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Tag Archives: self
Megawra talk: Cairo as a lone individual: the geography of self-exploration
Man as map
I will start by thanking those who brought me here. It was Mai Ibrashi, I believe, who first paid attention to the geographic aspect of my first novel, The Book of the Sultan's Seal—in many ways also my first full-length book—which, though it was completed in two spurts over a three-year span, gathered together a lifetime's efforts and experiments in writing, in playing with different registers of Arabic, and in looking at the world—or Cairo.
In it the hero, Mustafa, who will soon start having historical visitations, notably from the last Ottoman sultan, is propelled into rediscovering those parts of the city in which his life comes to have meaning, by drawing the routes he takes as he actually experiences them, with his eyes closed. The shapes that he ends up with later combine to produce a tugra or sultan's seal—which comes to be the symbol of the city as one person's madness, the city as Mustafa: a calligraphic emblem with many non-empirical references to reality. A sort of psychological form of map-making thus became at the centre of the creative process.
I was not as aware when I wrote the novel as I am now that what I had Mustafa do was one form of what might be termed literary cartography. That is: the appropriation of space through an internalization of its subjective and human (as opposed to objective or "scientific") experience with the purpose of integrating the result into a print context—in this case, by turning it into calligraphy. In my new novel project, I am using the Phoenician letter Waw to a similar end—it is similar to the Latin Y but not the same—comparing it with the shape of the Nile valley in Egypt among other cartographic representations of topics being dealt with, all reached through the very personal experience of the characters.
I will not get into the details of how this works in each book. All I want to say is that literary cartography—so understood—is an interesting mode of engagement that has rarely been explored or practiced in context. Some conceptual artists have no doubt employed cartography in their work in a similar way, perhaps architects and designers and theorists too, which goes to show that maps make up an essentially multidisciplinary approach to the real. But in terms of literature, though the inclusion of cartography forges instant and fascinating connections with illuminated manuscripts and many echelons of the Arabic canon, it remains more or less unknown. So all I will do tonight is talk a little about literary cartography.
I am not much of an artist, but I've found photo-based representation—first through the dark room, then digitally—to be invaluable in the process of complementing print with imagery to which a relatively complex idea might be uniquely anchored: post-millennial Cairo as an Ottoman seal, for example, or the Nile valley as a sacred letter. I've also always been fascinated by maps as an alternative mode of recording reality in print, and writing places—of which I've done more than any other kind—is a less precise but more inclusive form of map-making.
Literary cartography has to do with two quite separate things, I believe: two ideas, two motives, two different activities of the novelist as witness and, principally, as a writer of extended letters to unknown recipients but also as someone who crystallizes human experience into signs (whether letters or drawings) laid out on paper.
First, there is the fact that, for reasons of temperament and drive, writers tend to be self-obsessed no matter how much they endeavor to prove the opposite. This is aesthetically perhaps as it should be, in the sense that it is within a given creative intellect that this intellect is likely to find literary meaning or beauty. The beauty in literature seems to come less from the object being written about—confusingly, this is often referred to as the subject—than from the manner of its transformation into language: how a city like Cairo becomes a calligraphic symbol, to follow through the example. This process belongs with the writer, not the world. Reality is subordinated to a subjective standpoint that makes no attempt at eliminating bias.
I don't actually necessarily believe that this all that happens, since the subject too—the writer—is part of a greater reality and presumably open to all sorts of currents: I could go on about the writer as convoy or medium, about things like objective coincidence and automatic writing. But still, subjectivity in this sense, however aesthetically perfect, raises moral questions. Nor is it simply that people get upset with you when you write honestly about them, for example. Unlike that of a map drawn to scale, your image of reality is going to be all but private, solipsistic even, the meaningless sounds made by a social outcast humming to himself in the dark.
When that picture is condensed into an objectively articulate image, something everyone can look at and appreciate at least as much as a map—even if it will never be nearly as useful—that sense of moral doubt is significantly reduced. It is almost as if, by constructing your statement logically and enunciating it clearly, you bring it into daylight. You do not turn the subject into an object the way empirical science does, but you produce a subjective object, an object that integrates bias as an essential part of its constitution, an object which—even though it remains an object—could never exist without the subject that brought it into reality: the signs, the letters, the language is utilized to a meaningful end.
Secondly, besides all else that he does, a writer is forced to make a choice between time and space, history and geography, narrative and description. I happen to believe that time or history is more violently peremptory and limiting. It is more prone to meaninglessness, to the exclusionary blindness and manipulative falsification of power (something that can be seen clearly in current, presidential-elections narratives of the revolution). That is partly because, compared to stories or human beings, it is much more difficult to judge places as such. Unless you include the narrative of what it depicts and how, looking at a map, it is impossible to say that its shape is immoral, for example, or that its stance is unfair.
Building on my first point—that a writer's subject will inevitably be himself—I want to argue that conceiving of the self as inclusive, pluralistic space is far more rewarding and ultimately also more honest than presenting it as a narrative of the triumph of good over evil (or the defeat of good by evil), no matter what kind of good the subject stands for, or how complex, which is what literature is likely to reduce to once it surrenders itself wholly to the idiocies of history. The self as a geography of humanity that is trying, in a desperate but courageous bid, to transcend history: that seems far more meaningful than the self as a the convoy of an inevitably false and ultimately one-dimensional storyline.
However contrived in the context of a given novel, however subjective in fact, literary cartography, it seems to me, is the clearest embodiment of the self as space in language: the map that makes no reference to empirical reality is the salient image of literature as the epistemological exercise of making sense of the world through words or (as they are or should be) through signs inscribed on paper that, looked at, inspire faith in the meaning of life.
Talk at Megawara on Sunday, 27 May, 2012
How far is Mahmoud Abdelghani
A book picked up by coincidence leaves Youssef Rakha aquiver
How far is Don Quixote: the title reads much better in Arabic, but this – more or less – is what it means. The latest book by one of Morocco's best respected prose poets, Mahmoud Abdelghani (b. 1967), Kam yab'ud Don Kishot (Beirut: Dar Al-Nahda, 2007) builds on three previous collections of poetry and a number of translations and critical theses (Abdelghani is a professor of Arabic literature in Rabat). But does the Don Quixote in the title have anything to do with Cervantes' hero?
In common with the work of like-minded contemporaries across the Arab world – in Egypt the best known (amorphous) group is known as the Generation of the Nineties – it is a safe bet that the subject of Abdelghani's poems is the poet himself: a central tenet of this decadent form in its Nineties incarnation is that it is, by however subtle or indirect a means, autobiographical; and Abdelghani seems to think of himself as Quixotic. Still, Abdelghani is too sophisticated to present himself directly as such; he relies, rather, on transference, and in so doing offers his own appropriately wispy take on what the Don might stand for in a poem from post-millennial north Africa: "Don Quixote slept… I saw him,/I thought I was the best to negotiate with him,/and cut deals…"
There is plenty of beauty in this work, but it is the ego-exploring dimension of a vaguely cyclical sequence of texts in a broader context of contemporary poetic discourse that makes it interesting. Here as elsewhere in the "impure" Arabic poem, the poet – a once heroic and exemplary figure who until recently spoke for more or less grand abstractions in more or less grandly rhythmic tones – reduces to self-revealing poetic matter: porous, unpretentious, subversive. In many cases this implies confession, hatred, the impassioned rejection of what status quo the poem might pit itself against or what remnants of the self might choose to align with a status quo.
When the poem sheds its surface musicality and ceases to exercise a sentimental pull, it falls prone not only to the "destructive" compulsions of confessional decadence but equally to the drive to exercise a certain kind of sapience.
In some Nineties work, the economy of means to which poets as a rule resort gives way to a fake pithiness, as if the poem's function is not so much to distill experience as to pronounce on it. By placing the poet back on some kind of podium, however apparently low-key, this tendency immediately undermines both the poetic substance of the text itself and the central tenet of "impure" aesthetics.
In Abdelghani, somewhat atypically, what "impurity" implies is a loosely stylised sense of the real communicating not so much an emotion as an emotional charge: a mood or a perspective. This makes him very vulnerable to a position in which he might assume a wise or knowledgeable stance; what is surprising is how he avoids this entirely.
In "After a star or a thread" (translated here in full), for example, there is not a whiff of that kind of pithiness:
You followed me to the palace.
Did you follow me to the palace?
You were at the bottom of the pit,
did you read the novelists?
All their characters find guidance
in a star or a thread.
The ability of the star and the thread
regarding the lost thing
which they look for
in cities.
I will make the voice witness
when you follow me.
Of course, the question that then emerges is what such a poem means – perhaps semantic emptiness is the pitfall diametrically opposed to pithiness in Arabic prose poetry, even though it is rightly said that the poem does not have to mean anything – and, insofar as lack of meaning is a crime, Abdelghani is certainly guilty.
A more sympathetic reading would turn the palace and the pit, the star and the thread and the voice to be made witness, into a quasi-metaphorical system of (self) references where the speaker is really talking about the process of speech (one definition of poetry I like, which is applicable in particular to contemporary poetry, is that it is a mode of rediscovering language in intensely personal registers, of learning to speak). Together with the occasional Surrealist stroke – "and the imprisoned man/who waits for the dawn of things/is swept up by the sun/to my head," for example – it is simply (but never exclusively) the process of writing, poetry being itself, that makes this book meaningful.
In "The Plum Tree", Abdelghani comes close to expressing what his book attempts constantly to perform:
Poems are fair weapons,
said Jean Sénac.
But I don't see people
baring them
even a little.
all poems
do not have the appearance
of a tree branch
that a woodpecker only just left.
And so, perhaps the most Quixotic thing about Kam yab'ud Don Kishot is the way it shows just how Quixotic – but also how Quixotically inevitable – writing poetry is. Surely (and this, if anything, is what Abdelghani is saying) these poems at this time and in this place are as idealistic and unrealistic as the proverbial hero, but perhaps also as impassioned. Abdelghani demonstrates this at the deepest levels not only brilliantly but also very poignantly, and as he does he suggests that there are many ways of exploring the ego, many ways of recounting one's own life. I would have liked to learn more about Abdelghani from this exquisite "autobiography" of his. But perhaps it has already told me enough:
Abdelghani writes.
Translation copyright: Youssef Rakha
Ahmad Yamani's New Book: The Ten Commandments of Displacement
Yamani is far left; Osama El-Dainasouri second from right
When Youssef Rakha asked the Madrid-based poet Ahmad Yamani how his latest book, Amakin Khati'ah (Wrong Places, Cairo: Dar Miret, 2009) came about, the latter sent him a numbered list of observations
1. All the poems of this diwan were written in Spain between 2002 and 2006.
More than other "Nineties" prose poets working in standard Arabic, Ahmad Yamani was accused of hartalah, contemporaneous slang for prattle or drivel. That was when he lived in Talbiyah, the semi-provincial suburb of the Pyramids where he was born in 1970. No one doubted his talent, but even the quasi-Beatniks of Cairo were not ready for the irreverent lack of polish in his first book, Shawari' al-abyad wal-asswad (The Streets of Black and White, 1995), particularly clear in the long, epoch-making poem whose title translates to Air that stopped in front of the House.
Here at last, romantic and Kafkaesque by turns, was a rage-free Howl of Cairo in the post-Soviet era. The madness went on. By the turn of the millennium Yamani was as well-known as he could be. He was writing, he was working (mostly at cultural magazines), but like many others he was also fed up with life on the margin and disgusted with the social, economic and literary mainstream. One day in 2001, he left the country for good.
2. I did not show anybody and did not publish a single poem, because my idea was simply to test myself in a new place.
The ambition to start over makes sense despite Yamani's success: Through a revolution waged in the ghetto – cf. the journals Al-Kitaba Al-Ukhra and Al-Garad – he had been among the few who survived the purges. In time his hartalah-streaked genius, demonstrated in two more books by 2001, looked more like what the revolution was about than almost any other work. The vernacular, the individual, the concrete: these were the basic components of a variegated "movement", but Yamani seemed to embody them more literally. In a way he grabbed what everyone else was girdling. Hartalah or not, his work was gloriously prosaic.
Apart from tighter technical control of his material and a greater openness to drama and narrative, however, no major developments occurred in Yamani's next two books (Tahta shajarat al-'a'ilah, self published, 1998; and Wardat fi ar-ra'ss, Miret, 2001). The gifted strive to surpass themselves. Consciously or not, starting a new life must have seemed the perfect chance to re-enter the void. It took Yamani nearly five years to come back out with something to show for himself; and while he shed some qualities in the process, there were others he retained:
Unlike Yasser Abdel-Latif, for example – another survivor whose own debut, also self-published, emerged simultaneously from the same press as Shawari' – in Amakin Khati'ah Yamani still does not construct his texts, he releases them. Here as in the previous three books, he avoids sentimentality not through restraint but by reinventing the words and their sense. He makes words say not necessarily what he means (he does not necessarily mean anything), but how he experiences their weight.
For a hard-up young man from the backwaters of Cairo, then, what does it mean to be in a new place – intent on poetic self examination?
3. My life in the new place was totally different from my life in Egypt, which was surrounded by intellectuals almost for its duration and where friends provided a sense of security.
Only very occasionally in this book does being in a new place mean noticing how foreignness plays out in ideational terms, but in the context of the Nineties the fact that it does at all is remarkable. In "Story of al-Jahidh", for example (the title is an incidental reference to the great ninth-century author, who was black), the speaker not only describes but also seems to mull over instances of racism – by Nineties standards, an unthinkable concession to "ideology" – the catch-all term for anything which, preceding or external to individual consciousness, could potentially intervene in how it operates, altering or squeezing its contours.
Assess the poem as you will, explicit mention of racism is not something you would expect of Yamani.
Not that it is beyond him to think about such issues, but the Nineties work was conceived partly in reaction to both Sixties engagement and the Adonis (Ali Ahmad Said)-influenced obscurantism of the Seventies: the absurdity of writing about and for abstractions, whether the People, the Nation, or Modernism, Beauty, etc. Any suspicion of the poem championing either cause or concept, however ambiguously, would have been enough for the Tis'iniyyun (or "Ninetiers") to set up the gallows. And in many ways Yamani was the least susceptible to temptation.
Perhaps out of mere habit, Ninetiers who are otherwise in awe of Amakin Khati'ah still object to the topicality that shows up on its pages. Could topicality nonetheless be one of the ways in which the end of revolution – immigration, in this case – had a liberating effect on the revolutionaries?
4. This sense of security ended totally in Spain. It was not a question of lack of access to my friends, which I had through e-mail or telephone; it was more about cutting yourself off from that security with awareness, even resolve. Besides, the practicalities of life led me into new interactions. Little by little while working as a guard or a barman, you learn to take off the writer's plume, which you used to rely on in Egypt and which set you apart as someone special, especially in front of your family. Here it didn't matter at all whether or not you were a writer.
With Abdel-Latif and a host of young Cairo-based poets from working to lower middle class backgrounds, Yamani had inherited a certain Rimbaud-like angst from a more or less small group of staunchly apolitical existentialists who, though were only slightly older, could claim a connection with the Seventies as well as the Nineties: the Alexandria-based Alaa Khalid, the late Osama El-Dainasouri and the Charles Bukowski-loving founder of Al-Garad, Ahmad Taha, for example. It was a complex legacy with disparate influences – Dada-Surrealism (notably through translations from the French by Bashir El-Sebai), Modernism, a range of vaguely Baudelairian non-Europeans from Nicanor Parra to Orhan Veli – and it reacted to and set itself apart from savants of the Seventies not only in their capacity as Marxist politicals and heroes of the 1977-79 Student Movement but, even more importantly, as the false prophets of a new sensibility.
This is the package Yamani presumably carries along in his suitcase. But in exile or the promised land, in the new place, it must seem less relevant by the minute. Here it does not matter how you feel about prose in contrast to (free) verse as a poetic medium; it does not matter whether you are tired of one zeitgeist dictating opinions and alliances, or whether you might be contributing to the emergence of another; it does not matter to what extent you see a Syrian poet's programme for Arab modernity as meaningless in practice, or how you assess an increasingly pro-government Egyptian critic's notion of enlightenment. Only the idea of being and then not being surrounded by "intellectuals", I suspect, remains crucial:
Until he went to live abroad Yamani, who graduated from Cairo University in 1992, had functioned as part of an amorphous Group of literati (or at least one avant-garde wing thereof): normal enough procedure for a writer with any ambition in Egypt. To those who choose to define themselves in opposition to the status quo – the vast majority, in practice – that Group remains an essential element of literary production. By positioning itself outside or against the cultural (formerly also the political) establishment, since the 1970s at least, from its peripheral position the Group has often exercised greater power than the establishment.
For better or worse the Group is both the motor and the bane of the writer's life: in the capacity of friends (an almost metaphysical affinity implying interpersonal rights but neither moral consistency nor critical rigour), fellow writers-critics cover up the hopelessness of social (including academic) and professional life, doubling as readers in the process. At the expense of a sense of isolation and instability (arguably conducive to the creative act), the reality of a society that has no need even for genre novels, let alone prose poetry, is neutralised or obscured.
In the new place, I imagine, the package itself begins to look context-specific, limited and limiting, or it takes on previously unsuspected meanings. As the Spanish language gradually lodges itself in the system, unrelated discoveries further complicate the picture. For a while, I imagine, the writer no longer knows how to write.
5. In my first year I wrote almost nothing. That was 2001. In 2002 I started writing again.
Here, titled "The Two Houses", is a moving example of how distance can rarify and distill hartalah once the literary self reemerges isolated:
I wake in the same room to find my hand splashing the lake that lurks under the bed, to find the thick wall of my old house with its dusty window where a main wall of this apartment should be. I opened the window and the evening was still there. And my father was in the kitchen, his hand on the light switch and his leg which is missing five centimetres looking longer than the other, I called to him and he did not reply, he only smiled and invited me with gestures of his hand to go on sleeping. 'The universe is a handkerchief', they say here. Over there we say 'Small world'. At night I go to my parents' house, through the opening I made behind my new house. I stay there an hour or two to check on the family's medicine, on my parents' sleep and their breakfast. At dawn I set up my vehicle and go back again.
The sheer lucidity suggests that "loss of security" does clear up a certain amount of non-poetic debris. Throughout Amakin Khati'ah the tone remains as offhand and the references as private (indeed often as murky) as ever, but the poet's vision of the world and his place in it seems to have brightened or expanded. Suddenly, his work feels more relevant to more people.
So much that in an exquisitely dreamlike poem about a young man immigrating when the horizon at home begins to look like a dead end, "The Big Escape", poetry comes close to allegory. And without a whiff of the sociopolitical or the "ideologoical", neither strays very far from the clearly grounded situation it depicts:
They had sentenced me to execution with two of my friends and it was by what they called euthanasia which had already killed a fourth friend of ours. We did not understand very well what they meant by these statements and so they left us free without guards or cells and sentenced us instead to a kind of death they called a mercy killing which is carried out by a middle aged lady who has a benign face and which is painless but is death anyway. I consulted with my mother and my friends a little while before the execution and I decided to escape. They all agreed I should go while my two friends remained to wait for the lady. As soon as I went out after they gave me all the money they had I met with the merciful lady face to face next to my home. Neither of us looked at the other. She avoided me and went off and I went past her and started to run looking over my shoulder in other countries.
6. When I went back to writing, I wanted to see myself as a poet in isolation from any possible influences. I stopped publishing totally.
For which read, equally, "I stopped having a seat at the cafe in downtown Cairo." Divested of that position, the writer begins to see his work in the limitless space of what is human as opposed to what is intellectual (or Egyptian), confronting the fact that poetry can only exist in a marginal place far more directly. He might even begin to question the safety that comes of belonging, however tangentially.
In Yamani's case, I think, that journey has been overwhelmingly positive – partly because the resulting changes meddle with neither content nor style. There is a heightened sense of geography and multiplicity (in the cultural as well as the physical sense); the poet's inherent, often laugh-out-loud sense of irony responds to a broader range of stimuli; far from the fluid vitality of Shawari', his modus operandi reflects meticulous reworking of the short piece: a process through which the rawness of the writing nonetheless emerges intact. But here as in older work, subject matter is by and large distorted beyond recognition, language remains informal and corporeal, some sense of hartalah persists.
What is brand new is the vision: the ability to transform one act into another in the impossibly beautiful two-line poem "Tobacco Seller", for example: "Her hand is on the box, my foot outside the house. Suddenly it grows dark, while she continues rubbing the tobacco on her shiny thigh./She stops a little to move half the tobacco to her other thigh, while I enter the tunnel and start smoking."
References so private and concealed they are a hair's breadth away from being meaningless (El-Dainasouri, for example, figures only as "Osama", without any indication of who he might be) take on the power of electromagnetic signals: an object, a person becomes one of several points around which a field of gravity extends, shaped as much as anything by the distance between Talbiyah and Madrid.
7. I wrote slowly, with a sort of private enjoyment, without any plan to publish a book and without any concern with whether or not I was writing. It seems I wanted to free myself from Writing itself.
At the most basic level displacement has given Yamani's prosaicness a fresh subtlety. Transported to a context the writer cannot take for granted, as in "The Funeral", insights that are personal and elusively formulated enough to come across as enigmatic suddenly look breezy, universal and accessible: "Chimo is not my friend. But he died… and here I am no longer a stranger in these lands."
In "The Book", about the illiterate mother of a published author, this sense of writing in isolation from Writing, the slowness of rediscovering an intimate process, turns a more or less obvious homesickness into something far more interesting (in folk belief, the number five affords protection against the evil eye):
How can she not
read what I write
How come she waits by the door
until someone passing
gives her a few words
those strange obscure words
Yet she listens and smiles
as if she was there with me
at five in the morning
as if her hand
relocated some of the words
moved them from the wrong places
moved them and went to sleep
But how can she not
read what her own hands inscribed only yesterday
How come she cannot open the balcony
in the morning
to receive the sun
with a copy of the book in her left hand
that she reads slowly
winking at the neighbours
pointing to her son the wordsmith
waving the book in their faces
five times
while she mutters
strange and obscure words.
But it is not only a matter of context: displaced, the writer cannot take himself for granted; and not only because he can no longer designate himself a plume-wearing intellectual. In this sense the stage Yamani refers to as "loss of security" might be rephrased "loss of identity". And indeed counterbalancing a new confidence, a kind of facility in Yamani's poetic persona following his initial season in hell and the transformations it led to – a confidence just as evident in his real-life persona, as I recently found out – there is a sense of dislocation:
While topical notions of identity never go further than a more or less passing, very subtle remark on the "I" as exotic sex partner (in "My Clothes"), the eye of the poet is, to a far greater extent than in the previous books, unhinged and in motion, in search of its ever elusive socket in the his own transmuting face. It does not seem ludicrous to suggest that this is the deeper quest, as desperate as it is doomed, of the globalised soul seeking salvation in post-post-God times.
Like few other books Amakin Khati'ah presents the world as a place defined by a sort of earthly transmigration, people becoming other people through movement in space, vulnerable egos in intercontinental flux. And it is to Yamani's credit that, unlike many Arab writers, without once resorting to a self-definition that might help him to do so, he communicates a persuasive sense of being in the contemporary world.
8. The strange thing is that some people saw my not writing as a sign of bankruptcy and decided that what I had already published was the end of my writing career. This made me laugh even as it saddened me. But it was a passing sadness.
Such is the ugly face of the Group or its avant-garde wing, whether or not that has really managed to set itself apart from the Seventies – the subject enacting or being made to enact ridiculously melodramatised glories and downfalls for the benefit of the rest of the crew, turning into Hero, Victim or (in the broadest range of senses, including the literary) Suicide – but however passing the sadness such sickness inspired in Yamani, it is just as well he was made aware of it, the better to appreciate the significance of the new place. Perhaps we would not have known about Yamani if not for the Group; what we should be thankful for is that he has endured in spite of it.
Immigration, as it seems, is remedy enough. The friends remain friends but in a far less proscriptive way. It is possible to relate to the family – part of the hopelessness of the society surrounding an impenetrable circle – in a more open and sympathetic way. It is possible to see the meaning and value of others as others, not equally restricted versions of the self who may also have made the difficult choice of becoming "intellectuals" or of joining the group. A certain amount of open-ended understanding accumulates. The world becomes a handkerchief as well as being small.
9. I did not even think of publishing the book once it was completed. It was Yasser Abdel-Latif and Mohammad Hashim who drove me to do it.
Mohammad Hashim is the writer who, by founding Dar Miret in 1999, absorbed much of the energy of the Nineties and eventually became better-known as the most accomplished independent publisher in the city (the moon of his success has since waned somewhat). And the easy way to interpret what Yamani has to say about the publication of this book is to think of it as (false) modesty. He is shy about the genius that drives him.
It could also be a sign of despair of ever having a significant readership, reflecting what I feel is a healthy awareness of the position of the contemporary Arab writer in the grander scheme of things. While others go crazy over literary prizes or the prospect of being translated – publication being among the easiest tasks facing a writer in Cairo, it is never enough in itself – here is a glowing talent who, expecting neither fame nor fortune, has little or no drive to publish in the first place. Ambitious he might be, but he is silent. There is dignity in that position: an artisan's deep respect for his noble handiwork regardless of market demand.
Alternatively, however, the statement could be interpreted as a salutary affirmation of the fact that true writers write foremost for themselves, to work through their own sense of being. In this sense Amakin Khati'ah might be read as a journal of expatriation, an inner chronicle of what it means, for a hard-up young man from the backwaters of Cairo, to live away from home.
It means that he is still hard-up, that he teaches and translates to make a living: probably factors in the development of his approach to language and meaning. It means that he has become an academic (the only career open to an immigrant educated in the humanities?) and that it is an opportunity for him to set up theoretical grounding for the literary form in which he found himself (the prose poem), and to locate his work in a wide historical context. It also means that he can write free from compulsion, free from the need to establish ultimately prohibitive social or existential credentials; maybe it even means that he has something to write about, too.
10. With rare intelligence, Mohab Nassr, in a letter to me after reading the manuscript, caught the idea that this was my first book. I feel the same way: the first book in a second life.
It is interesting that, of all those who commented on the manuscript, Yamani should cite Mohab Nassr: the one Nineties poet (of Khaled and El-Dainasouri's generation) who, largely out of repulsion from the Group, its capacity for ruining lives and its failure to see itself as part of the society surrounding it, actually stopped writing altogether. After settling down as a journalist in Kuwait – he had worked as a school teacher in Alexandria – Nassr has only just returned to writing.
It is interesting because Nassr, not only by no longer writing poetry but by socially distancing himself from the Cairo-centred literary circles, is able to see better than others just how far since Wardat fi ar-ra'ss Yamani has come. It is also interesting because, without discrediting Yamani's three previous books, Nassr is implying that Yamani did not start writing until he had departed, until he was totally free of his Egyptian-intellectual self.
It is interesting too that the poet joyfully agrees – not with any of the implications, necessarily, but with the fact that he has experienced a literary rebirth – adding only the qualification of this being a second life. It means that when he writes, in "Work", "Any ghost who appears to me will instantly become my friend", he knows exactly what he is talking about.
"The Two Houses", "The Big Escape", "Tobacco Seller" and "The Book" translations copyright: Youssef Rakha


text:
Few writers are as gifted as the New Yorker's Rick Hertzberg. Here is one of his finest essays, dealing with the politics of gun control in the wake of the Newtown murders.
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subset: commoncrawl


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Thursday, January 28, 2010
My New Obsession
My new obsession is Robert Carlyle. I have know about him since he starred in the Full Monty. If you haven't seen it I highly recommend it. I have seen him in Trainspotting [a very bizzare and disturbing movie] and the James Bond movie, The World Is Not Enough. He is currently starring in the SyFy series Stargate Universe, which is faithfully recorded on my DVR every week.
Wandering around Barnes and Noble yesterday I was looking through the British tv [or should I say telly] section and remembered he was in a series a few years back of which I can never remember the name. The clerk looked up his name and the series is called Hamish Macbeth. They have copies of series 1 and 2. I bought series 1 [and a DVD of Rob Thomas in concert at Red Rocks]. The series only has 6 episodes and I have watch 4 of them already and plan to watch the other 2 today. There are only three series which originally ran from 1995 to 1997.
The series takes place in a small Scottish town called Lochdubh. It is losely based on a book series of the same name, written by M.C. Beaton. Robert Carlyle plays the lead character Hamish the local policeman. He losely keeps the law and so loves his town and its inhabitants that he resists promotion which would force him to move away. It was filmed on location in the village of Plokton, the town of Kyle of Lochalsh. [I have no idea what the difference is between village and town] The town is full of fun and quirky characters. You get to know them quickly and care for them. It isn't played too seriously nor for laughs. I am enjoying it thoroughly.
A special Happy Blog Birthday to my dear blog friend JennyMac at Let's have a cocktail........ She is having a Jimmy Choo purse giveaway to celebrate, so go wish her a happy birthday and tell her I sent you. You will love her blog too.
29 comments:
- Secretia said...
It is fun to explore the lesser known artists. Talent is still talent without all the hype!
Secretia - January 28, 2010 at 7:08 AM
- Joshua said...
If you're not squeamish, he was amazing in "Ravenous" opposite Guy Pearce. It's about cannibalism during the Mexican American War (1847). Shudder.
He was pretty good in "28 Weeks Later" too.
Then there's "Angela's Ashes." Okay...where are my tissues?
"The Full Monty" was a brilliant movie. I might have to watch that tonight after "The Office." - January 28, 2010 at 8:10 AM
- JennyMac said...
LOVED Full Monty and have to see some of his other work.
And thanks for the bday wishes. :) I feel like I have known you since the beginning of my blog experience. - January 28, 2010 at 8:21 AM
- Betty Manousos:cutand-dry.blogspot.com said...
Discovering less as well lesser knowing artists is fun and inspiring.
xx - January 28, 2010 at 8:25 AM
- Deb said...
-->I don't think I've watched The Full Monty since it came out when I was in college. However, whenever I hear their one "dance" song I think of them practicing. ha!
www.WebSavvyMom.com - January 28, 2010 at 8:53 AM
- Amy said...
Oh my god, other than my parents, I've never met anyone else who actually saw "The Full Monty."
I LOVE him in that movie. The part where he attempts to take his shirt off while smoking a cigarette is hilarious.
You have good taste in movies, food AND beverages. - January 28, 2010 at 8:57 AM
- Brittany at Mommy Words said...
Oooh I loved the Full Monty and I love finding new or lesser known artists! One of my favortie things to do is keep clicking through "people who bought this also bought this" on Amazon and start listening when I get to people I have never heard of. So much fun!
- January 28, 2010 at 9:01 AM
- Stacy (the Random Cool Chick) said...
I love your obsessions because you have good taste! :)
- January 28, 2010 at 9:07 AM
- Alice in Wonderland said...
Oh, Robert Carlyle! I've not seen him in anything for ages! "Ravenous" was great, so were "The Full Monty", "28 Weeks Later", "Trainspotting", and just on Tuesday night he was in a T.V. Drama called "Summer" where he is caring for his dying friend and they reminisce about a crucial Summer in the 80s that changed their lives.
"Hamish Macbeth" and his dog Wee Jock, were filmed locally, but then he vanished for a while, only to turn up again in "The Full Monty". Sunday evenings were never the same again without Hamish and wee Jock!
These oldies were the goodies!
I loved him in "Angela's Ashes" too. I still think that he could have gone on to be a huge star, but now he only seems to get bit-parts. - January 28, 2010 at 9:25 AM
- Allyson said...
Ahh...the Scottish are a strange bunch. I can say that because I've had trifle and black pudding and my BIL is full-on Scottish. But they do love their beer. This series sounds intriguing. We are watching "MI-5" from Netflix right now...which is supposed to be the original "24." You know everything great originates in England. Also? I've been a happy Powderfinger downloader for the past 2 days. Make sure you post more musical favorites. It's way easier than me listening to the first 30 seconds of every song iTunes chooses as "songs I may like."
- January 28, 2010 at 9:35 AM
- "And so our stories go..." said...
Love his face...so much character. I'll hope over and sing happy birthday.
Mary - January 28, 2010 at 9:54 AM
- Richard @ The Bewildered Brit said...
I really need to start watching Stargate Universe!
British TV shows often have disappointingly short seasons, often only 6 episodes. Some shows like Inspector Morse would have seasons of only 3 episodes! - January 28, 2010 at 10:30 AM
- Amethyst Moon said...
so I was quickly scrolling through my dashboard blogs I follow because I really must get some work done, when I saw the picture of Robert Carlyle. since he is one of my faves, and I love british film, I had to stop to see what it was about. You are right he is a true talent! now, really, I must go back to work! Have a great day!
- January 28, 2010 at 10:34 AM
- Bossy Betty said...
I will check out the series you wrote about. Looks good!
- January 28, 2010 at 10:39 AM
- Steven Anthony said...
He is amazing...and I loved that series, I do the same thing as you with music and movies....it can get crazy;)
- January 28, 2010 at 11:18 AM
- MiMi said...
I love anything scottish or british. And Trainspotting WAS very disturbing. Gave me nightmares.
- January 28, 2010 at 11:32 AM
- Existential Waitress said...
Have you ever seen a movie that he's in called Ravenous? Very disturbing as well, but I did it b/c that's how I roll.
- January 28, 2010 at 1:49 PM
- Brian Miller said...
nice. i just might have to check out ravenous as it seems highly recommended.
- January 28, 2010 at 2:04 PM
- Monique-aka-Surferwife23 said...
He looks like Davey Jones! (whom I have waited on by the way!)
And I want that giveaway!! - January 28, 2010 at 3:22 PM
- Sandy said...
I've seen all or parts of the movies you mentioned but he doesn't look familiar. Might have to check out that series.
- January 28, 2010 at 3:57 PM
- Erin said...
Need to check out Ravenous and Full Monte, etc...
p.s. I wanna win JM's giveaway! - January 28, 2010 at 4:31 PM
- The Vegetable Assassin said...
He's from my home town you know! "The Full Monty" was great fun and I saw it again recently and it still was good. My mum's a big Hamish fan but I like his "28 Days Later" turn better. The guy's been in a million things but he flies under the radar a lot. I was amazed to see him show up in Stargate!
- January 28, 2010 at 6:06 PM
- magda said...
love those movies. although i never really dialed in to him directly. he is looking quite the yum these days. i can see why you are obsessed. my favorite scene in trainspotting is still the toilet scene. shocking, i am sure. i will be adding this to my list of things i hope to look into:)
- January 28, 2010 at 6:23 PM
- tattytiara said...
Yes. He is a very talented performer.
- January 28, 2010 at 7:42 PM
- Melissa B. said...
He's kinda cute...but he's gotta drop the cancer stick.
- January 28, 2010 at 9:06 PM
- Nap Warden said...
Loved The Full Monty. I wondered what happened to him...
- January 28, 2010 at 10:40 PM
- WhiteSockGirl aka The Fabulous Bitch said...
He looks OK,... not so familiar with his work. Will check it out!
Over to JMac's blog now,.. that purse is MINE! I must have it.. - January 29, 2010 at 3:55 AM
- carma said...
absolutely loved the Full Monty!
- January 29, 2010 at 7:51 PM
- blueviolet said...
I recognize his face but I'm not that familiar with him. I did love the Full Monty though. Such a fun movie!
- January 30, 2010 at 1:42 PM


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Saratoga Springs Christmas tree lighting ceremony Nov. 28
SARATOGA SPRINGS — The city's Christmas tree lighting ceremony will be held at 6:30 p.m. Wednesday, Nov. 28, on Broadway in front of Putnam Market.
The event is sponsored by the Downtown Business Association.
The ceremony begins with singing Girl Scout troops. Mayor Scott Johnson will light the tree at 7 p.m. Jeff Clark, Downtown Business Association President, is the evening's emcee. Santa & Mrs. Claus arrive by horse drawn carriage at approximately 7 p.m. to ring in the official start of the Holiday Season. Santa and Clara Claus visit with the children and pass out candy canes and Star 101.3 plays music from 6 to 8 p.m. for the crowds.
Hot chocolate and cookies will be free and served to the crowds at the cottage. The hot chocolate and cookies are donated by Gaffney's, The Hungry Spot and Putnam Market.
The two decorated trees were planted by Tom Roohan so we can have live Christmas trees for our holiday season each year.
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Graham French: last summer was the worst of my career
by Matthew Goodburn on Mar 12, 2013 at 13:54
M&G Global Basics manager Graham French admits that last summer was 'the worst period' of his investment career as the fund suffered from its overweight to resources stocks and the issues surrounding security at the Olympics with core holding G4S.
French told investors that there were three resource stocks 'perhaps we shouldn't have been in' last year, including South African platinum miner Lonmin which has now been completely sold.
He said: 'Last summer was one of the worst I can recollect [as an investor]. One of our largest holdings G4S not participating in the Olympics ceremony hurt performance and it was also the start of commodities not performing.'
Olympics debacle
Speaking as the company came under intense public scrutiny in August last year, French said he was sticking to his guns on the stock as he regarded G4S as a well-diversified company able to weather the press storm.
French admits that G4S was the fund's 'stock horribilis' last summer but after working actively behind the scenes with the company's management, he increased his stake in the firm when its share price plummeted over the Olympics debacle.
'When we have problems with a company, we don't shout about it in the press and become aggressive like a hedge fund, we talk privately and try to make things better. G4S is one of the largest companies in the world and is well diversified. The chief executive is fantastic, and if you believe in global growth and emerging market growth G4S is a wonderful company to give you that.'
Commodity confusion
May was another 'terrible month', says French. 'We exited most commodities but kept some of them and have to accept that last May we had two or three shares we shouldn't have and it cost us 2-3% of performance. We panicked early and got rid of the problem early.'
'Rightly so, we had to take some criticism last summer as we had not moved up the chain with the commodity cycle coming to an end. We apologise for that blip and have had a good six to nine months since.'
But while the fund has been hurt by its large allocation to miners and basic materials, French does not think demand for them has fallen off a cliff and he remains overweight to Australian miners such as mineral sands miner Iluka Resources, and copper producer Oz minerals.
Miners still on the agenda
He insists that the main issue for the sector has been the misuse of capital as many miners extended themselves by making costly acquisitions and failed to improve production levels or dividend payments to shareholders.
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2 comments so far. Why not have your say?
Mar 13, 2013 at 08:15
For those trying to find the stock mentioned, the correct spelling of the mineral sands producer is the ASX listed company, Iluka. With an I, not an A.
report thisMar 13, 2013 at 12:04
Hi Paul, thanks for bringing this to our attention. This has now been changed. Apologies for any confusion.
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I've never grown anything among the small Asian maples outside the traditional "Japanese" A. palmatum.
Aside from the thousands of Palmatums out there, can someone tell me about these: What is the species like for color, growth rate, height, etc, and what cultivars of note are available for them? -Acer japonicum -Acer pseudosieboldianum -Acer ginnala -Acer truncatum -Acer tataricum -Acer truncatum x platanoides (forget if there is an "official" name for this hybrid, often I see it called Norwegian Sunset Maple Feel free to mention others that are noteworthy. Finally, how would any of these do in my zone, and in my heavy, silt-loam, acidish (5.9 ph) soil? FWIW, although heavy, the soil does usually drain rather well, and standing water is VERY unusual since I'm on higher ground. Also, would these do well in a more neutral (7.0) soil environment for my friend in Indiana? Thanks! |
Follow-Up Postings:
- Posted by gardengal48 PNW zone 8 (My Page) on Sun, Nov 18, 12 at 13:41
Suggest you visit your local library and check out Van Gelderens' Maples for Gardens. This is an excellent resource for the entire genus. Not as detailed as a monograph would be but it certainly addresses all the points you want and discusses the most popular cultivars on the market (with photos). A much more efficient approach than an extremely lengthy online discussion would provide :-) |
OMG. I stopped by to see what tree someone might be discussing and my jaw dropped. It would take 18 thousand pages to list all the varieties, and it still wouldn't really mean anything since height, growth rate, color, exposure, blah blah varies sometimes from neighborhood to neighborhood. Particularly around the edges of zones. I picked up the book referenced above and loved it. I was pleased to see many of my maples in it. Oh - the thing to realize is that much of the info online is out of Oregon/Washington state, where growing conditions are optimal. Many web sites just copy that info, vs. what would apply in their own area. I tend to look at nurseries south of GA (Metro maples in Texas, for example) for a hotter, less shaded condition. If someone says, "Sun/part shade" they probably can't speak of an experience with that particular maple. Because pretty much every single JM would be thrilled to be in that exposure. That's not life. |
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Kentucky Revised Statutes
Statutes Last Updated July 23, 2012
Includes Enactments through the 2012 Extraordinary Session This page was produced on 7/24/2012 at 8:49:59 AM
Terms & Conditions | PDF Viewer KRS Chapter 304.08
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.010젨잻eposits of insurers.
.020젨잻eposits to be for benefit of policyholders, creditors, and states.
.030젨잸ssets eligible for deposit.
.040젨쟄ome office real property as deposit.
.050젨쟏ther real property as deposit.
.060젨쟓epealed, 2004.
.070젨쟓epealed, 2004.
.080젨잺ommonwealth not liable for safekeeping.
.095젨잻eposits under trust agreement -- Insurer relieved of liability.
.100젨쟓ecord of deposits.
.110젨쟅nventory -- Certificate.
.120젨쟗aluation -- Replenishment.
.130젨쟗oluntary excess deposit.
.140젨잻ividends on, and exchange of deposited assets -- Collection by commissioner.
.150젨잻eposit of reserves by domestic life insurers.
.160젨쟊evy upon deposit.
.170젨쟓elease of deposit.
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Sunriver Lovely Condo - Winter Retreat with Discount LIft Ti in Sunriver
- bedrooms 3
- baths 3
- sleeps 6
- pool no
- hot tub yes
- pets allowed yes
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Sunriver House deals
stays between: 5/23/13 & 5/30/13
deal expires in: 6 days
15% off 7+ day stays
15% off 7+ day stays (Rate varies by season - please send an inquiry or give us a call for an exact quote for your dates.)!
- $140 $119/night (15% off)
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vacation rental description
Stay in this well appointed, affordable condo, and you'll be within easy reach of the outdoor winter fun in Sunriver.
Special Offer: Enjoy discounted lift tickets at Mt. Bachelor and a free night's stay with your reservation! With our "Ski Three, Stay Free" package, you can ski for three days for the price of two, and you can receive a third night free when you book two full-price nights. Offer ends in mid-May, is not valid for holidays, and must be secured by phone at the time of booking. Please call us for details and other ski packages (including a "Kids Ski Free" special!). Five days' advance notice is required to reserve lift tickets, so call us today!
Skyline condominiums are located near the Sunriver Nature Center, a great place where kids of all ages can explore nature by day and the stars at night. You're also just down the road from the Deschutes River, with its trove of activities such as fishing, kayaking, canoeing and standup paddle boarding. If you have a boat, you can launch it on the river free of charge.
You also get 8 unlimited-use passes to SHARC, the wonderful new aquatic center. You and your guests will love the pools, play areas, year-round tubing hill and so much more.
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When it's time to call it a day, the condo has three comfortable bedrooms to accommodate you. The downstairs bedroom features two extra-long twins, and upstairs there's a queen bedroom and large king master with a bathroom connecting them.
Bring your family, bring your guests and even bring the family dog for a fun-filled vacation in this great condo. You'll enjoy the perfect combination of activities and relaxation that define Sunriver!
activities and attractions in Sunriver Oregon
SHARC-unlimited-use passes are provided to everyone in the house to enjoy the pools.
Sunriver is the gateway to any winter or summer sport you desire.
vacation rental rates
5/23-5/24: $110.00 midweek, $130.00 weekends, 2 night min stay
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For an exact quote, send us an inquiry and we'll respond instantly with the total cost for your dates and a link to reserve it online.


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Recently my Foundations classes watched and discussed Persepolis, the 2007 animated film based on Marjane Satrapi's autobiographical graphic novels of the same name. We compared the film to the graphic novel, in which Satrapi translates the important events of her life into a series of narrative images. Many of us concluded that the drawings in Persepolis often communicate ideas about what was going on in Iran at the time more effectively than the translated idioms.
Now we're doing a project called Found in Translation.
In this project you will consider an important event in your life and translate it into a work of art. You are encouraged to use some of the techniques we have practiced in this class to compose your project. To brainstorm, you are encouraged to use mind-mapping (like we used in the Fused Interest Project). To research, try analyzing works of art, music, or literature that are related to your idea (like we did in the Place a Jar Project). To execute your project with superior craftsmanship, use the standards we established in the perfection project.
Part of the restraint in the project will be to share your idea without narrating during the critique.I hope this TED lecture by Chimamanda Adichie adds another layer of interest to the discussion.


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How to Stuff a Stocking Ideas by Age At the Drug Store At the Grocery Store Where to Find Stuffers Homemade Stuffers Stocking Stuffer Traditions Ideas Submitted by You! Look here for more ideas coming soon! |
Christmas Stocking Stuffer Ideas for the Grocery Store
It's December 23rd and the all-night grocery is your last chance for Christmas Stocking Stuffers... Here's what to look for!
MORE great ideas are on the way, so check back soon! |


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UK breakdown cover
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Originally built in 1815, Westwood House is centrally located in the historic town of Dorchester and is ideal for leisure visitors as well as business travellers. Run by a husband and wife team, this ...
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Built in 1909 in the style of Lutyens, Little Court sits in over four acres of attractive grounds and gardens. The property has been appointed to a very high standard and the friendly proprietors are ...
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With magnificent views over the Bride Valley, this village house provides comfortable, quality accommodation. Guests are assured of a warm, friendly welcome; an ideal venue to enjoy the numerous local...
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Peacefully located in the rolling Dorset countryside, this family-run inn offers a warm and genuine welcome. Bedrooms are spacious and well appointed with a number of extras provided, including bath r...
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By Thrillist
An ex-punk rocker with a D.C. fine-diner and an exec. chef stint at Parc on his resume decided to momentarily forgo trusting really skinny dudes with mohawks to catch him while stagediving, so he can feed you pizza at In Riva, for which he gutted the old Franco's Trattoria to expose cinder blocks & ceiling framework, brought in a ton of Euro bicycle-race posters and industrial stools, and outfitted the patio (opening in March) with bikes strung with lights.
Headbang like classy grown-ups headbang to the chef-curated punk playlist while taking down antipasti like crispy pork belly with apricot mostarda, and NY strip spiedino prepped with cherry tapenade, opening for unique pizzas such as wild mushroom w/ truffle fondue and cippolini w/ pancetta/ goat cheese/ Brussels sprouts, along with standards like margherita, although oddly though they have no Buffet line...from that classic song, Margheritaville.
Because the Tour de France-inspired cocktails all tested positive for HGH, Riva's are named after Giro d'Italia velo-race winners like the vodka/ preserved lemon Coppi and the gin/ Aperol Adorni, which join a smattering of by-the-glass reds & whites, drafts (Peroni, Allagash White), and large format bottles of Birrificio Bruton Stoner, Lilith, and Momus.
Once dinner's over, they'll trot out an encore of desserts like pistachio and lemon-ricotta cannoli & zeppole with blackberry yogurt; then you can head downstairs where the bathroom lobby sports a massive graffiti mural and a Street Fighter II arcade game, for which the only punk is the guy who plays with Blanka and just sits there crouching all electrified.
Published: December 13, 2011 at 4:00am EST
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Method East is moving!
We're celebrating our 10th year as RI's top training studio--thank you RI! And we're about to open our new, bigger, better Eastside location! Stay tuned for updates!
See what our clients say on Yelp and other sites.
For quicker info, text 401.743.9669
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2013 programme PDF (English)
2013 programme PDF (Magyar)
Hay Festival Budapest on iTunes
Hungarian and international writers, thinkers and musicians gather in Hungary for Hay Festival Budapest, 17–21 May.
In 2013 Hay Festival Budapest has grown in many ways; it brings a new series of conversations over five days, and introduces contemporary authors, poets, architects, mathematicians and musicians to the audience in Hungary.
The events will take place in Petofi Irodalmi Múzeum and Central European University, with the evening music events being held at Akvárium Budapest.
The 2013 Festival brings a new series of conversations with some of the best innovators, poets, architects, mathematicians, novelists and musicians of our time. The programme includes Péter Esterházy, one of the most widely-known contemporary Hungarian writers, Nicole Krauss, author of Great House, The History of Love and Man Walks into a Room, Spanish philosopher Fernando Savater, the Anglo/Hungarian poet and translator George Szirtes, Dutch novelist Jaap Scholten, the great French architect Odile Decq, Marcus du Sautoy, Professor of Mathematics at Oxford University, Germaine Greer bringing fresh views on Shakespeare, and the legendary American journalist and Watergate hero Carl Bernstein.
Ticket Info Tickets for all events at PIM and CEU can be purchased in advance at the PIM Ticket Office (Petofi Irodalmi Múzeum/Museum of Literature), in Libri bookstores and online at www.port.hu, or in person at the venue on the day of the event.
Ticket prices for the majority of events are – adults: HUF 600/event, pensioners and students: HUF 400/event. Tickets for event 16 cost HUF 1,500; events 5 and 21 are free.
Further discounts include: 17 May, CEU: day-ticket HUF 1,800 (pensioners/students: HUF 1,200) 18 May, CEU: day-ticket HUF 2,000 (pensioners/students: HUF 1,800) 19 May, PIM: day-ticket HUF 1,300 (pensioners/students: HUF 900)
Tickets puchased for discussions at PIM include entry to the museum's exhibitions.
Tickets for the concerts at Akvárium Klub can be purchased in advance at www.port.hu for HUF 1,000, or on the door for HUF 1,300.
Budapest is a lively city with an amazing cultural scene in the heart of Europe. Cited as one of the most beautiful cities in Europe, its extensive World Heritage Site includes the banks of the Danube, the Buda Castle Quarter, Andrássy Avenue, Heroes' Square and the Millennium Underground Railway, the second oldest in the world.
Tibor Fischer just delighted to be himself Bob Geldof: the nation state is powerless to make unilateral decisions Hay goes to Hungary
The Hay Festival heads east to Hungary. Its rich literary history makes Budapest the ideal host for the festival's first venture into Eastern Europe" The Telegraph
For more information, please email email@example.com, or call +44 1497 822 620.
If you would like to receive the full programme please register your email below:


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As I mentioned, I spent the weekend in Norway with my family at our summer house by the sea. Just the relaxation I needed, going for long walks, reading books, NO COMPUTERS (well, not as much as usual). However, you know me, even in the most remote places, I manage to buy something from somewhere!
On Saturday we went for a long walk along the coast and we popped into this small antique shop. It was a complete time-warp with traditional Norwegian artifacts and furniture – I came across so much stuff I wanted! Like old vintage trunks (which stacked up, would make a really nice coffee table), retro picture frames and other random knick knacks. One thing that drew my attention was this traditional woven blanket. When I first picked it up I wasn't sure about the colours which predominately was in a dark forest green – but then I turned it on to the reverse side, and it totally changed into this bright, modern and amazing multi-coloured blanket. They had two identical ones for sale, which both only cost £5! Can you believe it. As you can see, one fitted perfectly in at my parents home (pictured above) who were thrilled. Sadly I had no space left in my luggage to bring mine over, so I will have to wait until spring time!
I also met the gorgeous Emma, my sister's new boxer puppy who is only 9 weeks old. As you can see, she is beyond adorable. Miss her already!


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Developed By: belugerin
Category: Strategy
Tags: en defense gear myth strategy alien battle domination other adventure
In Battle Gear 3, you will fight against the joint forces of Humaliens Battle, Myth Wars and Age of Defense to dominate the world!
We have some important news to share with you about Mochi Coins and MochiGames.com! There is good news and not-so-good news.
Mochi Coins are going away. As of October 5, 2012, you will no longer be able purchase additional Mochi Coins. As of October 15, 2012, Mochi Coins will no longer exist. This means that you won't see a coins balance in your MochiGames account, and you won't be able to use them in games.
You have options! Our friends over at Ninja Kiwi have offered to provide you with an option to swap out your Mochi Coins for Ninja Kiwi Coins, starting on October 5th. Your other option is to simply use your remaining coins balance. So to recap, your options are:
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Imported User:
Using human criterion of size, churches can be classified into three categories – the mini church, the medium church, the mega church. And some mega churches are more mega than others.
But let me hasten to say that this categorisation can be regarded as carnal and has no basis in the Word of God. The Lord's mandate for the church is neither to remain a mini church (or medium church) nor become a mega church. The commission is: "Go into all the world and preach the Good News to everyone.
Anyone who believes and is baptised will be saved. But anyone who refuses to believe will be condemned. These miraculous signs will accompany those who believe: they will cast out demons in my name, and they will speak in new languages. They will be able to handle snakes with safety, and if they drink anything poisonous, it won't hurt them. They will be able to place their hands on the sick, and they will be healed" (Mk 16:15-18 NLT).
And in Matt 28:19-20, Jesus said, "Therefore, go and make disciples of you all the nations, baptising them in the name of the Father and the Son and the Holy Spirit. Teach these new disciples to obey all the commands I have given. And be sure of this: I am with you always, even to the end of the age." If in the process a congregation becomes a mega church, it is all right, and if it does not, but not as a result of a lack of vision, diligence, etc, the Lord does not condemn such a church provided it has not lost its focus on the Great Commission and its specific mandate.
But it is the Lord's will that every church should grow in all ramifications, including membership. As the church obeys the Great Commission, people who are being saved should be added to the church as it was in the early church. Acts 2:41 says, "They then that received his word were baptised: and there were added (unto them) in that day about 3,000 souls"(ASV).Acts 2:47 also talks about further addition to the church: "And the Lord added to them day by day those that were saved" (ASV). Please note that it was the Lord that added them after they had been saved – they were not non-believers.
Also, in Acts 5:14, the Bible says about the early church that "believers were the more added to the Lord, multitudes, both of them and women" (ASV). Believers added – not unbelievers! In Acts 11, the Bible says at Antioch, a great number that believed turned to the Lord (Verse 21) and many people were added to the Lord (Verse 24).
From these Scriptures, we have an example of church growth that a church should desire. In fact, Acts 6:7 says, "And the word of God increased; and the number of the disciples multiplied in Jerusalem exceedingly; and a great company of the priests were obedient to the faith" (ASV). So we see increase in the Word that resulted in the multiplication of disciples and a large number of priests being converted. That tells us that numerical growth is just one aspect of church growth. Numerical growth should not be at the expense of the Word; the preaching of the truth of the Word of God should not be compromised because of the desire to experience church growth. And that is not to say that every church will grow to become a mega church based on human evaluation.
There are some things the Lord is looking for in a church and for which he will commend a church. Interestingly, the size of the church is not one of the things the Lord is looking for. And that does not mean that the Lord prefers a mega church to a medium or mini church and vice versa. Whereas man is more concerned about result, the Lord is more concerned about faithfulness. "A faithful, sensible servant is one to whom the master can give the responsibility of managing his other household servants and feeding them. If the master returns and finds that the servant has done a good job, there will be a reward. I tell you the truth, the master will put that servant in charge of all he owns. But what if the servant is evil and thinks, 'My master won't be back for a while,' and he begins beating the other servants, partying, and getting drunk? The master will return unannounced and unexpected, and he will cut the servant to pieces and assign him a place with the hypocrites. In that place there will be weeping and gnashing of teeth" (Matt 24:45-51 NLT).
Reading through the book of Revelation chapters 2 and 3, we see clearly in the letters to the seven churches of Asia, the Lord's priority in evaluating a church's performance. We shall see what the Lord is really looking for in a church; certain things He will not overlook. We shall see the Lord's expectations of churches. These are listed in the letters to the seven churches. I want us to go through these letters together.
I'm not going to start today to look at what the Lord is looking for in a church that He will commend. I will commence next week. I believe the Lord has spoken to you already from what you have read. Please join me next week as I go deeper into this message. Meanwhile, meditate on what you have read today and act on whatever God is telling you. You are blessed.
Take Action!
If you are not born again, you need to give your life to Jesus. I urge you to take the following steps:*Admit you're a sinner and you can't save yourself and repent of your sins. *Confess Jesus as your Lord and Saviour. *Renounce your past way of life – your relationship with the devil and his works. *Invite Jesus into your life. *As a mark of seriousness to mature in the faith, start to attend a Bible-believing, Bible-teaching church. There you will be taught how to grow in the Kingdom of God.
Kindly say this prayer now: "0 Lord God, I come unto you today. I know I am a sinner and I cannot save myself. I believe that Jesus is the Son of God who died on the cross to save me and resurrected the third day. I confess Jesus as my Lord and Saviour and surrender my life to him today. I invite Jesus into my heart today. By this prayer, I know I am saved. Thank you Jesus for saving me and making me a child of God"
I believe you have said this prayer from your heart.
Congratulations! You will need to join a Bible believing, Bible teaching church in your area where you will be taught how to live your new life in Christ Jesus. I pray that you flourish like the palm tree and grow like the cedar of Lebanon. May you grow into Christ in all things becoming all God wants you to be.


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The island of Scalpay is a 2.5 sq mile island and is connected to Harris via a single track bridge.
Scalpay is a popular location for fishing, diving, walking and relaxing, has a population of around 300 and the majority of islanders speak Gaelic.
Eilean Glas, which can be found on a small peninsula to the eastern shore of the island, is home to the first lighthouse to be built in the Outer Hebrides. The island has quite a number of lochans, the largest of these being Loch an Duin, which has a small island with the remains of a fort.
Tarbert is the ferry port for Harris on the Outer Hebrides.
Lukentyre sands is found on the west coast of South Harris in the Outer Hebrides.
The wild mountains of North Harris and the gentler landscape and sandy shores of South Harris are...
Traigh Seilebost is found on the Isle of Harris in the Outer Hebrides.
Bayhead is a hamlet on the south west coast of North Uist in the Outer Hebrides.
Paible beach is located on the Isle of Taransay, to the west side of North Uist in the Outer...
Traigh Iar beach is located on the Isle of Harris in the Outer Hebrides.
South Harris offers some of the most dramatic scenery in Scotland.
Scarista (Sgarasta in Gaelic) lies on the south western coast of South Harris.
Rodel is a settlement situated at the southern end of Harris, Outer Hebrides.
Leverburgh is a village at the south end of the isle of Harris.
Northton Beach is located on the Isle of Harris in the Outer Hebrides.
Harris is a dramatic island in the Outer Hebrides that boasts some of the best beaches in Scotland.
Hushinish beach is found on the west side of the Isle of Harris in the Outer Hebrides.
Lochs is an area on the east coast of Lewis, centred around Loch Erisort, and incorporates a number...
Berneray is a small Outer Hebridean island in the Sound of Harris.
Borve is located roughly halfway up the west side of Barra.
Set in a sheltered horseshoe-shaped bay on Skye, Uig is a ferry port to the Western Isles and a...
Berneray Sands is found on the Isle of Berneray in the Outer Hebrides.
Set beneath the wonderful Trottenish Ridge on Isle of Skye, Staffin is famed for its spotty houses,...
Mealista beach is located in Uig, on the west of the Isle of Lewis in the Outer Hebrides.
Traigh Lingeigh beach is found on the Isle of North Uist in the Outer Hebrides.
Claigan Coral Beach is one of the most beautiful beaches on the Isle of Skye, with stunning views...
Lochmaddy is a ferry port on the island of North Uist in the Outer Hebrides.
Lewis is the largest and most northern island in the Outer Hebrides, home to one of the best...
Kildonan is a crofting township on South Uist in the Outer Hebrides.
Uig is a remote region of Lewis, lying some 20-odd miles west of Stornoway on the island's rugged...
Mangersta sands is found in Uig, the Isle of Lewis in the Outer Hebrides.
Stornoway is the main town on the island of Lewis in the Outer Hebrides.
Bernera, officially known as Great Bernera, is a rocky island off the north west coast of Lewis,...
Edinbane (Edinbain) is a quiet village situated at the head of Loch Greshornish on the north coast...
Bosta Beach is located in the north of Great Bernera, an island connected to the Isle of Lewis by a...
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A Graphic Designer's Daily Perspective - Mon quotidien en photos - MONCTON, NB, CANADA
I really like this shot, the way it's done. It's photos like this that make me want to invest in a much better camera.
thanks, my present camera is still under $500. Most profesionnal cameras start at around $800. I was just lucky to get a shot like this.
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Joined 2 years ago
Judo/Sambo/BJJ, Catch-Wrestling, Kyokushin Karate, Kali/Silat, Muay Thai, Ninpo, Kalarippayattu, Kenjutsu & Kajukenbo
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- Lowkickdodger : "Yeah I see Cain as well, the kicks, the speed, the more technical wrestling, cardio is gonna give a different fight to jds and i am curious to see how he is gonna deal with that. "
- 808scrappah : "woah....that display pic looks crazy....hannibal on steroids?...is that a movie poster?"
- Lowkickdodger : "So now i hope you're not gonna say Carwin's chin is suspect lol His stand up was limited compared to jds tho. Who do got? JDS or Cain?"
- Lowkickdodger : "JDS vs CARWIN soon !! we're finally gonna see if Carwin's chin and stand up compare to JDS. I think Carwin will do good even if i agree with you that JDS is more technical. However, I think carwin's got the chin to take a few shots but jds will fall if Carwin punches him twice in a row."
- kos77 : "cool bro. "
- kos77 : "who is that in ur profile pic? "
- Lowkickdodger : "Yes, How is he going to handle the pressure of his first title defense is the unknown here. His future opponents aren't that scary imo when you saw how Jones beat up on the ground and the feet the best guy in the divsion in Rua. If Jones can't take down Machida, he will catch an agressive Machida or outpoint with Kicks an elusive Machida like Rua did brillantly (yes he won that fight !). Rampage was able to pressure Machida, Jones will do the same easily. Mousasi is not ready imo for the reasons i stated. Evans has former training partner's tips and trash talking but he is not quicker, stronger or more technical than Jones. He is shorter, older and he is scared of getting kncked out since Machida. I just dont see Jones loosing if he fights like he fought Rua and considering he is only gonna improve from there. The kid could loose but at only one condition. He has a bad night mentally, looses focus or thinks he is the SHIT and underestimates is opponents. Jones=GSP if he's mature enought. Maybe u think i am a nutthugger but honestly i just call what i see. Jones maybe a ****y little bastard now and i will not like him for it but i will still put my money on each his fights. "
- doomsdayapex : "On SEAL Team Six: ..."NOW I WISH I COULD SHOW YOU A PICTURE OF THESE ABBOTTABADASSES, BUT THEIR IDENTITIES ARE CLASSIFIED. SO I'M JUST GONNA GUESS IT'S RAMBO, JOHN MCCLAIN, MASTER CHIEF, THE BATMAN, VIN DIESEL, LARA CROFT, AND LET'S SAY KUNG FU PANDA." - Stephen Colbert"
- doomsdayapex : "Hoping Michael Bay gets a cameo where Optimus Prime steps on him in his new transformers movie."


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Report: Net Promoter Score Benchmark Study, 2012
October 9, 2012 21 Comments
We just published a Temkin Group report, Net Promoter Score Benchmark Study, 2012. It provides NPS data on 180 U.S. companies across 19 industries. Here's the executive summary:
USAA took the top two spots for its banking and insurance businesses while HSBC came in at the bottom for banking and credit cards. Our analysis of differences across consumer demographic segments showed that NPS tends to go up with age, doesn't vary much by income levels, and is often highest with Asians. We also asked consumers what would make them more likely to recommend the companies and found that promoters are more likely to select lower prices and detractors are more likely to select better customer service. While there is some debate about the efficacy of NPS, our analysis shows that promoters are much more likely than detractors to purchase more in the future across all industries. To help you implement a successful NPS program, we've included eight tips such as don't believe in an "ultimate question" and use control charts, not pinpointed goals.
Download report for $295
(includes the data)
The industries included in this report are airlines, auto dealers, banks, computer makers, credit card issuers, fast food chains, grocery chains, health plans, hotel chains, insurance carriers, Internet service providers, investment firms, major appliance makers, parcel delivery services, rental car agencies, retailers, software firms, TV service providers, and wireless carriers.
The report contains the following components:
- NPS for 180 companies across 19 industries
- NPS differences based on age, income, and ethnicity of consumers
- Improvement areas selected by promoters and detractors by industry
- Connection between NPS and future purchases by industry
- Eight tips for implementing a successful NPS program
Download report for $295
(Includes the data)
The bottom line: Companies need to give customers a reason to recommend them


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From our sponsors at BigBadToyStore.com: We are having a spring sale with reduced prices on some of our overstocked products, including Transformers, Batman, Marvel Universe, Marvel Legends, Star Wars and more. Check out the reduced pricing on the list and start saving!
Check out the latest pre-orders and IN STOCK items at our sponsors at Big Bad Toy Store! Star Wars merchandise now available include the eFX Darth Vader EP IV Limited Edition Helmet Replica and the new Darth Maul Returns Battle Pack!
Here's the latest arrivals and pre-orders from our sponsors at BigBadToyStore.com including the latest assortment of Star Wars 1/144 scale vehicles from FToys and the latest pre-orders from Gentle Giant!
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Our sponsors at BigBadToyStore have posted some brand new pre-orders and their latest arrivals for your online shopping consideration


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Ruth A./G. Elving Lundine Scholarship-Mechanical Engineer*
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Provided by: | Chautauqua Region Community Foundation, Inc. |
Type: | Scholarship |
Amount: | $400-$700 |
Description: | |
The Ruth A. & G. Elving Lundine Scholarship is awarded through the Chautauqua Region Community Foundation. | |
Additional Information | |
First priority for this award is to a family member of Dowcraft, or second priority is given to to a general public employee majoring in mechanical engineering. Applicants must be a resident of the Chautauqua Region, New York. This scholarship has a duration of 4 years. |
Private student loans are a great way to help meet the total cost of your education when federal financial aid and scholarships aren't enough.
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super thinly shaved matcha flavored-ice with sweetened red beans (class 302, rowland heights)
hoe cakes: a traditional southern cornmeal pancake that are supposed to have been so-named because they were originally cooked on the blade of a hoe over an open fire. (via garden guides)
chocolate strawberry tart :9
carabikang, indonesian traditional sweets :9 made of rice flour, sugar and coconut milk. the dough is molded by hand and heaten on charcoal.
paccheri al basilico
shrimp salad at mezzaluna, NY
kimchi, a korean side dish
matcha black sesame
portuguese egg tart
hurry up alfredo with basil


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Hair Care
Hair Care experts for over 20 years, we have all the very best hair care products for your best hair yet. Show your hair you really care by treating it to professional hair care products. Hairdressers and salons use and recommend professional hair care products because they deliver the best results.
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MobiCare helps your family and friends care for a loved one living with Alzheimer's disease and related dementia.
Being a caregiver is the most thankless role in the world. Everybody gives the patient some slack, as they should, but the caregiver has the stress of life and then you put a catastrophic illness on top of it, and the stress goes through the roof.
- M. Wallace"I wish my family and I had MobiCare earlier.
- Caregiver, Toronto, CanadaMobiCare helps solve many issues my family has faced as we care for our dad who is living with Alzheimer's. We have been searching for solutions, and this seems to be on the right track."
- Caregiver, British Columbia, CanadaMobiCare provides a secured and private place for you and your family to store and organize everything.
Are you having a hard time keeping track of new conditions and symptoms? MobiCare helps you manage and organize all the important information.
Providing you with individualized management techniques based on recently observed conditions.
An easy way to view and manage medications with the use of images, dosage frequencies, and a user-friendly reminder system that helps you stay adherent to medication regimens.
Through collaboration with the medical community and Alzheimer support groups from across Canada, MobiCare was developed to support families through the caregiving process.
Enormous stress is placed on families caring for individuals living with Alzheimer's. Family members are anxious to help, but they require a platform to facilitate the coordination of caregiving responsibilities. They struggle to accurately communicate symptoms to the medical community, and caregivers often feel alone during this process.
MobiCare allows families to coordinate tasks, manage medications, document symptoms and connect with other caregivers who are experiencing similar struggles. MobiCare helps to make caregiving easier for you and your family.
We are looking for challenge-seeking, energetic, and curious people. If you're looking to join a dynamic team in a fast-paced environment where you have the ability to take on large projects and have a great impact, consider applying now. If you do not see something below that fits you, feel free to reach out to us at firstname.lastname@example.com.
We are looking for a full-time web developer to oversee and implement MobiCare Web, the online platform. Are you trained in some of the following: HTML5/CSS3, JavaScript, SQL, PHP, C#, ASP.NET? Send us an email and apply at firstname.lastname@example.com.
We are looking for a full-time intern to work on the development of MobiCare Web, the online platform, for a 4-6 month internship. Are you a student at a Canadian University or College and want to get some industry experience? Then you should email us and apply at email@example.com.
We are looking for a full-time intern to work on MobiCare for iPhone and iPads. Are you are a student at a Canadian University or College, who has experience with Objective-C and Xcode, and would like to get some industry experience? Then you should email us and apply at email@example.com.
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We value your feedback and advice. Please write us and share any questions, concerns and/or personal stories with us
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text: Editing: Rampage…!! Back to page http://images1.wikia.nocookie.net/__cb1/messaging/images/f/f1/Greenbutton.png [http://naruto.wikia.com/wiki/Special:Signup?returnto=Rampage%E2%80%A6!! CLICK HERE TO LOG IN OR CREATE AN ACCOUNT] http://images1.wikia.nocookie.net/__cb1/messaging/images/f/f1/Greenbutton.png Image: English name: Kanji name: Romaji name: Chapter Number: Part of Volume Number: Arc: Weekly Shōnen Jump: Article text == Summary == As a [[Naruto Uzumaki's Jinchūriki Forms#Four-Tailed Form|fourth tail]] begins to appear, [[Naruto]], within his subconscious, succumbs to the [[Nine-Tailed Demon Fox]] in order to find [[Sasuke]]. [[Yamato]] wakes up [[Sakura]] and, after confirming that she is okay, sends a [[wood clone]] after Naruto. As it nears his location the forest explodes and the clone just barely shields itself. It investigates and finds Naruto has reached four tails, a form [[Jiraiya]] had warned him about. [[es:¡¡Alboroto...!!]] Summary: Minor edit Follow this page Cancel