text:
Mastery and Mystery
One way to think of Modernism in poetry is of fragments anxious about their origins. "These fragments I have shored against my ruins," wrote T. S. Eliot in (and of) The Waste Land in 1922. "I cannot make it cohere," wrote Ezra Pound some fifty years later, at the end of his epic avalanche of allusions and music and madness, The Cantos. Poetry has changed a lot in the last hundred years, but it still lives with and within this tension. The best of it draws equal strength from both poles: the power of the fragment depends upon the pull of its original context; but also, the credibility of the unity that any part implies depends upon the integrity and lonely singularity of that part. There is some combination of mastery and mystery: language has been honed to unprecedented degrees of precision, but it exists within—and in some way acknowledges—some primal and nearly annihilating silence. "The beast that lives on silence," as W.S. Graham put it, "takes/Its bite out of either side":
I'll give the beast a quick skelp
And through Art you'll hear it yelp.
Mastery and mystery: add a hundred years and you have an incredibly vital and seemingly unkillable movement, for Modernism remains stubbornly, strikingly persistent even in the work of those poets who react against it. It might be too much to argue that W.S. Di Piero's 2009 poem "Big City Speech" wouldn't even exist without Ezra Pound's "In a Station of the Metro," which appeared in Poetry ninety-six years earlier. But still, the radiant discreteness of Di Piero's observations; the way they seem to float in some uncontainable space; the weird piercing clarity whose meaning is only (only!) its own electric existence and the real world that sparks alive within it: listen closely, and you can hear a whole century echoing:
your gorgeous color-chart container ships
and cab-top numbers squinting in the mist
Or, less obviously, take Don Paterson's "The Lie." With its regular rhymes, its careful but comfortably familiar meter, its form could fit easily in the nineteenth century, at least until the bomb of its subject—a child locked in a basement, a lie trapped in a mind—explodes:
Why do you call me The Lie? he said. I swore:
it was a child's voice. I looked up from the floor.
The dark had turned his eyes to milk and sky
and his arms and legs were all one scarlet sore.
He was a boy of maybe three or four.
His straps and chains were all the things he wore.
Knowing I could make him no reply
I took the gag before he could say more
and put it back as tight as it would tie
and locked the door and locked the door and locked the door.
Part of the horror of this poem is its vertiginous inwardness, the way it feels ripped out of some original and unrecoverable reality. In this case the source is psychological and not historical, but the same Modernist dynamic of a present reality underpinned and undermined by its missing source is at play.
Mastery and mystery: add an intrepid woman, Harriet Monroe, who wanted a magazine equal to the art and architecture she saw everywhere around her in turn-of-the-century Chicago; add ninety years of persistence and poverty, a dozen editors feeding and herding poets like feral cats; add a 200-million-dollar windfall in 2002 from the reclusive Ruth Lilly, and you have a seemingly unkillable magazine. (I wanted to steal a line from a poem by Charles Bukowski that appeared in the magazine and call our centennial anthology "The Stupidity of Our Endurance," but not everyone shared my suicidal sense of irony.) As A.R. Ammons once wrote: "The histories of modern poetry in America and of Poetry in America are almost interchangeable, certainly inseparable."
Almost. What an abyss of arguments and temperaments, masterpieces and missed opportunities, taste and the lack thereof open up in that word. Pretty much every post-Modernist poet of significance has published in Poetry, but not every poet has published his or her best poems there, and Don Share and I decided early on that in the anthology we would focus on poems, not names, that we would celebrate poetry, not Poetry. Thus we approached the archive just as we do the one hundred twenty thousand submissions that come into our offices each year, poem by poem, with an eye out for the unexpected—the one-off masterpiece that juts up like a mountain from the landscape you thought you knew:
The summer that my mother fell
Into the hole that was herself,
We children sat like china dolls
Waiting mutely on a shelf
For the horror to be done.
My father, who'd begun to drink
Jasmine from a turquoise cup,
Was practicing his yoga when
That dark mood swallowed Mama up.
His trance was not undone.
—From A Child's Garden of Gods by Belle Randall
The bizarre rhetorical shriek that history and fury seem to have conspired to create:
"Stephen Smith, University of Iowa sophomore, burned what he said was his draft card."
And Norman Morrison, Quaker, of Baltimore Maryland, burned what he said was himself.
You, Robert McNamara, burned what you said was a concentration
of the enemy aggressor.
No news medium troubled to put it in quotes.
—From Of Late by George Starbuck
The little-known gem by the much-anthologized master:
Not less because in purple I descended
The western day through what you called
The loneliest air, not less was I myself.
—From Tea at the Palaz of Hoon by Wallace Stevens
We have also aimed, as we always do, at an audience that is not comprised entirely of specialists, with Harriet Monroe's first editorial firmly in mind:
We believe that there is a public for poetry, that it will grow, and that as it becomes more numerous and appreciative the work produced in this art will grow in power, in beauty, in significance.
A public for poetry. Now there's a notion that's been kicked around for a hundred years, especially the last twenty or so. I've contributed to this myself at times—rather ignominiously, it now seems to me. The discussions always begin with the assumption that, because poetry is not present in the culture in the way that, say, movies are, or even some literary fiction that captures the country's attention for a while—then poetry has no meaning for that culture, no effect on it. Never mind the fact that this is demonstrably untrue by some practical measurements—the circulation of Poetry is much higher than it's ever been, the Poetry Foundation's website has two million unique blah blah—that's not really the point. Whenever I hear this negative sentiment now, I think of the argument that roiled American politics several years ago about whether we—America, I mean—should drill for oil in the Arctic National Wildlife Refuge. Why not? We need the oil. The place being considered was so remote that it might as well have been on the moon. And as for being the breeding ground of the porcupine caribou, what the hell is a porcupine caribou? Drill, baby, drill.
The strongest argument against this action was never, to my knowledge, spoken, perhaps because it's seemingly the weakest. It's also completely apolitical. You don't need to know a thing about quantum entanglement, wherein one atom can affect another even though they are separated by tremendous distance, to have some sense that our lives are always larger than the physical limitations within which they occur. We exist apart from our existences, you might say, are connected to the world and to other people in ways we will never be able to fully articulate or understand—and we assert our iron wills and ravenous hungers at our own peril. There is such a thing as a collective unconscious. There is such a thing as a spirit of place, and it reaches beyond geography. And poetry, which is a kind of quantum entanglement in language, is not simply a way of helping us to recognize the relations we have with people and places, but a means of preserving and protecting those relations. For many people, true, poetry will remain remote, inaccessible, and on the same plane of perception as that Arctic refuge. But who knows by what unconscious routes poetry is reaching into lives that seem to have nothing to do with it? Who knows what atomic energies are unleashed by a solitary man or woman quietly encountering some arrangement of language that gives their being—shunted aside by chores and fears and who knows what—back to them? This is why I regret adding to the clamor over poetry's "relevance." The reaction is defensive and misguided, not because there is no hope for elevating poetry's importance, but because its power is already greater than any public attention can confer upon it.
In the American public imagination, though, poetry has a hothouse tinge to it. It's tweedy, and tweet-y, and has little to do with the bill-paying, stock-checking, dirty-diaper lives lived by most people. Poets themselves have been partly responsible for this. We have argued over esoteric or territorial issues that no one outside of the poetry world could possibly care about. We have embalmed poems in sociology, have created a kind of machine-speak critical jargon that any sane person would simply laugh at. We have exalted poets whose verbal and associative skills are immense but who have, finally, not very much to say. H.G. Wells once famously described Henry James as a hippopotamus trying to pick up a pea. He meant it to be the severest of insults, but at least there was a pea.
The tide is changing on all of this. Many contemporary poets are recognizing and reclaiming the primal power of the art they practice—and not simply on an abstract or spiritual level either. I think of Jacob Saenz's poem "Sweeping the States," which is about the rounding-up of illegal immigrants back in 2007:
they move in swift on the Swift
Plants in six states sift
through the faces to separate
the dark from the light
like meat seat them in
the back of vans packed tight
At the time newspapers were filled with accounts of the event. How many times have you thought of it since? What has happened to those people? Pound said that poetry is news that stays news. Thousands of people will come across this little poem now, with its deceptive lilt and tricky music, its playful way of leading us right into blindnesses we would rather not face, its skewering conclusion that connects huge and seemingly unstoppable events with decisions we all make in our daily lives; thousands of people will read this poem and it will be—if they are going to be—a thorn in their brains. I think, too, of Thomas Sayers Ellis's "Or," which hones in on one sound—a soft sound, paradoxically—through all sorts of playful and awful permutations, until it seems to become a sort of fist pounding the podium before an impenetrable audience. You're the audience. And that silence ramifying around Ellis's last line? That's your life:
or reform or sore chorus.
Or Electoral Corruption
or important ports
of Yoruba or worry
or fear of...
of terror or border.
Or all organized
Why are these poems so intricately wrought, so far from "normal" speech? Because, as Pound also said, "technique is the test of a man's sincerity." Formal decisions are ethical decisions. The sound and form of the poem are everything; they buffet it against its hard journey through time and indifference. Or, to change the metaphor, they enable it to insinuate itself into the hard carapace of our consciousness, so that the poem's "message"—Look up from your insulated life, in these instances, Enlarge your idea of what it means to be human—won't just bounce off the glaze of us. Craft matters because life matters. Craftless poetry is not only as perishable as the daily paper, it's meretricious, disrespectful (of its subjects as well as its readers), and sometimes, as Pound implies, even unethical.
The difficulty of modern poetry—that is, poetry written since Modernism—is taken by most people as a given. One need only glance at poems like Edna St. Vincent Millay's "Rendezvous," William Matthews's "Mingus at the Showplace," or any number of other poems in the anthology to reveal the fallacy of that assumption. But never mind: it is true that some of the poetry written during the past hundred years or so makes extreme demands of readers. Briggflatts, by Basil Bunting, which appeared in its entirety in Poetry in 1966 and which now seems obviously one of the greatest poems of the twentieth century, is sometimes taken as an exemplar of this difficulty. If you are not very familiar with poetry, you will likely have some trouble figuring out exactly what is being described, which is fine, which is, in fact, exactly what he intended. Besides being "about" a man who realizes, way too late, that the most intense and defining experience of his life occurred during an adolescent love affair, Briggflatts is a palimpsest of history, nature, learning, loss. It is the testament and artifact of a man who has lived so thoroughly into the language, so thoroughly through the language, that it has become a purely expressive medium. Because of cadence and pacing, and the way sounds echo and intensify sense, the word is restored to a kind of primal relation with the world: language itself has taken on the textures and heft of things:
Under sacks on the stone
two children lie,
hear the horse stale,
the mason whistle,
harness mutter to shaft,
felloe to axle squeak,
rut thud the rim,
crushed grit.
As a general rule, it's safe to say that if you can paraphrase a poem, it's not a poem. There's no other way of saying what Bunting is saying in Briggflatts. The language is action. Great poetry is usually difficult in some way, and then clear in ways we would never expect ("It is easier to die than to remember.") Its difficulty, you might say, makes new clarities possible in and for us. "I wanted to write a poem/that you would understand," wrote William Carlos Williams,
for what good is it to me
if you can't understand it?
But you got to try hard.
Part of the enjoyment of poetry—an enormous part—is letting yourself experience things you do not understand, letting the textures and rhythms of verse take you to places in your consciousness—and unconsciousness—that you could not have accessed otherwise. E.E. Cummings's "what if a much of a which of a wind" is an obvious example: to have its rare near-clarities mean anything ("all nothing's only our hugest home") you have to let yourself be blown around in the word-wind for a while. But the example needn't be so conspicuous: Denise Levertov's "Our Bodies" is a little master class in free verse, and if you don't read it the way its line breaks dictate—don't feel its form happening viscerally in you—then its effect is not simply diminished but actually distorted. Take the opening three lines:
Our bodies, still young under
the engraved anxiety of our
The mind naturally wants to read these lines like this:
Our bodies, still young
under the engraved anxiety
of our faces
But this completely changes the meaning and effect of the lines. It is one thing to say that a body is "still young," quite another to say that it is "still young under." The latter implies a history, a density of feeling and experience, whereas the former is simply a statement of fact. Similarly, the awkward pause at the end of the second line intensifies the sensation of anxiety being described, and that word "our" that's stranded unnaturally there for a moment enhances one's feeling for, and sensation of, the precarious marriage of loneliness and communion that marks any authentic love.
The point here is not to go through every poem nitpicking technique, trying to find some obvious "reason" for every formal decision. No, the point is simply to be aware that what may seem like awkwardness or even randomness in poetry (James Schuyler!) can be as formally severe and singular as any Bach fugue.
Most poets I know read almost unconsciously at first, feeling the poem's formal and linguistic dynamics as much as its "meaning" (in the end, there is no way to separate meaning from a poem's form and sound). Meaning matters, of course, and most poems do have some bedrock denotative sense upon which the mind can rest. But still, some mystery usually remains. Poetry, like life, has its patches of pure black, its furthest interiors where meaning gleams darkly, and must remain in that darkness if it is to mean at all. You know a good poem by whether or not those irreducible dark spots are integral to your experience of the whole. "Our only obscurities...should be those we are driven into," Ruth Pitter once wrote, "then a sort of blessing may descend, making such obscurity magical."
"Reading in silence is the source of half the misconceptions that have caused the public to distrust poetry." That's Bunting again. It's a statement worth keeping in mind when reading every single poem you come across.
One of the qualities essential to being good at reading poetry is also one of the qualities essential to being good at life: a capacity for surprise. It's easy to become so mired in our likes or dislikes that we can no longer recall that person who once responded to poems—and to people—without any preconceived notions of what we wanted them to be. The irony is that one of poetry's powers is to reanimate a reality that has gone gray for us, or maybe not gray, maybe perfectly pleasant but ungraspable somehow, the days flashing past like images seen from a train. Time seems to accelerate as we get older because the brain becomes habituated to its circumstances and surroundings—the bills, the commutes, the kiss on the cheek goodnight—and part of it shuts down. Then you look up and a decade seems to have slipped right through your fingers. "And yet, the ways we miss our lives," wrote Randall Jarrell, "are life."
Poetry cuts right into this glaze (like that line from Jarrell, for instance), in two ways. First, it simply gives us access to a new world and new experience (you might have been familiar with Northumbrian gravestone-making before Bunting, but I wasn't); second, and more crucially, it enlivens the lives we thought we knew, it slows them down, or gives us eyes more capable of perceiving their passing. It makes us see the latent strangeness within—and feel our dormant spirits beneath—numb habit.
Consider Craig Arnold, a forty-two-year-old poet who vanished three years ago while hiking a remote volcano in Japan. As fate would have it, Don and I read his poem "Meditation on a Grapefruit" the very day that he disappeared, and the poem so shocked us out of our own mental insulation that we immediately sent off the acceptance e-mail that Craig would never see. Such a tiny thing, "To come to the kitchen/and peel a little basketball/for breakfast" on a day like any other; to feel and smell "a cloud of oil/misting out of its pinprick pores/clean and sharp as pepper," to adhere to this "discipline" that is "precisely pointless":
a pause a little emptiness
each year harder to live within
each year harder to live without
Why write poetry? I don't mean just the "professional" poet (there is no such thing), the poet whose life is ineluctably bound up with, and confusingly shunted aside by, words—but also the undergraduate who finds herself spending more time on her creative writing assignments than anything else, the judge who scrawls a quatrain on the back of an envelope, the housewife who keeps a journal which she'd burn before showing to anyone. Why this obsession so widespread in our culture, and why is it found in every culture we know?
Lisel Mueller has one answer, in a poem that appeared in Poetry in 1987. Stunned by the death of her mother, the speaker of this poem—an adolescent presumably, though the age is not specified—wanders out to the "lovingly planted garden" where the "day lilies were as deaf/as the ears of drunken sleepers/and the roses curved inward." Here is how the poem ends:
I sat on a gray stone bench
ringed with the ingenue faces
of pink and white impatiens
and placed my grief
in the mouth of language,
the only thing that would grieve with me.
—From When I Am Asked
Implicit in that last line is an assumption that language is a living thing, with a kind of consciousness, that it returns or reciprocates the attention that is turned toward it. Not just any attention, though, but only our fullest and most costly consciousness, only our whole selves honed by emotional extremity. Language has no life unless and until we give it ours:
Now in one year
a book published
and plumbing—
took a lifetime
to weep
a deep
—From Three Poems by Lorine Niedecker
"The poetic gift won't tolerate vanity," writes Nadezhda Mandelstam. This might come as a surprise to anyone who has suffered through supper with some bloviating laureate, or even endured an ordinary open-mic night at any local bar. It's important to point out, then, that what Mandelstam means has little to do with the poet as a public presence and everything to do with the solitary self that blindly senses its way toward—and very rarely joltingly suffers—his gift. Many poets go out into the world like cockeyed roosters (the masculine symbol is not accidental; women seem, in my experience, better at managing this dynamic) precisely because they feel the negligible control they have over the very thing for which they are praised; it is a compensatory gesture, and a protective one. And what is true of the consciousness of the artist, that it must be vulnerable, must remain open to a power that it can never own—"Think assailable thoughts," writes Jane Hirshfield, "or be lonely"—is true of the work of art. It must be assailable in some sense. When Wallace Stevens argues against Christianity in his most famous poem "Sunday Morning," which appeared in Poetry in November 1915; when he says that "Death is the mother of beauty" and Christianity is a flinch away from the beauty and integrity of a fully-lived life, it is crucial to the effect of the poem that he makes his argument in grand Biblical cadences that recall—and even confusingly reawaken—all the splendor of what he is ostensibly renouncing. Similarly, in "Tea at the Palaz of Hoon," which seems to be a straightforward celebration of the absolute power and self-sufficiency of the individual imagination, simply the fact that Stevens includes a "you" to dispute that assertion, and that the "you" sees the speaker's self-sufficiency as utter loneliness, haunts—and paradoxically intensifies—the effect of his final claim: And there I found myself more truly and more strange.
Religion often seems a bit crude when thinking of poems—a dimming of energy, part of the critical intelligence, an encrustation. There is an animus, an élan vital, a force that moves through verse at the speed of God. To assert this—to assent to it—is not idolatry but humility. Religion is human; it's what one does with intense spiritual experience; it's necessary (for some) but secondary. There is in poetry a power, a presence, coextensive with our earliest instincts, including those that drove us to create religions. That's why even poems that seem to renounce religion can mysteriously restore one's feeling for it, because without that original charge of heart and blood, without that first marriage of word and world, all that has emerged subsequently is merely intellectual, and lifeless. Most "devotional" poetry of the past hundred years is aimed at this ur-impulse, at sparking it back to life:
in words of need and hope striving
to awaken the old keeper of the living
and restore lasting melodies of his desire.
—From Returning to Roots of First Feeling by Robert Duncan
This focus, I think, this primary fidelity, is why even the modern poems that deal with spiritual matters directly tend to avoid specific religions. T.S. Eliot's late work is a marked exception, and powerful for being so. So is Mary Karr's "Disgraceland," though her fast-talking confession and apparently flippant (it isn't, really) tone reveal her uneasiness and ambivalence about assenting to the structure of given religion.
Eventually, I lurched out
to kiss the wrong mouths, get stewed,
and sulk around. Christ always stood
to one side with a glass of water.
I swatted the sap away.
When my thirst got great enough to ask,
a clear stream welled up inside,
some jade wave buoyed me forward,
and I found myself upright
in the instant, with a garden
inside my own ribs aflourish.
I love how this poem's scattershot proliferation of images, which mirrors the speaker's lifelong confusion, gains focus near the end. Even the language slows down—"some jade wave buoyed me forward"—as if the whole poem were concentrating on what came next. This, too, is the province of poetry, to reattach rituals to their sources, to make us feel the radical strangeness of actions we may have come to take for granted:
There, the arbor leafs.
The vines push out plump grapes.
You are loved, someone said. Take that
and eat it.
For the past century the emphasis in American poetry has been on the lyric, and when we talk about lyric poetry we tend to think of emotional inwardness, even when the details of a given poem may be completely external. James Wright's "The Blessing" is a classic example: the details of the natural world are rendered with a kind of inner spiritual precision that enables the poet almost, but not quite, to transcend them:
Suddenly I realize
that if I stepped out of my body I would break
into blossom.
But the lyric is not limited to inward experience. Thom Gunn's "Lines for a Book" is a lyric poem, but there is no sense of inwardness at all, no mystery emanating off of it. Gunn had little patience with anything that smacked of Romantic effluvia. As it happens, I lived around the corner from him for a time in San Francisco. With his heroic height and Spartan crewcut, his motorcycle boots and black leather jacket, he would have been menacing had he not been so disconcertingly courteous—the impeccable English accent helped—and kind. But still, Gunn savored places most of us would fear to enter, and when he wrote about "toughs," as he did frequently, he did so with the authority that comes from direct experience:
It's better
To be insensitive, to steel the will,
Than sit irresolute all day at stool
Inside the heart.
I don't know who Gunn was referring to here, but it might have been the great German Modernist Rainer Maria Rilke ("Everything is disappearing inward") or, more likely, the many American imitators who tamed his terrible Angels with teabag mysticism and predictable epiphanies. (To experienced readers, the end of "The Blessing" may seem a familiar move by this point, but it was shocking and radical when it was written—and the poem, for all its soft spots, retains an eerie, affecting power.) Gunn wanted to obliterate personality in his poetry; his great models were the poets of the English Renaissance. It was a directly opposite tack to that of the Confessional poets, whose perceptions had everything to do with the personalities from which they emanated. Sylvia Plath is thought of as one of the first Confessional poets, but this is not really accurate. With her extreme staginess, the blurred sense of self and speaker, the carefully projected hysteria, her work, in terms of how much personality is in play, actually has more in common with Gunn's than with the Confessional poets she is thought to have spawned. James Wright's "The Blessing," on the other hand, for all of its apparent focus outward, is a poem in which you can not only feel a distinct personality (tender-hearted, mystically inclined) but its absolute necessity to the effect of the poem. Others in the book include the William Matthews and Mary Karr poems I've already mentioned. The speakers of these latter poems are like lively, idiosyncratic, first-person narrators of good novels—with all the rewards and limitations thereof.
A writer who grows up in a bookless culture—"the folk from whom all poetry flows," as Lorine Niedecker puts it, "and dreadfully much else"—will always be torn by conflicting impulses. On one hand, the Culture she acquires—she will always think of it with a capital C—separates her from the culture in which she was raised. On the other, everything in her that might animate her intellectual acquisitions is rooted in the world she has left. The novelist and poet (and frequent Poetry contributor) Reynolds Price once spoke of the terrible risk a writer takes by uprooting herself from her native place. But it's also a risk not to leave, as it sometimes requires distance to clearly see the place—James Joyce's Ireland, say—in which one came to consciousness.
The anthology begins with a famous little poem by the consummate Modernist Ezra Pound, who left Hailey, Idaho at the age of eighteen and spent his life acquiring world culture with an assiduity that was as impressive as it was impossible, like a python trying to swallow a camel. The anthology ends with a late poem of W.B. Yeats, who certainly didn't grow up in a bookless culture (his father was a famous painter) but nonetheless felt the tension between his literary aspirations and his geographical inspirations. Though he was a fixture in literary London for decades, and though his international voice and acclaim eventually brought him a Nobel Prize, Yeats remained staunchly connected and committed to Ireland, even if that Ireland was in part a dream. "The Fisherman," one of the most beautiful poems Yeats ever wrote, captures all the simplicity and complexity of this relation:
Maybe a twelve-month since
Suddenly I began,
In scorn of this audience,
Imagining a man,
And his sun-freckled face
And gray Connemara cloth,
Climbing up to a place
Where stone is dark with froth,
And the down turn of his wrist
When the flies drop in the stream—
A man who does not exist,
A man who is but a dream;
And cried, "Before I am old
I shall have written him one
Poem maybe as cold
And passionate as the dawn."
Every poem in The Open Door is situated somewhere on this spectrum between life and learning, between linguistic powers honed to surgical precisions and the messy living reality out of which all language, if it would stay alive, must be rooted.
For if it is true that the closer bound the artist is to his community the harder it is for him to see with a detached vision, it is also true that when he is too isolated, though he may see clearly enough what he does see, that dwindles in quantity and importance.
This authoritative quote from W.H. Auden is illuminating, useful, and wrong. It expresses (more succinctly) some of what I've said above, but it hasn't (and how could it?) taken into account what the word "community" might mean and how our notions of that would change over the years. Adrian Blevins might not speak for a community bound by highways and mores, but the one she does speak for in "How To Cook a Wolf"—"the dumbstruck story of the American female"—is considerably larger. Rae Armantrout—whose entire work, by the way, might be read as an acerbic reaction to, or defiant expansion of, lyric poetry—also addresses or mirrors our worries of community, in this life and the next, and with a dash of weird and welcome humor that might make you underestimate her seriousness:
Hectic and flexible,
are ideal
new bodies for us!
For all the canons and anthologies, for every rock-solid reputation and critical consensus, poetry is personal or it is nothing. That is, until a poem has been tested on your own pulse, to paraphrase John Keats, until you have made up your own mind and heart about where you stand in relation to it, and it to you—until this happens, all poetry is merely literature, all reading rote. It's true that some people are better readers of poetry than others; that some people's judgment matters (for the culture as a whole) more than others; that, just as with music or art, there are elements of craft and historical perspective essential to being able to formulate a meaningful response. But still: poetry is made up of poems, and poems repulse and entice in unpredictable ways, and anyone who reads independently and spiritedly is going to carry an eccentric canon around in his head. This is half the fun of it all.
Reading through a hundred years of Poetry, week after week of issue after issue, some forty thousand poems in all, Don Share and I, when we weren't rendered prone and moaning, jolted back and forth between elation and depression. Here's a hundred pages of work by a Pulitzer Prize winner, whose poems, just a couple of decades after his death, feel ambered in a dead idiom. Here's two hundred pages of poems that stirred contemporaries to comparisons of Shakespeare, without one moment now that seems fresh, necessary, worth saving. Here's poet after poet whose names you've never even heard, some with lines that leap up out of poems like the limb of a prodded lab frog, then flop back down in the cold poems to which they are ineluctably bound. On the other hand, here's Josephine Miles, whose work I'd never even paused over, and the irascible, irrepressible Paul Goodman, and James Laughlin with his wonderful winking ambition to be nothing more than a footnote, perhaps in "the Obloquies of//Dreadful Edward Dahlberg." Or Dahlberg! How badly we wanted to include his weird prose piece titled—aggressively, no doubt—"Five Poems." "My friendship with Dahlberg," Fanny Howe writes in Poetry half a century later, after giving a heartbreaking sense of the man's volatile intensity and prophetic authority, his absolute seriousness of purpose, "ended bitterly. He chased me around his apartment on Rivington Street with his pants down." And that's how it is, this life in poetry, the pathos mixed right in with the bathos, the heroic sense of purpose with the pathetic pull of circumstance. "What do you do," asks the man on the airplane, and for a moment every American poet pauses as one, feeling that face-off between spiritual integrity and social insecurity. And that's sort of what we feel too, Don and I, after being buried under a hundred years of poems. Humility, first: to think of all the lives behind this work, and the element of chance that has made us, for a moment, the judges of it. And pride: to be a part of it, to have our own lives so richly entangled.
This essay is an edited version of the introduction to The Open Door: 100 Poems, 100 Years of Poetry Magazine, published by the University of Chicago Press.
Poet, translator, editor, and essayist Christian Wiman was raised in West Texas and earned a BA at Washington and Lee University. A former Guggenheim fellow, Wiman served as the editor of Poetry magazine from 2003 to 2013. He received an honorary doctorate from North Central College. Making use of—and at times gently disassembling—musical and...
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text: For Men How to make women notice you more ByWhy Failed Relationships Staff Published on August 2, 2018 Share Tweet Comment Share this:Click to share on Twitter (Opens in new window)Click to share on Facebook (Opens in new window) Related Continue Reading You may also like... 5 Irresistible Ways to Flirt With Men (⚠ use #4 carefully!) (Matthew Hussey, Get The Guy) 5 Things Girls Hide When in A Relationship What Words Can You Say to Her? Arousal VS Attraction Click to comment Leave a Reply Cancel reply Your email address will not be published. Required fields are marked *Comment Name * Email * Website Notify me of follow-up comments by email. Notify me of new posts by email.

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text:
Our shop sells beauty products for professional shampoo and Japan-made high-quality.
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text:
Austin man makes Texas 10 Most Wanted
Mark Steven Bauman, 50, has been added to the Texas 10 Most Wanted Sex Offender list with a reward of $3,000. In 2002, Bauman
He was last seen in the Austin area in the summer of 2010 and has strong
ties to Mexican and Central American immigrant communities in the
Austin area.
speaks Spanish fluently, and in the past has used Spanish-language
matchmaking web sites to meet women. He may currently reside in Mexico, Guatemala, Honduras or Colombia; however, anyone with a tip that leads to his arrest, inside or outside of the U.S., will receive the reward money.
1997 and 2005, Bauman was arrested several times on various offenses,
including alien smuggling, theft of property, bad check issuance-child
support and sexual assault of a child. The last arrest stemmed from the
2002 incident.
In 2006, Bauman traveled for a week, on two occasions, to Guadalajara, Mexico. In January 2007, a woman traveled from Guadalajara to Texas to accuse him of sex-related crimes. In March 2007, Bauman's parole officer reported that he had gone missing. The Austin Police Department
subsequently issued four warrants for his arrest, including possession
of child pornography, improper photography or visual recording, failure
to comply with sex offender registration requirements and probation violation (original offense: sexual assault of a child).
These warrants were later turned over to the Travis County Sheriff's Office.
In May 2007, the U.S. Marshals issued an additional warrant for
Bauman's arrest for unlawful flight to avoid prosecution. In December
2010, a federal warrant was issued for his arrest for failure to
register as a sex offender.
is a white male, 5 feet 11 inches, 170 pounds and has used the aliases
Mark Stephen Bauman, Marcos Bauman and Stephen Bauman. He should be
considered armed and dangerous.
Please review Bauman's bulletin by clicking on the following link for his entire profile. http://www.txdps.state.tx.us/wanted/sexoffenders/topTenSexOffenders.htm#;view=Individual%20Details/fugitive=7
Anyone with information on these offenders can provide anonymous tips in three different ways:
· Call the Crime Stoppers hotline at 1-800-252-TIPS (8477).
· Text the letters DPS—followed by your tip—to 274637 (CRIMES) from your cell phone.
· Submit
a tip through the DPS website by selecting the sex offender you have
information about, and under their picture is a link to submit a web
The 10 Most Wanted Sex Offenders are available on the DPS website at http://www.txdps.state.tx.us/wanted/sexoffenders/topTenSexOffenders.htm# and have last known addresses in the following cities:
- Houston (3)
- El Paso
- Austin (2)
- Lufkin
- Grand Prairie
- Whitney
Texas 10 Most Wanted Sex Offenders program identifies violent sex
offenders who have either violated parole or failed to comply with sex
offender registration.


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Sunday May 19, 2019; 01:24 pm EDT
Pork joins the proteins at Noodles
This month, Noodles & Company at the Westfield Mall in Annapolis is launching a new protein: pork. Founded in 1995 and based in Boulder, Colorado, this fast-casual chain features a variety of noodle-style dishes: Mediterranean, American and Asian. You customize your meal, choosing small or large portions, adding a meat or tofu and soup or salad. Each addition adds calories and price.
The selections are vast for satisfying different tastes. The new slow-braised, "natural" pork is moist and perfect for barbeque, with or without sauce. Pulled pork can be added to regular menu items such as Japanese pan noodles, pasta fresca or buttered noodles. Two new entrees also showcase the other white meat. Barbecue mac and cheese is comfort in a bowl, with cheesy noodles, fried onion straws and a mound of pork topped with sauce. The pepper pork sandwich combines coleslaw, pork and sauce on ciabatta bread, making a hearty lunch at less than half the calories of the pork mac and cheese.
While part of a chain of more than 300 restaurants, Noodles & Company makes community outreach part of its mission, offering fundraising opportunities for local schools and groups. As part of the Pork Launch, the Annapolis restaurant enlisted the Broadneck High School Marching Band, which performed on October 15. The band earned a $200 grant and $1 per pork dish sold during their two-hour performance.
Category 3 Tony Chicken and Waffle Pannwich Challenge
In other fundraising news, The Breakfast Shoppe in Severna Park begins a belly-busting food challenge Monday, October 22: the Category 3 Tony Chicken and Waffle Pannwich Challenge. Named for WBAL meteorologist Tony Pann, who will report live from the restaurant Monday for the kickoff, this monster sandwich includes six pieces of fried chicken, eight pieces of bacon, six pieces of pepperjack cheese and gravy, all stacked between two full-size bacon waffles.
The challenge continues through year's end to help support 11-year-old Ava Conklin in her recovery from a debilitating brain tumor.
Donate $35 or more and chow down. Clean your plate in 40 minutes or less, and The Breakfast Shoppe will match your donation. Register and learn more about Ava at The Breakfast Shoppe.
Zagat Annapolis Bests
Last week, Zagat released its 2013 DC/Baltimore restaurant reviews. Three restaurants were listed in the Best of Annapolis area: Osteria 177, Vin 909 and Lewnes. Miss Shirley's (multiple locations, including Annapolis) was named Best Traditional American in the Baltimore area.
Best of the Bay
Vote for your favorite restaurants in Bay Weekly's Best of the Bay readers poll. Ballots are available on-line or in the paper through November. Winners announced in December 27's edition of Bay Weekly.
Got a tasty tip for next week's Dish? Email Lisa Knoll at [email protected]


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Since I don't have to be back at school until January 3rd, it is time to write some code. I want to write a "Bachelor shopping list." This program is for people who discover food packages they like at a market. Then they could record what it is and where they got it and when it is a good choice.
For example I bought something called Chicken Minestrone from Bertolli. It is frozen from Trader Joe market. I did not know until after I tried it, if I would like it. After I did, I want to remember it. So a program that can hold the camera phone picture of the package and info about where I got it would be ideal.
I keep planning to go to a conference or computer expo and demonstrate writing a full application using Erdialog in under 30 minutes. But I am afraid if I tried, the Hubris Gremlin would sabotage it. OK, I will start coding now!


text:
Exclusive preview: BMW 2 Series Active Tourer
* Be first to see BMW's all-new compact MPV * BMW's rival to Merc B-Class and VW Golf SV * Apply to join us on Wednesday, May 14...
The BMW 2 Series Active Tourer is a new compact family car that promises great practicality. It's BMW's first ever front-wheel-drive car and first ever MPV-style vehicle.
The Active Tourer will be a rival to cars such as the Mercedes B-Class and forthcoming VW Golf SV, and What Car? is inviting you to be among the first to see it at an exclusive preview event.
If you're in the market for a compact, practical car with a premium badge on the front, the 2 Series Active Tourer should be right up your street. If you're available to join the What Car? Reader Test Team in Middlesex on Wednesday, May 14 from 2-4.30pm, get in touch now.
To apply to join our exclusive preview event, please include the following information and email it to email@example.com:
- Your name
- Your age
- Your mobile phone number
- Your occupation
- What car you currently drive
- Where you'll be travelling from on the day
- Why you want to see the new BMW 2 Series Active Tourer
- Where you first heard about this event (Twitter, Facebook, word of mouth, whatcar.com or elsewhere)


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by Angela
I recently hosted a wine tasting for a liquor store and I noticed a champagne bottle in the beer section. I asked about it and the beer distributor told me that it was the Sam Adams Infinium Ale. It's a premium beer that was collaborated between Sam Adams Boston Beer Company and the Bavarian State Brewery Weihenstephan (world's oldest Brewery).
When you peel back the wrapper you'll notice that it has a champagne cork that you open very carefully like a champagne cork. A crisp champagne-like beer with tiny bubbles and a fruity aroma tastes more like a champagne or wine. It has a hint of citrus, pear, and apple taste with a subtle dry taste of hops. The golden amber color has tiny bubbles that makes you want to stare at it for hours. Malt, hops, alcohol, and acidity are a perfect balance, there's nothing that I would change about this perfect champagne beer.
Infinium is a drink that beer drinkers and wine drinkers can enjoy together. But there's only one catch, drink it while it's still on the shelves and it's only drinkable till July of this year.
Wine Competitions Wine Book Club (WBC) Wine Judging Reviews Readings Whiskey Watch France Games Weblogs Wine Clubs Books RIP Repost WBW #65 Wine Glossary Wine Maps TasteCamp Web/Tech Marketing Uncategorized Legislation Recipes Florida Recession Wine Meet the Winemaker Greatest Hits Drink Pink! (BCRF) Holiday Current Affairs Television Spirits Photos Wine Shop Wednesday Contests Scotch & Whiskey History Disney Wine Tech Food and Wine Pairings Mad Men Monday Guest Writers Pop Culture Food and Drink Wine Blogs Knowledge Entertainment Dinner and Drinks Life Charity Benefits News Beer-Guy.net Special Events Beer WBW Local Wineries Cocktails Wine Shops Restaurants Travel Wineries Wine Notes Wine Events Weekly Cincinnati Wine Events Wine Misc Local Tastings Cincinnati
Krystal Pepper Memorial Scholarship Fund
Raising money for a scholarship fund in memory of Michelle's little sister who passed away in 2007


text:
Portuguese(ish) sweet rolls
Hi all. This is my first post.
I baked these and I thought they turned out pretty good, except for a little bit of excessive browning on top. I will probably tent next time.
A few additional pictures:
60g balls
After a long rise. I didn't actually intend for these to be pull-apart rolls.
Crumb shot


text:
Windsor resident Tobi Snyder, back, poses next to the Buckhorn Northern Railroad train at North Lake Park on June 2, 2011 with her sons, front from left, Logan, 9, Nathan, 5, and Lucas, 7.
Author Becky Due poses for a photo with her sidekick Shorty Friday at her Loveland home.
Cadet Senior Airman Julia Bailey, 17, of Fort Collins and Cadet Chief Master Sgt. Jacob Schafer, 14, of Loveland practice at Spring Canyon Community Park in Fort Collins with other members of the Thompson Valley Squadron of the Civil Air Patrol for an upcoming national drill team competition in Dayton, Ohio.
Cadet Capt. Skylar Caldwell, 18, right, leads the Thompson Valley Eagles Drill Team in a standard drill as the team practices together Thursday at Spring Canyon Community Park in Fort Collins in preparation for an upcoming national competition in Dayton, Ohio.
A 5-foot-by-7-foot portrait of Jesus Christ by artist Enrique Chagoya is displayed onstage at Resurrection Fellowship, 6502 E. Crossroads Blvd., in Loveland, Colo. after being unveiled during a service June 18, 2011.
Loveland, Colo. resident Ethan Rosier, 13, uses his cell phone to take a picture of a painting of Jesus Christ by artist Enrique Chagoya that was unveiled during a service at Resurrection Fellowship, 6502 E. Crossroads Blvd., in Loveland on June 18, 2011.
Resurrection Fellowship senior pastor Jonathan Wiggins speaks to members of the church after the unveiling during a service at the Loveland, Colo. church June 18, 2011 of a 5-foot-by-7-foot portrait of Jesus Christ by artist Enrique Chagoya. Chagoya was the artist whose work touched off days of protests and a violent act of vandilism in Loveland last fall.
Lydia Lesser, center, who turns 100 on Monday, shares a laugh with guests during a birthday party for her on Saturday at her Loveland home. From left are great-granddaughter Mallory Leach, 16, Bonita Ekx, Lesser, and Arlene Ream.
Loveland Coffee baristas Desiree Trebilcock, left, and Haley Severtson assist Michael Dempsey as he orders a coffee Friday afternoon at the shop located at 620 E. 29th St.
Loveland Coffee barista Haley Severtson prepares a skinny latte for a customer Friday at the coffee shop located at 620 Ea. 29th St.
House of Neighborly Services volunteer Luke Gates, 14, left, and food room assistant Joanna Perciante sort Thursday through boxes of food that was donated as part of the Have a Heart food drive.
Loveland residents Cameron Hutson, 9, left, Jenny Hutson and Connor Hutson, 5, stand together outside Resthaven Cemetary holding an American flag as the funeral procession for Chief Warrant Officer Kenneth White passes by them.
A hearse carrying the body of Chief Warrant Officer Kenneth White enters Resthaven Cemetary on Wednesday afternoon. White, 35, died in a helicopter crash June 5 in Khost province, Afghanistan. He was assigned to the 1st Battalion, 10th Aviation Regiment, 10th Combat Aviation Brigade, 10th Mountain Division, Fort Drum, N.Y.
Joyce Honea, back left, looks on while her two-year-old grandson Timothy Baker dashes around while playing during a Community Night Out event on Wednesday evening at a home in the 900-block of Logan Court. Loveland Police Officer Jim Betrus, middle, chatted with residents of the neighborhood at the gathering and answered questions during his visit.
Darlene Oliver with team Duck Cancer participates in the Relay for Life on Saturday at The Ranch. (Photo by Gabriel Christus)
Cynthia Clause takes a swing at the Smash Cancer truck Saturday during the Relay for Life event at The Ranch. This was one of the many fundraisers there to help raise money to find a cure for cancer.


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(The Root) — This image is part of a weekly series that The Root is presenting in conjunction with the Image of the Black in Western Art Archive at Harvard University's W.E.B. Du Bois Institute for African and African American Research.
In May of 1861, a strikingly original painting was exhibited at the annual show of the Royal Academy in London. The artist, Eyre Crowe, presented the public with a candid vision of the institution of slavery in the United States: A group of eight black women and young children sit within the dusky interior of a slave sale room. At right, a man is seated separately, his arms tightly folded, with a sober, even angry, look on his face. Behind the main group stands the auctioneer, who looks toward the doorway at the left. Three men have stopped there and seem to be discussing their prospects within. Outside flies a red flag, always put out when a slave sale was proceeding.
Crowe was still relatively little known in London art circles when this picture was exhibited, but he had published several other images related to slavery in the British popular press, as well as another painting showing slaves being transported to their new owners by rail. All of these images were based on his direct experience of the "peculiar institution" gained as an assistant to the popular British author William Makepeace Thackeray on an extended speaking tour along the Eastern Seaboard of the United States in 1852-53.
Along the way, he made sketches of his travels. Supplemented by notes from a diary kept during the trip, these formed the basis for a vivid impression of North-South distinctions in the former colonies just before the Civil War. While Thackeray maintained a reserve discrete from the slavery question, Crowe explored it with keen interest.
Fired by his reading of Harriet Beecher Stowe's just-released Uncle Tom's Cabin, and having seen advertisements for slave sales in the Richmond, Va., paper, on the morning of March 3, 1853, he ventured into two of the many slave-auction rooms along Wall Street. In the second one he sketched the scene he would later work up as the finished painting shown in London. His effort to record such a sensitive subject caused a stir in Richmond, one smoothed over with some difficulty by Thackeray and local acquaintances before the two left Richmond to continue the tour farther south.
Critics are unanimous in pointing out the remarkably individual characterization of these slaves. The work, Slaves Waiting for Sale: Richmond, Virginia, is also arresting because of the almost prequel quality of the moment, a state of awful suspense before the animated bidding begins, a process that will irrevocably alter the lives of these individuals. The slaves are relatively well dressed but in tellingly similar fashion, denoting their servile status. The clothing is intended simply to enhance their sale value and was picked up in nearby shops that catered to the trade.
Despite this artfulness on the part of the sellers, the nature of those on sale as real people is entirely evident. This contrast between appearance and reality shocked viewers of the exhibit. Discerning critics singled it out not only for its realism but also for the artist's effective use of sentimentality, not at all a pejorative judgment for the time, and a quite useful tactic for engaging the public's sympathies.
While viewing Crowe's painting at the Royal Academy, some visitors may have recalled a reduced version of the scene, showing only the group of women and children, which had been reproduced as a wood engraving in the Illustrated London News several years before. There, the faces are rendered quite differently, essentially as caricatures in a manner similar to Crowe's original on-site sketch of the event.
For the finished painting, then, Crowe was aiming at a different impression, a more nuanced treatment of the subject intended for a more discerning audience. He has moved beyond mere reportage to produce a kind of historical document with an appropriate quality of gravitas. By avoiding stereotypes and the obvious, at times patronizing, symbolism of abolitionist imagery, he could most effectively bear witness to the fundamental horror of slavery.
There is no record of the whereabouts of Slaves Waiting for Sale between its exhibition at the Royal Academy in 1861 and its appearance on the art market in the mid-20th century. For several decades it has been in the collection of the Heinz family. It is again on public display, as part of a long-term exhibition, "From Slavery to Freedom," at the Heinz History Center in Pittsburgh.
The Image of the Black in Western Art Archive resides at Harvard University's W.E.B. Du Bois Institute for African and African American Research. The director of the W.E.B. Du Bois Institute is Henry Louis Gates Jr., who is also The Root's editor-in-chief. The archive and Harvard University Press collaborated to create The Image of the Black in Western Art book series, eight volumes of which were edited by Gates and David Bindman and published by Harvard University Press. Text for each Image of the Week is written by Sheldon Cheek.
The Image of the Black Archive & Library resides at Harvard University's Hutchins Center for African and African American Research. The founding director of the Hutchins Center is Henry Louis Gates Jr., who is also chairman of The Root. The archive and Harvard University Press collaborated to create The Image of the Black in Western Art book series, eight volumes of which were edited by Gates and David Bindman and published by Harvard University Press. Text for each Image of the Week is written by Sheldon Cheek.


text:
The European Hegemony was a somewhat loose alliance in the European region on Earth formed in the early 22nd century. Jean-Luc Picard described the Hegemony as one of the first steps toward a United Earth government, which was founded in 2150. By the 24th century, the Hegemony no longer existed. (TNG: "Up The Long Ladder", "The Price", "Attached")
A distress call in common use by the European Hegemony between 2123 and 2190 was sent from the Ficus sector by the Bringloidi, and was received in 2365 by Starfleet. (TNG: "Up The Long Ladder")
See alsoEdit
External link Edit
- European Hegemony at Memory Beta, the wiki for licensed Star Trek works


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California Department of Transportation
March 24, 2011
District 06 - Fresno
Contact: Jose Camarena,
Phone: 559-488-4067
Fresno–The California Transportation Commission (CTC) today allocated $101 million in funding to 90 projects to improve transportation statewide.
"From one end of the state to the other, transportation projects are providing jobs and improving mobility for people and businesses in California," said Caltrans Director Cindy McKim.
Highlights of the local project allocations include:
- An off-ramp widening and intersection lighting project along State Route 198 in the City of Visalia, from the Conyer Street Overcrossing to west of the Watson Street intersection that will reduce congestion and increase overall safety for local traffic.
- Near the city of Tulare on State Route 99, at Avenue 200 Overcrossing, a bridge improvement project to replace existing deck and upgrade metal beam guardrail.
The CTC also approved the first phase of the Interstate 805 Managed Lanes North in San Diego County as the ninth design-build project under landmark state legislation
(SBX2 4) signed in 2009. The legislation provided for a pilot program for the design-build method of procurement, which combines both design and construction into one contract to expedite the construction process and potentially reduce project costs.
The I-805 Managed Lanes North project will be built in five phases at a cost of approximately $615 million. Caltrans anticipates the project will be completed nine months earlier using design-build. The expedited construction schedule will bring more jobs to San Diego County sooner than expected.
For information about all projects that received allocations please visit:
# # # #


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Whether you're hosting a graduation party or treating the hard-working grad to a sweet surprise, now's the time to get shopping for graduation goodies. And, just in time for the big day, we've given a whole host of our gourmet favorites a special graduation twist.
Calling all chocoholics! We've got chocolate graduation gifts galore, including delicious chocolate cookie assortments, decadent truffle selections, and, of course, our signature hand-dipped chocolate berries and cherries. The perfect sweet treat with a delicious fresh and fruity flair, they're guaranteed to satisfy any hungry grad's appetite.
Can't be with your grad to celebrate their special day? Send graduate gifts like our wonderful graduation cookie bouquets or cookie assortments. Opt for one of our cookie gifts featuring an array of either hand-decorated or traditional chocolate chip, peanut butter or oatmeal raisin cookies delivered right to your front door.
Or, help them feast this special milestone in their life with one of our extraordinary gift duos. From graduation flowers and chocolate covered strawberries delivery to cheesecake and chocolate-covered strawberry duos, we offer plenty of delicious to celebrate the graduate and his or her achievements. And of course that includes our many flavorful delights like chocolate covered pretzels and caramel apples.
In fact, many of our special gifts for graduates offer a tasty twist. Just take a look at our scrumptious graduation strawberries and graduation brownie cake pops. They're the perfect bite-sized dessert treats for any graduation party
You'll also discover a luxurious bakery line-up of perfect celebration cake delivery. And if you're hosting that special post-graduation ceremony get-together, you'll want to check out our sumptuous European bakery style delights. The chocolate lover is certain to appreciate rich three-layer chocolate cakes, while the traditionalist will find frosted carrot cakes a sheer delight. If you're a recent graduate, show your appreciation to all of those who helped you along the way with some great thank you gifts.


text:
by George Zamora
SOCORRO, Feb. 23, 2004 – The Albuquerque Academy continues to fill its trophy case with yet another first-place trophy won at the 18th annual New Mexico Science Olympiad, which was held this past Saturday on the New Mexico Tech campus.
The Albuquerque Academy, a perennial winner at the statewide academic competition, again took first place overall in the high school division, while Hofacket Mid-High School from Deming, N.M. placed first overall in the middle school division.
The middle-school team from the Albuquerque Academy finished second in its division, while Roswell High School garnered second in the high school division.
In addition to the first-place trophies and numerous medals the science champions amassed, Albuquerque Academy and Hofacket Mid-High School also won rights to represent New Mexico at the National Science Olympiad on May 21-22 at Juniata College in Huntingdon, Pennsylvania.
More than 800 student "intelletes" representing 25 middle schools and 25 high schools from throughout New Mexico gathered on the university campus in Socorro to compete in 40 spirited mental workouts—all of which required massive amounts of brain power, motor skills, teamwork, and imagination . . . not to mention months of planning, practice, and fine-tuning.
During the daylong event, teams of Science Olympians dropped raw eggs from tall buildings, launched rockets propelled by compressed air and water, built Rube Goldberg contraptions, and constructed efficient boomilevers, bridges, and robots in a quest for Olympic-style medals and the chance to represent the state at the national competition.
Division C:
1) Albuquerque Academy (394 points)
2) Roswell High School (383 points)
3) Socorro High School (355 points)
4) Gadsen High School (328 points)
5) Goddard High School (324 points)
6) Deming High School (310 points)
7) New Mexico Military Institute (275 points)
8) Sandia High School (273 points)
9) La Cueva High School (260 points)
10) Lovington High School (254 points)
Division B:
1) Hofacket Mid-High School (389 points)
2) Albuquerque Academy (367 points)
3) Sidney Gutierrez Middle School (346 points)
4) Wilson Middle School (324 points)
5) Cloudcroft Middle School (322 points)
6) Lovington Middle School (319 points)
7) Kirtland Middle School (293 points)
8) Madison Middle School (291 points)
9) Taylor Middle School (291 points)
10) Mesa Middle School (278 points)


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The legal procedure of adopting a child has now become a very common incident across the entire world. Adoption leads to parentage and thus enriches the childhood of an entity. Genealogically its importance can never be ignored. Adoption records search engine of Taylor County, West Virginia thus marks the significance of a successful online history canvass.
The Taylor County public adoption data site of West Virginia is expedient and fast with statistics on origin and birth certificate numbers, divorce decree, death and burial news, land assessment and property allocation deeds, ancestral SSN including alpha-numeric codes used for tracking individual for security reasons as well as census details with naturalization and immigration particulars, marital status, World War I & II and American civil wars data, military duty and enlistment history with grade and entity details, civil lawsuit information and last will and estate rights along with other legal and guardianship documents at an instant online.
Apart from these one can also achieve other details like details about the occupation of the adoptive parents, adoptee and adoptive parents, age at the time of adoption, registration details, date and place of adoption, adoption and adoptee particulars including inheritance rights, citizenship, race, gender, guardianship specifics, maiden name of the birth mother (if permissible) and the likes.
To obtain the West Virginia Taylor County Records, please provide the information below. When you fill-up the form, make a note : The more fields you fill in, the more detailed result you will get.
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This one has some pre-production Ahrens dropouts with Bronze faces. I like the look and also the promise of durability.
Most of this frame is NOS Easton Elite 7005 and it feels pretty light, probably a little less than 3 lbs. I didn't get a chance to put it on the scale before boxing it up to ship tomorrow morning.
The color is unusual, probably a first for me....it's kind of a 'dirty' gray. It will be really distinctive out there with all the bright colors that are so popular these days.
I gave the customer one of the team issue gold seat collars......not many of those exist.
Tuesday, February 28, 2012
Single speed CX race frame for So-Cal.
Posted by swiggco world at 6:41 PM
1 comment:
- Alex said...
I like the grey with black/white decals. Leave the fluros to the euros I say :)
- March 1, 2012 at 9:55 AM
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text:
(written from a Production point of view)
Actor Jeff Kober (born 18 December 1953; age 65) is best known for his role as Sergeant Evan "Dodger" Winslow on the Emmy Award-winning television series China Beach, in which he co-starred with future Star Trek: Voyager star Robert Picardo from 1988 through 1991. Ten years later in 2001, he and Picardo again appeared together in the Voyager episode "Repentance", in which Kober played the role of Iko. The following year, Kober appeared as Traeg in the Star Trek: Enterprise episode "Shadows of P'Jem".
The year before China Beach debuted, Kober had a supporting role in the made-for-television movie Laguna Heat. Co-starring in this film were Catherine Hicks and Peter Brocco. In 1988, besides starring in China Beach, Kober had major roles in three feature films: Viper, Lucky Stiff (co-starring W. Morgan Sheppard, Leigh J. McCloskey, Bill Quinn, and Larry Cedar), and the popular science fiction film Alien Nation (also featuring Brian Thompson, Frank Collison, Tom Morga, Leslie Bevis, Roger Aaron Brown, Earl Boen, and Keone Young).
Kober has had steady work on television since China Beach came to an end, having made several guest appearances on the series Walker, Texas Ranger and Buffy the Vampire Slayer (working with Dominic Keating and Harris Yulin in the latter) and starring in the short-lived TV series Higher Education and Kindred: The Embraced. He has also appeared in several films, including 1995's Tank Girl with Reg E. Cathey, Ann Cusack, Charles Lucia, Malcolm McDowell, Lori Petty, and Iggy Pop, 2002's Enough with William O. Campbell, Bill Cobbs, Bruce French, and Sandra Nelson, and 2003's A Man Apart with Thomas Kopache and Charlie Curtis. He most recently made an appearance in the 2004 adventure Hidalgo, also featuring Malcolm McDowell. Kober later appeared in the multi-award winning 2006 independent short film Lucid and was more recently seen in the 2007 horror sequel The Hills Have Eyes II, co-starring Michael Bailey Smith.
He also recently had a small but important guest role on the series 24 playing the assassin who kills former President David Palmer. His "Shadows of P'Jem" co-star Gregory Itzin was a regular on that show at the time, as were Jude Ciccolella and Roger Cross. Kober's most recent appearance on television was in the "Folsom Prison Blues" episode of the series Supernatural as the inmate Randall. Kober was next seen in a film called Multiple, in 2007.
Gallery of appearances Edit
External links Edit
- Jeff Kober at Wikipedia
- Jeff Kober at IMDb


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Understanding Your Prescription
Expert Pharmaceutical Tips:
- Maintain physical activity
- Keep on track with treatment
- Watch the starches
Questions for the Pharmacy Expert:
How do I transfer my prescription in?
There are now a number of ways to transfer your prescription into the pharmacy the easiest way is to phone directly.
Should I be concerned about the listed side effects of my prescription?
You should always be aware and conscious of the potential side effects of your prescription that is why we take the extra minute to provide you with knowledge to protect yourself.


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KEARNS — Frustration was evident on Brittany Bowe's face as she skated toward her coach after a miscue with another skater cost her time and a likely podium finish at the World Sprint Championships on Sunday afternoon.
"I had a decent opener and my first lap felt really good," said Bowe, a former in-line skater who took up long track speedskating last year. "It was the fastest lap I've had in competition thus far and going into that out lane, after the finish line, I was still picking up speed and carrying my speed really well." That's when the only other athlete on the ice, Karolina Erbanova, crossed in front of her, essentially cutting her off as she moved from the inside to the outside lane.
"I kind of had to pull back and stand up a little bit," she said. "But that's racing. ... It's really unfortunate, and I'm upset about it. But at the same time, I've got to be happy for my teammate because she just won the overall World Sprint Championship."
Bowe was disappointed with her 10th-place finish in the 1,000 meters because she was on pace to match or beat her personal record of 1:13.68 — set yesterday when she earned a silver medal in the first 1,000-meter race of the World Sprint Championships at the Utah Olympic Park.
"It happens," said U.S. long track head coach Ryan Shimabukuro. "It wasn't the way she wanted to finish the weekend; we wanted to get her on the podium this weekend."
In fact, after finishing second in the 1,000-meter race Saturday, Bowe's goal of finishing in the top 10 overall changed to finishing in the top six.
So finishing eighth overall was suddenly a disappointment.
What mitigated the sting of Sunday's frustration?
Watching her friend and teammate, Heather Richardson, win the World Sprint Championship. This is the same teammate Bowe beat in the 1,000 meters Saturday.
"If anyone else was going to win it, I'm glad it was Heather," said Bowe with a smile that emphasized her sincerity.
This weekend proved that Bowe, a 24-year-old Florida native, is more than just another speedy skater. She showed she is resilient, grateful and the best kind of teammate.
Speedskating doesn't seem like much of a team sport, but both Bowe and Richardson said having great teammates, even in an individual sport, can make you better than you ever imagined on your own. Their coach said it is what makes the current long track team so special.
"It's awesome," he said of the chemistry between the two fastest U.S. female skaters. "They're very good friends, and they push each other daily in training. But it's not just them. We have a really good sprint team. ... It's a culture and an atmosphere they're able to thrive in. I'm very proud of our team — not just Brittany and Heather."
Both women said they would love the Olympic battle to come down to the two of them. "As much as people say it's individual," Richardson said, "we train together all the time."
Adds Bowe: "That would be nice. If anybody is to battle, it would be nice to have it be two Americans."
Bowe wasn't just a great teammate Sunday. She also showed why it's important for an athlete to be resilient.
No matter how prepared an athlete may be, some aspects of competition can't be controlled.
Richardson said she expected Bowe to bounce back because she was still one of the world's fastest women.
"That was really sad," said Richardson of the foul. "I'm sure she's upset, but I hope she stays mentally strong because yesterday she really had a breakthrough performance, and I think she could keep that up."
Seeing the silver lining was difficult to do so soon after the storm, but Bowe acknowledged it was there.
"I do feel like the momentum is going in the right direction," she said. "I do feel obviously like I would have liked to see where I would have finished in this 1,000 if we didn't have that little mix-up. But I couldn't have asked for anything more this weekend. Now it's time to get back to training and get ready for the World Cups."
She believes training with "arguably the fastest female in the world" will only help her put this latest disappointment in the rearview mirror.
"You can't get a better deal than that," she said smiling.
Twitter: adonsports
Email: [email protected]


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DANBURY, Conn.—UMass Boston men's tennis (3-5, 1-0 Little East) won six points in a row to cruise to their first-ever road victory over Western Connecticut State University (1-1, 0-1 Little East) Saturday afternoon at the Westside Complex.
Seniors Sean Cullen (Medway, Mass.), Charles Lai (Boston, Mass.), Eglis Bizhoti (Kucovë, Albania) and Mark Grinhaus (Scarsdale, N.Y.) each went 2-0 on the day to help the Beacons extend their winning-streak to three in a row. The victory also marked the Beacons' ninth-straight victory against Little East Conference competition.
Western Connecticut got off to a good start in the match, as Jason Hipona and Daniel Winter defeated Lyle Analetto (Belmont, Mass.) and Jack Wang (Suzhou, China) 8-3 at third-flight doubles.
That would be the last time the Colonials would lead though, as UMass Boston strung together six-consecutive points to earn the victory.
It all started at second doubles, as Bizhoti and Grinhaus knocked off Chris Turner and William Donahue by an 8-3 margin. Lai and Cullen gave the Beacons the lead for good at first-flight doubles, as the senior pair dominated Brian Bucknam and Ryan Klem 8-2.
Lai tacked on his second win of the day to start singles play with an impressive 6-0, 6-0 win over Turner at second singles.
Grinhaus quickly followed with a 6-1, 6-1 victory over Hipona to put the Beacons ahead 4-1.
The Beacons tacked on their sixth and final point of the day at top-flight singles. Cullen outlasted Bucknam 6-4, 7-6 (8-6) to help the Beacons earn the third victory in program history against Western Connecticut State (3-9).
Winter snapped the Beacons' run with a 7-5, 6-3 win over Analetto at sixth-flight singles. The Colonials closed out the match with one more victory, as Donahue took an 11-9 super tiebreaker in the third, to down Wang 3-6, 6-4, (11-9).
UMass Boston will return to action Wednesday when they begin a three-game home stand. The Beacons will host Wentworth Institute of Technology Wednesday at 3 p.m. in a match to be played at Curry College.


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Tekninen tuki
Tarvitsetko teknistä tukea tai ohjeita? Täältä löydät vastauksen useimpiin kysymyksiin.
Remedy for cracking sounds and noises
Noises can occur where parts join, for example on weld seams or screw joints. Carbon fibre frames might emit very loud noises, although these can normally be located and eliminated very quickly and easily.
1. Pedals
Disassemble the pedals and apply grease to the threads.
Picture 1 Re-tighten the pedals after the first ride. You need to check, if the screws of the shoe-cleats are tightened with the correct torque. Apply some grease to the cleats and replace worn out cleats at an early stage. If the pedals have screws, apply some grease to this contact point to avoid creaking.Picture 2
You need to replace worn out cleats at an early stage.
2. Quick Releases
Make sure that the quick releases are closed and tightened with sufficient force.
Picture 3 Make sure that through axles are correctly closed and greased.
3. Saddle and Seatpost
Check if the seat clamp is tightened with the correct torque. You should check as well if the seat post is sufficiently inserted into the seat tube. There should be enough grease on the post if frame and post are made of aluminium. If the seatpost or frame are made of carbon fibre, do not apply grease to either of these components. Instead, use carbon assembly paste.
You need to check the head of the seatpost as well.
Picture 4 Seatposts with a head made of titanium are liable to creaking sounds. You can prevent noises by spraying wax on this contact point.
4. Rear Derailleur Hanger
The rear derailleur hanger is often the source of noises. Dismantle the hanger and apply grease to the contact surfaces.
Picture 5
5. Cockpit
Check if stem, brake levers, and gear shifters are tightened with the correct torque. Only apply carbon assembly paste to parts which are made of carbon fibre.
Picture 6
If your shift cables are positioned inside the frame, there might be noise from the point where the cables enter the frame. Apply some grease to these contact points.
7. Bottle and Bottle Holder
Check if the bottle cage screws are tightened with the correct torque.
8. Chainring Screws
Check if the chainring screws are tightened with the correct torque as well.
Picture 7


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(CNN) -- Massimiliano Allegri paid the price for AC Milan's lowly position in the Italian Serie A table Monday when the club announced he had been sacked as coach.
Milan has finished first, second and third under Allegri in the last three seasons, but the seven-time European champions sit in 11th place after 19 games of the 2013-14 season.
Crucially, the Rossoneri lies 20 points adrift of Napoli in the third and final qualifying position for the lucrative European Champions League.
Sunday's 4-3 defeat to lowly Sassuolo, a match which saw Allegri's charges go 2-0 up early in the first half, proved to be the final straw for Milan, which is owned by former Italian prime minister Silvio Berlusconi.
As Allegri acknowledged on the club's official website after the defeat: "The only objective set since I've been here has been a top three finish and we're far away from that now."
An official club statement read: "AC Milan wishes to communicate that Massimiliano Allegri and his staff have been relieved of their duties with immediate effect.
"AC Milan would like to thank Mr. Allegri and his staff for their time with the club and wish them the best for the future.
"Coach Mauro Tassotti will take charge in the meantime of the team."
Although qualification for next season's competition looks unlikely, Milan still has a Champions League last 16 tie with Spanish high-fliers Atletico Madrid to look forward to.
Whoever replaces Allegri will be able to call on the services of Keisuke Honda, the Japanese playmaker who made his debut for Milan on Sunday after completing his transfer from CSKA Moscow.
Read: Real Madrid close in on Spanish leaders
Read: Man City back on top of EPL


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SOCHI, Russia (Reuters) - The United States kicked off their quest for the men's ice hockey gold medal at the Sochi Olympics with a 7-1 rout of Slovakia on Thursday.
The Americans, looking to improve on their silver from the 2010 Games, scored six goals in the second period to snuff out any hopes Slovakia had of pulling off an upset.
Slovakia, who made an unlikely run to the bronze medal game in 2010, made a decent start and drew even at 1-1 with a goal 24 seconds into the second period.
However, they were unable to keep pace with the Americans, who responded with a goal a minute later before pulling away to complete the rout ahead of the intermission.
Reporting by Frank Pingue; Editing by Peter Rutherford


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Previous / Next
Campaign from Nossa, Lisbon for Bertrand, the most historical and the oldest bookstore in Portugal. Bertrand organized two special actions dedicated to two authors: Jorge Luis Borges and Vergílio Ferreira. During these actions, there were great discounts on all the books of the writers, reading sessions and debates about them.
Advertising Agency: Nossa, Lisbon, Portugal Creative Director: Nuno Cardoso Art Director: Tiago Prandi Copywriter: Rui Simões Illustrator: Andre Kano Account manager: Rita Fialhovia adsoftheworld.com


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Can Warren Hellman Save Journalism?
It's an unusual experience to go to a meeting and afterwards read not one but two reasonably accurate reports about what happened there. But since the one I went to on Friday was the latest installment in the ongoing saga of The Future of Journalism, it's not surprising that at least two accounts were online before two sunsets had passed.
There have been many stories told in various places about what's happening with Warren Hellman's media baby, born as the Bay Area News Project but recently rebaptized as the Bay Citizen. I took my little spiral reporter's notebook to the meeting which they hosted for a few of the Bay Area's many blogs and online news organs, but I don't think I can improve on these two renditions.
One is the straight dope on what happened, with just the right edge of snark, written as a blog for SF Weekly by Lois Beckett. It's surprising to see something so good in the often awful SF Weekly, and it's even more surprising when you google the writer's gold-plated bio (Exeter, Harvard Crimson, Nieman award, yadda yadda.)The journalism market is in a sorry state indeed if this is the best job she can get.
And the other one's a satiric column, on the Smirking Chimp site, from Bob Patterson, an old-timer who's been around more than one block—you'd think there would be a solid job for someone with his experience too, but no more, no how.
I will say that as a person with some business experience I was not one of those whose eyes sparkled when 25 bucks was mentioned as the—let's just call it an honorarium—for the right to re-publish content on the Bay Citizen site and even in the New York Times.
Bob raised a valid question: "Staff members from both the Berkeleyside and Berkeley Daily Planet websites were present and that brought up an interesting aspect of the new journalism venture: will competitors be comfortable in a co-op group?"
Given the current crash of news reporting in general, it's hard for us at the Planet to worry about competition. As Berkeley citizens who care a lot about outcomes, we think the more everyone knows about what's going on, the better off we'll all be. We appreciate any newsgathering efforts from any source—the more the merrier.
We got into this in the first place because we were tired of nothing but oh-so-quaint Bezerkeley stories in the Chronicle, a phenomenon that has largely disappeared. I myself even enjoy a bit of soft-feature fluff coverage of food and fun, apparently the bread and butter of the Times' newly launched Bay Area coverage, as long as it's not All Cutesy All the Time.
In the seven years since we purchased the Planet, real reporting on Berkeley and the urban East Bay has improved dramatically, even in the face of drastic funding cutbacks at what's left of the major metro dailies. We believe that we contributed to that improvement by setting a new standard, breaking real news stories in our print paper that others copied.
But fifteen years in a small software company trying to deal with the likes of AT&T, Microsoft and Apple gave us a good perspective on how big operations play small creative suppliers off against one another to keep prices down. I was primed for the software marketplace because before we started our company I was a freelance magazine writer, back in the days when the lively magazines which paid writers real money were just winding down. Talk about competition…
The most depressing commentary on journalism today which I've seen recently was in Sunday's New York Times Magazine, a theme issue devoted—like a lot of the contemporary New York Times—to Money.It was called, in fact, The Money Issue.
(Brief digression: why is the New York Times increasingly the bible of Lifestyles of the Rich and Tacky?The wedding write-ups alone are too disgusting to read over breakfast, devoted as they are to ostentatiously displaying the lucrative jobs of both partners and their often multiple parents and step-parents. Vulgar—a word my great-aunt was too polite to use—doesn't even begin to describe it.)
The issue as a whole was a textbook example of chronicling the price of everything and the value of nothing. The article "Putting a Price on Words", by Andrew Rice, examines a great number of start-up enterprises aimed at monetarizing—for the benefit of the investors, of course—the work of those who write for Internet outlets. Pay, he reports, is approximately pennies on the dollar: "For instance, Examiner.com, owned by the billionaire Philip Anschutz, has a gigantic audience and a nationwide army of 36,000 localized contributors, or "examiners," who produce articles on subjects like community news, lifestyle issues and pets, and are paid about 1 cent per page view." Quality has nothing to do with it.
Hack writing gigs, paid by the word, are nothing new. I wrote abstracts of research papers for an academic journal about hospital administration in my youth—a younger friend wrote entries for an encyclopedia of religion in the 80s. But don't confuse that kind of thing with news reporting, a serious profession best practiced by intelligent people able to make a living wage from their endeavors if they need to.
Crumbs from the entrepreneurial table are not enough. Rice quotes one Sam Apple, the person behind one of the more earnest start-ups: " 'I have a friend who is a behavioral economist,' he said. 'He says that if you pay people tiny amounts, it's worse than not paying them at all.'" But Apple admits he's still paying writers what's known in the trade as bupkes.
I had only a couple of quibbles with Beckett's otherwise excellent piece on Bay Citizen. Two color points she missed: the host's comment, without apparent irony, that rumors that reporters were being paid huge salaries are untrue (the rumors are about huge executive salaries) and the view of luxury gift emporium Gump's across Post Street through the huge plate glass windows.
We would like to see the Bay Citizen succeed in the goal of bringing lower-case bay area citizens more of the news they need to know. From that perspective, especially since we're lucky enough not to be supporting a family on the proceeds of our activities these days, we'd even be generous enough to kick back the $25 they offer for any of our pieces which they'd like to use. There was talk at the meeting of some sort of collaboration on stories which were too big for the underfunded small fry to tackle on their own, and I have about 5 of those in my back pocket right now.
Of course, at the moment the Planet is not just underfunded, it's unfunded, because of our strange tax problems (check Planet archives for lurid details). But it's interesting that while we are in a period where all of our contributors are working for free (which we hope eventually to change) we've been getting excellent pieces from people we could never have afforded to pay what they're "worth".
Even in our least profitable years putting out a print paper with staff reporters and editors making respectable salaries, our losses which were not covered by advertising amounted to less than the non-profit tax-deductible Bay Area News Project's announced compensation for just one of their many well-paid executives, several of them listed on the Bay Citizen web site as former employees of McKinsey & Company, a fancy global consulting firm. I'm sure there's a moral in here somewhere, but damned if I know what it is.
P.S. Just as I finished this, I got an email from the SFAppeal online newspaper with a link to their story on the meeting. It's also quite good and includes some very illuminating comments. For the record, when I wrote those nasty things above about the Chron and the Times, I didn't know that the Berkeleyside principals were also associated with those publications. Big targets, okay, small targets, no.


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A new approach to building crossovers.
It may be an efficiency-minded crossover, but the Mazda CX-5 still demonstrates the dedication to driving enjoyment that pervades the entire Mazda lineup. The new model replaces the Ford Escape–based Tribute and the fuel-guzzling CX-7 as the company's only five-seat crossover. Interior room is plentiful, and the elevated driving position provides excellent visibility. The swoopy exterior styling is backed up by great chassis dynamics that make the CX-5 genuinely fun to drive. The steering is accurate, the controls are all in the right places, and a relatively firm suspension helps the driver feel in control. The Skyactiv four-cylinder engine provides class-leading fuel economy, but the focus on efficiency and the modest power output of 155 hp from the only engine, a 2.0-liter four-cylinder, mean the CX-5's acceleration is merely adequate. A six-speed manual is offered on the base model, so most CX-5s will be equipped with a six-speed automatic transmission that prioritizes saving fuel over going quickly. There's a long list of options for the Mazda crossover, including safety gear like blind-spot monitoring and a backup camera, push-button start, touch-screen navigation, and Bluetooth connectivity. The Mazda CX-5 is not only better than the Tribute and the CX-7 it replaces but has also become one of our favorite entries in the crossover segment.
Ford Escape
Honda CR-V
Hyundai Santa Fe Sport
Kia Sportage
new for 2013
The Mazda CX-5 is an all-new model for 2013 that launched in spring 2012.
Front, side, and side curtain air bags; ABS with brake assist; traction and stability control; hill-start assist; and a tire-pressure monitoring system are standard. A blind-spot monitoring system is optional.
High Mileage
Fun to drive
Great fuel economy
Attractive styling
Not very fast
Reluctant transmission
Base Price Range: $21,490–$27,840
DRIVE: Front or 4-wheel
TRIM LEVELS: Sport, Touring, Grand Touring
BODY STYLE: Crossover, 5-passenger
ENGINE: 2.0L I-4, 155 hp, 150 lb-ft
TRANSMISSIONS: 6-speed manual, 6-speed automatic


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LA coroner: Burglar killed by homeowner not pregnant
Prosecutors were waiting Friday for the results of a police investigation into the killing of a burglar by an 80-year-old California homeowner who says he shot the woman in the back as she fled his home and ran down an alley, the district attorney's office said.
Long Beach resident Tom Greer, 80, told KNBC-TV that the burglar had said she was pregnant and asked Greer not to fire but he shot her twice in the back anyway.
An autopsy later found that Andrea Miller, 28, was not pregnant, said Ed Winter, coroner's spokesman.
"Long Beach police are still investigating," said Sarah Ardalani, spokeswoman for the Los Angeles County District Attorney's Office. "It's ongoing and so we're waiting at this point."
Prosecutors filed murder, burglary, robbery and weapons-related charges against 26-year-old Gus Adams, a suspected accomplice of Miller. He was being held on bail of more than $1 million.
A court appearance initially set for Friday was rescheduled for next month.
The murder charge is possible because Adams is accused of participating in a felony that led to a death, said Long Beach police Chief Jim McDonnell.
McDonnell said the homeowner came home around 9 p.m. Tuesday and surprised Adams and Miller, who were trying to break into a safe. They assaulted him, breaking his collarbone, before he was able to get a handgun, the chief said.
Police said he fired shots inside and outside his house.
Under California law, homeowners have a right to protect themselves with deadly force inside their homes and in the immediate vicinity - such as a patio - if they feel they are in imminent danger of great bodily injury or death, said Lawrence Rosenthal, a former federal prosecutor who teaches law at Chapman University.
But this case enters a gray area because Greer, by his own account, chased the burglars and fired at them outside his home as they were fleeing, Rosenthal said.
"The problem here is that all this happens very fast and his legal right to use force probably ended just a few seconds before he did use deadly force," Rosenthal said. "So the question is should you charge somebody on the basis of what really was a series of split-second decisions when he's just been robbed and physically assaulted?"
McDonnell declined to say how many shots were fired or to confirm that Miller was shot in the back.
No phone listing was available for Greer and he could not be reached for comment by The Associated Press.