text:
Montreal's was a desiring feminism
A review of 'Theory, A Sunday'
In a post-riot-grrrl world, it's hard for those of us who were too young for the theoretical debates of the eighties to understand the amount of collective cognitive labor that was required to move us from feminism's second wave to its third. We easily take for granted the radical cultural shifts that had to take place for Kathleen Hanna's emergence on stage with the word 'slut' written on her belly to be seen as a populist punk feminist act, until we are kindly reminded otherwise. I was politely offered this "otherwise" recently by a sentence in Louise Dupré's essay "Four Sketches for a Morphology," in Belladonna's recently published translation of Theory, A Sunday, originally published in French in 1988 by Éditions du remue-ménage in Montréal. When I read Dupré's claim that "Feminism can only survive by recognizing the feminine as difference" (95), my initial reaction was, "well, yeah." Luckily, I was alone when I thus betrayed my origins as an ungrateful and privileged adolescent of the deconstructionist nineties whose college green seemed to be nothing if not a carnivalesque sea of celebrated differences, because as I continued my read of the essays and literary work in Theory, A Sunday, it became clear that the kind of political struggle and intellectual labor in these texts made possible the relatively utopic feminist intellectual world in which I emerged as a young queer writer.
It makes sense then, that Belladonna published Theory, A Sunday as the inaugural piece in its new "Germinal Texts" series, for the text documents the kind of feminist thinking enabled by French poststructuralism. More importantly, it shows how this inquiry aided a particular group of French Canadian women writers in feminist interrogations of literary culture and of language itself. The publication also serves as an homage to the rich dialogues that have been taking place between American and Canadian women writers for several generations. In the afterword, Belladonna founder Rachel Levitsky stresses the importance of the "Canadian feminist avant-garde" for offering her a model for expanding the politics of an experimental American literary scene that, in the aftermath of Language poetry, believed "language dissonance and disruption was political in and of itself" (152–53).
As a literary project, Theory, A Sunday presents critical and creative productions that emerged from a women writers' study group started by Nicole Brossard in the early eighties and included Louise Cotnoir, Gail Scott, Louise Dupré, France Théoret, and Louky Bersianik, whose work make up the volume. In its multiyear effort of Sunday meetings (hence the book's title), this group worked at defining feminist consciousness through the poststructuralist theory emerging from France. Poststructuralism's emphasis upon the slippery nature of the sign, its ability to question philosophical binaries through its interrogation of linguistic representation, provided these writers a means by which to move beyond the essentialisms of second-wave feminism and to ponder how one might exhibit a feminist consciousness on the page. Fans of Gail Scott will be excited to read her essay "A Feminist at the Carnival" and a short work of fiction, "'The Kiss' of Edvard Munch, Revisited." Scott's meditative essay on being a female writer, a work richly layered with novelistic elements, highlights how well the narrative techniques of her novels have always served philosophical thought. Though at times the reader will feel the great gap of time between 'now and then' when encountering, for instance, Dupré's mention of "the teen idol of the moment," Madonna, this distance disappears with her interrogation, "Where is the feminism in all of this?" a question I lately feel compelled to ask each time I open up my Internet browser (91). Miley Cyrus on a flying hot dog, I believe, does not a Kathleen Hanna make, though argue with me, if you wish. It's a slippery space. Similarly, Louky Bersianik's piece "Aristotle's Lantern," with its deconstruction of the academic critical apparatus and its detrimental effects on the reception of women's writing, interrogates and dismantles canonized patriarchal forms and reminds us, in light of our dismal twenty-first-century VIDA numbers, that, "Baby, we haven't come (too) far."
Nicole Brossard's opening essay in the collection offers a strong example of what poststructuralism made possible for the Montreal group and an introduction to the kind of theoretical work one will discover in this volume. Early in her essay Brossard announces that Western feminism "presents us with a wholly new historical phenomenon, because it questions the imaginary, symbolic, and psychological construct of everything through which the inferiorization of women has been programmed" (19). Though her vocabulary teases the reader into expecting a Lacanian analysis, another Frenchman aids Brossard in the heavy lifting of articulating the relationship between a psychological patriarchy and the linguistic phenomena it produces. It's Brossard's turn to Barthes that I found to be the most compelling moment of the essay. Brossard understands "misogynist antagonism," i.e. patriarchal ideology, in narrative terms, specifically as a narrative we inhabit (25). For this reason it is subject to the same contradictions and disruptions inherent to all narratives. She is able to make this important move, one that will allow her to shift from a discussion of a general feminist project to the specific role of the writer in this larger political movement, by invoking Barthes, for whom the form of narrative "is essentially marked by two powers: that of extending its signs through the whole of the story, and that of inserting unforeseeable developments within these distortions" (25–26). That is, according to Barthes, narrative suffers from something like an excess of itself. In its self-perpetuation, narrative produces a proliferation of signs that may or may not serve the same end. It's these "unforeseeable developments" that allow for feminist consciousness to emerge. Though all women find themselves struggling within the master narrative of patriarchy, Brossard outlines how this proliferation of patriarchy's signs provides an opportunity for self-consciousness.
Up until this moment Brossard had discussed patriarchy and its narrative as an extra-literary phenomenon, the sociopsychological story we are all asked to buy into. But Brossard's turn to Barthes opens up the possibility for literary narrative to disrupt this sociopsychological phenomenon. Through the act of writing, a woman creates the necessary distance — the space between signifier and signified — to gain a critical perspective upon her own story, which is also the story of patriarchal order: "In fact, if it weren't for what this subjective (diaries, biographies, letters) and novelistic narration of our lives exposes to our consciousness, we should have no other alternative, for lack of any other perspective, than to debate amongst ourselves using the contradictory and hierarchical binaries that the male imaginary constructs" (26). Patriarchal narrative, through its proliferation into a woman's written self-narration, exposes her to its form as a sociopsychological narrative. The externalization of this "master" narrative through the act of writing creates the necessary self-consciousness to begin a feminist interrogation. For Brossard this gap between signifier and signified is where feminist consciousness begins.
Such theoretical headiness, Gail Scott reminds us in her remarks in the afterword, emerged not from isolated intellectual practices, but from fruitful Sunday gatherings, suggesting that the community produced through this collective study became at least in a partial way an answer to what a new feminism and a new feminist consciousness might look like:
Arriving at noon at someone's house, each brought a page in French on a topic … The texts were the product of our most recent discoveries in writing, in reading, or had been scored in the heat of political intervention … During the discussion of our texts, we drank coffee, then out came the wine and the food, so the discussions evolved into a kind of camaraderie of sharing and reflection. I remember the meetings that lasted from noon till almost midnight, full of passion and instruction. (151)
In her affectionate introduction to the book, Lisa Robertson emphasizes that these efforts, which took place in the city outside of the auspices of any academic institution, forever altered the landscape of Montreal. She writes, "Thinking about and reading the work of these Montreal women now, twenty-five years later, I am brought to the realization that feminism is one of the scintillating companions of the culture of cities. Feminist culture, discourse, and resistance has shaped contemporary urban experience and urban space" (11). Robertson's understanding of feminist intellectual activity as a means of altering urban space once again underlines the fact that the publication of these texts continues a dialogue between generations of avant-garde women writers in North America. Where the social and intellectual practices of the Montreal group altered the landscape of that city twenty-five years ago, Belladonna as a reading series and publishing group has been helping change the landscape of New York literary life since the late nineties. As Levitsky notes in her commentary in the afterword, she was only able to conceive of such an intervention through the legacy of these women. Their collaborative literary practices, social and intellectual, "offered [her] permission" (153). Belladonna's publication of the results testifies that Sunday meetings have been happening ever since and will continue happening in cities all around us.
Poetry as path, as weapon
On Uche Nduka
How many poetries are there; how many could there be? The poetry of investigation, the poetry of protest, personal poetry, national poetry, international poetry, documentary poetry, poetry of war and peace, emotional, environmental, philosophical, identity poetry. And what's at the root of all these poetries, if anything? Poetry as a way of approaching the world — as the urgent effort — probably futile — to get at something inside or outside through language — or to escape into language as a way to survive a brutal material or psychological world. Somehow language — the effort in the ineffability of words — can save us if we can engage at a deep enough level to get past the pain. That's then a poem and more than a poem. It's a mode of living. What we call a poem might not be more than a momentary snapshot of an ongoing life in language — a dislocation, an exile.
Some thoughts on reading Ijele, a powerful prose text by the Nigerian poet Uche Nduka. Born in 1963 into a family of Christian priests, Nduka was brought up bilingual in English and Igbo and earned a BA in English from the University of Nigeria in 1985. When he was four years old the Biafran War (the Nigerian civil war) broke out. Possibly as many as three million people died in that conflict, many of them children — Nduka's generational peers — mostly from starvation. Chaos and ethnic violence in Nigeria preceded that war and continue to the present. Top Nigerian government officials regularly and spectacularly fleece the nation's coffers. The bloody terrorist activities of Boko-Haran, whose members recently broke into a boarding school and slashed the throats of students asleep in bed, go on without restraint.
Nduka left Nigeria in 1994 for Germany, when he won an arts fellowship from the Goethe Institute. He's lived out of the country ever since, in Germany and Holland for twelve years, and in 2007 emigrated to the US, where his parents and family live.
Given this background, it's clear that for Nduka, poetry has had to be much more than a polite profession or an aesthetic preoccupation. He has of necessity had to find in poetry a means of survival and a method for fighting back. No way to set aside the scars, the disappointment, and the social rage, and go on to write a poetry of reflective personal feeling. Also, it would seem, no way straightforwardly to attempt to describe or depict the immensity of what has been experienced and felt — writing would have to take you beyond that to a more total or global sense of engagement with language as defiance, as hope, hope not for a probably impossible political solution to the chaos, but hope for a present, in writing, in which sanity and endurance prevail, even as the pain is confronted head-on. At any rate, this seems to be what Nduka's writing does. Poetry as path or weapon — as life.
i had barely been born when i nearly lost my life. that music is not higher than the unity of pines. how intact am i. how intact am i. how intact are you. i should turn my back on them:these opened wounds may swallow me. we make claims for the land hoping it will not betray us.quandrants of parenthesis.overnight, waterlilies rose and sent mails to him.waterlilies speaking for the lodgers. not a few are anatomically incorrect. ("Overnight," 25; unconventional spacing in original)
A prize-winning poet well connected in Nigerian and African literary communities, Nduka writes in the Western avant-garde tradition, but without particular affinities that I can see, judging at least from the work in Ijele. What's inspiring about the book is its line by line intensity, and the way it simply states, baldly and without pathos — almost, at times, coldly, without regret or protest — its themes of sexuality, dismay, exile, resistance, dislocation, without any promise or redemption other than in the text itself. The book consists of eighty one-page prose poems (a few are longer) written in mostly disjunct sentences without capitalization. The compositional method seems to be improvisational, listening on a word-by-word basis for what seems to want to come next, and allowing that to happen, celebrating surprise, spontaneity, contradiction, reaching out for something not yet realized. Onward, always onward. Yet the poems do not wander or drift — there's a driving rhythm and insistence to them, an urgency, a sense of defiance. I found the text frankly difficult to read for its density and intensity — I kept wanting to read on, but sometimes found that difficult to do; I needed breaks. So it took a while to get through. Ijele seems intent on doing its work, reader or no. Nduka is a fiercely independent writer.
So far I just like doing my own thing and not buying into the hype of either formal or informal English; traditional or avant-garde usages. I enact a language style that suits my mood and the subjects I am interested in. Linguistically it seems there are a lot of trenches that have not been explored in poems/poetry. I keep attempting to investigate them. I don't want to feel like people expect me to write in English timidly. I have always been wary about the conformist pressure of Nigerian, African, European, and American literary scenes. Yet I guess I am not fully in possession of the knowledge of the things/factors/situations that motivate the shifts in the usage of English in my work. I try not to overthink this phenomena. Pushing the boundaries is what a real poet does. I am writing about the United States of America now, but with my eyes wide open. (Nduka to Johannes in Montevidayo, September 24, 2103)
Wanting some information on the word, I ran Ijele through Google translator. In Zulu it means "prison" or "warder." In Igbo it's the title for a traditional masquerade about a courier between the spiritual and physical worlds — in the case of Nduka's poems, between Nigeria and Europe/America or between the social horror and triviality of the world and the possibilities for survival with integrity that a life of poetry provides.
words invite us to take part in stamping their feet; in thrashing the desks of belles-lettres;in scorning the mirage of a bookworm; in fusing bindweed and algae. my logic cannot catch all the spoils of the possible. my past momentarily cannot cease being a thirst. being no visitation of a whip, being no visitation of loss, the subterfuge of a needler is patently absurd. this present incarnation of the philosopher's stone does not interest me. some courtesies are diabolical. overall the fowl has bled to its limit. interruption is our condition. in interruption is our trace. the way in is not the way out. going in the direction of thirdness it is better to be incensed than bored. ("Branching," 72)
As a writer concerned with poetry as more than poetry — poetry as a life in language that can realistically confront the world as it is without going mad or resorting to the various impressive strategies for distraction that our present world has on offer — I am drawn to Nduka's work. Because of what he has seen, what has formed him, there's a level of passion in his work beyond what's normal in much other writing today.
Notes on 'A Mammal of Style'
Let's begin with the title A Mammal of Style, which of course echoes the Chicago Manual of Style, someone's notion of the proper and correct way of rendering sensible sentences in the English language. A manual isn't a book you read, it's a book you have close at hand — the word means hand, functional and straightforward. This book feels like that.
But a mammal isn't a manual; it's an animal. It could be a human animal, but as animals humans have no proper way of doing anything. They do what comes naturally. They live in the world, reacting to it. Grunting and grimacing, as the occasion demands. A mammal of style describes what this book is: grunts and grimaces of literary style, gestures, blunt-force interventions. Distinctly not sensible.
Its collaborative authors, Ted Greenwald and Kit Robinson, have been well known as practitioners of the art of innovative poetry for many decades, both of them, to my ear, having consistently written a poetry that is edgy, flat, and tough, without much ornament, very much in the American idiom, with lots of local slang, technical terms, and contemporary buzz-words, sending up all these vocabularies and simply doing them ina dead-pan, satirical tone — the opposite of passionate or emotional. In fact, decoration, elegance, subtlety, beauty, are not words one would normally use to describe Ted's or Kit's writing, as far as I know it. So they are natural colleagues and collaborators. Together they have produced in A Mammal of Style a wonderful source text for anyone who wants to hear a peculiarly trenchant American take on contemporary life and letters. "Kit" and "Ted": plain three-letter American guy names.
Mammal is a substantial text, more than 130 pages and divided into six distinct sections, each devoted to a different poetic form: sonnet, sestina, haibun, maybe haiku, a three-stanza fifteen line form that might be a version of the medieval French rondeau, and a final one-poem section that seems to be written free form. There are fourteen sonnets, ten fifteen-line poems (the last being ten lines long, not fifteen), twelve sestinas, and twenty-four haibun. It seems that Ted and Kit had a plan. What's interesting about the plan is that it violates utterly the implied tone or feeling that goes with these traditional forms. A sonnet — even an unconventional sonnet — sounds and feels a particular way, as does a sestina, a haibun, and so on. These poems don't sound that way at all; in fact, what's remarkable about them is how they manage, regardless of form, to sound pretty much the same: full of attitude about the contemporary scene, mostly with regard to the language we use every day to confuse ourselves about what's going on. This is word by word, phrase by phrase poetry, made often without any noticeable sense of intentional connection from part to part, so that a moment by moment reading of the text, without worrying about where the text is going or where it has come from, is a necessity — and will reward the reader.
What haunts me about this work is its most typical rhythmic structure — many stressed syllables one after the other, almost telegraphic. Here, for instance, are some of the titles of the sonnets: "Trickle Comp," "Lift Hood," "Lath Talk," "Mound Co," "Poles Claw," "Light Atch," "Down Own"; many of the lines within the poems (this is true not only in the sonnets, but throughout) echo this very tough and definite stressed phrasing, which for me expresses a radically unsentimental take on the world as it swirls by. A tough, cold eye. As in the sestina "Fire House and Crowded Theater":
When all is said virtually
Voice drops do whisper
Well-wishers with access
To home range audience
One bare witness
So difficult to believe
Fantasy is ability to believe …
Later verses of this sestina come, by way of the logic of the end rhymes, to lines like:
Got wheelchair access
Cracked up to believe
… illustrating probably the main technique and message of the work — the wisdom of fractured cliche.
As someone conversant with Buddhist literature I was amused by examples of fractured clichés from that tradition, as these lines that play off the Buddhist formula for confession ("all my ancient twisted karma, from beginningless greed, hate and delusion, I now fully avow"):
all my ancient twisted car parts born of green hail and
diffusion I do now secretarially avow.
… and the several lovely fractured quotations from Dogen.
Political commentary appears frequently, built on pop culture references, with easy humor and without the usual angst or bitterness:
Banana Republicans usher usa into twenty-first century
third world. honey i shrunk the people.
as well as plenty of commentary on poetry and its uses, as in this fantasy about the power of the poet to defeat the world with his verse:
Passing through fields of garbage the syntactical
hero pulls the trigger on meant verbiage shoots the object
of his rampant longitude, dead predicate, and rides off into
the archaic, trailing diaphanous interpellations. How the
West Was.
or this marvelous line that more or less captures what poetry used to do and what it does now:
Scratch at vague word moss, places poetry used to go.
Also, the world's greatest haiku:
Great sweater
Really love the shoes
And the watch!
In short, this is a delightful book, full of the sorts of recognitions that one wants from poetry, but without the annoyances that that sort of experience could produce in less capable hands than those of Ted and Kit.
I haven't said much here about the mechanics of the collaboration between these two great poets — how did they do this, what was their method of working long distance (Kit in Berkeley, Ted in New York), what were they thinking, what intentions did they have? When I asked them they preferred not to say, seemingly themselves not focused on methodology or documentation of how a poem is made so much as on the accidental and forgotten stumblings and miracles that make poems appear out of our biographical and cultural miasmas. Neither Ted nor Kit works in a university, and neither seems interested (as do the very many poets who teach and profess poetry) in rationalizing and documenting the making of poetry, focusing on questions of methodology and text, context, on the theory that no text stands alone, it comes out of a cultural and historical moment, it comes out of influences, other texts, biographical realities, and so on. True! We must not become too mystical and precious about our poetries! On the other hand, to make poetry into another reasonable cultural production that can be folded into the cultural/commercial mania that rules our world these days is certainly not such a great idea either. Leave it to poets like our Ted and Kit to manage to remain outside all that, to find a way, together to clear some space for thought.
(Note: Takeaway, published by c_L Press in Portland, Oregon, 2013, is a brief companion volume to A Mammal. It's a forty-four-page text in a small-format, sewn-bound book consisting of poems with a triplet/couplet form. The tone and subject matter is a continuation of what's found in Mammal).
'Gradually the World'
A review of Burt Kimmelman's new and selected poems
Gradually the World: New and Selected Poems, 1982–2013
Gradually the World: New and Selected Poems, 1982–2013
I was unfamiliar with the poetry of Burt Kimmelman when Jacket2 asked me to take up the assignment of writing about Gradually the World: New and Selected Poems, 1982–2013. Reading, rereading, pondering the volume — which is a life — has been an education for me in poetry's use as engagement with writing as a means of being in the world. Why, after all, is anyone writing? Of necessity, I suppose, to figure out how to survive in — even appreciate — being alive temporarily in a world. Kimmelman's poems surely serve that function for him and his readers. Here is a seriously committed poet who has felt through, thought through, and written into what and how a poem is — for a poem and for a life. In his important interview with Thomas Fink in Jacket in late 2010, Kimmelman cites John Taggart's assessment of his work: that his poems "evince a quality infrequently encountered in contemporary American poetry: modesty, an attentive and forthright modesty. As such they are unassailable. They cannot be tarnished by our times' endemic disease, the irony disease."[1] That's exactly right: Kimmelman's poems are intelligent, admirably well wrought, almost classically so. They reflect straightforwardly usually tiny moments of lived experience, but never without care and pressure for the writing moment, a moment of working in and through words — yet they are, as Taggart points out, modest in their claims and tone. It's as if each poem were shaking hands warmly with life, each careful word making no claims whatever for any larger meaning or understanding, and reaching out to hold hands with the reader too, in the embrace of the words of the poems.
Although Kimmelman is impressively well read and astute about poems, poetry, culture, and art in general, his modesty seems genuine and deeply felt. He wants to be generous, true to the tradition in which he writes, truthful in his own productions, without posturing or imposing anything. Sounds simple enough, and is — on first reading — unspectacular enough. But ongoing reading (slowly, a difficult mode of reading these days) brings out this quality of modesty more strongly — and more and more impressively as one goes on. Because it turns out it isn't easy simply to be a person in a world, and to write simply, quietly, and elegantly out of that. Kimmelman manages to do it.
However, Taggart's comment about modesty and irony has another dimension. A serious and intense engagement with poetry now, it seems to me, may well confront the question of irony not necessarily as an attitude, a coolness, let's say, or an avoidance mechanism — which irony generally is — but rather as a genuine sense of linguistic doubt. That is, what does a word say, where does it come from, what is — a word having been written — its implication? A lot of the difficulty of contemporary poetry stems from this felt sense of any word's having been captured, maybe defeated, by the world's various social pressures — if not from outside then from inside — as one's constructed self. Irony that comes from this pressure may not be the opposite of sincerity or engagement: it may be a more contemporary form of sincerity. Kimmelman's sense of language doesn't directly reference this, though he must be aware of it. See "Poem for Jackson Mac Low" (162), which is a straightforward personal narrative about walking to attend Mac Low's memorial. No one could have been more sincere in his work than Jackson, yet is his self-consciously un-self-centered writing ironic or unironic in its word-by-word distancing techniques?
There's something particularly interesting about a "new and selected" that you don't find in the original volumes. Every selection of poems is a new articulation of the work, much more than a mere repackaging. So, for instance, a poem that opens a volume or closes it has a particular meaning and flavor coming from that strategic placement. Any poet thinks about such placement; Kimmelman probably more than most, being so clearly thoughtful and careful in his writing. But this factor is completely altered in a new and selected, where the poems are ordered in more or less chronological batches, often missing poems between that might have had their functions in off-setting poems to their left and right, so to speak. So that the poems will inevitably read less for their aesthetic juxtapositions than for their sense of being a recording of a life. In such a selection you notice (particularly in Kimmelman's work, where there is clear and coherent subject matter) the occupations, preoccupations, shapes of a life over time. Kimmelman writes about art and artworks; he writes about his family, his daughter Jane from birth to adolescence, his aging mother, his deceased brother, his wife; he writes about seeing, hearing, being in places as sun rises and sets, flowers bloom and fall. It appears from this volume — for this reader at least — that Kimmelman's verse is getting clearer, simpler, more distilled, as it goes along the continuum of time.
The book opens with "New Poems 2011–2013." These are mostly small, precise, understated works whose modesty can't hide their shimmer:
After Rain, October
Purple asters fall
on the walk after
rain — wet leaves, too, have
dropped, bereft of home,
stuck to stone, to dirt.
This poem seems easy enough, but note the perfect five-syllable lines, the rhyme, the heft of "stone," "home," "dirt." There's a lot here that doesn't need or want any further explanation.
Not so for the earlier work. After the initial suite of newest poems, we go back in time to the earliest work, "Poems 1982–1992," which has many ekphrastic poems, reflections on visual artworks (Kimmelman, from New York, can easily spend time at major galleries and museum shows). I find this work far less engaging and more ponderous — difficult for me, since (as is the case with most of these poems) I don't know the works being written about. This section ends with the birth of the poet's daughter in several careful, sweet poems that skirt the edge of sentimentality, more or less successfully I think. (The urge to write conventional epiphanic poems without sliding into sentimentality is a problem — and a gift — Kimmelman is quite aware of, as expressed in the Jacket interview). Still, though: a tightrope act, sometimes more dangerous than one would want. (Although, on second thought, why not be sentimental? If you are sentimental knowingly, is this still sentimental? Or is it ironic?)
Among many others, Kimmelman reads Corman, Bronk, Oppen, and Heidegger — salient sources for his poems. In his piece on Oppen and Heidegger, he writes, "Oppen and Heidegger depend on tautological thinking, literally the contemplation of what is self-evident, and so for Oppen the things within the realized world become supremely relevant."[2] In Oppen's work — as in Kimmelman's — there is a terseness and a careful, respectful, almost courteous stance in relation to the world and the word that, for the poet, makes the world and one's ability to stand in it. I find this notion of "tautological thinking" new and essential in understanding both Heidegger and Oppen, and Kimmelman. Things just are. There they are. They actually appear, shining. One stands in relation to them. There's no interpretation, no commentary, no theorizing necessary — or, in fact, possible. Yet language, which is thought, can't help confronting the fact and in such confrontation deeply entering it, appreciating it. This Zen-like approach to poetry or life (a kind of amazement that there is anything here at all) is what Heidegger, in his rather tortured but transcending way of expression, gropes toward, and what Oppen at his best reflects in the clarity of his words. As does Kimmelman.
1. Burt Kimmelman, "Burt Kimmelman in Conversation with Thomas Fink, 2010," Jacket 40 (late 2010).
2. Burt Kimmelman, "George Oppen and Martin Heidegger: The Philosophy and Poetry of Gelassenheit, and the Language of Faith," Jacket 37 (late 2009).
Let 'em eat kitsch
A review of Thomas Fink's 'Joyride'
Ceci n'est pas un article à propos de schtick (except perhaps as René Magritte might have it be). Thomas Fink's glorious new book of poems presents us often with the joy of Yinglish, but in whole it is all about the magical present, and this is no coincidence. Is it inspired schtick — Yiddishkeit's bestowal upon us all — or might we simply take his new volume as especially inspired high comedy, which approves of serendipity? I don't think so, not that Fink doesn't possess a joltingly wicked sense of humor (also to be found in his earlier books, yet with even more verve here in Joyride). I grant that Yinglish Strophes, a series of poems extending across a number of collections of Fink's verse, might be read as schtick by casual readers. He includes a number of new "strophes" of this kind in Joyride.
Here are a few lines from one of them, which will be weirdly familiar to some of us from our youths, I suspect, who retain memories of some alter cocker holding forth: "I fell again and // again I fell. More the / reading I keep, the / more examples of serious is finded." A more poignant poem in this series begins (its first line here does not cue us as to what's to come), "How long been here // this place? Died well, / died good from that / hospital mother. That // was a day and a half yesterday."
Fink does savor the delicious wrenchings of American syntax and pronunciation by people such as his own Eastern European Jewish ancestors. And how not? A New York Jew (Alfred Kazin's masterful memoir of this name helps us to navigate Fink's warp-speed lines, yet only up to a point), Fink has inherited the jouissance of both the written and oral discourse of his world. This world is a great deal wider and more complex than that of his Jewish upbringing, however. So it is lucky for us that he has provided this guidebook in which neither Kazin nor Leo Rosten (nor the two together) could account for the soaring flights of language in its purest, indeed subliminal, form, arranged in Joyride into a number of ongoing series. Aside from Yinglish Strophes, there are new entries from Dusk Bowl Intimacies, Jigsaw Hubbub, Hay(na)ku Exfoliation, Goad, and Home Cooked Diamond; and Fink has interspersed a number of freestanding lyrics among these sequences.
But if you try to grasp the poems by attending to their gorgeous exteriors you'll have fallen into a trap — not one set by Fink but rather simply the trap of language. An overly liberal reading of his painting reproduced on the front cover of this joyous new book is that we can see the various shapes, forms, waves, and/or occurrences of the biological or simply the material world, which are held within their asymmetrical orders by some deeper order of the sort that would have allowed Einstein in his later years a good night's sleep. Make no mistake about it: Fink's world is not one in disarray. Fink is a master at working within constraints that make themselves disappear and then, just when they do, appear again. (Mazel Tov!)
There are the explicit constraints, such as we see in his series of poems whose respective forms are governed by rules. For instance, the poems in the Dusk Bowl Intimacies section of the book consist of a paragraph each and then, reminiscent to me of the bob-and-wheel structure in Sir Gawain and the Green Knight, a subsequent set of short verse lines, the number of which match the number of sentences in the paragraph above them. These short lines are arranged according to a form developed by the poet Eileen Tabios, which she calls the "hay(na)ku," her form adapted from the haiku. (Caveat lector: there's a lot more to all this than what I'm saying here, so you may wish to get in touch with her, or with Fink — or maybe check out this website by J. Zimmerman.)
Whatever the constraint or form, the poems in Joyride showcase the canny hearing of which Fink is capable and reveal what I'll call his etymological desire — which, given his penchant for the pun and within the happenstance of any given moment, results in strange, often funny, and beautiful (mis)statements. Reading these, one may be led to wonder at the ultimate constraint: natural, historically evolved language (rather than, for instance, an artificial language such as in mathematics). Like the alluringly odd shapes and brash colors in his painting, Fink luxuriates in both the debris and the founding elements of expression. (A computer scientist I know works on the ninety-eight percent of genetic material that he once called "garbage" — evolution's or nature's mistakes? — although recently we may be seeing that some use is to be made of that portion of the spectrum.)
Either way, Fink knows language from the inside out — rather different from a poet who is seduced by language's shimmering surfaces. And here's another thing: While we are language beings — i.e., humans and uniquely so — we are also cultural beings (the two one, of course). So a phrase like "Stronger than dearth" (in "Jigsaw Hubbub 10") can mean "stronger than death" as in the avenging angel or Jesus Christ Superstar, or "stronger than dirt" as in Mr. Clean.
Now, would someone please tell me which signification takes precedence here (from "Goad 20"):
Your mother is very loud — of you: "He's been banged
from Bahrain to Brisbane, Sweetie." For you, schmuck,
conversation's been a trans
ition between climaxes. Vol
ubly laconic & transactional,
except when you know it'll
except when you know it'll
tag you as cal ous galoot.
Fink not only loves the detritus of culture; he bathes in it, singing in his tub the comic-book aphorisms of daily life. His antennae take in the memes and the castoffs — maybe better to say they suck everything in — and then the machine of constraint misreads the culture in surprising and illuminating ways, ways in which we all speak; and what we hear ourselves say must be what we'd encounter if we had just come out of general anesthesia, though we've not yet retrieved our presumptions about the world through which we process what we see and hear. Thus we get, for example, "Hay(na)ku Exfoliation 15," in which a "red sign / keeps beasts, / even pensive ones, / out of the / circulation area […]."
"It's amazing that you found me here of all unknown places," Fink exclaims (in "Dusk Bowl Intimacies 27"). "Sometimes," he continues, "love does its homework diligently. Can you fill that void with bonds? Heat of the random crystallized." Here's one more, from "Home Cooked Diamond 3":
brooding. I
seek worries,
monitor ing every
one. Stoned on crisis.
"So — I love you; do
you have my cat?" You
should stop tolerating.
Let 'em eat kitsch.
The joyride Fink takes us on is the exhilarating surfing of the nonlinear waves of the moment-to-moment we ought to pause, once in a while, to marvel at. Joyride is not pure joy, however. In any case it's not kitsch, or cheap thrills, and rather gives fleeting, possibly chimerical glimpses of language's dark matter. I think this book is the milestone marking the full attainment of the poetics Fink has been developing for years. The poems are brilliant and masterful in their execution.


text:
Denmark's Roskilde Festival 2011, held from 30 June to 3 July and renowned as the Scandinavian equivalent of Glastonbury, has added three new acts to its billing.
Local psychedelic rockers Spids Nogenhat bring their mind-expanding live set to the festival for the first time, while Israel's Yemen Blues blend jazz and blues with influences from the Middle East and Africa.
They'll be joined by avante-garde British group Zun Zun Egui, who mix genres and styles from across the world.
The three new acts join a line-up that includes Iron Maiden, Kings of Leon and M.I.A.
Click here to see the current Roskilde Festival line-up.
Standard camping tickets are available for 1745 DKK (approximately £202).

subset: commoncrawl


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text: News: UK-based mining company Anglo American resumed operations at its Los Bronces copper mine located in central Chile after a protest was launched by workers on March 24 2014. Production at the site was kept on hold due to the brief but violent protest by contract workers, who claimed that the firm refused to negotiate over a series of demands. The protest receded the same day, enabling Anglo to restart the operations. Representatives of the contract workers and Anglo American are currently holding talks over the matter, reports Reuters, citing a spokesperson for the CTC mining union.


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Gloucester VA Real Estate & Homes for Sale
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Epic Dens
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Epic Dens are Dens that have been chosen by Animal Jam Staff to be put on display for the world of Jamaa. Generally, dens that are decorated with the most color and creativity are the ones chosen; dens that have many visitors have an even greater chance of being put on the Epic Dens list. To access the Epic Dens list, click on the castle icon on the map and choose a player's name from the list.
- The list of Epic Dens changes every six hours.
- Originally, if a player was chosen to be on the Epic Dens list, they would receive a reward plaque, but this is no longer the case.
- There was once a poll about which dens should be nominated to become Epic Dens, but this is no longer used.
- The Daily Explorer often holds a den contest for the most epic den with a prize of 5 Diamonds, but this is not the same as the Epic Dens list.
- After a player's den is added to the Epic Dens list, the owner can still change the den or lock it. As a result, many of the dens are not seen in the same condition as when they were originally chosen.
- All items in AJHQ's Epic Den that have an effect when you click on them don't work.
- Unlike Jammer dens, the AJHQ den items are solid and you can't walk through an item.
- Player den icons don't appear in the AJHQ Epic den.


text:
As we approach the halfway stage in La Liga it's worth casting our eye over who have been the best performing players over the first four months or so of the campaign.
The usual suspects have continued to provide their usual excellence, whilst certain other individuals have stepped up to the mark, often dragging their team to winning positions during games heading for mediocrity.
Atletico Madrid are threatening to rip apart the Barcelona/Real Madrid duopoly from the last few years with Diego Simeone's charges carrying on their good form from last season.
Once again a battle for European places is already developing.
It promises to be a wonderful season so let's take a look at the main protagonists so far...


text:
Tax Lawyers and Law Firms in Sun Lakes, AZ
Tax Lawyers
Suzuki Law Offices, LLC
Tempe, Arizona Criminal Defense & Personal Injury Lawyers(480) 568-6622
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Andrews Law, PLCChandler, AZ - Law Firm near Sun Lakes
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Project for salmanaim
Hi salmanaim, I noticed your profile and would like to offer you my project. We can discuss any details over chat.
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The VII. International Conference on Computational Science and Engineering aims to bring together academic scientists, leading engineers, industry researchers and scholar students to exchange...
Computer Science, Engineering
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This year, more than any in recent memory, could be the year of the running back in college football.
While the spread offense is no doubt engulfing the college football world, there is certainly still a place for the running back, especially in 2010.
Nine of the top 11 rushing leaders from 2009 return for 2010, in what could be a huge year across the board for college football's elite running backs.
Here are the top ten running backs in college football for 2010.


text:
realmagick.com The shrine of knowledge.
Gausss Law Integral Form
A selection of articles related to gausss law integral form.
Original articles from our library related to the Gausss Law Integral Form. See Table of Contents for further available material (downloadable resources) on Gausss Law Integral Form.
- King James Bible: Romans, Chapter 7
- Chapter 7 7:1 Know ye not, brethren, (for I speak to them that know the law,) how that the law hath dominion over a man as long as he liveth? 7:2 For the woman which hath an husband is bound by the law to her husband so long as he liveth; but if the husband...
New Testament >> Epistle to the Romans
- King James Bible: Romans, Chapter 2
- Chapter 2 2:1 Therefore thou art inexcusable, O man, whosoever thou art that judgest: for wherein thou judgest another, thou condemnest thyself; for thou that judgest doest the same things. 2:2 But we are sure that the judgment of God is according to truth...
New Testament >> Epistle to the Romans
- The Book of the Law, Liber 220, Part III
- III;1. Abrahadabra; the reward of Ra Hoor Khut. III;2. There is division hither homeward; there is a word not known. Spelling is defunct; all is not aught. Beware! Hold! Raise the spell of Ra-Hoor-Khuit! III;3. Now let it be first understood that I...
Thelema >> The Book of the Law
- The Perpetual Raising: Part 3
- (Part 3 of 5) The body is an instrument through which we interact with the physical plane, as souls or conscious beings. As we refine this instrument through meditation, and ideally with pure foods and sufficient exercise, the body becomes, "a spiritual...
Mind >> World Mind
- The Book of the Law, Liber 220, Part I
- I;1. Had! The manifestation of Nuit. I;2. The unveiling of the company of heaven. I;3. Every man and every woman is a star. I;4. Every number is infinite; there is no difference. I;5. Help me, o warrior lord of Thebes, in my unveiling before...
Thelema >> The Book of the Law
- Raising the World Mind (GM10-11)
- Part 1 | Part 2 Part 1 The wise live in accord with natural laws. It is they who understand that the laws of nature are much higher than the laws of man, because breaking them implies penalties far greater than a fine or prison sentence. When a person...
Mind >> World Mind
- Hod & Netzach
- Just as the previous pairs of Sephiroth, (Binah - Chokmah, Chessed - Gedulah), needed to be explained together to be fully understood, (Binah depends on that of Chokmah, and Chessed relies on Geburah, visa versa), so it is with Hod and Netzach. Hod is form...
Magick >> Qabalah
Gausss Law Integral Form is described in multiple online sources, as addition to our editors' articles, see section below for printable documents, Gausss Law Integral Form books and related discussion.
Suggested News Resources
- The 5 most interesting developments in passive components for the IoT
- The efficiency of wireless charging depends largely on the quality of the charging coils – these are passive devices which act as the interface between the device and the charger. A new technique from Vishay involves making the ...
- 'Woohoo!' email stokes rumor that gravitational waves have been spotted
- Indeed the case of gravitational waves was studied in tremendous detail in a series of papers by H.
- See the entire universe captured in just one image
- Using NASA images and logarithmic maps that wrangle huge expanses of space into manageable size, a South American artist has created a glorious image of the entire universe. Pablo Carlos Budassi came up with the idea while decorating hexaflexagons ...
- airBaltic welcomes Bombardier CSeries in Riga
- Martin Gauss, Chief Executive Officer of airBaltic: "Bombardier CSeries will be the backbone of our jet fleet beyond 2016. We are thrilled to have this CS100 in Riga for display.
Great care has been taken to prepare the information on this page. Elements of the content come from factual and lexical knowledge databases, realmagick.com library and third-party sources. We appreciate your suggestions and comments on further improvements of the site.
Gausss Law Integral Form Topics
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scanlation the scanlation process
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satan satan as an accuser
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The Ilfracombe House - Southend-on-Sea
Ideally situated adjacent to the Southend seafront, The Ilfracombe House offers some of the highest levels of comfort, service, and value in Southend-on-Sea. Travelers staying at this lovely Victorian-style accommodation are just around the corner from a host of local attractions, such as Adventure Island Fun Park, Cliffs Pavilion Theatre, Palace Theatre, and the Southend United Stadium. The new Southend University, Victoria Avenue Customs HQ's, Southend Pier, Maxims Casino, and Southend High Street shops are also within easy walking distance from the guesthouse.
For business guests, this welcoming Southend-on-Sea guesthouse features free wireless Internet access, a restaurant and bar serving all day hot and cold snacks, laundry facilities, and a complimentary parking area (limited availability).
The Ilfracombe House - Southend-on-Sea
Hotel Info: 1-877-214-4288from $65
- Standard Single Room, Ensuite
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Also popular with travelers from the USA
At a glance
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Hotel size
- This hotel has 20 rooms
- This hotel is arranged over 3 floors
- Check-in time 2:00 PM-10:30 PM
- Check-out time is 11:00 AM
- Express check-in
Required at check in
- Credit card or cash deposit required
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Travelling with others
- No cribs (infant beds)
- Free WiFi in public areas
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- Free self parking
In the hotel
- Free full breakfast daily
- Restaurant
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- Room service (during limited hours)
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- Conference space size (feet) - 140
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- Number of buildings/towers - 1
- Designated smoking areas
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In the room
- Coffee/tea maker
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- Digital TV channels
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- Desk
- Free newspaper
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- Refrigerator
- Daily housekeeping
Recent reviews
Excellent 4.2 /5 from 76 reviews
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text:
The heat-seeking capabilities of the international Cassini spacecraft and two ground-based telescopes have provided the first look at the aftermath of Saturn's 'Great Springtime Storm'. Concealed from the naked eye, a giant oval vortex is persisting long after the visible effects of the storm subsided.
The ground-based observations were made by the Very Large Telescope of the European Southern Observatory in Chile, and NASA's Infrared Telescope Facility at the summit of Mauna Kea in Hawaii.
The vivid cloud structures that wreaked havoc across wide swathes of the mid-northern latitudes of Saturn's atmosphere captured the imaginations of amateur and professional astronomers alike, from its first appearance in December 2010 through much of 2011.
But in new reports that focus on the temperatures, winds and composition of Saturn's atmosphere, scientists find that the spectacular cloud displays were only part of the story.
Much of the associated activity took place beyond the reach of visible-light cameras, and the after-effects are still continuing today.
"It's the first time we've seen anything like it on any planet in the Solar System," says Leigh Fletcher from the University of Oxford, UK, lead author of the Icarus paper.
"It's extremely unusual, as we can only see the vortex at infrared wavelengths – we can't tell that it is there simply by looking at the cloud cover."
As the visible storm erupted in the roiling cloud deck of Saturn's troposphere, waves of energy rippled hundreds of kilometres upwards, depositing their energy as two vast 'beacons' of hot air in the stratosphere.
The beacons were expected to cool down and dissipate, but by late April 2011 – by which time bright cloud material had encircled the entire planet – the hot spots had merged to create an enormous vortex that for a brief period exceeded even the size of Jupiter's famous Great Red Spot.
Furthermore, the temperature of the vortex was far higher than expected, some 80ºC warmer than the surrounding atmosphere. At the same time, huge spikes in the amount of gases like ethylene and acetylene were detected.
Much like the Great Red Spot, Saturn's vortex also cuts off the atmosphere in its core from the surrounding environment, constraining its unique chemistry and high temperatures within the walls of the powerful winds whipping around the edge."But Jupiter's vortex is embedded deep down in the turbulent 'weather zone', whereas the vast vortex on Saturn is higher up in the atmosphere where, normally, you wouldn't expect anything like it to have formed," says Dr Fletcher.
"Although there are parallels to be drawn between the two, the mechanisms by which they were formed and the length of time they are going to exist seem to be very different."
Jupiter's famous vortex has raged for at least 300 years, but after traversing the planet once every 120 days since May 2011, Saturn's large beacon is cooling and shrinking. Scientists expect it to fade away completely by the end of 2013.
The question now remains as to whether Saturn's storm-generating energy has been sapped or if there will be a repeat performance.
The outburst already caught observers by surprise by arriving during the planet's northern hemisphere spring, years ahead of the predictably stormy summer season.
"The beauty is that Cassini will be operating until the Saturn system reaches its summer solstice in 2017, so if there is another global event like this, we'll be there to see it," says ESA's Cassini project scientist Nicolas Altobelli.
European Space Agency: http://www.esa.int
This press release was posted to serve as a topic for discussion. Please comment below. We try our best to only post press releases that are associated with peer reviewed scientific literature. Critical discussions of the research are appreciated. If you need help finding a link to the original article, please contact us on twitter or via e-mail.
It's just a bit shorter than Mt. Everest
As the spacecraft completes its final flyby of Saturn's moon Dione, TIME reflects on the most spectacular images from the mission thus far
Satellites that are manufactured and assembled in orbit could let you launch your own armchair science project or just experience the effect of seeing Earth from above
Two of the four NASA space shuttles on display in US museums have had their water tanks removed for possible use in a storage system for the ISS
After three botched missions to resupply the International Space Center since October, an unmanned cargo ship blasted off from southern Japan on Wednesday with food, water and gear needed to keep the research station and its crew functioning.
The close encounter may be scientists' last chance to identify ice volcanoes and learn about the moon's inner structure
Astronaut Scott Kelly, spending a year in space, hopes NASA will get "support we need" to develop commercial U.S. crew ships
Comet 67P/ Churyumov-Gerasimenko, shadowed by the Rosetta spacecraft, will make its closest approach to the sun at 3.03 am BST on Thursday morning
Instead of seeking living aliens, ET hunters suggest looking for alien civilisations that have wiped themselves out through technology
This year's event should benefit from the presence of a new moon, which offers the ideal dark conditions for viewing the show


text:
realmagick.com The shrine of knowledge.
Alternative Medicine G
A selection of articles related to alternative medicine g.
Original articles from our library related to the Alternative Medicine G. See Table of Contents for further available material (downloadable resources) on Alternative Medicine G.
- Herbs of Folklore and Modern Medicine: White Willow, Aloe Vera, and Garlic
- Many of the medicinal herbs we use today have been studied by modern science for application in today's medical field. These studies have shown that our ancestral folk uses of these herbs were very much correct in their applications. Here we will explore...
Earth Mysteries >> Herbalism
- History of Egyptian Medicine and Philosophy
- When medical knowledge past is considered, lack of aseptic technique, pain-killing drugs and antibiotics are an accepted part of our modern legend of these ancient healing practices. You will find that none of this is true when it comes to Ancient Egypt....
Religions >> Egyptian
- Survivalists' Guide for the New Millennium: Chapter 6
- AS THE WORM TURNS Health and well being are part of the natural birthright of the human being. With all of its organs intact, the right diet, exercise and mental focus, a human body can overcome any disease. Even so, the effects of living in this...
Philosophy >> Survivalists Guide for the New Millennium
- Experiences of a Pagan Practicing Pranic Healing
- My exposure to the Old Religion and to the Earth-based Religion also exposed me to tried and true healing techniques involving herbs, oils and some other shamanic rites. Most of these techniques did not ritualize a systematic division of bodies and/or energy...
Body Mysteries >> Pranic Healing
- S. Hahnemann's discoveries
- Homeopathy was founded by Samuel Hahnemann (1755 - 1843), a German physician. Hahnemann was an educated man; except for medicines he had also studied Greek, Latin, five other languages and philosophy. He was familiar with the ancient Greek healing-arts, and...
Body Mysteries >> Homeopathy
- What is hypnotic trance? Does it provide unusual physical or mental capacities?
- 2.1 'Trance;' descriptive or misleading? Most of the classical notions of hypnosis have long held that hypnosis was special in some way from other types of interpersonal communication and that an induction (preparatory process considered by some to be...
Parapsychology >> Hypnosis
Alternative Medicine G is described in multiple online sources, as addition to our editors' articles, see section below for printable documents, Alternative Medicine G books and related discussion.
Suggested News Resources
- Scientists Harness Stem Cells for 'Grow-Your-Own' Eye Repair Surgery
- Kohji Nishida of Osaka University Graduate School of Medicine in Japan and colleagues grew eye cells from induced pluripotent stem cells (iPS cells), which are made from ordinary cells such as skin cells.
- G-20 Host Lou Jiwei on How Consensus Was Won
- G-20 Host Lou Jiwei on How Consensus Was Won. China's finance minister sheds light on G-20 ...
- Development of an in vitro model to test antifibrotic drugs on primary human
- In vitro cell models represent an alternative and complementary approach. ...
- Translating Research to Practice for Children With Autism
- Margaret W. Bultas, PhD, RN, CNE, CPNP-PC; Norah L. Johnson, PhD, RN, CPNP-PC; Karen Burkett, PhD, RN, PPCNP-BC; Judy Reinhold, MSN, RN, CPNP, PMHS.
- Clinical Uses of Acupuncture
- Complementary alternative medicine (CAM) and treatments have received much attention and acclaim in the past years. Many patients and practitioners turn to CAM as alternatives to avoid side effects of drug therapies, as well as enhance personal beliefs ...
Great care has been taken to prepare the information on this page. Elements of the content come from factual and lexical knowledge databases, realmagick.com library and third-party sources. We appreciate your suggestions and comments on further improvements of the site.
Alternative Medicine G Topics
Related books
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Judy Woodruff gets two perspectives on Republicans' "Pledge to America" plans to repeal health care and cut government spending from House members Anthony Weiner, a New York Democrat, and Tom Price, a Georgia Republican. Continue reading
In other news Thursday, the House approved a long-delayed bill designed to help small businesses get lending from community banks. Republicans opposed the loan fund, calling it another bailout. Continue reading
Former President Bill Clinton spoke with Judy Woodruff Wednesday about what President Obama and Democrats must do to sell their message to voters this fall, what the Clinton Global Initiative plans to do to promote job growth in the U.S. and how Haiti's quake-recovery efforts are going. Continue reading
A new report shows that official Democratic organizations have raised more than Republicans so far this year. But those figures don't reflect money coming from undisclosed and outside sources. Gwen Ifill gets two views on how fundraising could change the political landscape this year. Continue reading
The Senate could not reach 60 votes to start debate on a defense spending bill Tuesday, effectively blocking an attached repeal of "Don't Ask Don't Tell." Jim Lehrer talks to Political Editor David Chalian and Time Magazine's Mark Thompson for more on the potential implications as November's midterms draw near. Continue reading
Gwen Ifill speaks with liberal commentator, online media magnate and author Arianna Huffington about her new book, which concentrates on the declining U.S. middle class. Continue reading
Political strategists take a closer look at what new primary results could mean for the Republican and Democratic parties as Election Day approaches. Continue reading
Outsiders and Tea Party-backed candidates posted victories in key primaries around the country on Tuesday. Political editor David Chalian reviews the winners and losers. Continue reading
For a few hours Sunday, it appeared there might be compromise on whether to extend the Bush-era tax cuts for everyone except Americans making over $250,000. But House Minority Leader John Boehner later insisted that cuts should remain across the board. Gwen Ifill talks to Naftali Bendavid of the Wall Street Journal for more. Continue reading
Syndicated columnist Mark Shields and New York Times columnist David Brooks analyze this week's top political stories, including recent anti-Muslim rhetoric in the U.S. and the debate over extending Bush-era tax cuts. Continue reading


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Indiana students, grades Kindergarten - 5th grade, are invited to attend the Tree Trim at the Indiana State House with First Lady Karen Pence.
The special program will feature a special program, music and special guests. Students will be invited to make ornaments that they can take home and watch the tree lighting ceremony!
If you are interested in bringing your students call or email the Tour Office.
Jennifer Hodge
(317) 233-9830
Reservations are required and space is limited so get in touch soon!


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In the category of not entirely surprising but nonetheless distressing news, the Texas Rangers announced Tuesday that Neftali Feliz will undergo Tommy John surgery, ending any hope for a return this season. Given that the standard timetable for return from this surgery averages about a year, Feliz should not be expected back until the latter half of the 2013 season.
Neftali Feliz
Texas Rangers
Any time a player is faced with reconstruction of the ulnar collateral ligament and its associated lengthy recovery process, it's a difficult pill to swallow. In the case of Feliz, however, this can't have been entirely surprising given how the year has gone.
His troubles began in the spring when he was forced to leave a spring start after three innings with stiffness in his right shoulder. A week of rest seemed to do the trick, and Feliz was able to start the season on time. In fact, his first outing was a strong showing, as he threw seven scoreless innings with four strikeouts. Still, Feliz was a work in progress, given that the Rangers were transitioning him back into the rotation from the closer role he had adopted two years prior.
A month into the season, Feliz developed soreness in his throwing elbow, and he was placed on the DL in May with right elbow inflammation. He was cleared to resume a throwing program in mid-June and began a rehab assignment in late July. Before he could take the mound for his fourth rehab start, however, Feliz was scratched due to renewed discomfort in his elbow. Feliz met with team doctors Monday, and the grim news was announced Tuesday.
Tommy John surgery has become so commonplace among pitchers that it is impossible to isolate a single source, other than the act of pitching itself. That won't put a stop to the questions surrounding whether the demands of moving to the rotation from a closer role were too much for Feliz to overcome or whether his mechanics were a contributing factor. Or, did the shoulder ailment early in the season set him up for problems further down the chain? Whether any or all of these issues factored into Feliz's failed elbow cannot be proved, but it certainly offers plenty to discuss while awaiting his return next year.


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Tom Heitz: Zach Lavine breaking ankles at Seattle ProAm pic.twitter.com/8iGrEuPoei
Seattle Rumors
Jamal Crawford: Charlotte Hornets @Spencer Hawes will be playing in the @SeattleProAm all-star game tomorrow!
Me: Where have you been holed up during all of this? Luke Ridnour: I've just been outside of Seattle. I've just been at home. It really hasn't been that crazy, just because you're not going to any of those places. It's not like you're going and checking out the town and all of that, getting traded. I knew with my contract, there was a chance I would get traded once or twice. It's been a little more than anyone expected. But where I'm at, if this was four or five years ago, it might have affected me a little more. But I'm not that bothered right now. I don't even know if I'm going to play next year or not. But it's been kind of funny. I'm just taking it for what it is.
LR: Well, they're young. My twins are four, my oldest is six, and now we've got a newborn. So they don't really get it. Me: What did your wife think? LR: She would show me some random funny pictures, like my face across the United States, or a jacket with all the (team) logos on it and my face on it. There's some funny ones out there. And she was getting a crackup out of it, too. I mean, it was pretty funny there for a while … that's what made it comical. It was just the contract getting bounced around.


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Discussion content should not be viewed as an endorsement of the views of Tulsa City County Library. TCCL reserves the right to edit or refuse to post any material, in whole or in part, that does not meet these guidelines. TCCL reserves the right to make changes to the guidelines at any time.
See the Comment Guidelines for more information.
Colorado Libraries for Early Literacy (CLEL) has created an award for high-quality picture books that provide excellent support of early literacy development in young children. Books have been selected in each of five categories: books that promote reading, writing, singing, talking, and playing. These are all ways that parents can share literacy with their children
Find out more about the award on the web at: http://www.clel.org/content/bell-awards
The February issue of the Nonprofit Resource Center's E-Newsletter is now available online.
The newsletter is designed to keep Tulsa nonprofit professionals up-to-date on upcoming workshops, free online training, helpful resources, and all things nonprofit.
Every month the Nonprofit Resource Center compiles a list of free, upcoming webinars on nonprofit topics from around the web.
Find free webinars year round with the Nonprofit Resource Center's training guide.
Grantseeking Basics
February 3, 2014
One Murder Too Many: Whitey Bulger and the Computer Tycoon
Lecture and Book Signing with Co-Author: Laurence J. Yadon
Saturday, February 1st
Tulsa Historical Society & Museum
2445 S. Peoria
Admission is FREE
About the Book
Prepare your elevator speech, print more business cards and join us for the next Business After Hours Feb. 20 at Tulsa Event Center. More than 800 business professionals will attend this exciting event to network, peruse more than 90 exhibitors and enjoy fun giveaways and heavy hors d'oeuvres.
Thursday, Feb. 20
5-7 p.m.Tulsa Event Center2625 S. Memorial Drive
Library Apps TCCL Careers
400 Civic Center ~ Tulsa, OK 74103 ~ 918.549.7323


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Holgorsen blasts inside receivers
MORGANTOWN – West Virginia coach Dana Holgorsen blasted the play of his inside receivers Thursday, saying one of the running backs may eventually move into that slot.
"We are going to move Daikel Shorts inside," the coach said. "You do not move guys unless you are displeased with what you are looking at. I will defend each and every one of those guys."
Holgorsen said he could come up with "plenty of excuses" as to why the play of those receivers looks bad. He said junior college transfer Mario Alford has only been practicing for two weeks, Devonte Mathis and Vernon Davis have never played in college, others are true freshmen and Jordan Thompson and Dante Campbell "haven't practiced for a week, week and half" because of shoulder problems.
"None of us want to hear them," Holgorsen said. "I do not want to hear them. I do not want to look at them. You guys do not want to hear them; you may write about them, probably. But it is what it is. We need to get guys in here that we trust and like. Which one of those guys is going to develop into an all-Big 12 performer? I don't know yet. The talent is there. They just need to keep playing. We are not discouraging them. With that said, we play a game in two weeks, and we have to get guys ready to play."
Newcomer Charles Sims, who transferred from Houston to play his final collegiate season at WVU, is getting a look at playing as an inside receiver, as are fellow running backs Dustin Garrison, Andrew Buie and Wendell Smallwood.
"Charles Sims could be our best inside receiver," Holgorsen said. "He's a good player. He's very well-rounded. His ball skills are good. But there's only one of him. We can't clone him and put him in two different spots at the same time."
Holgorsen said Sims is cut from the same cloth as Tavon Austin, a first-round draft pick of St. Louis this spring. He said Sims' abilities allow for him to start "scheming.
"I am not comparing him to Tavon at all," the coach said. "There aren't many guys who can play several different spots. They're hard to come by."
Holgorsen said there is a possibility of moving sophomore Cody Clay to one of the inside receiver slots. True freshman Elijah Wellman could also figure into the mix there, as could linebacker-turned-fullback Garrett Hope.
"We need to figure out what the plan is," the coach said. "We don't know what role (Wellman) will play. We're still about a week away from that. Moving Garrett Hope to fullback has alleviated some of our need for (Wellman) there, but he's going to be a great player for us. Whether we want to waste a year on him being a third-team fullback, we don't know. That decision hasn't been made."
Holgorsen said that receivers Connor Arlia and Will Johnson have left the Mountaineers, and Holgorsen had nothing but praise for the pair.
"Great kids, but they just want to go play," he said. "I will release them to anywhere that they want to go so they can go get themselves in a position where they can play ball."


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The AFC South was one of the weakest divisions in the NFL last season. The Houston Texans were the class of the division for the second straight season, posting a 12-4 record and edging out the Indianapolis Colts for the division title.
Speaking of the Colts, they were the most surprising team in 2012, going from 2-14 to 11-5 in just a season. Had Andrew Luck and Chuck Pagano not reinvigorated Indy, this could have been the worst division in football.
Which leads to the bottom half of the AFC South. The Tennessee Titans were a mediocre squad in 2012, going 6-10, while the Jacksonville Jaguars were one of the worst teams in the league and won only two games.
Can the Texans make it a three-peat in the division? Can Luck and the Colts build on last season's success without Bruce Arians? Does Jake Locker take the next step toward being a respectable starting quarterback? Who will be behind center in Jacksonville?
All of these questions and more will be answered in this AFC South preview.


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Fairfield Inn & Suites by Marriott Chincoteague Island, Chincoteague
- Free full breakfast, free WiFi, and free parking
Main amenities
- 92 smoke-free guestrooms
- Near the beach
- Seasonal outdoor pool
- Fitness center
- Business center
- 24-hour front desk
- Coffee/tea in a common area
- Air conditioning
- Daily housekeeping
- Front desk safe
- Snack bar/deli
- ATM/banking services
For families
- Cribs/infant beds available
- Sofa bed
- Microwave
- Refrigerator
- Television
- Free toiletries
What's around
- Heart of Chincoteague
- Museum of Chincoteague (2 mi / 3.2 km)
- Assateague Lighthouse (3.2 mi / 5.1 km)
- Wallops Flight Facility (9.7 mi / 15.5 km)
- Cypress Park (21.6 mi / 34.8 km)
- Delmarva Discovery Center (22.5 mi / 36.1 km)
- Salisbury, MD (SBY-Salisbury - Ocean City Wicomico Regional) 61-min drive; 44.8 miles/72.1 km
- Free self parking
Fairfield Inn & Suites by Marriott Chincoteague Island, Chincoteague
Hotel Info: 866-266-9798from $115 CAD
- Standard Room with King Bed
- Suite with King bed, Sofa bed and Bay View
- Suite with 2 Queen beds, Sofa bed and Bay View
- Standard Room with 2 Queen beds
- Suite with King bed and Sofa bed
- Standard Room with 2 Queen beds and Bay View
More great choices
At a glance
Key facts
Hotel size
- This hotel has 92 rooms
- This hotel is arranged over 3 floors
- Check-in time starts at 3 PM
- Check-out time is noon
- Express check-out
Required at check in
- Credit card or cash deposit required
- Government-issued photo ID required
Travelling with others
- Pets not allowed
- Free WiFi in public areas
- Free WiFi in rooms
- Free self parking
Other information
- Smoke-free property
Nearby Two Star Chincoteague hotels
In the hotel
- Free full breakfast
- Snack bar/deli
- Coffee/tea in a common area
- Outdoor seasonal pool
- Fitness facilities
- Fishing on site
- Bicycle rentals nearby
- Hiking/biking trails nearby
- Kayaking nearby
- Business center
- One meeting room
- 24-hour front desk
- Tours/ticket assistance
- Dry cleaning/laundry service
- Free newspapers in lobby
- Year Built 2013
- Elevator/lift
- ATM/banking
- Safe-deposit box at front desk
- Accessible bathroom
- In-room accessibility
- Roll-in shower
In the room
- In-room climate control (air conditioning)
- Air conditioning
- Coffee/tea maker
- Iron/ironing board
- Blackout drapes/curtains
- Sofa bed
- Pillowtop mattress
- Shower/tub combination
- Free toiletries
- Hair dryer
- 32-inch TV
- Cable TV channels
- Desk
- Free WiFi
- Free local calls
- Refrigerator
- Microwave
- Daily housekeeping
Nearby hotels
Fairfield Inn & Suites by Marriott Chincoteague Island, Chincoteague's small print
Also known as
- Chincoteague Fairfield Inn
- Chincoteague Island
- Chincoteague Marriott
- Fairfield Inn Chincoteague
- Fairfield Inn Marriott Island Hotel Chincoteague
- Marriott Chincoteague
Noise-free guestrooms cannot be guaranteed.
We have included all charges provided to us by this hotel. However, charges can vary, for example, based on length of stay or the room you book.
Also popular with travellers from Canada
Recent reviews
Outstanding 4.6 /5 from 151 reviews
We really enjoyed our stay at this hotel. Only negative was the room temperature was hard to control hot to cold. I'm not sure why because it was a brand new system.
A scenic and quaint town wonderful people and great outdoors' experiance
Great views. Good breakfast. Friendly staff. Comfortable room.
The Hotel was okay. The breakfast was not so great. We were in a disability accessible room which meant I had to hold the shower head above my head to shower. also the shower curtain did not com down to the floor so some water went on the bathroom floor. small tidal pool outside balcony which filled up and drained every day, slight smell.
bed creaks I can't sleep good
Is the description of this hotel not correct? Tell us


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Heather Locklear Changes Name To Heather Locklear
Heather Locklear is wiping clean her marriage to Bon Jovi rocker Richie Sambora - she has filed court papers to revert back to her maiden name.
The actress divorced the guitarist back in 2007 after 12 years of marriage, but on her official documents she is still called Heather Deen Sambora.
She filed a request at Los Angeles County Superior Court on Friday for her name to be legally changed back to Heather Locklear.
Locklear wants her request to be granted before she applies for a new passport ahead of a planned trip aboard next month, according to TMZ.com.
Click for more great Heather Locklear pictures:
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2003 Lexus IS 300 Sedan E-Shift 4dr Sedan (3.0L 6cyl 5A)
Bought it w/ 120,000 KMs and as a rebuilt title. Amazingly fun car to drive in the summer, and is extremely reliable. In 2 years owning it, outside of having to change the brake pad and battery, I only had to come in to the shop for oil changes and tire changes. However, the car is not good for heavy winter driving. Because its RWD and fairly light, you have to be extremely careful when driving it in heavy snow roads as it tends to slide. The stock stereo is unbelievable. I tried a 2014 BMW this year, and the stereo on that didn't even match the 03 Lexus IS stereo. Also, this car's safety features protected me very well when I was t-boned by another car. I would highly recommend this car.
- Stereo
- RWD acceleration picks up quickly
- Safety
- Reliable and rarely had any issues outside of maintenance (despite me driving a rebuilt title)
- The handling is amazing - very tight turns
- Its a looker, especially from the back
- Winter driving is not that good - the car tends to slide, even with heavy winter tires on, so you'll have to drive carefully
- Takes premium gas - cost me about $60-70 to fill up a tank (in Toronto, Canada)
- Really bad at going up inclines - engine would audibly strain, and it drove much slower than other cars in that same setting
- At least in my car, heating up the engine during the Canadian winter took about 6-10 minutes. If I did not heat up the engine and tried to drive, the engine would sometimes stall
Ready?Love the car, but since I just recently bought it, I've had to do some work getting it up to par as the prior owner didn't take great care. However, it's a Lexus, so a blind monkey could drive it into a lake and it'd be better than anything on the road. A few cosmetic issues inside and out, and 90k service hadn't been done. When something breaks on this car, it's costly. But if you take care of it, it'll take care of you. I wish they had that mentality! That said, It's a joy to drive. Slightly heavy and a bit sluggish, but with 200+hp, you don't lack for power. Finding low-mileage units is just about impossible, and when you purchase yours, you'll see why.
Good sounds system, great looks, wonderful power (especially w/ PWR ECU button). No problems w/ snow despite being RWD. Plenty of classy upgrades one can install to contribute to personality without it being one of those dumb looking cars younger folks try to make it into.
More engine noise! I love the driving experience, and this car does a great job to keep everything quite. Let me hear the horses in the stable at work!
I just traded in my '03 IS after seven years and 161,000 miles (purchased new). During my ownership, I never replaced a light bulb, only replaced the brakes once and the tires twice. The car was a joy to drive and I would have kept it for another 100,000 if I didn't need a bigger car for a growing family. I wish I liked the new IS series as much, but I thought the styling dropped off and the inline-6 was special.
Styling, reliability, performance.
A 6th speed would have been nice and would have probably improved fuel economy.
I do love this machine.
Maybe 280 HP to match the Infinity
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The 1980s were a great decade for big-screen action and adventure. Join us for a look back at where our favorite '80s action stars are today, including 70-year-old birthday boy Sylvester Stallone.
1980s action stars then and nowUPDATED 9:24 AM EDT Jul 06, 2016
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