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Suspected thief faces time for swallowing the crime
A Florida man faces burglary and tampering charges after an X-ray machine revealed a dark mass near his stomach while he was being booked into jail.
Twenty-one-year-old Joseph Ramos was arrested Dec. 11 when he was stopped for driving a vehicle that was stolen during a burglary in Safety Harbor, Fla., the previous day. Various items from the home were inside the vehicle.
When Ramos was being booked into jail, he stepped on the SecurPass X-ray machine and the dark spot was identified as two necklaces also stolen in the burglary. He underwent surgery to remove them. The owner later identified the items.
Jail officials have been using the X-ray machine since June to detect items concealed on inmates.


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GG1 electric locomotive, shop picture
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GRAND CAYMAN, Cayman Islands (March 24, 2013) - Jamie Broder of Victora and Kristina Valjas of Toronto crushed Jenny Kropp and Whitney Pavlik of the U.S. in consecutive sets (21-15, 21-13) to claim the women's gold medal of the Cayman Islands Beach Volleyball Tournament, the opening event of the 2013 NORCECA (North and Central America and Caribbean) Circuit.
"We had to be patient playing outdoors for the first time of the year under windy conditions and the heat," Broder said before the award ceremony. "But we played good when it counted the most."
"This is a very well run tournament and the atmosphere in Cayman Islands is so beautiful that I want and hope to be back next year," Valjas said. The bronze medal went to USA-B team of Jennifer Fopma and Brooke Sweat who defeated Mexicans Bibi Candelas and Martha Rveuelta 21-13, 21-15.
Broder/Valjas advanced to the title match following a grueling three-set battle against Fopma and Sweat they won 16-21, 27-25,15-11. Kropp/Pavlik downed Candelas and Revueltas 21-16, 21-14 in the semifinal phase.
In men's competition, Puerto Ricans Roberto Rodriguez and Eric Haddock repeated as defeating USA's Todd Rogers and Ryan Doherty 21-16, 21-18 in the final. In the semifinals of Sunday morning, Rodriguez/Haddock scored a 21-18, 21-16 victory over Chaim Schalk of Red Deer, Alta., and Ben Saxton of Calgary while Rogers/Doherty won 21-19, 21-18 against Christian Redman and Matt Zbyszewski of Toronto.
In the match for third place, Schalk/Saxton defeated compatriots Redman/Zbyszewski by scores of 21-16, 21-17.


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• Low-flying hot air balloons are startling egg-carrying hens in England and allegedly causing them to die due to exploding the eggs inside of them. • One tough jogger in Arizona jogged for a mile with a rabid fox locked onto her arm after the fox attacked her on Monday. • A man in New Zealand was found guilty of rape and abduction today after he raped a young woman and fell asleep in his car, which the woman drove to the police station. •• Iranian officials are now claiming that Esha Momeni, an Iranian American, acted against national security when they arrested her last month in Iran while she was making a documentary of women's activists in the country. • Meanwhile, the Nobel peace laureate Shrin Ebadi says that the Iranian penal code turned women into second-class citizens and uses an "incorrect" interpretation of Islam. • The rise of the internet has stopped many parents from paying taxes on their nannies, which may prove to be more difficult as the economy goes south and nannies require health insurance or get fired and file for unemployment. • Another pregnant woman was rejected from several hospitals in Tokyo, just 11 days before a similar series of rejections caused a pregnant woman to die after giving birth. • The Ministry of Defense is "looking into" allowing women to serve on submarines for the first time in the Royal Navy's history. • Ghada El-Tawli just recently returned to television after she was pulled from her job as an Egyptian anchorwoman after she decided to start wearing a hijab. • Although the risk is low, a new study has found that women with silicone breast implants increase their risk of developing a rare form of lymphoma. •
More from Jezebel
Crabby Cakes
The image of someone jogging along with a rabid fox chomped on their arm is making me laugh so very inappropriately.


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Psychology is crucial in forming seminarians
Programs respond to sex abuse scandal by having students actively seek counseling while in school
by Joseph R. LaPlante, OSV Newsweekly
This is the second in a two-part series focusing on how the formation of clergy has changed since the advent of the clergy sexual abuse crisis.
Just one night after returning from Washington, D.C., where they joined thousands of other abortion foes in the 41st Annual March for Life, 27 first-year seminarians at Our Lady of Providence Seminary in Providence, R.I., heard about the psychological services available to them during their formation as priests.
Father Christopher Mahar, the school's rector, and Dr. Michael Hansen, a staff psychologist at the seminary, explained the program is a cold New England winter night where snow covers a hardened ground as unforgiving as the landscape scarred by the priest sex abuse scandal. Like other American Catholic seminaries, Our Lady of Providence is changing the way men are prepared for the ordained life by focusing on four core elements: faith, mission, service and self gift.
"So, you are asking yourself, why is a psychologist talking to us?" Hansen said. "Well, I am here with a bunch of men who wear black, don't marry, live in a big house by themselves, work on Sundays and make no money. Why would anyone think that is crazy?"
Addressing issues early
The men come from the Providence Diocese — and other dioceses in the region — and look like any other group of guys their age, right down to their sweatshirts, jeans and sneakers. They break up in laughter at the all too real image Hansen has crafted. They are all average young men who have cleared the psychological tests and the battery of interviews administered by their home dioceses and the seminary over the course of several months or more. It takes a special kind of man to live that countercultural life Hansen has jokingly described. As a consequence, seminaries since the priest sex abuse scandal exploded in America in the early 2000s have ramped up efforts not only to select the best candidates for the priesthood, but to support their formation as full, self-actualized human beings.
"Once candidates are accepted into formation, the policy at St. John Vianney (seminary in Denver) is to provide psychological growth counseling to anyone who desires to come," said Dr. Christina Lynch, director of psychological services at the seminary.
"SJV provides a trusting environment where counseling is not just available but encouraged as part of formation," she said. "The result is that 95 percent of all seminarians at SJV self-refer at some point in their formation."
Doubts will arise
The goal of psychological counseling at Catholic seminaries is to help a man know himself better, rectors and psychologists assert. Development of affective and psychosexual maturity is the foundation on which good priests stand.
|First part in clergy formation series
Father Jeff Huard, director of spiritual formation at The St. Paul Seminary at St. Thomas University in St. Paul, Minn., said, "In the four years of graduate school there is a regular regimen for each class of men for human and spiritual formation. It covers the life of virtue, celibacy and many practical topics. We do work closely with a set of fine psychologists if counseling is needed. The students work with both their spiritual directors and formation directors if it seems counseling would be advisable."
The seminary asks its students to see one of four Catholic counselors it has selected to work with seminarians "who fully embrace the teaching of the Catholic Church. … You benefit from someone who is fully Catholic and embraces the faith. To see someone outside that fabric would not be helpful or could be problematic."
Sometimes family of origin issues can arise during discernment, the kind of matters everyone suppresses or ignores to cope with. Sometimes a seminarian might be reconsidering the vow of celibacy or even whether his call is genuine.
"There is ongoing discernment," Hansen said. "An 18-year-old guy cannot say in any definitive way that God is calling him to be a priest. Over eight years a call is strengthened or it continues to be a question for the young man. Usually that occurs in the area of celibacy, because 'not only am I called to the priesthood but the celibate life.' These questions will persist for some and they will leave. Some leave but others continue their discernment. What we are trying to emphasize is to normalize that for the young men. Be honest in the recognition of that; recognize it in an appropriate way. It is not healthy to bury one's head in the sand. Each time that might happen, to question the call to celibacy, it is also a reminder that it is very good … celibacy is rooted in one's deep love for God. The love for God and Christ is ongoing."
Support network
At Notre Dame Seminary in New Orleans, formation teams work with two counselors on staff to support seminarians.
"We push them to address their human-spiritual formation," said Father James A. Wehner, rector and president of the school. "We have weekly formation conferences over the four to six years they are here that are based on the four pillars of priestly formation: human, spiritual, pastoral and intellectual. We have structured out a weekly format that addresses celibacy, time management and human relations. These conferences are honest, open and specific."
Father Wehner meets with each seminarian annually to review personal issues such as temperance, money and sexuality. "So there is accountability from year to year," he said. "I do that one on one with 100 seminarians."
Each seminarian has a spiritual director and a formation adviser. The spiritual director works with the seminarian in the internal forum dealing with issues related to sin, spiritual progress, their prayer life, relationship with God, the development of spiritual disciplines and so on.
The formation adviser functions in the external forum representing the faculty to the seminarian and the seminarian to the faculty. The external forum measures the seminarian's progress. At the end of the year, the formation faculty then has to vote if the seminarian should advance to the next year.
'Joy-filled, holy men'
That is not the way seminaries trained priests in the past, Father Wehner said.
"The difference is, No. 1, it allows seminarians to be able to discern every aspect of their human formation," he said. "The seminary is an environment of trust. Maybe in the past a seminarian kept his mouth shut, what I call submarine formation. Then he emerges after he is ordained and the problems that weren't dealt with in the formation system explode when they are on their own in a parish.
"The result is we are ordaining highly competent, effective, joy-filled, holy men. That is not to say that previous generations were not."
Lynch at St. John Vianney seminary in Denver said the emphasis on psychological support for seminarians is "to discover what psychological blocks may be preventing his affective and psychosexual maturity. He can discover how these blocks can be holding him back in his spiritual growth in holiness.
"The hope is that future generations of clergy will learn skills to effectively and healthily deal with their emotions so that they don't turn to inappropriate behaviors. In addition, this journey of healthy psychological growth can teach them to become better spiritual fathers who are available to their people and holy witnesses of joy and love."
Joseph R. LaPlante writes from Rhode Island.
This article comes to you from OSV Newsweekly (Our Sunday Visitor) courtesy of your parish or diocese.


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Yesterday, we asked you to introduce yourselves in the comments and you told us that you are: molecular biologists, HAZMAT specialists, puppeteers, writers, park rangers, 3-d animators, librarians, fans, hobbyists, and relentless enthusiasts. Today, tell us one thing you'd like people to know about your area of expertise.
Maybe you want to tell us the 60-second explanation of how a particle accelerator works. Maybe you want to tell us the best time to visit a national park. Maybe you want to tell us about the scientifically correct amount of time to sear a steak. Or maybe what the best episode of your favorite TV series is.
We're listening, so tell us your very best trade secret in the comments.
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Hi everyone,
Originally from NY where I learned to hate all NY baseball as a child. Also where I learned to love the Reds (another story for another time) in 1974 just before all the good things happened.
Now live in DC and have adopted the Nats locally. But, as I tell people all the time (especially this year), it's a no-brainer answer to the obvious question of 'what do you do if the Reds play the Nats in the LCS?' Answer: Reds of course. Nats are adopted and new like a 5th marriage so, of course I care and go see games, buy a hat, etc. But the Reds are the girl I loved first, most and always will.
Watch nearly all Reds games on mlb.tv and see them when they come to DC. I travel to CIN to see games at GABP. Just caught the Dodgers series (all 3 games) a few weeks ago and saw the clinch. Awesome stuff!
Just came across this site and have been lurking for a few weeks. Decided to join tonight after Cueto left the game. Felt kinship and support here that's harder to find in DC when it comes to the Reds.
Signed up. Ready to post in the game thread and....no go...read the rules. Will look for "SunDeck" tomorrow once this game is over.
In the meantime, hello and very glad to be here.
P.S., No complaints about the posting rules. Actually very much appreciate this forum is run by people who care about civility and substance. That's why I registered. Looking forward to getting voted onto the island!


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Monthly Archives: April 2012
Cables and Lace!
How to knit cables, Hearts Lace stitch, and joining a ball of yarn.
Welcome to the 18th issue of the online SpinCraft Newsletter, and thanks for being my subscriber. As always, if you don't want this newsletter, or don't remember signing up for it, please don't spam me. Instead, click the link at the bottom to unsubscribe. I appreciate your kindness in that regard.
Spring Knitting
It's been my experience that many knitters are also gardners and love the outdoors (hence the need for lots of hats and scarves). So it would not surprise me if you are finding less time for knitting these days, and are being captured by those occasional perfect sunny days.
As knitting season winds down, and summer opens up, this news letter will, likely, become a bit sporadic in schedule. In fact, that has already happened as I missed last Tuesday! As the Christmas and fall knitting bug starts to hit later in the season we'll gear up again to be faithfully sent on Tuesday mornings.
Joining Yarn
Of course I've joined a million balls of yarn in my time. But I always enjoy watching how someone else does it. The questions is: Is there really a right way?
Most of the time I leave a long end, so that I have something to work in so that the ends can never ravel out. Sometimes, though, I'm knitting along with some store-bought yarn and find that they just joined it with a little knot with the ends clipped short. Heck… if they do that, why can't I?
Most of the time I tie a knot with my old ball and new, because it gives extra security. But sometimes I an knitting something that is fine, and the knot will be in a visible place. Then I knit the two yarns together for a few stitches, leaving a smooth join.
In this issue we are featuring a video from Knitpicks using the "knitting in" method . She shows how to join by knitting the strands together. The nice thing about this method is that you don't have to work the ends in later, just clip them off when convenient.
- Click here for: Joining a new ball of Yarn – Knitting In
Heart Lace
Nadelspiel.com brings us a video on how to knit "Hearts Lace Stitch." It looks very complicated and makes a nice lace with little hearts, but it is really quite simple.
- Click here for: Hearts Lace Stitch
Knitting Cables
We have a very simple video by Fayme Harper demonstrating how to make a cable stitch. She shows a basic 6 stitch cable… with some beautiful tan yarn!
- Click here for: How to knit Cables
Back to Work
And it's back to work for me! So much to get done.
By the way… did I mention that one of my many jobs is doing tech support for a guy who puts out a computer "How to" newsletter and website: Ask Leo! You can ask Leo questions about your computer and tech problems, and he gives great answers. He also has a newsletter that is published weekly: get it here: Ask Leo Newsletter.
As always, happy spring and happy knitting!
Connie Delaney
- hvac service on PRINCESS Graphs / Charts & Patterns: For Knit, Crochet, Cross Stitch, Plastic Canvas, Beading, Etc.
- LJ Kohl on The Yarn Tamer
- fiber tools on fiber arts Respect the Spindle
- Elizabeth Bell on Knitting Tips : How to Knit a Baby Blanket
- online dating on Yarn Harlot Knitting
Love My Kindle!
Save the Planet
Stop buying bottled water. Filtered bottles is the answer for always fresh FREE water.


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SPRO Bronzeye Frog 65 - Rainforest Yellow. Utilizes the full potential of Gamakatsu's EWG Double Frog hook, which is 2X stronger and has more exposed bite area. Narrow, long body design has the weight molded into the body and cannot fall off or move. Frog body resists filling with water and rubber legs are secured inside the body and won't pull out. 2.5" long. 5/8oz. Super Sharp Gamakatsu Double 4/0 hook.


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In carrying out major projects, we adhere to best practices in project management and an approach that is endorsed by the Australian Institute of Project Management. As well as delivering projects safely, on time and on budget, we also aim to minimise the impact on local communities, through consultation and when planning the construction stages.
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On "Portrait in Georgia"
John Callahan
. . . if religion failed to keep blacks in subservience, there were other means. "Portrait in Georgia," the sequel to "Conversion," uses the figure-ground pattern to expose the white southern obsession behind the blood sacrifice of lynching. Through Toomer's newly made eyes, the image of a southern belle dissolves into a black man tortured and burned alive at the stake. One by one, the woman's features yield to the paraphernalia of lynching, until in a final chilling montage her white body becomes a simile for the black victim:
And her slim body, white as the ash
of black flesh after flame.
The poem's silent imagery summons the black folk voices of "Blood-Burning Moon" that improvise desperately against the spell of violence hovering over the land as pregnantly as the full "red nigger moon."
from In The African-American Grain: The Pursuit of Voice in Twentieth-Century Black Fiction. Urbana: U of Illinois P, 1988. Copyright © 1988 by the Board of Trustees of the University of Illinois
Vera M. Kutzinski
. . . The sweet fragrance of boiling syrup, so intense that it can be tasted, is also the lingering odor of death that clings to the sensuous southern landscape. That the effects of this violence cannot be contained within the conventions of literary romanticism is most evident in two short poems, "Face" and "Portrait in Georgia," which I quote in their entirety:
like streams of stars,
recurved canoes
quivered by the ripples blown by pain,
Her eyes
mist of tears
condensing on the flesh below
And her channeled muscles
are cluster grapes of sorrow
purple in the evening sun
nearly ripe for worms.
Hairbraided chestnut,
coiled like a lyncher's rope,
Lipsold scars, or the first red blisters,
Breachthe last sweet scent of cane,
And her slim body, white as the ash
of black flesh after flame.
These structurally similar catalogues of female features do not even attempt to mediate linguistically the stark contrast between the synecdochic outlines of a woman's body and the images of pain and brutality that devastate that body in the process of visualizing it. Along with the poems' syntax, all expectations of beauty disintegrate before our very eyes as what might have been visions of loveliness decompose into a grotesque living corpse and a monstrous charred body There is no narrative voice here to relieve the oppressive, almost clinical silence, to offer us a distraction, an escape from what is barely even recognizable as human. These images are shocking not because they appeal to feelings either of guilt or of outrage but because they do not allow us to keep intact a reassuring distance between mind and body. The purple of the Georgia dusk may well be beautiful, the sweet scent of cane may well be sensuous, but only if we can forget that that purple is also the color of bloated, decaying flesh and that the sugarcane's intense sweetness is also the sickening stench of burned bodies.
from "Unseasonal Flowers: Nature and History in Placido and Toomer." Yale Journal of Criticism 3 (Spring 1990), 153-179.
George Hutchinson
The poem "Portrait in Georgia" is another haunting evocation of the racial boundary, curiously merging the image of a white woman and of a lynched black personimplied to be a man burned to death for "despoiling white womanhood." . . . On one level, the white woman becomes a sinister figure, rather like the seductive "White Witch" of a James Weldon Johnson poem of that name, or like Lula in Amiri Baraka's Dutchman. But Toomer goes beyond these writers in suggesting an identity between the figures joined in his poem. By superimposing the images of the white woman, the apparatus of lynching, and the burning flesh of the black man, Toomer graphically embodies both a union of black male and white female and the terrifying method of exorcising that union to maintain a racial difference the poem linguistically defies.
from "Toomer and American Racial Discourse," Texas Studies in Literature and Langauge 35 (Summer 1993) 226-250.
Susan Gubar
In one of the short, imagistic poems he included in Cane (1923). Toomer linked America's racechange imperative "Make white!" to lynching. Through its grotesque personification of those who perpetrate racial violence, "Portrait in Georgia" hints that the hurt inflicted on victims boomerangs to damage the victimizers:
Hair--braided chestnut,
coiled like a lyncher's rope,
Lips--old scars, or the first red blisters,
Breath--the last sweet scent of cane,
And her slim body, white as the ash
of black flesh after flame.
Brilliantly collapsing several planes of meaning, Toomer presents a woman (with hair, eyes, lips, breath, and a slim body catalogued as in a love sonnet), an illness much like advanced stages of syphilis (scars, red blisters); and lynching (a coiled rope, fagots to fuel the flame). The pathologized portrait of Georgia that emerges is a sexchanged personification of the character Anne Spencer called the "ghoul," here a murderous femme fatale. Like a syphilitic whore, this deathly dame demands the sacrifice of the black man who undergoes a racechange from black flesh into white ash because of a fiery consummation in "flame[s]" that invoke the hot passion of the miscegenation used to justify such scapegoating but also the whole burnt offering of the sacrificed body, which is the literal meaning of the word holocaust. To fall from the primacy of color into whiteness is to be excoriated, a word connoting condemnation that literally means being stripped of one's skin. In the shocking protests of Spencer and Toomer, whiteness emerges as simply the fantastic, destructive belief in superiority Du Bois had analyzed in "The Souls of White Folk." White ash is all that remains of black flesh after flame. For, as Walter Benn Michaels notes, "whiteness is produced by (rather than produces) the burning of black flesh" in a poem that turns out to be a "narrative of the origins of racial difference, a narrative in which white bodies are depicted as the consequence of violence against black bodies."
From Racechanges: White Skin, Black Face in American Culture. Copyright © 1997 by Susan Gubar.
Charles Scruggs and Lee VanDemarr
. . . The great power of "Portrait in Georgia" resides in the relations between Petrarchan enumeration of parts ("Hair . . . / Eyes . . . / . . . / Breath . . . / body) and their transformation in death. The "clear-cut" images of the poem not only create a "mystery" of identity within the poem but point to the larger mystery of miscegenation within the text itself. "Portrait in Georgia" becomes a microcosm of the collage structure of Cane, the narrative technique which, by taking away the connectives, compels the reader to look for "the evidence of things not seen." As something unseen, miscegenation was a sin condemned in public but practiced in private.
from Jean Toomer and The Terrors of American History. Philadelphia: U of Pennsylvania P.
Farah Jasmine Griffen
. . . Jean Toomer's Cane (1923) is a bittersweet elegy to the beauty and the horror of the South. "Portrait in Georgia" and "Blood-Burning Moon" foreshadow and document, respectively, the lynching which spurs the movement of the text North. "Portrait in Georgia" might also be a portrait of Georgia. In this poem, Toomer establishes some of the major tropes of the migration narrativetropes that are later revised and revisited by those African-American artists who follow him. The object of this poem is a woman whose braided hair is likened to a lyncher's rope and whose slim white-skinned body is actually made of the ash of burned black flesh. As is always the case with Toomer, the land is compared to a woman. This time it is a white woman.
In the poem and the story, the races arc bound together in a relationship of interdependence. The image of Southern white womanhood is fragile and dying because of this dependence. The poet identifies the matrix linking Southern white womanhood to the lynching of black men. He is neither the first nor the last to do so: A black woman, Ida B. Wells and a white woman, Jessie Daniel Ames, precede and follow him, respectively. In publications like "Southern Horrors," (1892) "A Red Record: Tabulated Statistics and Alleged Causes of Lynching in the United States 1892-1894" (1895), and "Mob Rule in New Orleans" (1900), Wells explored the connections between the sexual exploitation of black women, the economic exploitation of black people, and the practice of lynching. According to Wells, the political and economic threat to the Southern status quo posed by black people invited the violence enacted upon them. As the founder of the Association of Southern Women for the Prevention of Lynching, Ames articulated an understanding of the connections between white women and lynching from the perspective of a Southern white woman. According to Ames's biographer, Jacquelyn Dowd Hall, for Ames, "Lynching, far from offering a shield against sexual assault, served as a weapon of both racial and sexual terror, planting fear in women's minds and dependency in their hearts.
from "Who Set You Flowin'?" The African-American Migration Narrative. New York: Oxford UP, 1995.
Martha Jane Nadell
The visual is not confined to Cane's prose vignettes. The texts poems employ visual devices as well. The first section of Cane contains three poems that had been collected in the Modern Review as "Three Portraits." The first two poems, "Face" and "Portrait in Georgia," employ something like the Petrarchan conceit. They compare the elements of a woman's face to a variety of objects or states. "Face" (10) begins by describing hair simply as "silver gray" like stars and brows as "recurved canoes." Although the poem begins conventionally, elements of "pain" intrude into the portrait as it catalogs the woman's countenance. The eyes produce a "mist of tears."
And her channeled muscles
are cluster grapes of sorrow
purple in the evening sun
nearly ripe for worms.
The comparisons shift from beautiful stars to rotting grapes, suggesting pain without naming it.
"Portrait in Georgia" (29) defines the "pain" to which "Face" alludes. The face in this poem is constituted by the racist violence in the South:
Hairbraided chestnut, coiled like a lyncher's rope,
Lipsold scars, or the first red blisters,
Breaththe last sweet scent of cane,
And her slim body, white as the as the ash of black flesh after flame.
This poem is the scene of a brutal lynching. Southern racial violence dominates what could have been a conventional portrait poem. The "lyncher's rope," the "fagots" that burn the "black flesh" are images with which Toomer stresses how society's understanding of race has and will continue to produce unfathomable terror for African Americans. The visual images of "Face" become violent images in "Portrait in Georgia."
The poem is an extraordinary acknowledgement of the past of African Americans. Toomer recognizes that his desire for an ahistorical, free sense of the individual has a powerful enemy: the historical and present violence of the South. But if the two poems are so clearly about the social situation of the South, why does Toomer call them "portraits" and employ a woman's face as the central image? With the fragmentation of the poems and the list of the constituent parts of the face without cohesion that would make them into a unified whole, Toomer alludes to a type of modernist portrait that Stieglitz mastered, thereby attempting to diffuse some of the horror he portrays.
During the early 1920s, Stieglitz was engaged in one of his most famous projects; the portraits of O'Keeffe. Stieglitz photographed parts of her body, including her hands, face, breasts, and legs, making a series out of these fragmented body parts. This was a sort of American cubism, some have argued. Each part of O'Keeffe represented "her." However, within this impulse to depict the whole of a person's selves by means of a part, Stieglitz focused on the part as a thing in and of itself. Thus, the photograph of O'Keeffe's hands is as much about her as it is about her hands as hands and as a study in shape and design. The other effect of the composite portrait was that it represented O'Keeffe diachronically. Recognizing that individuals change across time and place, Stieglitz documented O'Keeffe as a mutable creature with many selves (Greenough, Stieglitz, 22).
Yet, Toomer's fragmented portraits are different, and it is here that we see his fundamental departure from the almost pure formalism of Stieglitz and O'Keeffe. The poems demand an accounting for lynching, for burning. They take an ethical stance on the racial system of the South by explicitly attacking the violence depicted later in "Blood-Burning Moon."
from Jean Toomer and the Harlem Renaissance. Ed. Genevieve Fabre and Michel Feith. Rutgers UP. Copyright © Martha Jane Nadell.
Suzanne Lynch
Jean Toomer paints his "Portrait in Georgia" in one continuous movement, beginning with his portraits hair and moving down her face toward the rest of her body. While each detail is true to a physical description, it also serves to unmask the central cultural conflict of the American South. He documents hair, eyes, lips, breath, and body, with each feature simultaneously revealing a cultural history stalled in division. From this position Toomer explores the hostility directed towards blacks in general, and mixed-race women in particular with the respective intention of reaching beyond the fragments of body to a "higher consciousness" (Toomer) of racial understanding.
In the absence of any unity Toomers portrait reflects definite oppositions between what is visible and what is knowable. His first image of "braided chestnut" hair is, in a somewhat vague perceptual sense, a teasing image that tantalizes us with multiple visions of race. By omitting qualities of texture from the description, Toomer cleverly thwarts any conclusions we might make about the womans race. The image of hair does, however, suggest an element of strength, which, of course, further reinforces the racial discomfort fostered by the intangibility of this Georgia woman. And just in case the reader, pulled by some pathology of the ordinary, feels an uncontrollable inclination to racialize this woman, Toomer ruptures this attempt, in similar fashion, by once again avoiding any direct impression of race. "Her slim body, white as ash/ of black flesh after flame" concretizes the slipperiness of racial authority through an indirect comparison of her body to both white ash and black flesh. The reader should note that the only definitive descriptor Toomer offers is her slimness and all else is left to in the realm of supposition. Positioning this woman as neither black nor white, within a world so polarized by color, makes her a destabilizing force within the power dynamics of the culture. She obstructs the system of knowledge that clearly identifies subject positions by race. In this way, Toomer constructs a self-articulated woman who disputes and disables the stability of racial essentialisms, albeit, at the consequence of violent negations. If the poem strips this Georgia woman of her wholeness and reduces her to a series of fragments, it also accounts for that effect by placing her in a social setting of violent white dominance. This, however, does not silence this woman who straddles the line between white and black, for the simple fact that Toomer resurrects herbody and voicethough an art that whispers to a consciousness about the inefficacy of racial segregation, and for that matter, the racial violence directed towards black woman who, either out of love or submission, give themselves up to white men.
Since the poem is organized around racial principles of inclusion and exclusion, of acceptance and rejection, of realities and falsehoods, it is helpful in part to see Toomers portrait as an articulation of the emotional and intellectual response to the increasing prevalence of racial dissolution. Apprehension about miscegenation and increasing fear of the invisibility of blackness at the turn of the century created a destructive and dehumanizing environment for those unwilling or unable to conform to racial singularity. Toomers Georgia woman, thus, symbolic of the idea that the lives of black and whites are indelibly "braided" in a common southern experience, faces her punishment for exposing the myth of a white purity, supposedly uncontaminated by blackness. For this she becomes her own executioner. Her braided chestnut hair "coiled like a lynchers rope" is used to disintegrate the very union it represents, while simultaneously erasing her example as the literal truth of Americas identity.
Disturbing as the individual portrait is, the poem also intends an equally pointed reflection, on American history as a whole. The scarred, blistered lips heal just enough to speak of a womans story of human suffering. She does this with the breath of "cane" and with a self-consciousness that links her to the exploitation and abuse that so many marginal southern women faced within an oppressive economy. Such images position Toomers Georgia woman, not only as a woman destroyed by irrational fear, but also, more sadly, as a woman destroyed by economic dominance. With this understanding of the poems broader, historical context, we can then credit Toomer with creating a voice that grants agency to this mixed-race woman--ironically, though a gradual death that in the end fuses a spiritual and physical return to the land. One might argue, as many scholars have already done for sections of Cane, that this Georgia woman, through her death simultaneously reclaims both her black and white ancestral investment in this southern land. In other words, she claims her dual heritage that was previously denied to her by Americas own internal conflict over race.
Intimating that in the end we are all reduced to ashesashes to ashesthat we "Sink into the earth/ To resurrect--/ To project into this conscious world/ An example of the organic; To enact a mystery among facts" (BM)Toomers final image of "her slim body, white as ash/ of black flesh after the flame," renders a subtle, if uneasy, idealization of a world where our similarities link us in common understanding. As a recorder of history, Toomer offers his portrait as an invitation to rethink matters of race representation, and more importantly, race division. The poem also demonstrates the inclinations of its writer, as he works through his own consciousness, he opens the route to racial transcendence through a final integration in which our differences combine in a common product.
Copyright © 2001 by Suzanne Lynch
Cristina Stanciu
"The Sinister Figure": James Weldon Johnson's "The White Witch" (1922)
and Jean Toomer's "Portrait in Georgia" (1923)
Before Richard Wright made the white female body less threatening to black masculinity in his acclaimed novel Native Son (1940) by mutilating the sexualized body of Mary Dalton in Bigger Thomas's act of self-defense and political statement, the representation of the white female's destructive power over black masculine subjectivity has been a recurrent theme in African American literature. The emphasis on the white body as sexual subject enticing the black man into the inherent dangers of white ideology displays two complex features: on the one hand, the white woman's subjectivity -- while voiceless within the boundaries of her race -- is defined in relation to her sexual fantasies with the racial other; on the other hand, the taboo, untouchable white female body devours the black male body, thus giving "the primitive" a new meaning. As Rachel Blau DuPlessis argues, conventionally, black women were associated with "the primitive," albeit the "libidinous" and "sexually free," thus fulfilling the white ideological "reading" of the "primitive," in opposition to the topos of cultural resistance it represented for African Americans (128). Nevertheless, Johnson's "The White Witch" suggests, underneath the archetypal features of the beautiful white female body lies the savage, primitive, animal nature of the "panther" hunting for her prey, an episode which completely redefines the traditional "portrait" of the Southern belle:
And back behind those smiling lips,
And down within those laughing eyes,
And underneath the soft caress
Of hand and voice and purring sighs,
The shadow of the panther lurks.
The spirit of the vampire lies. (lines 25-30)
Johnson's "The White Witch" uses the image of the white female body and its "vampiric" attributes to signal, at the literal level, the threat its luring presence implies; moreover, Johnson's use of a speaker whose voice, one might argue, comes from the great beyond, intensifies the dramatism of the message and cautions "the younger brothers" against her sexual games. Thus the poem becomes a warning against the enticements of white sexuality: "O brothers mine, take care! Take care!" (line1). Similarly, Jean Toomer's "Portrait in Georgia," also read by critics as a portrait OF Georgia in its racial violence, examines the superimposed images of a black woman's body and the ashes of a lynched black (male) body. As George Hutchinson has aptly remarked, Johnson's white witch remains a "seductive" figure in comparison with Toomer's "sinister figure" (233). However, it seems only fair to notice that Johnson's portrait remains "seductive" only at a superficial level. While the last two lines in Toomer's poem allude to a consumed death of the black male -- "And her slim body, white as the ash / of black flesh after flame" (lines 6-7) -- a similarly sinister message can be read in between Johnson's lines: "My body like a living coal" (line 38). This line could be interpreted as a direct allusion to the lynch mob's fire and immanent death despite its literal sexual connotation. Moreover, the allusion to KKK's white ghostly costumes haunting the Southern nights may open up a new perspective on reading the "witch." Despite lack of direct evidence, one may speculate that Toomer's poem is written in direct response to Johnson's "The White Witch," given the common images and theme they share, as well as Toomer's rearticulation of the white figure on the framework created by Johnson (hair, eyes, lips, breath, body), with a deliberate gender ambiguity. Also, chronologically, Toomer's "Portrait in Georgia" is published a year after Johnson's.
The ethereal appearance of the "white witch" at dusk (both a poetic and a threatening, illusory time) is suggestive of her dual nature: on the one hand, a fairy-tale character (her external body is recreated by the speaker in colorful images); on the other, a life-threatening "vampire" (the internal body is suggested by an accumulation of prepositional phrases that direct the reader's attention to the preying essence of this luring body: "back behind [those smiling lips]," "down within [those laughing eyes]," and "underneath the soft caress," lines 25-27). Consequently, under the conventional portrait of the white woman (red lips, fair face, blue eyes, golden hair – the Arian ideal) lies the destructive Medusa, an epitome of the modern white world in search for "primal passions" (line 51), threatening black masculinity. If, indeed, we can read both Johnson's and Toomer's poems as exemplary representations of the black persons' contact with the white world in the big cities during the Great Migration – the white body becoming thus the female-gendered white world – then both poems may reflect the modernism's lack of vitality and its appeal to the "primitive" in order to revigorate the Western waste land.* Johnson's speaker cautions the young brothers against the modernity's (albeit "the white witch's") entrapment of their racial capital in an attempt to revitalize modernity. Rachel Blau DuPlessis' argument, informed by art historian Gill Perry, emphasizes the white culture's appropriation of primitive tropes in its artistic endeavors, as a critique of modernity. Moreover, she insists that "blacks have often been used by whites as an image of the unconscious of whites – fecund, productive, creative […] in the factory of whiteness" (122-23). Johnson's poem cautions the black ethnicity against succumbing to such ideological traps, underlining the impossibility of such a (racial) union, "cruel-sweet":
She feels the old Antaean strength
In you, the great dynamic beat
Of primal passions, and she sees
In you the last besieged retreat
Of love relentless, lusty, fierce,
Love pain-ecstatic, cruel-sweet. (Johnson, "The White Witch," lines 49-54)
Whereas the geography of Johnson's poem is not clearly defined, thus emphasizing flight from the "white witch" regardless of her topographic emergence, Jean Toomer's portrait is located tentatively "in Georgia." Barbara Foley has emphasized Toomer's concern "with contemporaneous episodes of racial violence" ("In the Land of Cotton…" 184), underscoring an important aspect students of Jean Toomer, the modernist writer, tend to forget: "Toomer may have written in a densely symbolistic modernist idiom, but he did not substitute myth for history" ("Toomer's Sparta" 749). Thus the social relations Toomer criticizes in this work, particularly chaotic and failed human relationships – including inter-racial relations -- need to be interpreted as the writer's engagement with history rather than its disembodied transcendence. Besides establishing a racist "outline," poems like "Face" and "Portrait in Georgia" deromanticize the traditional female embodiment by recreating a worn out "face" rather than a sexualized body, a fragmented body of "purple" and "channelled muscles" which announce the old body's disintegration, portraying a different kind of natural fruition, as it becomes "nearly ripe for worms":
Face –
like streams of stars,
Brows –
recurved canoes
quivered by the ripples blown by pain,
Her eyes
mists of tears
condensing on the face below
And her channeled muscles
are cluster grapes of sorrow
purple in the evening sun
nearly ripe for worms. (Toomer, "Face")
Discussing this poem, Laura Doyle has offered a very insightful approach of "Face" as a revision of the "body-cataloguing blazon poem" through a deromanticization of the female experience of embodiment (86). In the tradition of the blazon, "Face" offers a careful depiction of female body parts (face, brows, eyes), but the critique becomes implicit in Toomer's emphasis on pain rather than youthful exuberance. As Eldridge suggests, however, the beauty of this woman does not derive from her association with "superior" attributes (202). Instead, the external beauty is replaced by inner suffering and pain, becoming a relevant instance of what Elaine Scarry has called "the body in pain." Moreover, the fusion of the woman's features -- which add a dose of masculinity ("her channeled muscles") to this portrait of decaying and decomposing female body -- with natural phenomena, also in a state of in-betweenness, point to Toomer's ironic use of the blazon tradition in a poem that defies formal (prosodic) constraints, and its adaptation to Southern soil. As Doyle concludes, "Unlike the idealized virgin in a Petrarchan blazon, this woman has gray hair, her body quivers with pain rather than desire or duplicity, and her fate is death rather than love" (86-87). The death of this "Face" figure – fragmented, but still bearing the unseen mark of race, rendered through the braided hair, "like a stream of stars" – seems to be emblematic of the death of the entire culture, "purple in the evening sun," awaiting decomposition, being "nearly ripe for worms.
A less optimistic rendering of the racial body in pain is captured by "Portrait in Georgia," a highly-anthologized Toomer poem, which shares functional similarly to "Face," as a preamble to the lynching story in "Blood Burning Moon." More specifically, in the same tradition of the blazon poem, celebrated features of a (white) woman's body are ironically linked with the dismembered body parts of a lynched and burned body of a black person, significantly of ambiguous gender. This lyrical portrait of a lynching episode is materialized in "Blood Burning Moon" -- a story in Jean Toomer's Cane, where "Face" and "Portrait in Georgia" also appeared -- which dramatizes Louisa's race-inflected double desire, for the white man Bob Stone and the black man Tom Burwell (whose name, a corruption of "burn well," becomes emblematic of his tragic fate):
Hair – braided chestnut,
coiled like a lyncher's rope,
Eyes – fagots,
Lips – old scars, or the first red blisters,
Breath – the last sweet scent of cane,
And her slim body, white as the ash
of black flesh after flame. (Toomer, "Portrait in Georgia")
Each line opens with an object of physical desire – hair, eyes, lips, breath, slim body – which recreates a specific image of a lynching scene, thus unifying eros and thanatos in an attempt to define both interracial desire and to mark the racialized body with the scars of historical "discipline." Critics have oscillated between reading the last two lines as a Georgian portrait of "a lynched and burned black woman" (Jones xvii), or a white woman -- a "sinister figure" (Hutchinson 233) – which causes the lynching of the generic balck male for despoiling white womanhood. Eldridge also subscribes to this latter interpretation, suggesting that "The message is clear in all its grim aspects: white woman, symbol of life and beauty, is equally the symbol of violence and death" (211-12). George Hutchinson offers a very insightful approach to this portrait of a "white woman" whom he compares with James Weldon Johnson's "White Witch" and Amiri Baraka's Lula in Dutchman, suggesting an identity between the fragments of bodies in Toomer's poem:
By superimposing the images of the white woman, the apparatus of lynching, and the
burning flesh of the black man, Toomer graphically embodies both a union of black male
and white female and the terrifying method of exorcising that union to maintain a racial
difference the poem linguistically defies. (233-34) (Hutchinson's emphasis)
All the above-mentioned readings are legitimate and well supported, but they all miss Toomer's deliberate superimposition of both racial features in a single, fragmented, ambiguously gendered body: "And her slim body, white as the ash / of black flesh after flame." This superimposition of black and white images aims at collapsing not only racial boundaries – white and black bodies become one in death -- but sexual as well, by depicting the pained and incomplete embodiment of a new, nascent body, emerging after the consummation of the "flame" and the burning of black male and female bodies through an imaginative alchemy. Thus, by collapsing thegender binaries, both James Weldon Johnson and Jean Toomer signal in their poems the dangers of essentializing the body, and the threats of a long history of racism that facilitated the marking of a body by the other.
Johnson's poem also appeared in 1922, the "Waste Land" year.
Works Cited
Blau DuPlessis, Rachel. Genders, Races, and Religious Cultures in Modern American Poetry, 1908-
1934. Cambridge, MA: Cambridge UP, 2001.
Doyle, Laura. "Swan Song for the Race Mother: Late-Romantic Narrative in Cane." Bordering
on the Body. The Racial Matrix of Modern Fiction and Culture. New York: Oxford UP,
1994. 81-107.
Eldridge, Richard. "The Unifying Images in Part One of Jean Toomer's Cane." CLA Journal 22.3
(March 1979): 187-214.
Foley, Barbara. "'In the Land of Cotton': Economics and Violence in Jean Toomer's Cane. African
American Review 32.2 (Summer 1998): 181-98.
---. "Jean Toomer's Sparta." American Literature 67.4 (December 1995): 747-75.
Hutchinson, George. "Toomer and Radical Discourse." Texas Studies in Literature and Language
35 (Summer 1993): 226-50.
Jones, Robert B. ---. Introduction. The Collected Poems of Jean Toomer. Eds. Robert B. Jones and
Margery Toomer Latimer. Chapel Hill: U of North Carolina Press, 1988. ix-xxxv.
Scarry, Elaine. The Body in Pain: The Making and Unmaking of the World. New York: Oxford UP,
Copyright © 2004 by Cristina Stanciu
Return to Jean Toomer


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New London congregation gathers at site of destroyed church
Tornado demolished Trinity Evangelical Luthern Church
Not much is left of Trinity Evangelical Lutheran Church after a tornado tore through New London this week - but three crosses are unharmed.
"It has been a powerful sign, and it speaks volumes to us about the presence of Christ among us," said the Rev. Bil Sutlief, pastor of the New London congregation. "And that's been very encouraging."
The storm system, which wreaked havoc across central and northeastern Wisconsin on early Wednesday, tore the roof off the sanctuary and demolished the church's fellowship hall. The crosses stand strong - even the one supporting the fellowship hall's fallen window, according to Post-Crescent Media (http://post.cr/135FsL4 ).
The church community gathered Thursday evening for a prayer service outside the ruined building, setting up lawn chairs and blankets as they prayed and consoled one another.
"We thought it was important that people in the congregation had an opportunity to come and worship here on this site, even amid the devastation, and hear how God is with us through it all," the church's pastor, Rev. Bil Sutlief, said.
Sutlief met with structural engineers and insurance representatives Thursday afternoon to assess the damage.
"It's not looking like there's going to be a lot left," Sutlief said.
The building has been Trinity's home since 2005. The fellowship hall was added to the sanctuary in 2001, said Sutlief's wife, Di, who also was helping with the cleanup Thursday.
The church will host an outdoor worship service Sunday morning, at which point the pastor said there might be an update on the church's fate. He said the church is in the process of setting up a repair fund.
In the meantime, the church was emptied of salvageable books and other materials, which will be stored until the congregation establishes a permanent location.
Church members draw strength knowing that even without the building, their church stands strong.
"As difficult as it is, that (building) is not us," Sutlief said. "Our identity is not tied up in that building; our identity is tied in Christ."


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How industrial biotechnology can tackle climate change
Climate change is "hot" right now, intensely discussed by politicians, business, society and the media.
Reducing the impact on the world's climate is a key element in sustainable development and of particular importance for industry. Discussions in the early days focused on finding the origin of climate change, now industry and other stakeholders are searching for solutions and ways to minimise climate change and its negative effects.
Industrial emissions have substantially fallen over the past 30 years in most western European countries (see figure). This is mainly due to technology improvements. However, today's technologies will most probably not be sufficient and adequate to achieve the ambitious objective set by the European Union to become the world leader in combating climate change.
Industrial or white biotechnology is one of the most promising new approaches to pollution prevention, resource conservation, and cost reduction. Applications of white biotechnology can contribute to meet the EU's environmental objective to reduce greenhouse gas (GHG) emissions by 20% in 2020. This fact sheet provides some concrete examples.


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Archive for Tuesday, December 23, 2008
Holidays spur eating disorder concerns
December 23, 2008
When Kate, a 22-year-old Kansas University student, went home for Thanksgiving last month, she sat down with her family and laid out some ground rules.
She asked that they nix comments on how much she was eating, whether it be too much or to little.
Kate has spent the past nine years battling anorexia and bulimia. She says she deals with the pressures that come when she visits her out-of-state family for the holidays.
"The worst is when you feel like you are constantly being monitored," said Kate, not her real name. "How many times you are in the kitchen, how much food you put on your plate, if you go to the bathroom or if you aren't eating."
Food — and overindulging on it — is part of the holiday season. From anorexics to morbidly obese compulsive eaters, the focus on food from Halloween to New Year's Eve can be a struggle.
Angie Viets, a Lawrence psychologist with Renew Eating Disorder Recovery Center, said the highest incidences for relapses in eating disorders occur over the holiday season.
As with other addictions, eating disorders are a way to cope with the stresses in life, which seem to accumulate during the holidays. Adding to that pressure for people with eating disorders is not knowing what will be served at holiday meals, seeing friends or family after gaining or losing a significant amount of weight and fearing that others are monitoring your food consumption, Viets said.
"When you think about the holidays, you think about three things: food, family and friends," Viets said. "That is what it's all about."
Patty Metzler, a clinical dietitian with Lawrence Memorial Hospital, said people with eating disorders also feel the need to "fit in and eat like everyone else." That anxiety can keep people away from holiday gatherings.
"For them it's not as simple as just going to grandma's house and filling their plates with food," Metzler said.
A time of trigger foods
For one 47-year-old Lawrence woman who attends Overeaters Anonymous, the holidays can be cumbersome. In the past, food was a way to ease insecurity in social settings.
"If I'm not drinking alcohol and if I'm not eating, what do I do?" said the woman, who wished not to be named. "The biggest piece for me is learning how to connect with other people."
Her danger foods — tortilla chips, creamy dips and green bean casserole — are prevalent this time of year. Those trigger foods can often lead people to binge eating.
"Food served around the holidays — there are lots of sweets, high carbs, high starches — those are the foods that are the tricky ones," said Naomi Lippel, who is managing director of Overeaters Anonymous Inc. World Service Office.
Overeaters Anonymous uses the same 12-step program and anonymous meetings that can be found at Alcoholics Anonymous.
Starting at Halloween, OA gears up for the challenges faced during the holidays. On Christmas Day, it will conduct telephone meetings around the clock.
"It's just like New Year's Eve is difficult for someone who has been drinking," Lippel said.
Charting the holidays
People with eating disorders and their family and friends can take steps to help navigate through the holidays.
For OA, attending meetings and connecting with sponsors are recommended.
Another option is keeping in contact with therapists, dietitians or a support person who helps ground the situation.
For those worried about what will be on the menu, Viets said it helps to call ahead of time to know what is being served. That way, a plan can be prepared for how to handle the food. It's also OK for people with eating disorders to ask that certain foods not be served, Viets said.
Metzler recommends not skipping meals and sticking with the regular food plan as much as possible.
For the hosts, Lippel said they can offer a special dish that would help the person with an eating disorder navigate the meal, or organize a potluck dinner so the person can bring a dish her or she is comfortable eating.
And, pushing food on someone with an eating disorder is a big no-no.
"You shouldn't watch what they are eating and nudge them and say, 'Well, don't you think you might want to try a small portion of this?' " Metzler said. "Let them guide what they choose to eat. That is the important thing."
Watch what you say
Kate said her eating disorder began her freshman year of high school when she wanted to lose weight for soccer tryouts. She said it's a roller coaster ride toward recovery. Unlike a drug addict or alcoholic, people with eating disorders can't quit cold turkey.
Along with the monitoring that occurs when she goes home, she also said too much attention is paid on physical attributes.
"If you haven't seen someone in over a year, it's the No. 1 thing they look at," Kate said. "You feel stressed to impress the family when they are the last people you should have to impress."
Viets recommends that people not comment at all about weight or food (even if it's a compliment).
For Kate, off-handed comments, such as someone saying a pair of jeans she tried on while shopping were too tight or jokingly ask whether she is really hungry, have the power to derail her day and stirs thoughts of purging.
Viets, the psychologist, recommends shifting much of the holiday focus from food and weight to relationships. Instead of worrying about what to eat at the dinner table, Viets suggests putting more attention on connecting with family and friends. Rather than complimenting someone on how much weight they've lost, she recommends highlighting something they like about the person such as their laugh.
If family and friends want to talk about the eating disorder they should sit down one-on-one and ask the person how their recovery is going.
"Focus on the whole person rather than on this particular struggle," she said.
Use the comment form below to begin a discussion about this content.
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quote: "advisor", I have come away with the impression that these guys do not have a secret sauce,
quote: Only 15% of professional fund managers beat the market - and it's not the same 15% every year. So you are very likely to be following one of the 85% that is NOT beating the market.
quote: You're right about the historical returns, but inflation-adjusted, we're down to an annual 7% (investopedia.com). Either way, the question is, what is better.


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Today, members of Congress reintroduced identical bills in the House and Senate that would permanently repeal the cap on outpatient physical therapy services. Sens Ben Cardin (D-MD) and Susan Collins (R-ME) introduced the Senate's measure. The House legislation is sponsored by Reps Jim Gerlach (R-PA) and Xavier Becerra (D-CA).
With discussion on permanent reform of the sustainable growth rate (SGR) ramping up, Congress also must address long-term repeal of the therapy cap, an arbitrary limit on services that often are medically necessary for patients. Both flawed policies were created in 1997 as part of the Balanced Budget Act and should be repealed this year. Given the opportunity to act on both SGR and the therapy cap, this should be the last time cap repeal legislation should need to be introduced, says APTA.
Access to physical therapist services has long enjoyed broad bipartisan support, with approximately 200 members of Congress supporting therapy cap repeal legislation every congressional session.
If Congress does not act on legislation by December 31, the 2-tier exceptions process that was extended through 2013 by the American Taxpayer Relief Act of 2012 (HR 8), will expire.
Read comments from the bills' sponsors in APTA's press release.


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Meet & Eat: Joe Bayley, Winner of Last Night's 'Chopped'
Getting to know the folks behind the food and drinks you love.
On last night's episode of Chopped, contestant Joe Bayley cooked his way through two mystery baskets before facing his final challenge: creating a coherent dessert out of an avocado, some coffee liqueur and a honeycomb. His avocado and ginkgo mousse with coffee ganache and lime-infused honey impressed the judges and sent his opponent packing. Bayley collected the $10,000 prize money—but not before yelling "Ten Gs, baby!" into the camera.
I caught up with the Chopped champ—a dear friend and FCI classmate—during a rare moment on dry land, as he headed to a bar in Juneau to watch his own victory.
Name: Joseph Bayley
Location: Afloat in the Gulf of Alaska
Occupation: Chef on board the Island Spirit
How long have you been cooking professionally? I've been in kitchens for 13 years: catering, food styling, you name it. I've been cooking since high school and have never really had another type of job.
Were you confident going in? I have a pretty wide range of cooking experience, including a four-month stint in Antarctica, so I was extremely confident.
What on earth were you doing in Antarctica? I worked under a Parisian-trained pastry chef, 10000 feet above sea level. I learned how to make US Military Type II Class III doughnuts and baked over 11,000 choc chip cookies, which I'd use to bribe air pilots to bring me real milk from New Zealand. Not a lot of fresh produce out there: I saw a grown man cry at the sight of a plum tomato.
So a half-hour cooking contest must have seemed like a breeze. Actually, it was more like a 14-hour contest. We started filming at 6am and didn't wrap until 8 at night.
What was the atmosphere like on set? Calm chaos. I'm sure there was some animosity, but everyone was focused on doing their own thing. Every one of the competitors was cool, and I don't have a bad word to say about any of them. Of course, I was still ecstatic to see my opponents walk away.
Are you happy with how your dishes turned out? Yes and no. The warm jumbo shrimp salad over wilted arugula with golden raisins—that was my weakest effort. I'm happy enough with my flank steak, but, really, what a boring ingredient! What I'm proudest of is my avocado-ginkgo dessert. It was a little more out of the box than my opponent was willing to go, and I nailed it.
You were judged by some serious chefs: Geoffrey Zakarian of Town and Country; Amanda Freitag of the Harrison, and Scarpetta's Scott Conant. Did you agree with their assessments? Definitely. They're smart chefs, and they know more than I do. I finished my first dish five minutes early, instead of sticking it out and improving it. They didn't like that, and they were right.
Now that you've been behind the scenes, what would you say is the biggest misconception about competitive cooking shows? The pace. The actual cooking segments are no joke, but in between all of that is TV purgatory. An hour in the stew room; getting pulled and pushed here and there; getting mad at Ted Allen for fudging his lines; just waiting and waiting. The TV aspect is way more draining than the cooking.
What advice do you have for aspiring competitors? Don't bother coming in with a game plan. You have to be able to react on the fly to the contents of the mystery basket, and having a list of dishes that you're dead set on making will only bog you down. Be ingredient-driven, not idea-driven.
Any plans for the prize money? It'll allow me to work for free for a while, so I can learn more. This September, I'm going to Barcelona to find myself a stage—a culinary internship.
All products linked here have been independently selected by our editors. We may earn a commission on purchases, as described in our affiliate policy.


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Register Citizen invites artist to show works in Newsroom Cafe
Torrington >> The Register Citizen Artist of the Month program has begun its third year of showcasing local artists.
In 2012, the program showcased a wide variety of art, from the industrial themed photos of Emery Roth to the sculpted art of Joe Kopler; the elementary art of the St. Anthony's School students, and the creative works of 13-year old Aimé Freedenberg of Canton.
The Newsroom Cafe was also the scene of several artists' receptions, proving that the artist of the month program is a great free way to showcase local talent.
For the 2013 season, the program still has openings. The Artist of the Month program partners the Register Citizen with local artists to feature their work on the walls of the open-to-the-public Newsroom Cafe.
While showcasing his or her work, the exhibiting artist receives an article in the Register Citizen newspaper and has a month long homepage photo and description of the show on www.registercitizen.com with a slideshow of all their works on display.
The artist can display as many pieces as they choose utilizing the space available.
The walls have held as few as 15 to as many as 40 pieces of art.
Artists are asked to email or bring in examples of their work.
All featured art must be family-friendly.
All art must be framed. If the works are to be sold, a price list and artist bio must be supplied.
If you are interested in being an artist of the month, stop by the Newsroom Cafe to see how the space is utilized.
The Cafe is open 7 a.m. to 7 p.m. Monday through Friday.
If you like the space, and want to book, contact Jenny Golfin in person during your visit or via email at email@example.com or by phone at 860-489-3121, ext. 357.
Don't wait - spaces fill up quickly!
Become part of the Newsroom Café community today.


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Do you need to insulate a new home or commercial building? If you're in the Bastrop, Texas area, Hinkle Insulation & Drywall is the company you need. We work with homeowners and builders/contractors to install spray foam for new construction insulation projects.
Spray Foam for Your Home or Building
Due to its total coverage and the tight seal it creates, spray foam insulation is ideal for small gaps, crevices and cracks in your home's envelope, as well as around piping and ductwork. It is applied in liquid form and dries quickly, expanding into thick foam.
Spray foam insulation can help:
- Reduce your energy bills and maximize the energy efficiency of your home or building
- Make your home or building more comfortable year round
- Reduce noises from both outside and inside, between different rooms and levels
- Improve the performance of your air conditioner and furnace
- Protect against air and moisture infiltration (and help eliminate mold growth)
- Contribute to a healthier environment
Spray Foam Insulation Installers Serving the Bastrop Area
The Hinkle Insulation & Drywall team uses spray foam insulation for both commercial and residential new construction projects in the Bastrop, Texas area and can install spray foam in:
- Walls
- Attics
No matter your needs, we can help. A part of the Installed Building Products family of companies, Hinkle Insulation & Drywall offers the knowledge, experience and resources that few companies can match.
Call our team or contact us online.


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Auto Publishers Price Starting at
*Based on model year EPA mileage ratings. Use for comparison purposes only. Your atual mileage will vary, depending on how you drive and maintain your vehicle, driving conditions, battery pack age/condition (hybrid only) and other factors.VIEW OUR INVENTORY
Spacious interior; three rows of seating; reconfigurable seating layout; ride and handling; responsive powertrain
The Honda Pilot adds a new trim level to the lineup for 2015, with the SE trim. It slots between the EX and the EX-L trim levels, offering a bit more flexibility for prospective buyers.


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Chinese 1 oz and 30 gram Gold Panda Coins
Gold Pandas CollectibilityThe Gold Pandas enjoy enormous popularity across the globe because of their unique designs and their ability to appreciate. In 2016, the People's Bank of China decided to switch to the metric system, so the coins are labeled as 30 gram Gold coins instead of 1 oz Gold bullion. This does not change their value or collectibility, but since this was the first year of the change, the 2016 Gold Pandas could prove more valuable than other iterations.
China 1 oz Gold PandasGold Pandas enjoy a fantastic reputation in numismatics circles. However, the 1 oz Gold coins carry a face value of 500 yuan instead of just 10 yuan, and they are made with .999 fine Gold. Investors can buy these coins as an investment tool, while collectors can scoop up these coins as they become available, tracing the lineage all the way to the first minting in 1982. In 2016, the mint changed the weight system from ounces to grams, meaning the older Chinese coins will likely prove more valuable as the weight system is no longer used for Gold Pandas.
While not an exact conversion, the new gram sizes provide the closest metric equivalent to the similarly sized ounce counterparts:


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Auto Publishers Price Starting at
*Based on model year EPA mileage ratings. Use for comparison purposes only. Your atual mileage will vary, depending on how you drive and maintain your vehicle, driving conditions, battery pack age/condition (hybrid only) and other factors.VIEW OUR INVENTORY
Multiple model configurations to suit all needs; ample available V8 power with improved V6; increased fuel efficiency; user-friendly cabins; Ram-Box bed-side storage
For 2014 the Ram 1500 sees a number of refinements to help keep it competitive in the full-sized truck genre. The old 4.7L V8 is gone, as it made barely any more power than the Pentastar V6, which gets better mileage. Ram expects to release a 3.0L V6 diesel later in the year to supplement the engine choices available on the 1500. For 2014 the V6-powered Ram also sees a dramatic increase in towing capacity, up to 7,450 lbs. A parking assist feature is now available on some of the more luxurious trims.


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Traveling for business? Or maybe you're planning a relaxing getaway? We've got you covered with DoubleTree by Hilton deals and packages, making your trip more convenient than ever. You can explore by location, travel date, and attractions, then book the offer that looks nicest.


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I hope everyone has been enjoying a happy holiday season.
Finding some quiet time to tuck in with a good book and a mug of hot chocolate, or perhaps catching up on the latest movies? There are so many good ones this year.
As you can see I am back in Sun Valley where the evening landscape is very Seuss-ian. Whoville indeed!
As we're just one day away from saying au revoir to 2012, and ringing in a brand New Year I'm wondering;
Where are you and how will you celebrate?!
I send you off on this post with one of my all time favorite songs ; Strange Magic by ELO
A small slice of my friend's stunning holiday table, one of the prettiest I've ever seen.
Did 2012 zip past like a blur of light for you as it did for me?
Some green,gold & purples (except you can't see the purple here so you must take me at my word) on my mantlepiece at home.
I love this simple but dramatic idea for a New Year's Eve table
as well, this very chic champagne 'bucket' custom designed for Ruinart champagne.
and if there's one night of the year when you can really go for gold, it has to be New Year's Eve, right?!
Gustav Klimt
BTW, if you are a fan of Gustav Klimt at all you must see this BIG, brand new stunning edition by Taschen ($200) commemorating his 150th anniversary.
Gold confetti champagne 'flutes' from "Indigo" via Canadian House & Home
White & gold- so chic for entertaining, especially in winter.
Bag by Kotur
May your New Year be filled with the light of faeries
and bodacious confection
Coco Rocha
Several gold stunners sure to attract their fair share of miners at any New Year's soiree'
Tom Ford
Karmen Pedaru
Tom Ford
Herve Van Der Straeten 24-karat gold plated cuff $630 via Netaporter.com
Kate stepped out in gold lame this season
From the Burberry campaign
An ornament on my tree
Tory Burch evening clutch
It's all over too soon, isn't it?
Golden light upon the midnight snow on my front porch, Sun Valley
Wishing each and every one of you, my wonderful & faithful readers, a safe & joyful New Year's Eve and may your 2013 be chocked full of good health, happiness & humour.
Thanks so much for all your great comments and support over the years (!!)
Now, let's get this party started!!


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Get any May 2005 Arts & Activities article listed below in pdf format for only $2 each.
How To Order: Locate the article from the drop down list below. Select the desired article then click ADD TO CART. Complete the order process.
For a full list of articles and descriptions >> Click Here << All articles will be e-mailed to you in the Adobe PDF format. You will need Adobe Acrobat Reader to view the articles. It can be downloaded at no cost by visiting http://www.adobe.com/products/acrobat/readstep2.html. Free Hotmail and Yahoo mailboxes are generally too small to receive PDF files. It's best to provide the e-mail address assigned to you by your Internet Service Provider.


text: Growing up, I never missed an episode of The Andy Griffith Show. The program was pure hokum, but a tonic that was hugely popular during the unsettling times of 1960s America. Each week Andy dispensed wisdom and homilies to his young son Opie (played by a young Ron Howard) and a cast of characters named Aunt Bee, Barney Fife and Gomer Pyle. Griffith seemed born to play the part of the small town law officer, a role he developed from his popular monologues and a successful stage career. Griffith was so comfortable in the role, he never seemed to be acting. It wasn't until much later that I gained a fuller appreciation of Griffith's talent, watching his film debut in "A Face in the Crowd" directed by Elia Kazan. It's a memorable performance, as complex and dark a character as his sheriff Andy was simple and sunny. In the fictional town of Mayberry, we saw how life could be, with good trumping bad, neighbor helping neighbor, and when Opie finds a stray dog—a lesson in humanity. See the full 1963 episode titled "Dogs, Dogs, Dogs."


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Mayor Ed Lee, Sup. Jane Kim, and representatives from tech firm Zendesk gathered at St. Anthony's in the Tenderloin this morning to announce the launch of a new smartphone tool, Link-SF, to help homeless and low-income people access services.
Zendesk is a customer-service software company located near Sixth and Market streets. It was the first tech company to move into mid-Market in 2011 and take advantage of the city's Central Market Payroll Tax Exclusion Zone (aka the "Twitter tax break"), a controversial bid to attract tech companies to an area that has historically had the city's highest concentration of poverty.
Financially speaking, Zendesk is doing quite well. In 2012, it raised $60 million in new funding and hired 160 new employees. That same year, the city's Central Market tax exclusion resulted in about $1.9 million in forgone revenues that the city would have otherwise collected from 14 companies that took advantage of the payroll-tax exclusion zone.
Zendesk has 350 San Francisco employees, and Public Affairs Director Tiffany Maleshefski told the Bay Guardian that the company has contributed a collective 1,400 hours of volunteer service to uphold the company's end of a community benefit agreement deal with the city, a requirement for those receiving the local tax breaks.
Sup. Jane Kim praises Zendesk during a press conference at St. Anthony's.
"Link-SF was part of the community benefit agreement," Maleshefski confirmed. The smartphone app, designed for use by homeless and low-income people seeking services, provides data on food, shelter, medical, or employment assistance programs. "It's empowering for the users," Maleshefski said.
The users of this software, of course, will be people experiencing dire straits in San Francisco at a time when housing prices are sky-high and housing assistance for low-income people is at a minimum. Of all the kinds of services that exist to remedy the problem of being homeless, permanent housing ranks at the top of every list. But the daunting lack of affordable housing is San Francisco's greatest challenge.
Zendesk software engineer Ken Nakagawa explained that a team of collaborators worked for months to try and understand the needs of poor San Franciscans and build an app to help them connect with services. According to a media advisory, 45 percent of people who utilize St. Anthony's technology training program own smart phones.
While helping people to connect with services is a good step, tech companies could put more energy toward a long-term solution that would result in fewer people having to rely upon services for basic survival (many of these services, meanwhile, have diminished in recent years due to steep funding shortfalls).
Just after the press conference ended, homeless and low-income clients lined up for lunch outside St. Anthony's, which serves roughly 2,500 meals every day to people in need. It was raining, and people had to wait outside in line since there were so many. Even though the dining room was packed full, Volunteer Coordinator Barbara Montagnoli said it was a relatively quiet day there since a lot of assistance funds had just been disbursed.
Thirty-three percent of homeless people interviewed for a study reported winding up homeless because they lost a job, and the people who are most likely to wind up homeless are those trying to subsist on less than $16,000 per year in San Francisco. (To illustrate the deep economic divide, a Zendesk software engineer living in the same city earns somewhere between $96,000 and $120,000 per year, a search on Glassdoor shows.)
The fact that tech companies want to be part of the solution is great. These deep-pocketed multinational companies have been criticized for their role in transforming the city in ways that are quite painful for many of its long-term residents, and it's encouraging to see members of the tech sector find ways to be engaged in the community.
That said, there is a serious problem in San Francisco that's only getting worse due to a widening wealth gap and simmering affordability crisis – and if it is going to be solved, those who set out to find solutions have to genuinely want to solve it, for the sake of restoring a general sense of health, fairness, and wellbeing to the city's less fortunate. If helping out only comes from a desire to look good in front of the cameras, the actions will be empty.


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Alexander Skarsgard was naked on the True Blood finale on Sunday. I don't watch the show anymore but apparently he was reading a book in the snow and then some sh-t went down and everyone's panicking. Oh please. True Blood is the one show you don't have to panic over. They can make anything happen. And/or not happen.
Anyway, Skarsgard is now in Stockholm. He was photographed with Alicia Vikander in Stockholm yesterday after eating. They apparently drove off in a car together afterwards. Which obviously means they wanted to f-ck off their calories. I LOVE her shoes.


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The Chicago Cubs have invited 16 non-roster players to spring training major league camp in Mesa, Ariz., including former White Sox infielder Brent Lillibridge.
The Cubs also announced Thursday that third baseman Luis Valbuena avoided salary arbitration by agreeing to a contract.
Lillibridge had a breakhthrough season with the Sox in 2011, hitting 13 homers and driving in 29 runs in 97 games while playing the infield and outfield. But he played little last season and was traded to Boston at the end of July in the deal that brought third baseman Kevin Youkilis.
The Red Sox subsequently traded Lillibridge to the Indians for a minor league pitcher and then was granted his release after the season.
Lillibridge could become a valuable backup for the Cubs, who had Jeff Baker in that role last season. Lillibridge has played all infield positions, including first base, and all three outfield positions.
In addition to Lillibridge, the Cubs also signed the following to minor league contracts that include an invitation to camp: outfielder Brian Bogusevic, catcher J.C. Boscan, right-handers Andrew Carpenter and Jaye Chapman, outfielder Johermyn Chavez, right-hander Dayan Diaz, infielder Alberto Gonzalez, right-hander Jensen Lewis, infielder Edwin Maysonet, outfielder Darnell McDonald, first baseman/outfielder Brad Nelson, right-handers Blake Parker and Zack Putnam, left-hander Hisanori Takahashi and right-hander Cory Wade.
Lillibridge, a proficient user of social media, tweeted: "Love Chicago way to (sic) much to leave!!! Excited for the chance, and confident in what I have to offer. I've put in the work, ready to play!"
Twitter @davandyck
The Chicago Cubs have invited 16 non-roster players to spring training major league camp in Mesa, Ariz., including former White Sox infielder Brent Lillibridge.