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Wildfire - Lincolnshire
Online Reservations
The food and service were excellent, and I highly recommend this restaurant.
I booked this for a business meeting for 7 people. They all said everything was good.
Excellent food. On the pricey side, but definitely worth it. Would recommend highly.
Everyone in my group enjoyed their meals. We had a fairly early reservation, and were seated immediately. I ordered the seafood trio, and it was excellent. The salmon was cooked perfectly, and the crab cake and scallops were also very good. My only complaint was that, as the restaurant filled up, the noise level also became pretty high, and we had to talk pretty loud to hear each other.
We were seated as soon as we arrived. The booth was nice, but the music was much too loud. Service was very good. My friend's filet was outstanding as was my excellent, well seasoned swordfish. The portions are generous, and we were able to split a side salad which was more than enough for two people. I will look forward to returning soon.
We always have great food and excellent service when dining at Wildfire. We visit the restaurant at least once a month and have never had a problem. I highly recommend this restaurant for a fun or romantic dinner.
We love Wildfire and don't get there as often as we'd like because there's usually a long wait. We planned ahead this time and used Open Table for a reservation a week ahead of time and it worked great. The ONLY issue I have with the restaurant is that it's always busy!
We had a good time at Wild fire, our lunch was good. The "fish of the day" was excellent. The primerib sandwich below our expectations. Nice service and nice place.
We were out as a small group of six looking for good food, fun and laughter. Our server, Mary, figured our goal out quickly and added to our jovial and spirited attitude for the night while remaining professional and courteous.
Food and service were impeccable but if we had not sat next to each other, conversation would have been next to impossible. I would guess the noise level was so high that everyone raised their voices to be heard. One could easily follow the conversation at the next table if you were not concentrating on your own conversation. As the restaurant cleared, it became "normal." The fixed choice of "energetic" does adequately describe it. It was not the place to take someone you are trying to get to know or to have a serious conversation. The food was pricey although good. But, with so many really good restaurants with much better ambiance, there are better choices for special dinners.
went for a birthday - went early to AVOID the crowds- (by the time we left it was a 1.5 hour wait)VERY friendly waitress- she was excellent- these days it's hard to find good staff and they are equally important in making the evening nice.
Wildfire consistently provides exceptional service and quality food. This restaurant is also great for a romantic dinner.
Its to bad that Open Table didn't treat us as good as Wildfire did. Not happy with your program so far !
This is my favorite restaurant! We love this for special occasions and we also have had family functions at one of the several Wildfire restaurants. We have never been disappointed. The food is always outstanding, fresh and perfectly seasoned and delicious! The family style dinners are a great way to have a group dinner, if you can all can make a decision on the many offerings. Recommend this restaurant highly.
What a great meal. Servers and staff were so friendly. Loved the casual atmosphere. Saw groups with kids, couples and large groups. Awesome food. Everything we ate was delicious.
By far my favorite restaurant! I have never had anything "bad" there. The steaks are amazing and so are the martinis.
Great as always! Excellent food and service. Great new brunch and gluten free menus.
My kids and husband loved the food choices . It's pricey but it was worth it . Dessert choices was also good and yummy !
Wildfire in Lincolnshire is a wonderful restaurant, we have been here several times and each experience has be great. We love coming to dinner here for special occasions or just a Monday date night out. I am a vegetarian and I love coming to Wildfire, they have a delicious grilled veggie platter that will please any veggie lover. We would highly recommend this restaurant.
had other great dinner at Wildfire, took a customer there, great food, service. Only thing I would change, for eight of us the table was too small
Food was very good. Service was not up to typical Wildfire expectations.
Since we had a special occasion, we thought we'd go to our old reliable, Wildfire. Always great food with attentive service. Food and drinks were as expected--great! However, something was noticably different-service was simply too slow. We had a reservation but still waited 20 minutes. (As he was sitting us at a table, the Host decided to move us; much appreciated.) We had a very personable wait person but we waited too long for everything, two drink orders, apps, entrees, desserts (to go). She did come by at one point to let us know our entrees were "next" to come out, and thanked us for our patience. I'm just wondering if something was off with staffing that night? Seems unusual based on our past experience with Wildfire.
This place has an excellent selection of food and wine. My favorite is spinach salad and halibut fish. Great service. I should admitt it is loud place.... however, I always enjoy this place.
This was not our first dinning experience at Wildfire. This was even nicer then the last visit. We were seated in a room that held 6 tables so it was like our own private room. The food is always delicious and the drinks are top of the line. The one thing that makes or can break a great dinning place is the service and I must say Jesus took very good care of us. He was friendly, informative ,professional and made us feel very comfortable. If I could ask for him to be our server again I would do so in a heartbeat.
The food and the service were awesome. We had a table that did not have much noise around us and that was great. I have to say that this was finished as a great memorable night that everything was perfect. Thank you. I will without a doubt recommend this restaurant to my friends and family for their dining needs.
We have been dining regularly at Wildfire Lincolnshire since they first opened years ago, and it remains my wife and I's favorite restaurant. There we five of us there Saturday evening about 7:15 and we all enjoyed another great meal. My only objections were that (1) the noise level seems to have dramatically increased in the main dining room. (2)The hostess refused to seat us until I returned from parking the car which took much longer than usual. Three other groups around us were all seated even though their parties were not complete, and because of this our party was stuck at the first table at the dining room entrance. We did not think we were treated fairly, and my wife and I did not appreciate the disadvantage we were provided with.
This was the best meal we've had at Wildfire - EVER!
The petite filet with a side for $26 was a good deal. I enjoyed my filet and side dish. The dessert( applie pie) was good.
My neighbor and I celebrate our birthdays together every year. This year we came to Wildfire. We had a very nice evening, good food, good service, great ambiance. We will definitely not wait for our next birthdays before returning.
Thank you for a wonderful evening - our service was amazing
Wildfire is one of my favorite places - and for my birthday, they did not fail. The food was, as usual, amazing. The waitstaff (well, the complete staff) are friendly, happy, and willing to help. What a gret way to pend my birthday!
We had a gluten free meals. It was very good overall. Side of spinach, a little too much garlic. The gluten free english muffin was better than no bread. However could have been a little bit more inventive. Check out Biaggis great gluten free bread that comes with a meal. The gluten free meals are inventive there. My girl friend had the pasta with garlic and I am not sure...but she thought it was great but again a bit too much garlic. My chicken was the lemon chicken. Very flavorfull. A quinoa veggie side dish would be nice with a chicken broth base.
My In-Laws are picky! But isn't everyone's?? This place consistently pleases us all - the 10 year old grandson to the 70 something big city Grandfather. Great American food, large menu, pretty setting, and all the fussing from servers our fussy family desires. We always open with the Classic Caesar Salad served family style, and close with sharing the Berry Crisp. Oh, and did I mention the HUGE wine list and marvelous martini menu? A Flight of Martini's is my secret weapon for surviving this consistantly successful family feast. And I didn't cook a thing!
Great time, but our table was given to us after the reservation time. If I have a reservation, I expect the table to be ready at that special time. Thank you.
Consistently good food and service (though the 3 gals at the host stand could use a tutorial in efficient customer service). You can never go wrong with Wildfire.
Wildfire is my favorite restaurant. One always has a great meal!
Havent had a bad meal yet in 7 years....Bears n Hang out...daily recommended don't miss it
My girlfriend and I took my mom there for her birthday. Everything was delicious and fun as always!
We make it our stop before going to plays at the Marriott.
We Were staying at a nearby resort and wanted to go to a nice restrauant. We were very pleased with the experience. We noted the special occassion in our reservation and were treated to excellent service, very good food and even treated with a special treat as well. We were pleased with the entire experience.. .
The only restaurant I've personally encountered with such an extensive gluten-free menu. One of the few places with gluten-free bread that actually tastes good. As always, the food was fresh and well-prepared and brought by a competent and friendly server. I've never experienced another restaurant that provides high quality food, ambience, and service with such consistency. We had the artichoke dip appetizer, stuffed cheeseburger, and chicken and steak entrees - all properly prepared, well-seasoned, and in generous portions. TIP: Go early and you'd better have a reservation - especially on the weekends and even for lunch! This place gets mobbed for the previously stated reasons.
As usual we enjoyed our meals at Wildfire after attending a play. My husband ate Brussels Sprouts for the first time in 50 years and actually cleaned them up. They went great under the cornbread encrusted cod.
Don't be afraid to try something other than steak. The braised pork shank special was phenomenal.
We love celebrating our anniversary at Wildfire! Amazing food, excellent service and wonderful atmosphere!
As always, great meal. Modest pricing. Great service!
Love this place. Pricey, but worth it. The bourbon sirloin tips are KILLER.
Love Wildfire one of our favorite places to dine. Went there with a friend for her birthday. The food is consistently wonderful!
I took a client to lunch there when I had laryngitis. She could hear me fine and our food arrived quickly. We were in a rush and the waiter took note and was very available. All in all a great spot for a work lunch.
I have been to the Lincolnshire, Oak Brook, Schaumburg, and Glenview Wildfire locations many times, and the food and service are always spectacular. The special appetizer -- a lobster-and-artichoke dip with bread -- tasted so great ... I could have ordered another and made that my entire meal. The three-steak entree was perfectly cooked and offers a nice variety -- three steaks with three different toppings ... I had the parmesan, bearnaise, and mushroom crusts ... mouth watering! Waitress Mary with her Cockney accent is not to be missed! She was an absolute delight, and joyfully accommodated our every whim. We will be back here, soon and often ... and will always request Mary as our server. This place is great!
We were planning on having lunch when we decided to go to Wildfire, but they were offering their weekend brunch menu and we loved everything we had.


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Current & Upcoming Films
Thursday, April 18
In preparation for the mind-boggling docu-essay ROOM 237, we could not be happier to bring you one of the stone-cold greatest horror movies of all time. The movie that Stephen King dismissed as work by a director that "thinks too much and feels too little" – THE SHINING. Jack Torrance is a disgraced teacher, recovering alcoholic and would-be writer who decides to take the job of tending for The Overlook Hotel during the winter months. He brings his wife and young son with him, looking forward to a solitude conducive to finishing his novel. But The Overlook Hotel has other plans for him. Starring Jack Nicholson, Shelley Duvall, Danny Lloyd & Scatman Crothers. Dir: Stanley Kubrick. 1980. 144 mins. 9:15pm

subset: commoncrawl


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The AL Cy Young Race
October 8th, 2009 | by Ray Flowers |
Yesterday I tackled the NL Cy Young Race, so for the purpose of symmetry it only made sense that I would address the AL situation. Being someone who likes a completed circle as much as the next guy, here is my take on the Junior Circuit's race for the top pitcher of the year award.
While there were three men up for the award in the NL, I see a field of five men vying for the award this season in the AL. I'll give each guys numbers and then add a few thoughts why the are deserving, and not deserving, of the award.
Zack Greinke
16-8, 2.16 ERA, 242 K 1.07 WHIP in 229.1 IP
Reasons for: Led the AL In ERA and WHIP while finishing second in Ks, fifth in IP and second in batting average against (.230). Also posted a tremendous 4.75 K/BB mark. He also showed an amazing ability to remain consistent posting virtually identical numbers before (2.12 ERA, 1.08 WHIP) and after (2.21 ERA, 1.07 WHIP) the All-Star game.
Reasons against: He won only 16 games for a team that won only 65 contests.
Roy Halladay
17-10, 2.79 ERA, 208 K, 1.13 WHIP in 239 IP
Reasons for: Third in the league in ERA and second in WHIP. Halladay was also second in innings (one behind Verlander), though he still led the circuit in complete games (nine) and shutouts (four). That total of CGs is more than the total of seven posted by Verlander, Sabathia and Hernandez. He had a hiccup in August (2-4, 4.71 ERA, 1.40 WHIP) but was great in September (4-2, 1.47 ERA, 1.04 WHIP).
Reasons against: His team wasn't as bad as Greinke's Royals, but the Jays won just 75 games. Plus, as good as his numbers were, there were others who were better in almost all categories except for CGs.
Felix Hernandez
19-5, 2.49 ERA, 217 K, 1.14 WHIP in 238.2 IP
Reasons for: Tied for the league lead with 19 victories and finished third in innings pitched. Pretty quietly he also came in second in ERA, third in WHIP and fourth in strikeouts while leading the league with a .227 BAA. Was also fantastic in both the first (9-3, 2.53 ERA, 1.14 WHIP) and second (10-2, 2.45 ERA, 1.13 WHIP) half.
Reasons against: No one ever sees him pitch since he is on the Mariners. Will he be punished because his team was barely better than average (85 victories) and because people on the east coast rarely stay up late enough to watch him pitch?
CC Sabathia
19-8, 3.37 ERA, 197 K, 1.15 WHIP in 230 IP
Reasons for: Pitches for the Yankees and lead the league with 19 victories. Third in the league in BAA (.232), fourth in ERA, fourth in WHIP and seventh in strikeouts.
Reasons against: Sure he led the league in victories and gave the Yankees all they hoped for when they back up the money truck, but his numbers, other than the wins, just don't measure up to the others.
Justin Verlander
19-9, 3.45 ERA, 269 K, 1.18 WHIP in 240 IP
Reasons for: Led the majors with 269 Ks while his innings pitched total also paced all of baseball. He was also very effective in both the first (10 wins, 3.39 ERA, 1.19 WHP) and second half (nine wins, 3.52 ERA, 1.16 WHIP) showing season long dominance.
Reasons against: Had a great bounce back season and no one was more dominating, but at the same time his ratios were a bit behind the others.
So how do I rank these guys? Just like in the NL, I think the choice is obvious.
5. Sabathia – Too much attention given to wins and being a Yankee.
4. Verlander – Ks and innings are great, but not good enough.
3. Halladay – He was a lot better than most give him credit for.
2. Hernandez – In many other years he would be the choice.
1. Greinke – The most dominating hurler in the league, period.
By Ray Flowers
Tags: CC Sabathia, Felix Hernandez, Justin Verlander, Roy Halladay, Zack Greinke


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The Underwater Marine Sanctuary Committee recently met and the first item on the agenda was replacing Mark Griffith as the committee chairman.
Griffith left the area on a temporary assignment in Atlanta. Although he still works with the committee, he urged the group to appoint new leadership.
At the last committee meeting in December 2009, Mandy Evers and Nancy Sandler agreed to act as co-chairmen.
The committee, including Griffith, has continued to work on issues which affect the sanctuary.
For more on this story, see the Jan. 14 issue of the Navarre Press or subscribe online.


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Carry trades always have been a popular strategy for forex traders. The idea is not complicated. In a carry trade, traders sell currencies yielding low interest rates vs. currencies with a higher interest rate. These are medium- to long-term trades, as the spread between interest rates changes infrequently.
Unfortunately, although simple in execution, a profitable carry trade is a bit more sophisticated than simply selling a low interest rate currency, like the yen, against a high yielder, such as the Australian dollar (see "Yen for Aussie," below). While this trade indeed can work consistently, you need to understand the intricacies of what's occurring to protect your profits. Let's see why.
An interest rate story
Traders naturally flock from low-yielding to high-yielding environments. For instance, the traditional currency to sell has been the yen, as the Bank of Japan has been forced to keep rates virtually at zero for many years because of Japan's disinflationary economy.
This situation has persisted since the mid-1990s, making it profitable to borrow Japanese yen to fund activities in other currencies. Conversely, the rapid and sustained industrialization of China meant economic success for the raw materials-rich antipodean economies, and high interest rates made the Australian and New Zealand dollars the favorite currencies to buy not only for the yield-starved Japanese investors, but for traders around the world (see "It's all in the interest," below).
As much as we are trained to think of AUD/JPY and NZD/JPY as the standard carry trades, in reality the U.S. dollar increasingly has matched the yen in qualifying as a funding currency between 2000 and 2008, and again since 2009. "Don't forget the buck" (below) shows the monthly chart of AUD/JPY, NZD/JPY, AUD/USD AND NZD/USD. This long-term chart shows that since early 2009, NZD/USD made the sharpest gains and NZD/JPY the smallest profits.
As "Yen for Aussie" shows, AUD/JPY had a significant uptrend between 2000 and 2007, during which it advanced from 55.50 to as high as 108.00, nearly doubling in value. By early 2007, it was estimated that some $1 trillion may have been staked on the yen carry trade. It then collapsed during the infamous 2008 crash to 55.00 and then posted a sharp new uptrend, which to date has reached the 90.00 area.
The cross currency pair followed fairly accurately the path of the interest rates differential between Australia and Japan. While Japanese borrowing costs remained inert near zero, Australian interest rates peaked at 7.25% in 2008, tumbled to 3% through 2009 and then were hiked back to 4.75% by late 2010.
Carry trades make trends
A trend forms when there are divergent economies and, consequently, interest rates in various countries. The persistent demand for one currency vs. another creates either medium- or long-term trends. Thus, traders can ignore lesser or temporary factors with regard to the high-yielding currency of a carry trade. You could say that while all currencies are equal, some are more equal than others.
When it comes to the Australian economy, for instance, the general importance of a weaker monthly economic indicator is muted relative to the might of the Chinese demand for Australian raw materials. A single report doesn't make a trend, but uninterrupted flows of ore exports do.
Likewise, even natural disasters may not trigger a significant market reaction with regard to a carry trade. For instance, New Zealand suffered extensive damage from an earthquake in 2011. However, this unfortunate event did not significantly impact Kiwi exports to China, and the New Zealand dollar remained firm vs. both the Japanese yen and the U.S. dollar. This was not an easy feat, given that the Kiwi interest rates remained below 3% since April 2009 after peaking at 8.25% a year earlier. Other disasters have much more impact on currencies, however.
It is important to remember that the carry trade puts the odds in your favor. While anticipation of a positive carry spread growing can lead to a trend, absent a trend, a carry trade earns you the interest rate differential. You earn the positive carry on a position if it remains flat. Many traders will apply a carry trade overlay on their forex trades, only taking a position that earns positive carry. However, this positive carry cannot make up for a huge reversal in a carry trade that has become oversubscribed, as occurred in several currency pairs in 2007 and 2008.
Not just a one-way street
The big risk in a carry trade is the quickly shifting appetite for risk. It is vital to remember that foreign exchange is the most immediate and successful shock absorber of international imbalances. Demand for high-yielding currencies vis-à-vis the low yielders only works when the appetite for risk is high.
Consider the proverbial Japanese housewife, Mrs. Watanabe. Concerned with funding her children's education and her husband's retirement, she happily will withdraw money from the Japanese bank where she had parked her savings for zero interest and invest it in Australian dollars or even stocks.
But she will do so only when she thinks the world is in a good place, in which she feels confident to invest. Her appetite for risk will be strong when she learns that Japanese exports of high value-added products are strong and the Chinese economy is as sound as ever. Conversely, Mrs. Watanabe will turn risk averse when the Eurozone gets hit by new waves of debt crisis or U.S. consumer confidence plunges, spelling demand trouble for Japanese exports. If and when she sees dark cloud cover, she will exit those daring foreign investments and bring her hard-earned savings back to the safety of the zero-yielding Japanese bank deposits.
In Mach 2011, the exceptional earthquake and subsequent tsunami dealt a heavy blow to Japan. The initial reaction in the forex market was to dump yen because the two-pronged natural disaster blow, which maimed the Japanese nuclear energy infrastructure, was seen as a negative for both the economy and the currency; however, the Japanese yen had to be brought back to the safety of home in a hurry during the unexpected storm, so the AUD/JPY carry trade's 10% collapse only lasted for a few days.
It doesn't need to be a natural disaster to rain havoc on carry trades; people can do that too. For instance, the Bank of Japan has been known to tighten the money supply suddenly. When it does, the yen surges, squeezing carry trade speculators who were forced to repay their yen debts out of their positions. Consequently, a strong appetite for risk remains the major peril for carry trades.
Beware emerging currencies
While the standard pairs for carry trades are either AUD/JPY or NZD/USD, all that is needed to form a carry trade is a low-yielding currency and a high-yielding one. If, indeed, this is the only filter for the trade, then numerous emerging economies' currencies qualify as high yielders. Examples include the Icelandic krona and Brazilian real.
Some money managers seeking new opportunities in the latter part of the first decade of the 21st century came across Iceland, the tree penurious and sulphur-rich nation, whose micro economy offered gargantuan double-digit interest rates (but no discernible banks). Who could resist the attraction of such a rewarding carry trade, when at the peak in 2008 the Icelandic interest rates were at 18%?
In the end, however, most managers who didn't resist were painfully penalized. The massive financial crisis that started in 2008 triggered the collapse of all three of Iceland's major commercial banks and a surprise run on deposits in the United Kingdom. By December 2008, the Icelandic krona had plunged. Interest rates are now at a more pedestrian 4.25%.
Naturally, not all emerging markets provide horror stories for carry trades. Brazil, for instance, remains a success story in some ways and is increasingly being viewed as a major. With a booming economy and consistently high interest rates — they were below 10% only for about a year starting in 2009 as a result of the financial crisis — the Brazilian real has surged since December 2008. Yield-seeking investors have so far defeated sustained efforts of the Brazilian central bank to stave off the uptrend of the real. But the real's non-deliverable forward status presents challenges for less sophisticated investors (see "Real concern," below).
No end in sight
Over the years, there have been rumors of the end of the carry trade. This is a statement that should make any experienced trader uncomfortable. Interest rate differentials are one of the most persistent, most enduring truths of the world economy. True, conditions will change for specific pairs, but carry trade opportunities will persist. Indeed, with no up or down bias in the currency markets, despite any collapse, profits also can be had on the short side.
Looking forward, it appears today's standard carry trades will remain valid. Interest rates in Japan and the United States will not be hiked anytime soon, even though the latter will advance ahead of the former. Thus, the composition of currency funding will remain unchanged. Conversely, rates will remain high in the antipodean economies.
However, the risk there is the relative slowdown of the Chinese economy, particularly in light of the three rate hikes in 2011 and with an additional one in the works. A more sustained decline of the Chinese economy could result in fewer exports from Australia and New Zealand, but this is unlikely. Therefore, the AUD/JPY and NZD/JPY should see choppy and slower growth for the rest of 2011.
Cornelius Luca is president of LGR – research and advisory. He has been an adjunct professor at New York University (NYU) and authored numerous books on forex trading and technical analysis. Cornelius has developed, lectured and coordinated seminars on foreign exchange, technical analysis and capital markets since 1990. Follow him at www.LucaFXTA.com


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Dear Valued Customer.
After 10 years in business, Airgunstyle.com has decided to close our doors. We can't fully express our deep gratitude for your business and support. Working with you has been nothing but an absolute pleasure.
Our last effective day of business will be
September 24, 2013
. Until that, we will continue to service your previous orders as normal. All return and exchanges will be honored for 45 business days, and must be authorized prior to shipment. To obtain a return authorization
must be contacted via e-mail at
Please contact us with any questions or comments via e-mail at
. Our commitment to providing you the best service and support is still our top priority. Thank you again for your business.


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Presto! iBalance magic trick makes smartphones float in midair
There are lots of magic tricks you can perform with your smartphone, usually using some combination of real-world objects (like, say, cards) and an app.
For example, with Card2Phone, physical items like coins and cards seem to disappear into an iPhone, then reappear again in the real world.
But with iBalance, the phone itself becomes the illusion. This new trick, designed for amateur and professional magicians alike, makes any smartphone appear to balance in an impossible way. Take a look:
As you can see, it's a pretty good piece of prestidigitation. I've dabbled in magic since I was … Read more


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By Mallory Mahon
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Highlands Designs Custom Kitchen Cabinets, Custom Bookcases, & Furniture
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WBL_4230: Kitchen Corner Wall Cabinet with Blind, 42"w x 30"h x 12"d
Woodcraft Industries
Two doors, Two adjustable shelves, Order 0-3" smaller than wall space as it can be pulled up to 3" from wall; Center stile is 5 1/2"w, If blind portion is 12"W, then exposed portion will be 30"W; If blind portion is 9"W, then exposed portion will be 33"W, illustration is for blind right
Price: $227.00
Cabinet Wood Species (modifies base price and cost of some options)* (Required)
This option also increases the cost of other options such as custom dimensions. NOTE: Pine cabinets are not available for painting due to the chance the knots will show through the paint.
Maple (8%)
Oak (+8%)
Cherry (+20%)
Door Style (modifies base price & cost of some options)
Click to see examples
Flat-Panel Door
Flat-Panel Full-Overlay Door (+05%)
Mission Flat-Panel Full-Overlay Door with No Center Divider (+5%)
Mission Flat-Panel Full-Overlay Door with Center Divider (+10%)
Raised-Panel Door (+5%)
Raised-Panel Full-Overlay Door (+10%)
Beadboard Door (+10%)
Beadboard Full-Overlay Door (+15%)
Mitered Flat-Panel "A" Full-Overlay Door (+21%)
Mitered Flat-Panel "B" Full-Overlay Door (+21%)
Mitered Raised-Panel "B" Full-Overlay Door (+23%)
No Doors (-5%)
Glass Door Panels (2)
Optional: Select a flat-panel, Mission, or mitred flat-panel door style above and use this option to convert them to glass panels.
Click to see examples
- select -
Convert door panels to glass $24.00
Convert door panels to glass with mullions $48.00
Other Door Options
Click for example of optional semi-concealed hinge
- select -
Doors loose with no hinges $29.00
Use semi-concealed hinges (only with 1/2"-overlay doors) $29.00
Door Tops (2)* (Required)
Not available on Mission or Mitred Doors.
Click to see examples
- select -
Square (standard)
Arch $18.00
Cathedral $18.00
Blind Options* (Required)
Click to see blind base cabinet diagrams
- select -
Blind on Left
Blind on Right
Custom Dimensions
Specify dimensions to 1/4-inch accuracy in notes field.
Click to see min/max dimensions
. Price is modified by wood species and door choice.
Decrease width $49.00
Decrease depth $49.00
Decrease height $49.00
Increase Depth
Optional: If a custom depth is required, choose the next highest depth and specify dimensions to 1/4-inch accuracy in notes field.
Click to see min/max dimensions
- select -
13" Depth $97.00
14" Depth $97.00
15" Depth $97.00
16" Depth $97.00
17" Depth $97.00
18" Depth $97.00
19" Depth $161.00
20" Depth $161.00
21" Depth $161.00
22" Depth $161.00
23" Depth $161.00
24" Depth $161.00
Stain-Grade Side Upgrades (Wall)
Optional: This option changes the type of material used on the sides of the cabinet from Birch plywood to Pine, Maple, Oak or Cherry. The side will still be recessed 1/4-inch from the front corner.
Click to view example of front corner joint.
An alternative is to use a separate
end panel
- select -
Stain-grade left side $24.00
Stain-grade right side $24.00
Stain-grade both sides $48.00
Stain-grade interior and both sides $55.00
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Introduction (Critical Survey of Long Fiction, Fourth Edition)
The word "novella" comes from the Latin word novellus, a diminutive of the word novus, which means "new." The term "novella" first became associated with the telling of stories in the thirteenth century with collections of newer versions of old saints' tales, exempla, chivalric tales, and ribald stories. Eventually, the term became associated with tales that were fresh, strange, and unusual—stories, in short, that were worth the telling.
The most decisive historical event to establish the term "novella" as a designation for a new kind of fiction was Giovanni Boccaccio's decision to give the name "novella" to the tales included in his Decameron: O, Prencipe Galetto (1349-1351; The Decameron, 1620). What made Boccaccio's stories new was their marking a shift from the sacred world of Dante's "divine" comedy to the profane world of Boccaccio's "human" comedy. The resulting realism of The Decameron should not be confused, however, with the realism developed by the eighteenth century novel. The focus in Boccaccio's tales is not on a character presented in a similitude of everyday life but on the traditional world of story, in which characters serve primarily as "functions" of the tale.
With Miguel de Cervantes in the sixteenth century, as with Boccaccio before him, something new also characterized the novella. First, Cervantes, in his Novelas...
(The entire section is 857 words.)
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The Novella Study Guide: Homework Help
Source: Critical Survey of Long Fiction, Fourth Edition, ©2010 Salem Press, Inc.. All Rights Reserved.


text:
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The career of Quentin Tarantino instantly became the stuff of Hollywood legend, thanks to winning an Oscar, Golden Globe and numerous critics' awards for Best Original Screenplay for the groundbreakin...
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BirthDate BirthPlace |
Knoxville, Tennessee, USA |
Name |
Credit |
credited As |
Year | Sort Order |
The Muppets' Wizard of Oz | Actor | n/a | 1 | |
Past Midnight | Associate Producer | n/a | 14 | |
Budd Boetticher: A Man Can Do That (2004-2005) | Actor | Interviewee | 2004 | 1 |
Full-Tilt Boogie | Actor | Himself | 1 | |
Quentin Tarantino and Fiona Apple | Actor | Interviewee | 1 | |
Quentin Tarantino | Actor | Interviewee | 1 | |
Not Quite Hollywood: The Wild, Untold Story of Ozploitation | Actor | Himself | 1 | |
Quentin Tarantino: Hollywood's Boy Wonder (1993-1994) | Actor | n/a | 1993 | 1 |
Chris Jones: The E! True Hollywood Story (1997-1998) | Actor | Interviewee | 1997 | 1 |
Intimate Portrait: Pam Grier (1998-1999) | Actor | Interviewee | 1998 | 1 |
Sundance20 | Actor | Herself | 1 | |
Quentin Tarantino, Drew Brees | Actor | n/a | 1 | |
After Six | Actor | McKenas Cole | 1 | |
From Dusk Till Dawn | Actor | Richard Gecko | 1 | |
Masters of Action: Quentin Tarantino & Jet Li Explore the Greatest Martial Arts Fight Scenes in Film (2003-2004) | Host | Host/Interviewee | 2003 | 1000007 |
MTV News Raw (1993-1994) | Actor | n/a | 1993 | 1 |
Destiny Turns on the Radio | Actor | Johnny Destiny | 1 | |
The Typewriter, the Rifle & the Movie Camera | Actor | Himself | 1 | |
The Typewriter, the Rifle and the Movie Camera (1994-1995) | Actor | Interviewee | 1994 | 1 |
Z Channel: A Magnificent Obsession | Actor | n/a | 1 | |
The Muppets' Wizard of Oz (2003-2004) | Actor | Himself | 2003 | 1 |
Season: 12 | Actor | Guest | 1 | |
Scream Awards 2006 (2005-2006) | Actor | Honoree | 2005 | 1 |
2009 Guys Choice (2007-2008) | Actor | n/a | 2007 | 1 |
Method To The Madness of Jerry Lewis (2010-2011) | Actor | Interview Subject | 2010 | 1 |
The Coriolis Effect | Voice | of Panhandle Slim | 1000010 | |
POM Wonderful Presents: The Greatest Movie Ever Sold | Actor | Himself | 1 | |
Hollywood Don't Surf! | Actor | Himself | 1 | |
Desperado | Actor | Pick-up Guy | 1 | |
7 Finalists Compete | Actor | Mentor | 1 | |
The 57th Annual Primetime Emmy Awards (2004-2005) | Actor | Presenter | 2004 | 1 |
Week 13A: Top 8 Perform | Actor | Guest Judge | 1 | |
Scream Awards 2006 (2005-2006) | Actor | n/a | 2005 | 1 |
Reservoir Dogs | Actor | Mr Brown | 1 | |
The Box (2) | Actor | McKenas Cole | 1 | |
The Cutting Edge: The Magic of Movie Editing (2003-2004) | Actor | Interviewee | 2003 | 1 |
Double Dare | Actor | Himself | 1 | |
Scream Awards 2011 (2010-2011) | Actor | n/a | 2010 | 1 |
The Box (1) | Actor | McKenas Cole | 1 | |
Four Rooms | Actor | ("The Man From Hollywood") | 1 | |
Somebody to Love | Actor | Bartender--Club X | 1 | |
BET Awards '12 (2010-2011) | Presenter | n/a | 2010 | 1000017 |
Movies Rock (2006-2007) | Actor | Presenter | 2006 | 1 |
The 1995 MTV Movie Awards (1993-1994) | Actor | Presenter | 1993 | 1 |
Sukiyaki Western Django | Actor | Ringo | 1 | |
Little Nicky | Actor | Deacon | 1 | |
Anatomy of Horror (1993-1994) | Actor | Interviewee | 1993 | 1 |
3rd Annual Taurus World Stunt Awards (2001-2002) | Actor | Presenter | 2001 | 1 |
Scream 2009 (2008-2009) | Actor | n/a | 2008 | 1 |
AFI Life Achievement Award: A Tribute to Warren Beatty (2006-2007) | Actor | n/a | 2006 | 1 |
Forever Hollywood | Actor | Himself | 1 | |
Sleep With Me | Actor | Sid | 1 | |
Words In Progress | Actor | Himself | 1 | |
Off the Menu: The Last Days of Chasen's | Actor | Himself | 1 | |
The 16th Annual Critics' Choice Movie Awards (2009-2010) | Actor | Honoree | 2009 | 1 |
Pierre Rissient: Man of Cinema | Actor | n/a | 1 | |
The 82nd Annual Academy Awards (2008-2009) | Actor | Presenter | 2008 | 1 |
Girl 6 | Actor | (New York) | 1 | |
12-12-12 | Actor | Himself | 1 | |
Grindhouse | Actor | ("Planet Terror"/"Death Proof") | 1 | |
Scream 2007 (2006-2007) | Actor | Himself | 2006 | 1 |
Pulp Fiction | Actor | Jimmie | 1 | |
AFI's 100 Years...AFI's 10 Top 10 (2006-2007) | Actor | Interviewee | 2006 | 1 |
Django Unchained | Actor | LeQuint Dickey Mining Co. Employee | 1 | |
The 52nd Annual Grammy Awards (2008-2009) | Actor | Presenter | 2008 | 1 |
The Entertainment Business (1997-1998) | Actor | n/a | 1997 | 1 |
The 41st NAACP Image Awards (2008-2009) | Actor | Presenter | 2008 | 1 |
TV Land Awards 2006 (2004-2005) | Actor | n/a | 2004 | 1 |
Corman's World: Exploits of a Hollywood Rebel | Actor | Himself | 1 | |
The 46th Annual Grammy Awards (2002-2003) | Actor | Presenter | 2002 | 1 |
All-American Girl (1993-1994) | Actor | Desmond Winocki | 1993 | 1 |
Manufacturing Dissent | Actor | Himself | 1 | |
American Cinema (1993-1994) | Actor | n/a | 1993 | 1 |
Jackie Brown | Director | n/a | 2 | |
Grindhouse | Director | ("Death Proof") | 2 | |
Grave Danger | Director | n/a | 2 | |
Kill Bill Vol. 2 | Director | n/a | 2 | |
Inglourious Basterds | Director | n/a | 2 | |
Reservoir Dogs | Director | n/a | 2 | |
Motherhood | Director | n/a | 2 | |
Kill Bill Vol. 1 | Director | n/a | 2 | |
Death Proof | Director | n/a | 2 | |
Django Unchained | Director | n/a | 2 | |
Pulp Fiction | Director | n/a | 2 | |
Sin City | Director | Special Guest Director | 2 | |
Four Rooms | Director | ("The Man From Hollywood") | 2 | |
Grindhouse | Producer | n/a | 3 | |
Freedom's Fury | Executive Producer | n/a | 3000006 | |
God Said, Ha! | Executive Producer | n/a | 3000006 | |
Killshot | Producer | n/a | 3 | |
Daltry Calhoun | Executive Producer | n/a | 3000007 | |
Curdled | Executive Producer | n/a | 3000007 | |
Killing Zoe | Executive Producer | n/a | 3000007 | |
Four Rooms | Executive Producer | n/a | 3000007 | |
Hell Ride | Executive Producer | n/a | 3000008 | |
From Dusk Till Dawn | Executive Producer | n/a | 3000009 | |
Past Midnight (1991-1992) | Associate Producer | n/a | 1991 | 3000009 |
From Dusk Till Dawn 3: The Hangman's Daughter | Executive Producer | n/a | 3000009 | |
From Dusk Till Dawn 2: Texas Blood Money | Executive Producer | n/a | 3000009 | |
Hostel | Executive Producer | n/a | 3000010 | |
Hostel: Part II | Executive Producer | n/a | 3000011 | |
The Rock | Screenplay | n/a | 4000005 | |
Pulp Fiction | Screenplay | n/a | 4000005 | |
Jackie Brown | Screenplay | n/a | 4000005 | |
Grindhouse | Screenplay | ("Death Proof") | 4000005 | |
Kill Bill Vol. 2 | Screenplay | n/a | 4000005 | |
Reservoir Dogs | Screenplay | n/a | 4000005 | |
Inglourious Basterds | Screenplay | n/a | 4000005 | |
Kill Bill Vol. 1 | Screenplay | n/a | 4000005 | |
From Dusk Till Dawn | Screenplay | n/a | 4000005 | |
True Romance | Screenplay | n/a | 4000005 | |
Django Unchained | Screenplay | n/a | 4000005 | |
Pulp Fiction | Story By | Stories By | 4000006 | |
Kill Bill Vol. 2 | Characters as Source Material | Based on the Character The Bride | 4000006 | |
Kill Bill Vol. 1 | Source Material | (from character: "The Bride") | 4000006 | |
Kill Buljo: The Movie | Characters as Source Material | n/a | 4000007 | |
Grave Danger | Story By | n/a | 4000008 | |
Four Rooms | Screenplay | ("The Man From Hollywood") | 4000008 | |
Natural Born Killers | From Story | n/a | 4000008 | |
Grindhouse | Director of Photography | ("Death Proof") | 6000006 | |
Reservoir Dogs | ADR/Dialogue Editor | background radio dialogue | 14000005 | |
The Man With the Iron Fists | Other | Quentin Tarantino presents | 26000005 | |
Detroit 9000 | Other | Quentin Tarantino presents | 26000008 | |
Mighty Peking Man | Other | Quentin Tarantino presents | 26000008 | |
The Iron Monkey | Other | Quentin Tarantino presents | 26000009 | |
Hero | Other | Quentin Tarantino presents | 26000009 | |
Scream Awards 2006 (2005-2006) | Special Thanks | Very Special Thanks | 2005 | 26000025 |
Title |
Began making (unfinished) first film "My Best Friend's Birthday" from a screenplay co-written with Craig Hamann; they both co-starred |
Directed, co-wrote, and acted in breakthrough feature "Pulp Fiction"; co-starred John Travolta, Uma Thurman, Samuel L. Jackson, and Bruce Willis |
Helmed "Death Proof," the slasher-themed half of goretastic double feature "Grind House," a collaboration with Robert Rodriguez |
Produced U.S. release of Hong Kong martial arts film "Iron Monkey" |
Made TV directing debut with "Motherhood," an episode of hit NBC medical drama "ER" |
Brought Chinese martial arts film "Hero" to U.S. |
Hired with Avary as production assistants for a Dolph Lundgren video after impressing producer John Langley, a regular customer at Video Archives, with their film knowledge |
Formed A Band Apart Productions with producer Lawrence Bender |
With Bender, launched A Band Apart Records to market and distribute recordings made on Madonna's Maverick label |
Met future producer Lawrence Bender while working at Cinetel Productions |
With Bender, launched A Band Apart Commercials, a commercial production house under the Miramax banner |
First collaboration with writer-director Rodriguez, played a small role in "Desperado" |
Made acting debut as an Elvis impersonator on an episode of NBC's "The Golden Girls" |
Wrote and directed "Jackie Brown," an adaptation of Elmore Leonard's novel Rum Punch; tailored lead role for Pam Grier |
Spent five years working at Video Archives, a well-stocked video store in Manhattan Beach, CA; co-worker was future writing collaborator Roger Avary |
Directed fifth season finale of "CSI: Crime Scene Investigation" (CBS); earned Emmy nomination |
Appeared in and wrote the script for Robert Rodriguez's "From Dusk Till Dawn" |
Received strong notices for his performance in "Sleep With Me" |
Wrote and directed "Inglourious Basterds," about a group of U.S. soldiers in Nazi occupied France during WWII; earned Golden Globe and Oscar nominations for Best Director and Best Screenplay and a Directors Guild nomination for Outstanding Directorial Ach |
Nominated for the 2009 Academy Award for Best Achievement in Directing ("Inglourious Basterds") |
Produced Eli Roth's horror feature "Hostel" |
Wrote "Kill Bill" script for Uma Thurman; was scheduled to direct in 2001 but was postponed after Thurman became pregnant; film released in two volumes "Kill Bill Vol. 1" (2003) and "Kill Bill Vol. 2" (2004) |
Played first feature lead, Johnny Destiny in "Destiny Turns on the Radio" |
Featured in "Little Nicky," starring Adam Sandler |
Met future collaborator, writer-director Robert Rodriguez, at Toronto Film Festival |
Nominated for the 2009 Directors Guild of America Award for Outstanding Directorial Achievement in Feature Film ("Inglourious Basterds") |
Helmed and wrote screenplay for "Django Unchained," a Western drama set in Mississippi; also appeared in film |
Commissioned to write a screenplay based on six-page story by Robert Kurtzman (co-founder of the special effects makeup company KNB Effects); eventually became "From Dusk Till Dawn" |
Nominated for the 2009 Golden Globe Award for Best Director - Motion Picture ("Inglourious Basterds") |
Played recurring guest role on ABC's action drama series "Alias" |
Received story credit for Oliver Stone's "Natural Born Killers" |
Starred on stage opposite Marisa Tomei in a revival of "Wait Until Dark" |
First film as screenwriter only, "True Romance"; directed by Tony Scott and co-starred Christian Slater and Patricia Arquette |
Formed Rolling Thunder (with Bender), a specialty distribution label under Miramax Pictures, designed to acquire, distribute, and market their films |
First film as producer only, "Killing Zoe"; Roger Avary's debut as a writer-director |
Premiered directorial debut "Reservoir Dogs" at Sundance Film festival; also co-wrote (with Avary) and co-starred as Mr. Brown |
Born on March 27, 1963 in Knoxville, TN, Tarantino was raised solely by his mother, Connie, a former nurse and health care executive, after his father, Tony, a sometime actor, left the family before his son was born. When Tarantino was two years old, his mother left Knoxville and settled in Torrance, CA. After dropping out of high school in the ninth grade, Tarantino held a succession of odd jobs, including usher at a porn theater, before finding his niche as a clerk at Video Archives in Manhattan Beach, where for five years he engaged customers - including many low-profile industry players - with his passionate rants about film noir, Sonny Chiba and grindhouse movies. It was at Video Archives that he met future producing partner Roger Avary, who later collaborated on several screenplays with Tarantino. In 1984, Tarantino took his first steps into filmmaking with "My Best Friend's Birthday," a 70-minute comedy he co-directed with Craig Hamann about a young man whose plans to do something nice for his friend's birthday keep running afoul. Made over four years on a paltry budget of $5,000, Tarantino's first directing effort never officially saw the light of day; in fact, only about 36-minutes survived and were shown later at film festivals once he became a success. But his trademark sharp dialogue, obscure film references and foot fetish were on display even then.
Though famous for directing, Tarantino had aspirations of being an actor too, so placed himself in a leading role for "My Best Friend's Birthday." He also made a blink-and-you'll-miss-it appearance as one of several Elvis impersonators in a 1988 episode of "The Golden Girls" (NBC, 1985-1992). With little money in his pocket, Tarantino was glad to get a lump sum of $700 and the subsequent residual checks, which were welcomed in lean times. Meanwhile, Tarantino and Avery were hired by producer John Langley, a regular video store customer who was impressed by their film knowledge, to work as production assistants on a Dolph Lundgren exercise video. This led to work at Cinetel Productions, where Tarantino and Avary hooked up with producer Lawrence Bender and finished the screenplay for "Reservoir Dogs," a brutally violent, yet elegantly written crime drama about the aftermath of a jewelry store heist gone bad. Originally budgeted for $35,000, the production grew to $1.5 million when Harvey Keitel - who played the morally-conflicted Mr. White - became enamored of the script and agreed to star. The result was a cleverly structured and stylized caper with themes of masculinity, loyalty and betrayal that benefited greatly from top notch tough-guy performances from a superior ensemble that included Tim Roth, Steve Buscemi, Chris Penn and Michael Madsen. The soundtrack for the film - songs that meant something personal to Tarantino - was almost as important to the film's impact as the performances of the cast of infamous Mr.'s.
"Reservoir Dogs" premiered at the 1992 Sundance Film Festival, but was pointedly snubbed by the jury. Nonetheless, Tarantino became an overnight sensation and was lionized by some as the next Martin Scorsese, albeit with liberal sprinklings of Samuel Fuller and John Woo. Suddenly, Tarantino found himself to be in high demand in Hollywood. Two scripts he co-wrote with Avary - though it remained in dispute how much credit went to his writing partner - were immediately snatched up and turned into films. The first, "True Romance" (1993), was a gleefully adolescent daydream fueled by pop culture, violence and testosterone about a pair of young lovers (Christian Slater and Patricia Arquette) who flee Detroit for Los Angeles after stealing a dealer's stash of cocaine. Slickly directed by Tony Scott, the film offered grandstanding performances and a glossy commercial sheen that rendered the ample violence less distressing than it was in "Reservoir Dogs." Another script, "Natural Born Killers" (1994), was penned during the same burst of creativity with Avary, and was in some ways an off-shoot of "True Romance;" in the sense that it depicted a cross-country journey by two young lovers (this time Woody Harrelson and Juliette Lewis) on the lam. Oliver Stone directed the hyper-kinetic thriller with a heavy hand from a script that he had extensively rewritten, much to Tarantino's annoyance. Never one to mince words from the jump, Tarantino subsequently criticized Stone, saying publicly how much he hated the movie.
Nearing the top of his game, the frenetic Tarantino escaped to Amsterdam, where he took in the local wares and penned the drafts for what became both his signature film and a pop culture phenomenon, "Pulp Fiction" (1994). Returning to a familiar urban landscape characterized by themes of trust and betrayal, and inhabited by gangsters given to low-level postulating, "Pulp Fiction" boasted another A-list cast including Bruce Willis, John Travolta, Samuel L. Jackson, Uma Thurman and Christopher Walken. The darkly comic neo-noir told a series of intertwining tales that revolved around a pair of philosophizing hit men (Travolta and Jackson) who run into trouble after recovering a mysterious briefcase, an aging prize fighter (Willis) who incurs the wrath of a mob boss (Ving Rhames) after failing to throw a fight, and said mob boss' girlfriend (Thurman) who has too much of a good time with one of the hit men (Travolta). The film premiered to rabid acclaim and a small degree of controversy at the 1994 Cannes Film Festival, where Tarantino grabbed hold of the Palme d'Or. In it's theatrical release, "Pulp Fiction" was a surprising box office success, grossing over $200 million internationally, while earning several Academy Award nominations and a win for Best Original Screenplay. Many felt for some time that "Pulp Fiction" was robbed of the Best Picture win, losing instead to the feel-good Robert Zemeckis film, "Forrest Gump" (1994).
Quite literally, "Pulp Fiction" made Tarantino the toast of Hollywood overnight, while resuscitating the commercial and critical fortunes of Travolta, whose career resurgence became a well-publicized sidebar to the film, thanks to the red-hot young filmmaker who liked nothing more than to bring back his old favorites from TV and films past and giving them a shot in one of his films. After taking home well over a dozen major awards for "Pulp Fiction," Tarantino was all but omnipresent in late 1994 and 1995. As an actor, he had began popping up in small roles in independent features like "Sleep With Me" (1994) and "Somebody to Love" (1994), but he began to get cast in low and medium budget studio pictures. He was abysmal as the god of Las Vegas fortune Johnny Destiny in the disastrous crime noir "Destiny Turns on the Radio" (1995), but did manage an enjoyable turn as a hapless drug dealer in friend Robert Rodriguez's "Desperado" (1995). Segueing to television, Tarantino had a guest shot on Margaret Cho's short-lived sitcom "All-American Girl" (ABC, 1994-95) and directed a flashy installment of the medical drama "ER" (NBC, 1994-2009). A few years later, Tarantino was to direct an installment of the popular sci-fi series "The X-Files" (Fox, 1993-2002) - of which he was a devoted fan - but he had refused to join the Directors Guild of America and was unable to secure a waiver to helm the episode.
Tarantino and Bender expanded their production company, A Band Apart. Formed in 1991, the name was taken from Jean-Luc Godard's "Bande à Part" (1964), to include A Band Apart Commercials and Rolling Thunder. The latter was a specialty distribution label under Miramax Pictures designed to acquire, distribute and market four films per year. The emphasis was supposed to be on visceral, exploitation-tinged genre movies. The first acquisition was a quirky Hong Kong import, Wong Kar-Wai's "Chungking Express" (1996), an exquisitely stylized romantic comedy in police drama drag. As a filmmaker, Tarantino returned to the screen to executive produce "Four Rooms" (1995), a poorly received comedy anthology, for which he also wrote, directed and starred in the worst of four segments involving the comic antics of a frazzled hotel concierge (Tim Roth). He fared better as executive producer, writer and co-star of Rodriguez's "From Dusk Till Dawn" (1996), a moody, violent crime noir that transformed into a gory and repetitive special effects-laden vampire movie. The reviews were mixed, but box office take was brisk. Still in demand as an actor, Tarantino played an unsympathetic version of himself as "QT" in Spike Lee's sex comedy, "Girl 6" (1996).
For his long-awaited follow-up feature, Tarantino adapted Elmore Leonard's novel Rum Punch into "Jackie Brown" (1997), a vehicle for blaxploitation actress Pam Grier. Fans expecting "Pulp Fiction 2" were somewhat disappointed, namely due to the slow pacing and Tarantino's focus on the would-be romance between an airline stewardess (Grier) in trouble for smuggling money for drug dealers and her earnest, sympathetic bail bondsman (Robert Forster). While some critics carped over the film's length, many were enthralled with the script and the casting. Other than an acting appearance on stage opposite Marisa Tomei in the new Broadway version of "Wait Until Dark" (1998) and a small role in the tepid Adam Sandler comedy "Little Nicky" (2000), Tarantino took a long hiatus from public appearances and filmmaking amid tabloid headlines proclaiming rumors of writer's block, pot smoking, temper tantrums and fistfights; rumors he denied. Tarantino spent three years writing a World War II epic called "Inglourious Basterds," but he failed at the time to find the right ending. He finally settled on directing "Kill Bill," an unabashedly bloody valentine to kung fu and blaxploitation films. The idea was spawned after encountering "Pulp Fiction" player Uma Thurman at a 2000 Oscar bash, who recalled an idea the two had once cooked up on set. The story centered on a bride (Thurman) who gets left for dead after her wedding party is slaughtered at the chapel. She swears vengeance on the attackers and methodically hunts them down in a long killing spree. Tarantino gave Thurman - an actress he would later call "his muse" - 30 pages of script for her 30th birthday, and the film - a meditation on vengeance described by the auteur as "the movie of my geek movie dreams" - was soon a go.
Initially set as a $42 million movie, "Kill Bill" ballooned into a $60-plus million, three-hour opus that took 155 days to shoot. But Tarantino kept forging forward until the film was finished. Miramax was impressed with the quality of the footage, yet unsure of an audience's ability to endure unrelenting levels of violence. In a shrewd move, Tarantino decided to issue the film in two segments just months apart - "Kill Bill, Vol. 1" (2003) and "Kill Bill, Vol. 2" (2004), both of which centered on The Bride's relentless bloody search for her former employer and mastermind behind her wedding massacre (David Carradine). One of the most graphically violent films ever released - with an R rating, no less - "Kill Bill, Vol. 1" proved to be every bit as critically polarizing as any Tarantino effort, with many critics calling it brilliant cinema and others decrying its gut-wrenching scenes. Like other Tarantino efforts, "Kill Bill, Vol. 2" spun the already established formula on its head when it scaled down the action in favor of unexpected character moments and the writer-director's characteristically absorbing dialogue - not to mention demonstrating his gift for luring top-notch performances out of actors whose careers had dimmed.
Tarantino next appeared as a "special guest director" in director Robert Rodriguez and writer-artist Frank Miller's adaptation of Miller's crime noir comic book series "Sin City" (2005). Tarantino helmed the tense, eerie sequence within "The Big Fat Kill" storyline in which the tough, but noble Dwight (Clive Owen) has an extended conversation with the corpse of the corrupt cop Jackie Boy (Benicio del Toro) as he drives to dispose of the dead bodies in the tar pits in hopes of avoiding a turf war. Continuing to demonstrate his love of a wide-ranging array of pop culture icons, Tarantino stepped behind the camera to direct the 2005 season finale of "CSI: Crime Scene Investigation" (CBS, 2000- ), which featured the final TV performance of Frank Gorshin and, like "Kill Bill, Vol. 2," a plot centering around a cast member being buried alive. After scoring an Emmy nomination his "CSI" stint, Tarantino expressed interest in assembling a limited-run series for which he would write and direct all 12 episodes, "like one big arc-novel," but nothing came of the idea. As a performer, he came d as himself in the enchanting telepic "The Muppets' 'Wizard of Oz'" (ABC, 2005) and made three guest appearances as former SD-6 agent-turned-international criminal McKenas Cole on one of his favorite TV shows, "Alias" (ABC, 2001-06).
A great interview subject, the fast-talking Tarantino cultivated an intriguing public persona over the years. He enjoyed dual status as the film geek who made good and the reigning avatar of postmodern cool. The latter quality was conveyed by the playful hipster tone of his onscreen protagonists, their retro clothing, a mastery of pop culture allusions and killer soundtracks. Eventually, the mere fact that Tarantino liked a particular film or performer became a marketable selling point. Tarantino also showed his canny mastery of self-promotion, reviving his fading image as the poster boy for bad boy cinema. He was famously sued by producer Don Murphy for $5 million and accused of assault after Tarantino attacked him in restaurant in 1997, punching him and slamming him against the wall. Tarantino next added his name to Eli Roth's second feature, "Hostel" (2006), a brutal horror flick about two American college buddies (Jay Hernandez and Derek Richardson) lured to an out-of-the-way hostel in a Slovakian town rumored to house desperate, but beautiful Eastern European women. Following their wrong heads, both Americans get trapped in a truly sinister situation that plunges them into the dark recesses of human nature. With Tarantino's name and public support, "Hostel" received way more attention than it otherwise would have merited.
Tarantino next teamed up with directing pal Robert Rodriguez once more to direct "Grindhouse" (2007), a compilation of two 90-minute long horror flicks helmed by both directors that was a throwback to the days of bloody, sex-fueled, low-rent double features that played in seedy 42nd Street theaters in New York City. Tarantino's offering was a slasher-cum-road rage flick called "Death Proof," starring Kurt Russell as a crazed killer who tries to mow down young women, including Rosario Dawson and Zoë Bell, in a black Chevy Nova. Despite widespread attention lavished on the film, including exhaustive rounds made to various media outlets by Tarantino, "Grindhouse" failed to draw large crowds to theaters; some of those who did show up walked out after Rodriguez's "Planet Terror" segment, thinking the movie was over. Meanwhile, Tarantino finally found the ending he was looking for with "Inglourious Basterds" and went about putting it together for his next film. After a leaked copy of the script made the Internet rounds, Tarantino quickly went about casting actors, including Brad Pitt, Mike Myers, Eli Roth and Diane Kruger. The final film was a violent tour-de-force about a group of hard-nosed Nazi hunters in German-occupied France during World War II that brought Tarantino his best critical acclaim since "Pulp Fiction." He earned Golden Globe nominations for Best Director and Best Screenplay; a DGA Award nomination for Outstanding Directorial Achievement in Feature Film. More importantly, the film earned a total of eight Academy Award nods including for Best Picture, Best Director and Best Original Screenplay.
Two years later, Tarantino went to work on his next film, "Django Unchained" (2012), a pseudo-spaghetti Western set in the pre-Antebellum South about a revenge-minded slave (Jamie Foxx), freed by a bounty hunter (Christoph Waltz), and given the chance at freedom and a reunion with his wife (Kerry Washington) if he helps hunt down two ruthless killers (James Remar and James Russo). All the requisite hype - particularly on the Internet - was in full effect during the film's production, with Tarantino typically out in front, stating that he had wanted to use the genre trappings of the spaghetti Western to confront America's horrible past with slavery. Before the film was even released, Tarantino received both a Golden Globe and an Oscar for Best (Original) Screenplay.
Name | Role | Comments |
Allison Anders | Companion | Collaborated in "Four Rooms" (1995); No longer together |
Margaret Cho | Companion | Tarantino guest starred on Cho's sitcom "All American Girl" (ABC) in 1995; No longer together |
Sofia Coppola | Companion | Reportedly dated c. 2004; No longer together |
Mira Sorvino | Companion | Together from 1996-98 |
Tony Tarantino | Father | Born July 4, 1940 |
Connie Zastoupil | Mother | Worked for a home medical organization |
Curt Zastoupil | Step-Father |
Name |
Notes |
"A spectacularly entertaining piece of pop culture, 'Pulp Fiction' is the 'American Graffitti' of violent crime pictures. Tarantino positions himself as the Preston Sturges of crimeland, putting the most incongruous words and thoughts into the mouths of lowdown, amoral characters." - Todd McCarthy's review of "Pulp Fiction," Daily Variety, May 23, 1994 |
Tarantino's nomination for Outstanding Directorial Achievement by the Directors Guild of America for "Pulp Fiction" (1994) made him the first American-born non-DGA member to be so honored. However, by the time of the release for "Django Unchained" in December 2012, Taratino had joined the DGA. |
"I don't know. It's just this cool connection that happened while we were doing 'Pulp Fiction.' I mean, von Sternberg had Marlene Dietrich, Hitchcock had Ingrid Bergman, Andre Techine had Catherine Deneuve. It's a special bond that I'm proud to have, and hopefully, one day, people will reference me and Uma like they do the others. But the thing about it is, it just kind of is, and there are certain things I don't really want to understand subtextually. I just want it to be and do." - Tarantino on Uma Thurman being called his muse to Rolling Stone magazine, April 2004 |
"My whole life is dedicated to the further study of cinema, and the day I die is the day I graduate. So it's just like I'm constantly working for my master's thesis in my brain, and it's a lifetime job." - Tarantino to GQ magazine, April 2007 |
Affiliations |
Exclusive clip from Quentin Tarantino's "Kill Bill Vol. 1." O-Ren Ishii (Lucy Liu) if the queen of the Tokyo underworld. Watch this Hollywood.com exclusive clip from Quentin Tarantino's Kill Bill Vol. 1 and find out what happens when O-Ren gets angry.
Preview of "Kill Bill Vol. 2." Continuing the storyline that unfolded in Kill Bill Vol. 1, The Bride, an expert assassin, sets out on a quest to wreak vengeance upon her former employer, Bill, and other members of their assassin circle, for shooting her during her wedding and leaving her for dead. Directed by Quentin Tarantino,
Exclusive clip for "Kill Bill Vol. 2" Only on Hollywood.com! In this exclusive clip from Kill Bill Vol. 2, "Training," The Bride (Uma Thurman) endures excruciating instruction under the guidance of silver-haired master Pai Mei (Gordon Liu). Plus: Interviews with Quentin Tarantino, Thurman and
Featurette from the "Kill Bill Vol. 1" DVD. Go behind the scenes at the Shaw Brothers Studios in Beijing, China, as producer Lawrence Bender, star Uma Thurman and director Quentin Tarantino talk about shooting on location for months and the influence of Asian culture on the movie. Plus:
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A chef brings inventive Italian to Glen Burnie.
We applaud any effort that boosts restaurant life in underserved areas, so kudos to Mike Wagner—formerly of Aida Bistro and Piccolo's of Columbia—for opening his own restaurant in Glen Burnie. The area could certainly do with more non-chain eateries, and MJ Wagner's Via Mia (8 N. Crain Highway, 410-760-9333) is definitely that. The modest, bare-bones storefront boasts a surprisingly ambitious menu; entrées range from prosciutto-and-provolone-stuffed chicken breast to grilled Kurobuta pork loin with apples and sage—both tasty, by the way.
S'ghetti Junction
Alonsoville continues to grow.
When Eddie Dopkin first described Miss Shirley's to us about a year ago, it was to be geared as much toward carry-out as toward sit-down meals. Well, that was the idea, but French toast that good deserved to be enjoyed right away, at a table. So it made sense to move Miss Shirley's into the much larger space across the street (513 W. Cold Spring Lane, 410-889-5272) when Big Sky Bread Company moved out.
Grapevine: Too Cool
I've picked up a rather severe case of spring fever. I am aching to engage in outdoor activities that it isn't quite warm enough for; I'm also feeling the tug of lighter red wines and fresh whites that accompany warmer weather. But it isn't 80 degrees just yet, is it? April can still get chilly, and requires flexibility in one's wine choices. Marching toward the warmth of May, you still spend a lot of time with hearty roasts, earthy beans, and wintry soups.
Off the Eaten Path: Dominicano Internacional Restaurant
Quick, tell me where you would take someone to sample "American" food. The Prime Rib? A roadside barbecue stand? McDonald's? You see my point: Any country's cuisine comprises a wide spectrum of flavors and classes. Le Cinq is no more nor less French than the lowliest sandwich stand serving croque monsieur and Orangina.
Off the Eaten Path: Cafe Papa
Our hearts sank when we saw Cafe Papa. It was hard to believe this place could possibly be worth reviewing; it looked like your standard pizza carry-out. A guy in a baseball cap and stained apron stood outside, chatting with a couple in a car; inside, there was a case holding a few cakes, with a kitchen behind that, and no seating whatsoever. "Maybe we should go somewhere else," I murmured, but right then the man in the apron hurried back in.
Grapevine: Spring Loaded
March is a tricky month in Maryland. It can be sunshine and daffodils outside just as easily as it can be howling wind and driving snow. If it warms enough to fire our vernal desires, the temptation to grill is great. Snow drifts outside, on the other hand, keep us in the mood for hearty winter fare—one needs energy to clear a space on the street big enough to display one's lawn furniture. Ahh, what to drink, what to drink? Philippe Faury Condrieu 2004 ($40)
Hot Links
Bedford Produce makes sausage worth standing in line for.
We remember the first time we decided to buy sausage from Bedford Produce at the 32nd Street Farmers Market in Waverly (www.32ndstreetmarket.org). The line for Walter Bedford's stand was about 12 deep, longer than any other line in the market. "So, um, is this sausage really worth it?" we asked the nice lady ahead of us. Her reply said it all: "Oh Lordy, yes." Bedford, who has been a fixture at the market for two decades, gets his breakfast sausage from another farmer in North Carolina, and it is some of the best we've tasted—well-spiced, meaty, and plump.
Tea Time
A tiny oasis of calm sits at the bottom of the Ambassador Apartments.
The owners of Truffles & Tea in Cross Keys have opened a new cafe at the bottom of the Ambassador Apartments in Homewood, where the floral shop Dutch Connection used to be, called Chocolatea (3811 Canterbury Road, 410-366-0095). As with their first business, this place offers a wide array of teas, plus some tasty gourmet truffles, but it also serves some nice light fare. Much of it is Asian—we really liked their miso soup—but there are also plenty of wraps and paninis. The atmosphere is bright and soothing, with cheerfully hued walls and relaxing music.
Hot Spot
Rocket to Venus achieves orbit.
When Geoff Danek added a bar to his small Mexican eatery Holy Frijoles, it instantly drew a crowd. Clearly, Hampden had been ripe for a funky, très hip spot for drinks and some inexpensive chow. Now Danek's betting the neighborhood could use another such place—and judging by the crowds we've seen each time we've visited the newly opened Rocket to Venus (3360 Chestnut Avenue, 410-235-7887), he bet right.
Best Restaurants 2007
Our 47 favorite places to eat this year.
Every year, we create a list of some 70 restaurants and divide it between our critics—Senior Editor Hannah Feldman, dining critic Bianca Sienra, and wine critic John Farlow—who set out to dine at every single one of them (anonymously, of course). And every year, we sit down together at the end and decide which places we loved, which we liked, and which we thought needed some work. This year marks the first time that the process has produced a list of less than 50 restaurants.
Holey Terror
O.C. doughnuts invade Baltimore.
Want to hear our new definition of torture? It's sitting next to a box from the Fractured Prune (8705 Harford Road, 410-661-9999), knowing you have a 20-minute drive back to the office during which you may not shove doughnuts in your face, no you may not, no matter how delicious they smell, no don't eat them don't eat them noooo! See, the Prune—originally a popular Ocean City landmark—fries its doughnuts to order, so they're still fresh and warm when you leave the store. And this is when they're at their best—even a plain one is fluffy-crispy heaven when it's hot.
Grapevine: Fight the Power!
Three months of dining out for our "Best Restaurants" feature has put me in a mood to sit up on my soapbox and proclaim a few truths. As you can imagine, I pay particular attention to wine lists. My theory is that a passionate wine list promises a similar trait in the kitchen. A list populated by mundane mass-produced wine makes me worry that a similar disdain for the customer will arrive on my plate. The worst offenders hand over the wine list to one or two monster suppliers without a second thought.
Off the Eaten Path: Mirchi Wok
For years, whenever someone asked me for vegetarian recommendations in Columbia (and in my particular job, you'd be surprised how often you get asked such things), two words instantly left my lips: Mango Grove. In fact, I'd recommend the popular vegetarian Indian eatery to all people, even those who eat meat. But I found that a lot of people weren't interested in a meat-free restaurant, no matter how tasty a bargain I said it was. Evidently, Mango Grove's owners discovered the same thing, because last year they opened Mirchi Wok right next door to their existing place.
Second Act
Xanadu takes over where Club X left off.
Last February, we reviewed the new Club X Ultra Lounge; a year later, we're announcing the opening in the same spot of Xanadu (10 S. Calvert Street, 410-528-5110), a name that allows the new owners to keep the "X" motifs that decorated the old place. Indeed, much was retained from Club X—the small upstairs dance floor, the trippy colored light displays, the black leather couches in the upstairs lounge, the $185-for-Jack-Daniels bottle service. But there are changes.
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Absolutely, that is why the elites/nwo created and funded that hate movement. No, the feminist hate movement was not infiltrated by government. it was a creation by them to destroy the family.
I just think its something that has to be worked out and explored.
Hey, until men start a thread about being good fathers and husbands, instead of sex, I say we women call a truce.
Maybe I need to start a househusband movement...


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Biden: Americans should buy shotguns, not assault weapons
VP's town hall comments raise eyebrows
Feb 20, 2013
Erick Erickson
You're watching...
VP's town hall comments raise eyebrows
Feb 20, 2013
Erick Erickson
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Story on the vice president Joseph Biden raising some eyebrows during an on -- event about gun control.
After telling the audience that they do not -- assault weapon to protect their families or their homes but instead -- a shotgun.
-- -- -- -- -- Jill if there's ever a problem just walk out on the balcony here walk out.
Put that double barrel shotgun and fired two blasts.
Outside the house you don't mean they -- fifteen.
It's harder -- team.
It's harder to use.
And in fact.
You don't need thirty rounds to protect yourself -- Biden also says he keeps to shot guns and shells locked up at his home.
In Wilmington Delaware what about this now you're here it's the your red state dot com -- and you're very good morning -- -- Good morning I -- why any Secret Service.
Boy you got fed to five years plus -- -- is the answer the question.
That way.
Yeah and because I think the White House and Democrats -- -- very bad decision in their handling of gun control issue.
Where they left the impression with a lot of Americans -- they wanna come after every long girl guy not just particular assault rifles so they're trying now to get Joseph Biden others such as Biden you've got the president with the skeet shooting photos and others.
Did try to make the case that they're not opposed to shot -- this is actually the second time Joseph Biden has done this a couple weeks ago when a Google laying out.
He said that you don't -- they are fifteen to protect yourself and California after earthquakes from looters and rioters because they shotgun you don't have to -- -- you can still get more people than they are fifty did you think he's expressing it the best way I understand the politics behind.
I don't -- -- lifting her breasts is the best way.
Well they you know it sounds like -- -- in his last comment in this when that you can do more damage it hit more people with a shotgun that and they are fifteen which to some degree undermines their argument that we need to get rid of.
Well I I heard it -- different way he told his wife Jill there's a problem -- in the balcony put that double barreled shotgun and fired to blast outside the house which leaves the impression that.
-- only if there's a bad guy out there.
He's gonna run away.
I guess that's what he's after her she's going to hitting somehow -- I'm not exactly sure is that even legal listed on your balcony at a residential area -- your -- off -- I think of the White House probably needs to get with the vice president in.
Clarify these -- which clearly there's a coordinated effort here -- you don't hear things like this.
Come on two separate occasions from the vice president and other from the White House unless they've sat around and decided they need to talk -- shotguns in order to talk down assault rifles I'm not exactly sure.
What they're thinking but -- what are the downside for the Democrats on this is.
Most of the Democrats were talking about these issues.
Are not just anti long girl go under anti -- they don't deal with guns they're not from that culture so it's difficult for them to talk about something they're not even familiar.
I think the question cut him off guard if you go back a little bit that this was -- at FaceBook online.
Chat to that was also -- in video form as you saw the question came in from the moderator.
And said the woman asked do you believe that banning certain weapons and high capacity magazines will mean that law abiding citizens will then become more of a target to criminals.
And Biden -- saying as this Parents Magazine.
And the moderator said actually that came up again and again it is and Biden said I have Parents Magazine in my home I've never heard anybody in the magazine asked these kind.
Of questions.
You know they should be prepare for these questions and again I think one of the problems Democrats -- -- -- their own internal polling.
Is that the Americans feel like they want to take more than just assault rifles away and they've got to clarify but.
I fight -- hardly be.
From a guy in California asking him about whether or not it -- they would be opposed him protected himself after -- looting from an earthquake and took.
Same thing I've gotten -- my read was not that he was surprised to get the question but he was surprised that it was in this.
For -- and Parents Magazine slash FaceBook so.
-- areas -- take the kids right on look after the Secret Service -- right behind him Erick Erickson out of Georgia thanks.
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Browsing PLAAS Working Papers by Title
Now showing items 1-4 of 4
Genis, Amelia (PLAAS, University of the Western Cape, 2012)[more][less]
Abstract: The privileged position of white commercial farmers in South Africa came to an end by the early 1990s, when political and policy changes removed the certainty provided by controlled marketing, protective tariffs and weak legislation regulating resource use and labour relations on farms and transformed agriculture into a sector that is highly sensitive to events on world markets. Despite their dwindling numbers and disarticulation from political power commercial farmers represent a dominant group in the countryside, retaining a near monopoly of resources and considerable power. Yet, the dynamics of change in the sector are not properly understood or well-researched. This paper presents data from a recent survey of 141 commercial farmers in the Limpopo, Western and Northern Cape Provinces that shows that they consider input costs, climate, labour matters, uncertainty about government policies and producer prices as the major pressures bearing down upon them. The adoption of farming methods which are less labour-intensive and the extension of labour legislation and minimum wages to farm workers, together have led to the decline of on-farm employment. Declining profit margins have resulted in a 'shake-out' in which only the most competitive enterprises can survive, leading to increased concentration in agricultural landholding and production. These processes imply that new entrants to agriculture with limited capital face daunting challenges, which policy needs to address. The paper explores these wider implications. URI: http://hdl.handle.net/10566/570 Files in this item: 1
PLAAS_WorkingPaper24Genis.pdf (1.302Mb) -
du Toit, Andries (Institute for Poverty, Land and Agrarian Studies, University of the Western Cape., 2011)[more][less]
Abstract: This paper considers the role of 'measurement' and other forms of poverty knowledge in a context where the nature and direction of global economic growth is creating 'surplus populations' suffering various forms of marginalisation in the global economy. It links the development of different forms of poverty knowledge with the ways in which states and non-state agents seek to 'govern' poverty and poor populations, and with the 'biopolitics' whereby calculations are made about the differential allocation of resources towards different sectors of the global population. The paper argues that addressing the root causes of poverty requires social actors to go beyond the narrow limits of institutionally sanctioned and bureaucratically invested 'poverty knowledge' that currently dominate policy thinking. Rather than seeking to understand poverty by measuring the characteristics of members of populations, they should try to understand poverty as an aspect of social relations, and try to come to grips with differential insertion of populations in the fields of force of modern globalised capitalism. Analysis should abandon simple notions of 'marginalisation, and come to grips with the agency of poor people and the complex relationships between informality, marginality, exclusion and incorporation. Ultimately, however, a more nuanced understanding of the role of poverty knowledge in present day biopolitics does not bring with it any easy answers: rather, it challenges applied social scientists to be more aware of the responsibilities they bear as producers of 'useful' knowledge in a time of increased global instability. URI: http://hdl.handle.net/10566/580 Files in this item: 1
WP20.pdf (622.6Kb) -
Dubb, Alex (PLAAS, University of the Western Cape, 2012)[more][less]
Abstract: This paper argues that the rise and decline of small-scale sugarcane grower (SSG) production in KwaZulu-Natal must be historically located within a changing structural relationship with miller-processors, in turn conditioned by shifts in regulatory frameworks. Critically, the emergence of SSG production in the late-1970s–1980s can be traced to industry-subsidised initiatives disguised as micro-credit which brought commercially inalienable Bantustan land into cane production with strong miller oversight. From the late 1980–1990s, however, the elimination of these subsidies encouraged millers to withdraw from direct oversight and to subcontract support to farmers, while simultaneously instigating an increase in SSG numbers by removing restrictions on grower registration. Enduring drought must certainly be understood as a central proximal factor in the rapid decline of SSGs, but their rapid increase in the first place was structurally fragile. This paper further strives to provide insight into the shifting class dynamics of SSGs under constrained conditions of production, utilising survey data from seventy SSG homesteads and life-history interviews in two rural wards of the Umfolozi region. Although proceeds from sugarcane have represented an important source of cash-income for homesteads, deteriorating terms of exchange and barriers to expansion in land and capital have placed a greater emphasis on sparse off-farm income opportunities for stabilising consumption and enabling limited re-investment in production. The centrality of income-diversification for simple reproduction and limited accumulation has rendered the dynamics of social differentiation both unstable and reversible. The paper concludes by exploring the implications for agrarian reform policy. URI: http://hdl.handle.net/10566/571 Files in this item: 1
DubbSugarcaneFarming2013.pdf (913.9Kb) -
du Toit, Andries (PLAAS, University of the Western Cape, 2012)[more][less]
Abstract: This paper considers the state of poverty discourse in South Africa since 1994: the ideological frameworks, narratives and assumptions that have shaped the construction of poverty as an object of academic knowledge, policy management and political concern. One of the distinctive characteristics of Post-apartheid South African politics is the existence of a broad consensus both on the importance of the need to reduce poverty and the means by which to do it. This consensus has a paradoxical and ambiguous character. On the one hand, 'poverty talk' plays a central role in posing and framing fundamental questions of social justice in South Africa: indeed, it is one of the main ways in which the issue of the moral and political legitimacy of the post-Apartheid social order is framed and debated.This has facilitated significant and broad social legitimacy for 'pro--poor' policies and the distribution of resources. But at the same time, the discursive frameworks that have underpinned this consensus also contain important limitations. Poverty is understood in ways that disconnect it from an understanding of inequality and social process, and which deny consequence or relevance to the causal relationship between the persistence of poverty and the formation and nature of South African capitalism. In this way 'poverty talk' trivialises poverty as a social issue and neutralises its political charge. The paper ends with an evaluation of the strengths and limits of South Africa's anti-poverty consensus and considers different responses to the impasses confronting poverty management. URI: http://hdl.handle.net/10566/642 Files in this item: 1
PLAAS_WorkingPaper22dutoit.pdf (463.5Kb)
Now showing items 1-4 of 4


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@corinna active 12 months ago
Please come along to Strategies for the EcoCrisis http://www.facebook.com/events/519638114716939/ View
Lorenzo "Obi" Abadinas added the event What is the nature of the modern state? to Real Democracy. 2 months ago
gonzalo posted an update in the group Real Democracy 1 year ago
I would like to know , when people in occupylondon is going to start doing what they are suppose to do, this is real democracy so lets think about how to achieve that.
My opinion is we should occupy THE POWER, and give back to the people, the power of decision, choice, priorities….. To achieve that we should understand one thing, this has to be…[Read more] -
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- February 25, 2012
- 10:05 a.m.
- Suggest removal
- Reply to this post
John52829 writes:
My condolences goes out to his family.
Revelation 21:4 "And he will wipe out every tear from their eyes, and death will be no more, neither will mourning nor outcry nor pain be anymore. The former things have passed away."
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