has broken down. What remains is the residue of the past in the writer's unconscious with no direct relationship to the new world. The mind is in constant struggle with this world. On the one hand, it desires to come to terms with the new reality; on the other hand, it has no firm grasp of it, no real understanding. A vague hostility and mistrust toward the new reality called the western world seeps into the Iranian novel, and colors the images of its women more than any other image.
The author becomes afraid of the suddenly real woman. In the past, the woman was a part of his vision; later she became a figment of his imagination, a tame if coyly evasive object of his desires-a presence which could be made to evaporate in the twinkling of an eye. To re-create fictionally a creature that he is wary of in reality becomes an almost impossible task.
Thus, something interesting happens in these novels: a movement away from the symbolic images of the classical tales, which somehow feel very real, to the 'real' images of 'realistic' fiction, which feel symbolic. The writer chooses a fixed pattern of thought, an ideology to define and capture this new 'reality,' stripping it of its threats, bringing it under control.
This process can be best observed in the 'realistic' tradition in Iranian literature. These 'realistic' novels were influenced mainly by the now archaic and anachronistic school of social realism. In structure, they followed the rigid and linear form of the nineteenth-century novel. The characters in these novels are supposed to be 'real,' from the working class or the peasantry.
The women in these works are usually patient and strong; their contradictions are mainly external, reflecting the class conflict within the society. The lack what I cal 'interiority': the individuality, the inner conflicts and contradictions which give western realistic novels such amazing lights and shades. For example, Mahmud Dowlatabadi's Ja-ye Khali-ye Soluch (Soluch's Empty place, Tehran, 1979) begins with Mergan, the heroine, waking up one morning to find that her husband has left her and their three children. From the very first page the narrator turns a theme which has many dimensions into a purely social issue. When describing Mergan and Soluch, he informs us in the tightest terms of how love becomes meaningless between people without money. At every crucial stage of the novel the narrator upstages his characters with tedious moralizations and unnecessary elaborations. The dialogues are constantly interrupted by the narrator addressing the reader.
Even novelists with no particular ideology share this attitude with the narrator in Ja-ye Kahli-ye Soluch: they feel more committed to ideas than to the story or the characters in the story. Women as the most obvious victims of social injustice become the center of these novelists' moralizations and simplifications, and woman the victim becomes a popular theme in this literature.
The motif of women as victims dates back to Moshfeq Kazemi's Tehran-e Makhowf (Tehran, the Fearsome, Tehran, 1925). In Kazemi's novel all the prototypes of the socially victimized woman exist, from the beautiful young girl in love with a noble and penniless young man, harassed by greedy, insensitive parents, to the duped and penitent 'fallen woman.' From then on we encounter images of women as social victims in a number of novels which could be categorized under the dubious title of 'popular novel.' These women are either love-stricken, like the suffering young heroine in Tehrann-e Makhowf or, like Ahu in Ali-Mohammad Afghani's Shohar-e Ahu Khanom (Ahu Khanom' Husband, Tehran 1961), are cheated by another favorite figure of popular novelists, the 'vamp' who steals the heroine' husband.
The popular novel develops into at least two different branches: the first is open and explicit about its form; it makes no pretensions at being literary art and exploits the theme of 'victimized' woman' versus 'vamp' or 'greedy parents' to create tension and capture the reader's attention. Most outstanding in this group are the novels of Hosayn-Qoli Mosta'an. The second group shuns the first and claims to have 'serious' intentions. It uses images of women mainly as vehicles of social protest. Some of these writers, like Kazemi, are genuinely interested in the fate of women and their emancipation. But whatever these author's intentions, their works combine two 'spicy' elements to appeal to their readers' self-righteousness and taste for 'action': women and social protest.
The Iranian art novel was deeply influenced by the popular novel, especially in its use of male-female relationships as a vehicle to introduce action and justify moralizations, rather than as a theme worthy of exploration of its complexity and problems. If a popular novelist like Mosta'an used moralizing to justify risqu� action, a more 'serious' novelist like Afghani used action to make ideological and social criticism palatable to the readers. Even a highly serious novelist like Sadeq Chubak in many short stories and in the well-known psychological novel Sang-e Sabur (The Patient Stone, Tehran, 1960) makes the fallen woman his central character. In Hedayat's Buf-e Kur, the 'lakkateh' is a powerful figure representing the narrator's obsessive personality as well as his moral and sexual impotence. In Chubak's novel the 'lakkateh' is transformed into a good-hearted prostitute, a caricature of the already caricature-like prostitutes in Dostoevsky's novels.
In novel after novel, Iranian writers create and re-create two extreme and worn images of women, that of victims and that of bitches. In both cases the possibility of a meaningful male-female relationship becomes a mere mirage. With the exception of two novels written by women, no real attempt is made to untie the ropes of social protest from the captured images of women, to let the women lead to whatever buried treasure they have hidden in the depths of their shadowy existence. But even the two well-known women writers, Daneshvar and Parsipur, are unable to represent the rich contradictions and inner complexities of their fictive characters.
In Simin Daneshvar's Suvashun (Tehran, 1969), the author tries to explore the sensibilities of a happily married woman, who nonetheless suffers from the uncompromising heroic stance her husband takes against the corrupt Iranian regime and its foreign masters. Daneshvar's presentation of Zari creates some uneasiness in the reader; it seems as if beneath the straightforward and explicit descriptions of Zari's innermost feelings there exists some deep emotion which has found no expression, as if some deep resentment wishes to surface and mock Zari's most sacred loyalties. but Daneshvar never dwells on this hidden and disturbing aspect of Zari. At the end when her husband is killed, Zari takes up his political cause loyally and with conviction. Daneshvar, like her equally famous late husband, Jalal Al-e Ahmad, makes social statements through her characters. She, like him and a whole host of other writers, denounced ideology but followed Sartre's then popular dictum on the necessity of 'committed prose.' She simplified her heroine's real suffering, Zari's agony over having to choose between a husband she loves and an independence of mind she so desperately needs.
Shahrnush Parsipur's first long novel, Sag va Zemestan-e Boland (The Dog and the Long Winter, Tehran, 1976) is a first-person narration about the trials and tribulations of a young middle-class Iranian girl. In the first part she creates the illusory relations the girl is caught in. But in the second part suddenly the narrative breaks down, it switches from realistic presentation and description to a stream of associations involving the girl's dead brother, his imprisonment and sufferings. As in her later novel, Tuba va Ma'na-ye Shab, Parsipur begins with concrete images of a woman's life and then trails off into vague musings.
After the Islamic revolution, the formerly veiled and symbolic allusions to the political system and the government turned into overt and explicit criticisms of the Pahlavi era. In Reza Baraheni's voluminous novel, Razha-ye Sarzamin-e Man (Secrets of My Native Land, Tehran, 1989), naive Armenian servant-girls and fully experienced wives of high Iranian officials are seduced by unfeeling and overpowering American soldiers. to compensate for this symbolic seduction of Iranian women and equally symbolic cucholding of the Iranian men by the exploiting Americans, we have brave and heroic women such as Tahmineh, whose name is a reminder of the wife/mistress of Rustam, the unflinching Iranian legendary hero. She becomes the symbol of uncorrupted Iran.
In Baraheni's Avaz-e Koshtegan (Song of the Murdered, Tehran, 1983), we have a rare attempt to portray a modern woman. But alas, she is the wife of the hero, a writer and university professor who is constantly harassed and tortured by the Savak. In response to his regrets over the insecure life he has made for his wife and daughter, the woman gives him, and the reader, a full lecture over three pages, in which she lauds him for exposing the Shah's regime to the whole world, while 'all were silent.' Unlike most men, she says, who 'used their beautiful wives' to gain wealth and power, he has taught her to assist him in his perilous work. She continues to eulogize him. Quoting from the great Iranian poet, Sa'di, she calls him the 'voice of the murdered,' She thanks him for 'granting' her the 'possibility' to 'wipe torture from the Iranian jails.' Thus, a very complex social and political issue is turned into a lusterless version of 'Mission Impossible,' and a many-leveled, multi-dialogued relationship is turned into a banal monologue echoing itself, the wife doing what the husband cannot do directly: use their relationship to create him as a her.
Little wonder that the reader of these novels has an eerie feeling, as if the images avenging their mistreatment refused to come to life and refused to support their authors' claim that serious human issues are at stake. Generally in novels several layers of relationships are created in the interactions among individuals. The private world of these individuals becomes the flesh, the inner layer that gives substance to the other layers of social, moral, and philosophical matters. The images in most of the Iranian novels lack flesh. Their inability to have relationships turns the characters into mere echoes of one another and ultimately of their creator.
Esmai'il Fasih's Soraya dar Eghma (Soraya in Coma, Tehran, 1983) is one of the few Iranian novels that attempt, in the best tradition of popular fiction, to create the image of a modern independent woman. It follows-in fact downright copies-Hemingway's The Sun Also Rises in terms of plot, theme, characters, and events. The romantically cynical hero leaves war-torn IRAN FOR Paris to visit his niece, Soraya, who is hospitalized and in coma. There he meets several, mostly unsavory, Iranian exiles among whom he finds a very attractive, equally cynical, intellectual lady. She is so overpowering that the man become metaphorically impotent. All the other characters in the novel are like vague recollections of characters in Hemingway's novel. Neither the woman's showy and frustrated cynicism nor the hero's frustrated feelings for her create any deep or lasting impressions upon the reader.
In most of the novels written after the Islamic revolution, the images of women are continuations of the images in pre-revolutionary literature. These novels lack active interaction between male and female characters. Some, like Ahmad Mahmud's 'war novels,' have no main female character. In many of the others, dialogue between men and women is avoided by the absence of the men or by their psychological, if not physical, impotence. The young and controversial Mulim novelist and film maker, Mohsen Makhmalbaf, dedicated his novel, Bagh-e Bolur (The Crustal Garde, Tehran, 1989) to 'the women, the oppressed women of this land.' This novel is crowded with women whose men have either been killed in the war or will be killed by the end of the novel. The novel ends with a strangely peaceful procession of widows and children with the only man left in the novel, one who has been castrated in the war.
Ami-Hosayn Cheltan's Talar-e Ayneh (The Hall of Mirrors, Tehran 1991), set around the time of Iran's Constitutional Revolution (1906), is again filled with women. The novel's main point seems to be the relationship or, better, the non-relationship between Mirza, a 'revolutionary' from an upper-class family, and his sick and dying wife. Their beautiful daughter is apparently an exact replica of her mother. Mirza is vaguely blamed, perhaps, for neglecting his loved and loving wife. This feeling, like all others, is never expressed concretely. The novel ends with the death of the wife. The grief-stricken husband is struck by the shadowy image of his daughter whom he mistakes for his dead wife. Seldom has a writer offered the readers so many dangling, and at times dazzling, images without life or substance.
Thus, throughout the 1980s the Iranian novel vacillates between the ideological commitment and the obsessional male projections, leaving women characters shallow and intangible. It is surprising and regrettable that such a sweeping generalization safely can be made about a major part of contemporary Iranian literature.
Over the past five or six years a new trend can be seen in the work of a younger generation of Iranian writers. Iranian fiction has entered a new era whose most distinctive feature is its transitory nature. The Islamic revolution, like many great upheaval, has shaken all values and norms within the society. Some norms have persisted or reappeared in different forms. But this era, in Ian as well as in the world itself, is generally an era of doubt and uncertainty. Now, the images of women have to be rethought and redefined. Under extreme pressure, women must look at themselves not only as members of their society or their country, but as individuals whose very private lives and liberties are being redefines.
In this state of flux, when everything is questioned, when the present feels more unreal than the past, the earlier seemingly tangible and real images of women can no longer function. In the most recent novels, the images seem to have gone on strike altogether, as if they refuse to work under the present conditions. In these novels, especially those of younger writers (two of whom are women), the narrative voice either breaks down or becomes one long toneless monologue and the characters are even more shadowy and unreal than in earlier novels. The novels express a tendency to preach, and doubt and uncertainty about what is being preached.
In Tuba va Ma'na-ye Shab, we see this process. The anecdote I quoted at the beginning of this chapter shows that Parsipur is aware of the Iranian male intellectuals' instinctive fear of the social issues directly related to women. In this sense, her novel, like Moniru Ravanpur's latest novel Del-e Fulad (Heart of Steel, Tehran, 1991), provides interesting insights. Both novels are about a woman's search for her place in the world. but this search never comes into focus, never becomes concrete, internalized or fictionally real. The heroine in Ravanpur's novel, a contemporary woman writer, is less tangible than a shadowy ghost in the mind of a delirious patient. Ravanpur skillfully generalizes her character out of existence.
Tuba va Ma'na-ye Shab also becomes one long narrative in the mind of its narrator/author. It begins with concrete images, but ends as a pseudo-philosophical treatise. Rather than creating interrelated images and voices, the novel presents a series of voices that are not differentiated, and which do not create dialogue. In essence, Tuba va Ma'na-ye Shab is just one voice, monotonous, at times hysterical, pouring out what has been stored up for many long years. The book's structure is based upon commentary and not image, monologue, not dialogue; and thus does not fit the form of the novel which is supposed to be multi-voiced, concrete, and individualized. Tuba va Ma'na-ye Shab is almost frightening; it seems like an endless cry in the void. The Iranian novel for the past few years seems to have either created voices without images, as in Tuba va Ma'na-ye Shab, or images without voices, as in Talar-e Ayneh.
The importance of this stage in the history of the Iranian novel is its transitory nature and the doubt it has cast upon all previous fixed images. The tension between the novelist's tendency to preach and moralize and the uncertainly which runs counter to any form of preaching is an expression of this doubt. The contradictory quality of preaching is an expression of this doubt. The contradictory quality of these novels makes them interesting; but it also makes the reader feel as if s/he was reading about imaged created in a void.
One further point needs to be mentioned, although its elaboration is beyond the scope of the present chapter. The literary problem in Iran is not only to create fictionally real and creatively subversive images of women, but also to create a proper framework that could embody such images. Also, unlike the claims made by some feminist critics about western women, the problem in Iran is not that Iranian women, as opposed to Iranian men, have not yet developed their own narratives, but that both women and men have as yet to create their own contemporary form of narrative, their own form of the novel.
Dialogue is by nature subversive; it simultaneously asserts one's own argument and undermines it by destabilizing it, turning it into a question through the other side's argument. Since its beginning, the Iranian novel has been only superficially subversive because its writers concentrated on social or political statement. There is a need for creating subversive literary images as well as dialogues among these images.
The images in the void teach us that without tracing the complexities and ambiguities which surround the modern woman, without understanding her private world, no coherent image of women can be created. In fact, a truly subversive novel would present the image of woman as a private self, and within that context would create many levels of reality surrounding and emanating from the self, including the social, historical, and philosophical levels of experience.
But writing in the void is better than writing according to fixed formulas. Courageously accepting the existence of this void perhaps will lead us to a creative reappraisal of where we stand in relation to our literary past and future.
Going back to the first example in this chapter, I agree with the adib that once women become aware of themselves, once they begin to think independently, they create a great upheaval. In the Iranian novel this upheaval has not yet happened; it has not as yet created the 'real' woman, the full woman, body, soul, and mind. Without her, men in the Iranian novel will continue to be either absent or impotent. The Iranian novel awaits that great moment, when those wise, strong, and gracious women of the classical Iranian narrative will find their worthy peers within contemporary Iranian fiction.
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Been gaining fat lately, not so much weight. The extra mass in my midsection has been putting pressure on my stomach when I slouch so I should probably work towards getting rid of it. Figure I'd keep track of my exercise since I'm not really blogging about anything.
- 2 x 8min. | exercise bike
- 2 x 20 | crunches
- 2 x 15 | pushups
- 1 hour | practice drums (better than sitting in a chair surfing the web)
Time on the bike will increase as the days go by. In the meantime, expecting a new guitar pickup and another cymbal for my drumset by courier tomorrow. Should be fun.


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