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ns 73-74 | Fall 2009/Spring 2010
Nancy K. Miller's work represents, in some ways, the itinerary of contemporary criticism. She was trained as a structuralist, in the 1970s became a feminist, and since the 90s has moved to memoir. She has been one of the most astute commentators on the rise of personally-inflected criticism and on the longer tradition of autobiography, in a series of books: Getting Personal: Feminist Occasions and Other Autobiographical Acts (Routledge, 1991), Bequest and Betrayal: Memoirs of a Parent's Death (Oxford UP, 1996), and But Enough About Me: Why We Read Other People's Lives (Columbia UP, 2002). Currently she is completing her own memoir of living in Paris in the 1960s, Out of Breath.
Miller's early work is part of the feminist revision of the canon and creation of a new literary history. Her first book, The Heroine's Text: Readings in the French and English Novel, 1722-1782 (Columbia UP, 1980), examined the fate of women characters in canonical eighteenth-century French and English novels; drawing on her dissertation, it shifted focus from the devices of plot to the representation of women. Thereafter, Miller was in the thick of things, directing the Women's Studies program at Barnard College through the 1980s, organizing conferences (one of which resulted in the influential collection The Poetics of Gender [Columbia UP, 1986], which she edited), and continuing her writing on fiction and feminist theory, in Subject to Change: Reading Feminist Writing (Columbia UP, 1988) and French Dressing: Women, Men, and Ancien Régime Fiction (Routledge, 1995). She also co-edited the collections (with Joan DeJean) Displacements: Women, Tradition, Literatures in French (Johns Hopkins UP, 1991) and (with Jason Tougaw) Extremities: Trauma, Testimony, and Community (U of Illinois P, 2002).
Except for interludes in Paris, Miller is a life-long New Yorker. Born in 1941, she grew up on the Upper West Side and attended Barnard from 1957-61. Decamping for Paris in 1961, she returned to New York in 1967, entering the PhD program in French at Columbia in 1969. She received her PhD in 1974, after which she taught as an assistant professor at Columbia until 1981, when she moved across Broadway to direct the new Women's Studies program at Barnard. In 1989 she moved to midtown to CUNY, where she is Distinguished Professor of English and Comparative Literature at the Graduate Center.
This interview took place on 10 February 2007 in Nancy K. Miller's office at CUNY. It was conducted by Jeffrey J. Williams, editor of the minnesota review, and transcribed by David Cerniglia, an editorial assistant for the review while a PhD student in literary and cultural studies at Carnegie Mellon University.
Williams: To start, I want to ask about the trajectory of feminist criticism in the US. It seems that you were at key places at key times—you studied French at Columbia in the early 70s when structuralism was in its heyday, but you were part of a cohort that developed if not invented feminist literary criticism. How did you come to do the work you did?
Miller: I went to graduate school for a PhD in 1969. It was really the beginning of the widespread development of feminism in the United States, and I started a women's group with my friend Hester Eisenstein in January 1971. By then I was getting ready to write my dissertation, and there had already been the March for Equality, Sexual Politics was published in August 1970, and the first issue of Ms. Magazine came out in New York Magazine in 72. So there was this sense that something was happening. It wasn't particularly happening at Columbia, but it was happening in New York, and I felt that I was part of something. I certainly did not take any classes that had anything to do with feminism or women writers.
In any event, there was almost nothing recognizable as feminist criticism. When I told my advisor that I was very excited about Sexual Politics because it was a model for reading men's writing, which is what I was going to be doing in the dissertation, he said—I will never forget—"Don't be a second-rate Kate Millett, she wasn't first-rate to begin with." She was a Columbia PhD and had gotten her PhD, I think, in 69 or 70, so that certainly set a tone.
Williams: Who was your advisor?
Miller: That was actually my second reader, Otis Fellows, who dominated eighteenth-century studies. People felt free to say things like that then. My actual thesis director was Michael Riffaterre, as you may know, and I think he was amused. The only reason that he tolerated my working on the question of the representation of women was that I was a structuralist, which is this sort of bizarre fact of my history as a feminist. I had been trained as a structuralist, that's what we did there: semiotics and the structural analysis of narrative, narrative theory and the Russian Formalists. While I was still at Columbia, in part through the Maison Française, Lacan came to speak and Derrida, and poststructuralism started to emerge. But the line with Riffaterre was structuralism, and his particular take on it, structural stylistics. Because I was considered at the time to be a "theory person," the fact that I was also interested in heroines was tolerated. But it was just barely tolerated, and it was seen as something that would pass, an emotional reaction possibly.
Williams: In the beginning of The Heroine's Text, you distinguish between "euphoric" as opposed to "dysphoric" narratives, euphoric being when the heroines are integrated into society and dysphoric ones when they die, which seems to happen to a lot of women characters in novels. I can see a connection with structuralism, in staking out the generative opposition.
Miller: Okay, but here's the thing: between the time I wrote the dissertation, which I defended in December 73, and the time I finally transformed it into a book, important feminist literary criticism had been published. That was partly why I shifted from an organization that had categories of structural analysis to more thematic categories. By then I had precursors—there was Literary Women by Ellen Moers in 1976, and Elaine Showalter's A Literature of Their Own in 1977. I had already finished my book when Madwoman in the Attic came out in 79—I was kind of glad because, well, it would have just changed everything.
Williams: So, in other words, it was part of what was going on, and you were part of a group that was discovering this.
Miller: I taught my first course on French women writers in 1977. The Committee on Instruction had to approve all the courses, so when I proposed the seminar, I probably benefited from the fact that I was the only person in the department asking to do this. It was like, "How threatening could it be? We'll allow her to do this one course." When we met for the first time, we felt like terrorists. When we shut the door and said we were there to read women writers, the students and I were filled with a sense that we were doing something truly transgressive. I don't know whether every movement has this feeling, whether the first time people taught African-American or queer literature it was the same thing, but we thought we were being very daring.
Williams: I'm curious about the milieu at Columbia. Lionel Trilling had been there for a long time, although he died in 73 or 74, if I recall correctly.
Miller: But I was in French, and that makes a big difference. The French department was relatively large, and we thought that people in English were in a backwater, because everything was coming out of France at the time, and we weren't waiting for the translation! There was a lag of at least two or three years. The department also had the "troika": Todorov, Kristeva, and the third—other critics like Jauss, Eco, and others coming from Europe on a regular basis.
Williams: So the birth of theory wasn't just at the famous conference at Johns Hopkins?
Miller: No, no. We felt that we were at the forefront of everything important intellectually. And theory was considered something completely positive—there were just different branches, almost immediately. Literary theory, semiotics, psychoanalytic theory, narrative theory, and of course Riffaterre's structural stylistics. We thought of the English department as being hopelessly old-fashioned. Now things are quite different in the sense that English departments have become more experimental and theory driven. I think French departments still are intellectually interesting, but they're very small, and they're no longer at the forefront.
Williams: A lot of people who became well-known feminist critics went through Columbia, but I guess through English, like Lillian Robinson, Sandra Gilbert....
Miller: We were completely separate from English. I don't think I knew anybody in that department. Because I was a bit older as a graduate student, I was friends with the assistant professors who were my age, and one of my greatest friendships, which started in 1970, was with Naomi Schor, who had come from Yale. And Susan Suleiman from Harvard. Once I was teaching, there were students who worked in part with me, Alice Jardine, Peggy Waller. Later, Kate Jensen, the first student whose dissertation I directed. So ultimately there was a cohort of young assistant professors and some graduate students.
But what also has to be said is that the department was totally controlled by Riffaterre—and of course I feel even freer to say this because he's dead, but I would have said it anyway. It was a personal tyranny; it was like living under a dictator. Riffaterre had one of those personalities where everything revolved around pleasing him.
Not that there wasn't resistance. There was Leon Roudiez, who was one of Kristeva's main translators for many years. He was more involved with contemporary French writers. Then Sylvère Lotringer was hired to teach theory of the novel. He really brought everything that was new and post-structuralist into the department. He was hated by Riffaterre, who hadn't realized what kind of theoretician Sylvère would turn out to be. As students we were sort of watching the parents squabble, and it was pretty violent.
Williams: Then you finished in 74?
Miller: I finished in 74 and I became an assistant professor in the French department at Columbia. I benefited from favoritism because I was Riffaterre's student and the department decided to hire me as an assistant professor, which they don't do very much. I was there until I went to Barnard in 81.
Williams: So you were working on your book?
Miller: Well, I was writing articles, I was publishing out of my dissertation, I was continuing to work in eighteenth century, and it was all going toward the book, which took me a long time to get together. The turning point, probably in my life and career, was when I met Carolyn Heilbrun, in 1976. With Mellon money, Columbia created a Society of Fellows. The idea was that assistant professors should get to meet with full professors and team-teach. I met Carolyn, but we didn't teach together until 1978, which was actually outside the terms of the fellowship. We taught a course together that we called The Heroine's Text, because by then I knew that was going to be the title of my book. That changed everything for me because, for the first time, I discovered what it would be to have a female mentor.
Williams: You hadn't had any female professors?
Miller: Not at Columbia. There was one woman in the department and actually in my field, but she was always in solidarity with the men, and very fearful, and didn't stand up for any of us, ever. It was a male world, totally. Carolyn's book, When Men Were the Only Models We Had, has a lot to say about that. So we taught together and then—how can I put this?—my tenure was finessed. I never came up for tenure at Columbia. There were three senior people in eighteenth century, so there was no way they were going to tenure somebody junior in the period. But at the very same time—this was a lucky, lucky break—Barnard had decided that they wanted to appoint a Women's Studies director, and that that person would be tenured. A deal was struck because Barnard doesn't control its tenure process. Columbia has to pass every appointment. It's a colonial situation. In any event, I guess it was made clear—that was Riffaterre's last gesture to me—that if Barnard hired me, Columbia would tenure me. So I became Associate Professor of Women's Studies, a title that had never existed, and I went across the street to run the Women's Studies program at Barnard in the fall of 1981.
Williams: If I put your career in narrative terms—I started out doing narrative theory too—I could say that the first predicate was working on the eighteenth-century novel, English as well as French, but the move to Women's Studies marked a new predicate. Did your project change?
Miller: Well, it was always hard for me to teach graduate courses in eighteenth century because, as I said, there were three senior people, so it was clear that I had to find something else to do. I also had to figure out something to teach at Barnard because I hadn't been appointed to their French department. I had to create some kind of other expertise for myself. I started working on the question of women's writing, and by then that was a major subject in feminism—there had been Madwoman and A Literature of Their Own. Notice that in The Heroine's Text there are no women writers—even that late. It was only in the epilogue to that book, after a reader's report pointed out their absence, that I thought, "Wait, there are no women writers!" It was a complete discovery. Not only had I not noticed, but I hadn't realized what would change if you started noticing.
So I taught a course at Barnard that I loved, and that I passed on to Susan Fraiman, called The Female Protagonist. You can see how that grew out of The Heroine's Text seminar. I started teaching English novels like Mill on the Floss and To the Lighthouse, and for my research looking at French women writers from the seventeenth century to twentieth centuries. That became my next book, Subject to Change, which was my attempt to theorize the question of women's writing—did it have a specificity, and what could you say about it? I produced four or five case studies of women writers, still in the French tradition. Colette was the last writer I dealt with.
Williams: French Dressing continued that?
Miller: No, not exactly. French Dressing represents the waning of my engagement with the eighteenth century. I guess that collection marked the end of my original field. I no longer felt that I could seriously teach the period because I didn't want to keep up with the scholarship. I still could get pleasure from reading the literature, but I just wasn't interested in the debates any more. So that was a profound shift.
Williams: So your work followed a certain itinerary of feminist criticism, beginning with the critique of the representation of women in male writers, to establishing a tradition of women's writing and changing the canon, and then, through the 80s, a concern with more theoretical questions.
Miller: But in the 80s I was still concerned with the canon, too. Joan DeJean and I co-edited an issue of Yale French Studies on the canon. We called it "Displacements," and we later published it as a book. It's an anthology of feminist essays on the French canon. It was the last work I did that way.
I also edited Graffigny's Letters from a Peruvian Woman with Joan for the MLA translation series. The novel is one of the books I talk about in Subject to Change. I sometimes have nostalgia for my years in French because it's a smaller much world. It always seemed that there was so much to do and so many discoveries to be made. French literature will always be my first love. But I don't miss being in a French department.
Williams: Your career might have been much different had you gotten tenure in the French department.
Miller: Indeed. Afterwards, I was positioned in Women's Studies, which was all-consuming. Developing the program was arduous because, even though Barnard was a women's college, there were plenty of people, especially in English, who didn't see the point of Women's Studies and who were extremely hostile to the program's existence. Including the president, who didn't really want to hire a permanent director. So it wasn't at all a comfortable perch.
The most dramatic thing that happened when I was at Barnard, except for Columbia admitting women, was the sexuality conference in 82. It was the first big thing on my watch, basically. There was an annual Scholar and Feminist Conference every spring at Barnard, and that year the subject was sexuality. There was a gigantic planning committee and the group decided that it would create a diary of the process of working on the conference. We had people like Esther Newton and Faye Ginsburg and Kate Ellis and Ann Snitow and Ellen Willis and Judy Walkowitz—lots of very established feminists came together to create this conference that Carole Vance directed. Everything was highly self-conscious, including this decision to have a diary. The conference had been sponsored for many years by the Helena Rubinstein Foundation. What happened was that Women Against Pornography, WAP, got wind of the direction the conference was taking, and they started to picket outside the college. That got the public relations office really nervous. I had left town to attend a conference in Kentucky, and when I returned, I discovered that the diary had been confiscated by Barnard's president (she currently is the president of the Museum of Natural History). She was a young lawyer and she was the acting president, and it was her first year, so I guess she freaked out. Then, bizarrely, the administration reissued the diary. They didn't actually censor the pictures, they just removed any indication that Barnard had sponsored the event.
This was the context in which Gayle Rubin, who was wearing a leather collar with metal studs, made the announcement that basically from here on the radical sexual liberation movement would be in charge of sexuality and feminists could have gender. All of this is recorded more fully in the anthology Pleasure and Danger that emerged from the conference. This was a very, very big turning point because it exposed a major split in feminism, with some people identified as "pro-sex feminists" and the anti-pornography people labeled "anti-sex." And it was the beginning of the debates that went on through the 80s, about what was acceptable sex and so on.
Williams: I can see how it was a key moment and a key place.
Miller: It was definitely a major institutional moment, and then a couple years later the Poetics of Gender conference at Columbia was considered to be—nobody would believe it today—radical. And then the following year—just to see how quickly things change—at the Poetics of Anger, which I didn't run, Eve Sedgwick read "A Poem Is Being Written," in which she talks about anal eroticism and so on. People were astonished, especially the men, who were sort of on the floor with embarrassment. But that was still an attempt to make feminism work in the institution by—I don't know if we would have put it that way—beating them at their own game, but let's just say that we were doing the work and wanted to be respected.
Williams: It worked too, to an extent. In the preface to Poetics of Gender, Carolyn Heilbrun says something about the "Miracle on 116th Street" and how you would have never believed from 1950 to 1985 that this change would have occurred, although she is ambivalent about it.
Miller: Here's the point she probably was making: we were writing and we were doing these conferences and we were changing paradigms, but it didn't affect anything to do with hiring. I would say only now in the new millennium, as far as I know at Columbia, it's the first time there are the kinds of appointments they wouldn't make then. But in all those years there weren't any women. Naomi Schor wasn't tenured, Susan Suleiman wasn't tenured, I wasn't kept. That was the phrase—"kept," whether you'd be kept or not. There's a very long list. So even though the work was happening, it wasn't going into the hiring and it wasn't going into the structure of departments or any form of institutional power at all. So it was bitter—I'm sure that's what you picked up.
Williams: That is bitter, and it seems like there is a certain intransigence with hiring in new fields, but on the other hand, when it finally did happen, one criticism is that it was institutionalized and lost some of its charge.
Miller: Yes and no. I don't think that institutionalization was as detrimental to feminism as many people think. It was more that no sooner had academic feminism received some recognition inside the institution—the creation of women's studies programs, and so on—that there was a kind of undermining of the ground of feminism from within. Actually, several things were happening at the same time. With the influence of poststructuralism, some feminists felt we shouldn't accept the signifier "woman" because that was just playing the game of patriarchy—accepting that woman could be defined. That was one debate—in addition to the sex/gender divide emerging from the Barnard conference. I guess I just don't see it that way—as a falling off. Feminism was never all that powerful to begin with.
Williams: One thing that people might claim about why feminism ceded is that it spoke mostly for white women of a certain class.
Miller: It's easy to say and I'm not sure it's entirely true—at least the consciousness about race (class, less I'd have to say) was in the forefront of our discussions. Hortense Spillers took on the question forcefully at the Barnard conference, in fact, and she wasn't alone. This Bridge Called My Back, edited by Gloria Anzaldúa and Cherrié Moraga, was published in 1981 and influenced the debate. Certainly, in Women's Studies at Barnard, the question of black women writers was present almost from the start. The writer and critic Barbara Smith taught a course on black women writers and black feminism in the program throughout the 80s.
From the beginning of the movement, there was always a challenge about who got to speak. You would go to any feminist conference, and after a panel invariably someone would rise from the audience and say, "All very well, but it doesn't speak to my experience as a"—fill in the blank of who or what identity was being excluded. When I wrote Getting Personal, it was in part because I didn't want to have to worry about who I was speaking for—or not. Ironically, someone reviewed the book and attacked me for being "insufficiently transnational." I wasn't trying to be transnational, but I just thought, yeah, feminism's worst enemies are within. It's what the Left always does to itself, spending all our time doing internal critique.
To go back to your question, I don't think the worst thing was that feminism was institutionalized. To me, the worst has been the forgetting of feminism and the power of feminism as a form of theory or practice in the institution itself. I was on a panel here at the Graduate Center a few months ago. There was a discussion about paradigms for talking about African American literary history, debating whether we should read African American literature separately or in conversation with American literature, or try to determine the specificity of African American literature. People seemed to have had no clue that we had gone through those debates in literary feminism. The same thing could be said most of the time for queer theory. Eve Sedgwick is a notable exception to that rule.
But I believe that feminism is coming back, albeit transformed, of course. I was surprised and pleased to learn that students created an interdisciplinary Feminist Studies group, and they've been having conferences. Many women students are feminists and work on women writers, even though they now automatically include other kinds of theory—they're doing trauma theory and postcolonial theory and race theory and so on.
Williams: The late 80s seem as if they were a pivotal time in criticism. Your work since then made a turn toward thinking about autobiography and, as you aptly call it, "personal criticism"—I say aptly because you don't see it simply as a turn from theory to confession but as an inflection of criticism that might be influenced by theory.
Miller: For me the turning point in the 80s was my falling out with Riffaterre at the School for Criticism and Theory.
I did one exercise in personal criticism in 1978. It was a talk I gave at one of the early Barnard Scholar and Feminist conferences. We were asked to talk about "creating feminist work," so I described the room I worked in, which was very important to me at the time. I loved doing it, but it never occurred to me that speaking personally was a mode. The essay I published in Signs in that period was an outtake from the dissertation. It was deliberately jargony, and many of us felt exhilarated, liberated by this new discourse. I know that when my mother proofread my dissertation, she said, "You know, many of these words are not in the dictionary," and I was extremely pleased about that.
The piece that became the turning point for me wasn't planned. I wrote "My Father's Penis" because I had to write it and it emerged from what we used to call in feminism "lived experience." It had to do with my father's illness and my caretaking experiences with him when he had Parkinson's, but the writing itself was generated by the coincidence of the upset I had around his physical and mental condition and my being attacked by Riffaterre at the School for Criticism and Theory. I say in the essay that I finally learned the difference between the penis and the phallus, and it was literally true in the sense that my father had lost the phallus but he certainly still had his penis. Riffaterre had the phallus and he trashed my colloquium paper.
Williams: When was that?
Miller: 88. The condition for the School, as you know, is that each seminar teacher has to circulate a new work for the colloquium. The assumption is that everybody has read your paper and the director says what he thinks, and then you're supposed to respond. So there I am, I'm up on the stage at Dartmouth, in a big auditorium, and Riffaterre reads a five-page attack on "FC," or feminist criticism, via my paper. The piece is the one in Getting Personal called "Dreaming, Dancing." It's not very much about me, but it was experimental. So Riffaterre reads his so-called response in which he says that feminist criticism "othered" him as a reader and said he wasn't allowed to read books by women or some insane claim like that. It felt like it went on for an hour, but probably it lasted fifteen minutes. I'm sitting and looking at this audience of people, including Edward Said, Mary Ann Caws, and my own seminar students, and he has just trashed my paper and trashed feminism, and I was stunned. Riffaterre invited me to the school, right? [He directed SCT for many years.] My head started to pound; I couldn't believe it was happening.
Then Marianne Hirsch, who was also the moderator, read her response, which I confess I do not remember, since I was truly in shock, asked, "Well, would you like to respond?" And I thought, "No!" There was no way words were going to come out of my mouth. I was mute. And I thought, "Why would I talk to somebody who just did this to me?" I knew the people in the audience were wondering, "Well, why doesn't she just attack him back?" Afterwards, one woman said to me, "We were waiting for you to destroy him." To me, it was like a primal moment. There was no response to such a betrayal. How many years was it by then? And I had been his favorite. Plus, I admit, he had been a fascinating person in his horribleness.
After that I wrote "My Father's Penis." Not just because of what happened, but clearly it was my way of working through that shock of being publicly humiliated. It was also the other side of what I was living with, in which my father, in my mind, was humiliated. So it was a kind of ending—I thought, "I am no longer afraid of these guys." I could never take a man that seriously again just because he was a man.
Williams: That freed you, then?
Miller: Oh yes. It was an absolutely transformative moment. And then I wrote Getting Personal. Riffaterre was part one. Part two was that my father died the next year. It was right after his death that I finished the book on my first sabbatical in 89-90. I had never had a sabbatical, and I went to Paris and I wrote. I had some of the pieces already and I put them together and I theorized, to the extent that I theorized, what was at stake.
There were two other elements in the fold. One was that it was 89, the fall of the wall in Berlin. It was a feeling, especially in Europe, that the universe was changing. Then on the more intimate academic scene, Judith Butler's Gender Trouble, which Bill Germano [then editorial director of Routledge] had sent to me in Paris. It's a good thing I'm not a talent scout because I thought, "Oh, this is so technical," and I would never have imagined that the book was going to turn out to have the importance it did. But it was a new world in many ways in the 90s.
Williams: Did you walk away from academic criticism or the academic institution as you knew it?
Miller: A bit. I didn't have to leave Barnard, I had tenure, but I did jump at the offer to go to CUNY because I felt like I had been too long at Barnard and Columbia and I needed a change. Plus, I felt that at CUNY it was okay, even encouraged, to do experimental work.
But I don't feel that I'm anti-academic at all. I've just finished an essay for PMLA about the field of autobiography studies and I'm still interested in publishing in academic journals, even though I do it in the way that I've become attached to, in this mixed form.
Williams: I can see how that's true. A book like Bequest and Betrayal, which I thought was going to be a straight memoir, is actually more of an academic book insofar as you read a number of autobiographies, even though you intersperse short personal sections in italics.
Miller: Bequest and Betrayal is a hybrid. I wanted it to work both as an academic book and as a book that (I fantasized) would attract a general audience, but it didn't happen, probably because there was still too much literary criticism. I would give the book to friends who weren't academics and they'd say, "I have to confess, I only read the parts in italics." I thought, "Oh god, I worked so hard to get the italic parts to work with the critical parts." I guess it didn't succeed. Everybody has one book that they've done that they feel never really caught on or was misunderstood, but it was their favorite. Bequest and Betrayal is my favorite book.
There are visible seams in my writing, as opposed to the kind of essays you might read in the New York Review of Books where the prose is seamless, where you don't feel a mixed allegiance. I might want to adduce myself as an example, but there's also an argument I want to make. When I accepted to write the essay for PMLA, Marianne Hirsch, who was then editor, threw down the gauntlet. "Write what you want," she said, "but don't make it personal." I honestly wasn't sure I could write an academic piece without putting myself into it at all. But I did. Of course, the essay is personal in the sense that it's my take on things, but it's not autobiographical.
Williams: I like your phrase "mixed allegiance." It seems like the shift to more personal modes is often cast as a kind of Saul-to-Paul conversion from theory to confession. Is it a rebellion against doing theory?
Miller: It's a different way of doing theory. I don't know whether people consider that I'm doing theory in my current work, but I do have a view about some aspects of autobiography, mainly autobiography as a form of relation, including to the reader. Now I'm using another term, "the entangled self," to make the point a bit more strongly. The earliest feminist reading of autobiography, Mary Mason's "The Other Voice" in 1980, wanted to demonstrate that women's autobiographical writing always required a significant other in order to put the self on stage, whether it was a husband or a child or another. When I started working on Bequest and Betrayal, I realized that many male authors also did that, and that maybe Mason had defined a feature of autobiography as a genre as opposed to limiting it to women's autobiography. You write an autobiography as an attempt to disentangle yourself usually from your family, but the self is always bonded, and that bonding inheres in the genre.
Williams: Do you think personal criticism is a good model for criticism?
Miller: That's hard to answer. That was one of the first questions I got when I was going around giving the first chapter of Getting Personal as a talk.
Williams: Because the usual rap is that ...
Miller: You have to be privileged in order to do it.
Williams: I taught some personal criticism in a seminar on current criticism and my students said, "But could we do this and get published?"
Miller: I just taught a course called Experimental Selves. We started with Woolf and ended up with a graphic memoir by Alison Bechdel, and I gave students a chance to experiment however they wanted—if they wanted to write a critical paper, if they wanted to write a theoretical paper, if they wanted to write a personal paper. I said I didn't mind what they did. Most of them chose to write what they hoped would be a publishable article because it's what they need to do to get a job. I think if as a profession we allowed graduate students to experiment in their writing, that would be great; the reality is that we're pushing them to be producers of the acceptable, publishable article.
Experimenting can improve academic writing, though. Experimenting forces you to see what you're doing. When you return to look at some of your straight critical sentences, you can tell that they don't fit in your mouth.
I think the first mixed-genre paper I gave in an academic setting was "Decades." It was at a philosophy conference, if I remember correctly, and someone came up to me afterwards and said, "I really enjoyed your paper." I thought, "What do you mean you really enjoyed my paper? This personal material is not to entertain you!" I was vexed. I was younger; now I'm glad if people enjoy the work.
Williams: It seems to me that, since 2000, you're writing more about your family history and also about aging. If I added another segment to narrate your career, would it be that?
Miller: Yes. There is concern with aging in Bequest and Betrayal, and in But Enough About Me I talk about my own aging directly. IF had to pick the critical book that has had the greatest impact on me in this phase it would be Camera Lucida. Barthes was younger than I am now when he wrote that book—he was just turning sixty. The book was generated by his mother's death, and it's a meditation about aging as well as about photograhy.
I've been doing research on my Eastern European ancestors, and only months ago I learned where my grandparents were born. I found myself thinking, "How can it be that hundreds of thousands of Jews do not even know the name of the town their grandparents came from?" I am interested in these questions of what and where we come from, which, it turns out, also becomes part of the conversation on immigration. It had never seemed to me, being the third generation, that this had any relevance to my narrative. Now I'm trying to get that earlier story. So the project is autobiographical, but it's also historical, and it's barely about me, except that my family provides the thread. I have some memory objects and some documents that I'm having translated from Yiddish, and I'm trying to reconstruct the process of Americanization that I realize now was very important to me when I was young, without my having a clue that it was.
Williams: How would you answer the charge that personal criticism is self-indulgent rather than social or political?
Miller: I can't think of anything more self-indulgent than most high theory, which is written in a totally impersonal mode, and means that the author expects the reader to work hard to understand it. Bad writing is self-indulgent. If I'm a bad writer, then that's another matter. But I've found over and over again that when you write autobiographically it brings people to their stories. They use you as a jumping board to get to themselves. And as for the personal and the political...that comes with the territory.
You were asking me earlier about feminism. For a long time I've been aware of my story as being generational. I belonged to a certain cohort of people, more or less, of a certain age, who went through this movement together. I always felt, until we splintered so badly, when I was writing about feminist moments and feminist ideas that they were shared and sharable. And to a large extent they have been. The questions of genealogy and of immigration that I'm obsessed with now only make sense to me if I can tell a collective story, because nobody cares about my grandparents. I barely care about them. It's more a matter of trying to understand what was the stake of Americanization for this particular group of immigrants, and how it played itself out.
Williams: I wanted to ask you about the book that you're finishing, Out of Breath. There is a gap on your vita, from an academic standpoint, from 61 to 68 or so.
Miller: The book is set in Paris, where I lived from 1961, when I graduated from Barnard, until 67, when I came to New York. For the next couple of years I was in a kind of drugged fog, it was such a shock to return. I desperately wanted to be an expatriate. I had gone to Paris to get a Master's degree, and I was teaching English, but what I wanted was to become someone else. I know this sounds ridiculous, but I was inspired by Jean Seberg in Breathless.
Williams: I doubt you were the only one. Did you wear a lot of turtlenecks?
Miller: Turtlenecks were earlier, but it was the whole French thing. It seemed as though everything exciting was happening in Paris, and to me, being a New York girl meant being locked in by my family, controlled by my parents, being expected to be nice, being expected to be a high school French teacher since I had been a French major in college, and having nothing on the horizon except for the possibility of a—I don't think we ever used the word "profession"—means of earning money, if my husband-to-be fell on hard times. It was called the "fallback" model. So I went to Paris, I was twenty, and a total innocent. In fact, one of my first experiences abroad, even before Paris, when I had gone to England to study Shakespeare in 1959, was with an actual con man who had a prison record. I tell that story in But Enough About Me. I was enamored of Europe; I thought it was glamorous and sexy and intellectual and above all non-bourgeois.
Williams: What did you do when you were in Paris?
Miller: I was always teaching English because that was the easiest way for me to earn money, and then I just had a lot of adventures.
Williams: This is the point when your students will be on the edges of their seats.
Miller: It was the beginning of sexual liberation and I was away from home. I was already attracted to libertine literature and French movies. I didn't know what to do, but having sex, I figured, was a way to have agency, as we say now. Before feminism, if you wanted to not be who you were destined to be, what was there to do? I went to college with a friend who became a doctor, but most Barnard girls just got married and had kids. If you didn't want to do that, what else was there? That's what Europe was—the alternative. But it turned out to require a man, since I was still enough of a 50s person to think I needed a partner in crime. Ultimately I married another American expatriate and thought I would stay. Forever.
Then everything fell apart. I often regret that I didn't hang on long enough for May 68 because French society completely changed at that point. But it was very hard to be a foreigner, it was almost impossible to get work. I ran out of gigs, and when the marriage collapsed, I came back and was at a bit of a loss, trying to figure out what to do next. In the end, I went to graduate school, so I was sort of saved by structuralism and saved by feminism! To come full circle, when I went to Columbia I was given two tools for survival. Structuralism was a tool to analyze this world that I had lived in with such confusion. It made sense of everything; it was the total theory. And the other was not from school, of course, but from the world—feminism. I was in my late twentiess, the 70s were dawning, and it was a kind of re-beginning.
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The softball team will face a tough schedule as it looks to claim its 10th Mid-American Conference Championship and the first since 2002.
The schedule includes five 40-plus win teams and 12 that finished at or above .500 last season.
"We're pretty excited about the schedule that we have this season," assistant coach Jenna Alexander said. "We're playing a lot of tough competition. That's going to test us, and we're excited to see where we're at and where we're going."
Among those 40-win teams is South Florida on March 6. The Bulls finished last season as a Women's College World Series qualifier and ended No. 8 in the nation according to the USA Today/NFCA Coaches' Poll.
Central Michigan will also travel to play a doubleheader against the Mid-Eastern Athletic Conference Champion Bethune-Cookman University and a game against Atlantic-10 Champion Massachusetts.
"They are all quality programs, and we'll see them in Florida on our spring break trip," Alexander said. "That'll be a good test for us being down there for 10 days and we'll be excited to play together for the first time and see how we stack up against them."
The Chippewas will travel to play Big Ten Champion Michigan and fellow Big Ten members Michigan State and Indiana.
"We play all three of them every year and always have a good matchup with them," Alexander said. "It's something we definitely look forward to."
CMU will have its rematch from the MAC Championship game against Miami (Ohio) on April 27-28 at Margo Jonker Stadium.
Regular season MAC Champion Ball State will be playing a doubleheader on April 26 in Mount Pleasant. Bowling Green, Toledo, Buffalo and Kent State will also be traveling to face the Chippewas during the MAC schedule.
"We always play for a good crowd at Margo Jonker Stadium, and any chance to play at home is something to look forward to," Alexander said. "We like to be able to play them (Ball State and Miami (Ohio)) at home. Last season, we went there, and we'd like to have a different result."
CMU will open the season at Margo Jonker Stadium on April 3 against Detroit.

subset: commoncrawl


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The "Told U So" club or you can call it the Bimmer Club.
Whatever you call it, one of the best incentives for a Visalus Distributor is The Bimmer Club. Visalus recognizes its distributors that are committed to excellence. What better reward than the opportunity to drive one of the best cars on the road. Visalus is a company that is all about high quality. Visalus products and supplements use the highest quality ingredients to create amazing products with proven results. Anyone who is a part of Visalus has an affinity for high quality.
The Visalus Bimmer Club is the most achievable car incentive program in the nation. Visalus is a company who relishes in rewarding its distributors who recognize commitment to building a successful business.
Distributors deserve to be driving a distinguished vehicle that sets them apart from the crowd.
The Told U SO plate adds a nice touch for those who have acheived Bimmer club status!
By reaching the level of Regional Director you qualify for the exclusive Visalus Bimmer Club. The rank of Regional Director is midlevel in the company. You do not have to be a top earner to achieve this incentive. It is extremely achievable and one of the most attractive benefits of joining Visalus. It is a standout program. The Bimmer Club was one of the top reasons I joined Visalus. I just could not believe how attainable this program was! What better way to show your success than driving "the ultimate driving machine". The BMW incentive sets Visalus apart from any other network marketing and home-based business company. In 2010 there was an average of 3 BMW qualifiers per day! In 2011 it's one an hour. When a distributor qualifies for the Bimmer Club, the distributor earns a monthly BMW bonus of $600 a month. You will continue to receive this bonus as you move through the ranks in Visalus.
A distributor can select any BMW. Whether it be a sporty Z4 or a luxury 700 series, the car of your dreams is easily attainable. The only stipulations are the BMW must be black and branded by Visalus. The Visalus branded kit includes a Visalus emblem that is displayed on the back of your car, black "Bimmer Club" jackets, and a custom license plate that reads "TOLD U SO". The "TOLD U SO" license plates are for the skeptics who did not believe in this opportunity.
Go ahead and pull up next to your co-workers in a shiny, black BMW with "TOLD U SO" license plates.
Visalus distributors refer to the black BMW's as the "ultimate shut up toy". Get in your black BMW and go do some donuts on whoever told you that Visalus is "too good to be true" or "a pyramid scheme".
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This all started on Facebook so..for a limited time only…you will NEVER see this type of offer again, EVER in the network marketing world..AND AGAIN YOU HAVE BEEN WARNED..


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Amarillo, TX - The armed suspect who robbed an Amarillo bank has now been arrested.
It was just after 10am Wednesday morning when a man demanded money from a teller at the Bank of America on Washington and I-27. He got away with an unknown amount of cash.
59-year-old Walter O'Dell Jr. of Oklahoma is charged with aggravated robbery and sits in the Randall County Jail.
Officers found O'Dell at the Red Roof Inn in Amarillo, where they made the arrest.
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text: Israel: A Television Formats Empire Published on Monday, 21 October 2013 by Webmaster Total Views: 2116Tweet Somehow Israel has turned into a television format empire over the last few years, with shows like "Homeland," "In Treatment" and game show "Still Standing" hitting it big on American prime time television. read the full article from YNET Total Views: 2116Tweet What Do you Think? Have your say!


text:
Ireland 2008
By Didier Hayem
A photographic journey through the northern part of Ireland: Connemara, Donegal, Ulster, Dublin, ...
About the Author
Publish Date March 18, 2009
Dimensions Standard Landscape 108 pgs
Standard Paper
Category Travel
Tags Giant's causeway, Achill Island, Ireland, Ulster, Dublin, Belfast, Connemara, Donegal, photography
gchampon says
Very nice pictures! Well done!
posted at 05:06am Nov 21 PST
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Built for the Prince Regent, later King George IV, in stages between 1787 and 1823, the Royal Pavilion is remarkable for its exotic appearance both inside and out. This magnificent royal pleasure palace was revered by fashionable regency society and is still a distinctive landmark for Brighton and Hove today. The Royal Pavilion is also home to some of the finest collections and examples of the chinoiserie style in Britain.
From Downs to Sea: a Slice of Life
Bring Spencer Tunick to Brighton Museum for Museums at Night 2014!
Royal Pavilion Ice Rink 2013 -- what's on your list?
Exploring the Royal Pavilion Bottle
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Young Ummah Project at Brighton Museum
Bears Spotted in Royal Pavilion Gardens
Object Stories LGBTQ trail -- Glynn Philpot's Early Work
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Object Stories LGBTQ trail -- Glynn Philpot's Artistic Changes
Object Stories LGBTQ trail -- The Devil's Altar
Object Stories LGBT trail -- Grayson Perry
Object Stories LGBTQ trail -- Queen Anne and William III
Object Stories LGBTQ trail -- Alexander McQueen
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Object Stories LGBTQ trail -- René Lalique
Object Stories LGBTQ trail -- Rosa Bonheur
Making of the Murder in the Manor
Murder in the Manor -- teaser trailer
Jeff Keen's Dreams of the Archduke Sketchbook
Pavilion Contemporary: The Lost Pagodas, an installation by Geraldine Pilgrim
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A look at NFL handicapping with the PFW editor lobbying to become Las Vegas bureau chief.
About the Author
Mike Wilkening
Senior editor
Recent posts by Mike Wilkening
Related Stories
Picking a straight-up winner and a pointspread winner are sometimes very different things, but in the case of Sunday's Bears-Bengals game, they are one and the same. Yes, Bears-Bengals is a pick 'em, where the handicapping simply comes down to whom will win the game.
The Bengals are 3-3 against the spread this season, but you can see why the Bears are being backed so heavily: Cincy is 0-3 ATS as a favorite, and it was handled surprisingly easily by Houston last week.
The Bears are 3-2 ATS in Jay Cutler's first season as their starting QB. The Broncos, if you can believe it, were just 10-26-1 ATS in Cutler's tenure as a starter.


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WEBSTER, N.Y. Ś Two firefighters who survived a Christmas Eve shooting ambush that left two colleagues dead said Wednesday that theyÆre working hard to regain the physical strength to return to the department, but they know the job will never be the same.
ōNow youÆre going to be looking over your shoulder,ö Theodore Scardino said as he and Joseph Hofstetter spoke publicly for the first time since the attack. The two sat before a throng of reporters and cameras at the West Webster Fire Department after attending physical therapy earlier Wednesday.
Scardino was shot in the shoulder and Hofstetter in the pelvis the morning of Dec. 24, when convicted felon William Spengler Jr. opened fire as they arrived to battle a car and house fire in Webster, just east of Rochester.
Two other firefighters, Michael Chiapperini and Tomasz Kaczowka, were killed.
ōYou go to a car fire in the middle of the night; you donÆt expect what happened is whatÆs going to happen,ö Hofstetter said. ōI figured IÆd be back in an hour.ö
Even the sound of gunshots didnÆt register at first. Both firefighters thought they were hearing tires or shocks pop and burn in the blaze that police say Spengler set at the lakeside house he shared with his sister, Cheryl Spengler. Remains believed to be hers were found at the scene.
Spengler, who served 17 years in prison killing his grandmother with a hammer, committed suicide after police arrived.
After being hit, Scardino said, he fell to the ground and took cover under a fire truck. A wounded Hofstetter, unaware Scardino was there, moved the truck about 10 minutes later while trying to get out of harmÆs way.
ōI took a deep breath. I said, æOK, am I going to be able to breathe? Am I going to pass out? All right, IÆm going to sit here and play dead for five minutes, and then itÆs going to be over. The place will be swarming with police,Æö Scardino recalled.
Instead, he lay bleeding on the cold ground for more than an hour as law enforcement officials battled the gunman and the fire grew to an inferno. The shot itself didnÆt immediately hurt, he said, but the heat eventually caused second-degree burns to his head and feet.
ōIt was a nightmare, wondering what was going to be next,ö he said. He said he didnÆt know whether there was one gunman or five.
Hofstetter, too, was in survival mode. Bleeding and hurt, he used his good leg to stand on the outer platform of the truck and reached for the steering wheel with one hand and the gas with the other. The plan was to try to drive away while using the truck for cover, but it soon crashed.
ōI was in pain,ö he said, ōbut with the adrenaline, the way the human body gets in survival mode, it wasnÆt a factor at the time.ö
Both expressed gratitude for the outpouring of prayers and support.
ōObviously this was an evil act, but thereÆs a lot of good in this community and the world,ö Hofstetter said.
Each undergoes hours of physical therapy sessions every week.
ōItÆs going to be a long road back to get back to full duty,ö Hofstetter said.
The firefighters were reluctant to talk about their emotional well-being and recovery, said fire department spokesman Al Sienkiewicz, who intervened to head off personal questions.
ōThis event is still raw in the minds of the 125 members here and their families,ö Sienkiewicz said. ōWe are not over this by a long shot.ö


text: At the lake or on the waters near the shore intercoastal - you can enjoy cruising, entertaining, soaking up some rays and enjoying the family's favorite water toys. These are just the beginnings of your many Fiesta experiences! Spring Lake Marina is an authroirzed dealer of Fiesta Pontoons. View all our boats and deck layouts. For any questions or pricing feel free to contact us online or call Chris Dogan.


text: Some of the most interesting ideas come from the merging of many different concepts. In the case of this new advertisement from Germany based ad agency Jung von Matt, they have combined installation art, the infographic and their specialty, advertising. The result is one very different way to display their client L-Bank's Annual Report. [Read more...]


text: slideshows Comments 2 20 Beautifully Geeky Lip Art Designs By Lisa Granshaw Jan 23, 2014 Back 9 of 20 Next More More Slideshows Other Beastly Voices Cumberbatch Should Do The Fantasy Art of GENZOMAN is Delicious Nerd Candy! The Amazing Star Wars Mashups of RABITTOOTH! Back Next more > Back Next more > Eva Senín PernasCredit: Alice: Madness Returns Tags: alice in wonderland, slideshows, catching fire, beauty, geeky makeup, lip art Medieval Inspired Fashion Designs Medieval Inspired Fashion Designs The Top 10 Sci-Fi & Fantasy Weapons EVAR! The Top 10 Sci-Fi & Fantasy Weapons EVAR! Related Posts slideshows Gorgeous and Geeky Eye Makeup life 5 Reasons Makeup is NOT Just For Girly Girls geeky girl glam The Geeky Girl Guide to Skincare Basics prom makeup Prom Makeup: Casual Glamour Write your own comment! Write your own comment! Please log in first Email Password Remember me Log in Create an account | Lost password ...or log in using


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In its nearly 40-year history, the PTA Reflections Program has encouraged millions of students across the country, in preschool through grade 12, to explore their artistic talents.
FastFrame, a local custom picture framing store, is hosting its first Art Contest for Kids.
Flags were raised along with patriotism as students celebrated Constitution Day at Mitchell Elementary School in Canyon Country on Wednesday.
The Santa Clarita STARS Junior National Dance Team will hold its sixth annual fundraising Golf Tournament on Nov. 1 at Robinson Ranch Golf Club.
Students at Golden Oak Community School in Canyon Country know the importance of saving the planet, one gum wrapper at a time.
A classroom assignment at La Mesa Junior High School turned into a boon for firefighters camping out in Santa Clarita's Central Park while fighting the nearby Station Fire.
Students, faculty and administration gathered Aug. 27 to initiate the new track at Northlake Hills Elementary School as part of the school's new Fitness and Wellness program geared to encourage nutrition and health education for students.
Art lessons for Stevenson Ranch Elementary School students will take on a new look with the opening of the school's new art studio, located on campus.
Acton-Agua Dulce Unified School District
Back-to-school jitters were kicked to the curb when Rio Vista Elementary School hosted the annual Welcome Back Night on Tuesday.
A passion for skating met cool competition when the California Girls synchro ice skating team of Valencia competed in the Ice Skating Institute World Recreational Team Championship skating competition in San Jose.
Summer fun was found in the form of artistic expression during the seventh annual Los Angeles Education Through the Arts Camp held at Christ Lutheran Church in Valencia.
From "Star-Belly Sneetches" to "The Three Little Pigs," imaginations soar during "Storytime Adventures," the no-cost interactive program that encourages reading in Santa Clarita Valley youngsters.
Dancing and singing their way through the summer heat, elementary school students from the Castaic Union School District took center stage at Castaic Middle School as part of a summer school enrichment program.
Blue Shadows Mounted Drill Team was crowned Junior Division Western States Champion at the Reno Rodeo at the end of June.


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Sometimes things go wrong and then… David
Last night was the last night that David and I will share a bedroom. (If you look on the left you can kind of see him there. At least he isn't doing that freaky thing he does sometimes when he sleeps with his eyes half-open. It's super scary.)
David's been my roommate and best friend for a year and a half now. We eat together when no one else wants to eat with us, we jam and sing late into the night together, we analyze How I Met Your Mother for hours together, and we stay up late with the lights off, talking about the future and life and just… stuff.
But David and I were not always buddies. We lived on the same floor in Wright Hall our first year, but for a whole semester he was just "That kid with the good voice who lives on my floor" to me.
Then, one Friday in early in the spring semester, I got into something of a tiff with my friends. The next day, I realized that, while they are all good people, we don't really fit together. We're not compatible. It's nobody's fault. I just didn't want to spend that much time with them.
So I was sitting alone in my room that Saturday night, and decided that I craved a little bit of human interaction. I went into the lounge on my floor and a bunch of people were hanging around watching an ABC Family Harry Potter Weekend. Always a good choice. I set my guitar down (I had just gotten it and was in the habit of carrying it everywhere) and watched with them, interacting with all of these people who lived on my floor but I had for some reason never spent that much time with.
And it was great. I had a fantastically excellent time with them, making jokes about the movies and talking about our favorite characters and how Minerva McGonagall is hands-down the fiercest lady there will ever be.
David noticed my guitar and asked if I played. When I said yes, he said that he liked to sing (which I knew; I had seen him at a Clark Bars show and was super impressed but definitely didn't tell him I was his biggest fan) and he asked what songs I knew to play. After a minute of finagling our musical tastes, we picked a couple of songs and played them, right there, in the common room. And it worked.
This would not be the first time that I would have a bad day and David would be there and I'd feel better.
One of my biggest worries about going abroad is not having him at home to give me advice or tell me I'm being dumb or encourage me or make me laugh. He's one of those people you'll meet in college, someone who really just gets you and understands you and makes you feel comfortable being who you are.
It isn't goodbye, though. We've signed a lease to live off-campus next year. We're sticking together until graduation, at least. It's going to be another amazing year. Here's to David.
Dec 16 2013


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FOR IMMEDIATE RELEASE: Court Affirms Prosecution's Attempt to Criminalize Activism, Proceeds in Case Against RNC 8by Webmaster ~ June 10th, 2010. Filed under: Press Releases.
June 10, 2010
Contact: Melissa Hill (RNC 8 Defense Committee), 612.886.4565, firstname.lastname@example.com; Attorney: Robert Kolstad, 612-721-3425
Court Affirms Prosecution's Attempt to Criminalize Activism, Proceeds in Case Against RNC 8
Defense Attorneys Argue Against Unwarranted Raids, Misleading Affidavits and Elusive FBI Informant
ST. PAUL, Minn. — Yesterday, the RNC 8 completed the probable cause hearing, begun last month, a key step in determining whether their charges of conspiracy to riot and conspiracy to damage property will go to trial in October. Judge Teresa Warner is expected to issue a ruling on the defendants' motion to dismiss the charges due to a lack of probable cause sometime in August.
The probable cause hearing concluded without the testimony of paid FBI informant Andrew Darst, who has successfully evaded a subpoena for the hearing. Darst is currently being paid $1500 per month by the FBI to be on hand for testifying in the case and is legally required to keep a current address with his probation officer. Even so, all attempts to locate Darst have failed and Warner declined to compel him to appear.
"The prosecutors seem intent on using twisted logic to continue pursuing these trumped-up charges," said Jude Ortiz of the RNC 8 Defense Committee. "We hope that a respect for the right to engage in political organizing will guide the ruling on the probable cause motion and that the charges will be thrown out."
The judge also affirmed the prosecution's arguments against suppressing evidence from the preemptive raids during the weekend before the 2008 Republican National Convention. Judge Warner agreed that police officers neglecting to include information about the obvious satire in the "We're Getting Ready" video did not affect the legitimacy of the affidavits supporting the search warrants used in the raids. Previously, Ramsey County deputies had testified that they did not recognize satire in scenarios such as a bottle resembling a Molotov cocktail being lit and thrown into a barbecue grill to light a fire for cooking. Prosecutors also argued that people detained and searched in the politically motivated raid of the RNC Welcoming Committee Convergence Center, a political organizing space for protesters and their supporters, could not expect to be free of unreasonable searches and seizures because they were in a place open to the public.
"What we saw in court was the prosecutors and judge using technicalities in Minnesota law to negate 1st and 4th Amendment protections against government attempts to repress dissent," said Ortiz. "If you were to ask the court, it seems they would say that you have the right to dissent as long as you do it on your own at home. It seems that if you associate with others, particularly in public, then it's fair game for the police to trample your rights whenever they disagree with your perceived political beliefs."
The next pre-trial hearing is scheduled in September. This hearing will be to determine trial logistics, including jury selection.
The RNC 8 may be available for media interviews. All inquiries and requests can be sent to the contact information above. For more information, visit http://www.RNC8.org. For late-breaking news, follow us on twitter@defendthernc8. Copies of the legal motions from the May and June hearings are located at www.rnc8.org/info.
Tags: Court hearing, Press Release, RNC 8, RNC8


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Washington (May 24, 2012) — NASA and the X PRIZE Foundation of Playa Vista, Calif., announced Thursday the Google Lunar X Prize is recognizing guidelines established by NASA to protect lunar historic sites and preserve ongoing and future science on the moon. The foundation will take the guidelines into account as it judges mobility plans submitted by 26 teams vying to be the first privately-funded entity to visit the moon.
NASA recognizes that many spacefaring nations and commercial entities are on the verge of landing spacecraft on the moon. The agency engaged in a cooperative dialogue with the X Prize Foundation and the Google Lunar X PRIZE teams to develop the recommendations. NASA and the next generation of lunar explorers share a common interest in preserving humanity's first steps on another celestial body and protecting ongoing science from the potentially damaging effects of nearby landers.
NASA assembled the guidelines using data from previous lunar studies and analysis of the unmanned lander Surveyor 3's samples after Apollo 12 landed nearby in 1969. Experts from the historic, scientific and flight-planning communities also contributed to the technical recommendations. The guidelines do not represent mandatory U.S. or international requirements. NASA provided them to help lunar mission planners preserve and protect historic lunar artifacts and potential science opportunities for future missions.
The Google Lunar X PRIZE will award $30 million total in prizes. First place will go to a privately-funded team that builds a rover which lands successfully land on the moon, explores it by moving at least one third of a mile and returns high-definition video and imagery to Earth. Additional bonus prizes will be awarded for photographing a Lunar Heritage, Apollo or Surveyor spacecraft site. The contest ends whenever all prizes are claimed or at the end of 2015.
To view the full set of guidelines, visit:
For more information about the X PRIZE Foundation, visit:
For more information about the Google Lunar X PRIZE, visit:
For a lunar exploration timeline, visit:
The $30 million Google Lunar X PRIZE is an unprecedented competition to challenge and inspire engineers and entrepreneurs from around the world to develop low-cost methods of robotic space exploration. To win the Google Lunar X PRIZE, a privately-funded team must successfully place a robot on the Moon's surface that explores at least 500 meters (1/3 of a mile) and transmits high definition video and images back to Earth. The first team to do so will claim a $20 million Grand Prize, while the second team will earn a $5 million Prize. Teams are also eligible to win a $1 million award for stimulating diversity in the field of space exploration and as much as $4 million in bonus prizes for accomplishing additional technical tasks such as moving ten times as far, surviving the frigid lunar night, or visiting the site of a previous lunar mission. To date, more than 20 teams from a dozen countries around the world have registered to compete for the prize. The Google Lunar X PRIZE is available to be claimed until the end of the year 2015.
Founded in 1995, the X PRIZE Foundation is the leading nonprofit organization solving the world's Grand Challenges by creating and managing large-scale, high-profile, incentivized prize competitions that stimulate investment in research and development worth far more than the prize itself. The organization motivates and inspires brilliant innovators from all disciplines to leverage their intellectual and financial capital for the benefit of humanity. The X PRIZE Foundation conducts competitions in four Prize Groups: Education & Global Development; Energy & Environment; Life Sciences; and Exploration (Ocean and Deep Space). Prizes won include the $10 million Ansari X PRIZE for private, suborbital space flight; the $10 million Progressive Insurance Automotive X PRIZE for creating safe, affordable, production-capable vehicles that exceed 100 MPG energy equivalent (MPGe); and the $2 million Northrop Grumman Lunar Lander X PRIZE CHALLENGE for advanced rocket development. Active prizes include the $30 million Google Lunar X PRIZE, the $10 million Archon Genomics X PRIZE, and the $1.4 million Wendy Schmidt Oil Cleanup X CHALLENGE. For more information, visit www.xprize.org.


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Featured articles on Wiki Search
An automobile is defined as a wheeled vehicle that has its own motor and can carry passengers. Because of its popularity and the way it has revolutionized transportation, there were a lot of theories regarding when the first automobile was first invented.
The word computer, pronounced as /kəmˈpyo͞otər/, came from the Latin word computus and computare. These two Latin words have the same meaning as the English word, compute, which is to determine Mathematical means. Putare means to reckon while com is called the intensifying prefix.
Entertainment /ɛn.tɝˈteɪn.mənt/ comes from the old French word entretenement, which is an activity designed to give pleasure as well as relaxation to an audience, whether the audience participates passively like that in watching operas and movies, or actively such as in games.
The finance function consists of the people, technology, processes, and policies that dictate tasks and decisions related to financial resources of a company. Some organizations rely on individuals to perform these functions for both simple and advanced tasks, while others are automated and use people only for decision and policy making.
Games are designed with concepts that test the players' decision making skills in situations of competition and conflict. Games for young children aim to teach life values they need to develop for successful social interaction such as sharing, cooperation and interdependence, under specified rules. Games also aim to teach people how to play fair and be good sports, whatever the outcome of the game is.
Health is multifaceted, involving various factors. The World Health Organization, with the intention of having parameters to measure the functionality of an individual, defined health in 1948, as the physical, social and mental aspect. Later on, the definition evolved to include the emotional, spiritual and environmental dimensions to the list.
Horoscope comes from the Greek word horoskopos which means nativity. From hora, meaning hour and skopo, meaning watching, this is in reference to the hour of a person's birth.
The word movie /ˈmuːvi/ is derived from the word moving pictures which is a sequence of images that is projected into a screen with the right amount of speed so as to create the illusion of continuity and motion.
Shopping, as defined by Merriam-Webster, is the "act of examining goods and services with intent to buy." Shopping, as an activity, entails selection and purchase. Inasmuch as it is an economic activity, shopping is also considered a recreational and leisure activity. From this, the concepts "window-shopping" and "retail therapy" was conceived.
The word travel is derived from the Middle English word travail, pertaining to all the activities performed while moving from one location to another. A person who travels is called a traveler.


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Arts and Entertainment
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Previous Issue
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Printable Version (PDF)
February 16, 2010
1. Tech Names Max Seel Provost and Vice President for Academic Affairs
2. Former Biological Sciences Faculty Member Dies in UAHuntsville Shooting
3. Nominations Sought for Williams Award
4. Undergraduate Scholarships Available
5. Update on the Parking Survey Process
Entertainment and Enrichment
6. Club Indigo Presents Czech Film, "Closely Watched Trains"
7. Reminder: Travel Back to the 80s with "The Wedding Singer"
8. Tech's Symphony Orchestra Presents "Night at the Opera"
Seminars and Workshops
9. ME-EM Graduate Seminar
10. MSE Seminar
11. CEE Graduate Seminar
12. CEE Department Seminar
13. Biological Sciences Seminar
14. Biomedical Engineering Candidate Seminar
Regular Features
15. Sports in Brief
16. New Staff
1. Tech Names Max Seel Provost and Vice President for Academic Affairs
by Jennifer Donovan, director of public relations
On Monday, Feb. 15, Max J. Seel was named provost and vice president for academic affairs. Seel, who has been acting as interim provost since January 2009, was one of three finalists for the position.
"The University community is extremely fortunate that Max has agreed to serve as provost and vice president for academic affairs," said Michigan Tech President Glenn D. Mroz. "His extensive experience as a faculty member, department chair and college dean will serve us well. He is dedicated to Michigan Tech and has a vision for its future consistent with our strategic plan and long-term goals."
The provost is the chief academic officer of the University, responsible for all of Michigan Tech's academic programs and faculty. The provost is also responsible for development and implementation of strategic initiatives to raise academic programs to the highest level, as well as promote scholarship, expand Tech's research, and increase and enhance diversity.
"I am honored to be chosen as Michigan Tech's next provost and vice president for academic affairs," said Seel. "I will do my best to contribute to growing Michigan Tech as premier technological research university, to advancing the unity of teaching and research, and, together with all the other administrators and staff, to making faculty and students successful."
A native of Germany, Seel received a PhD in computational solid-state physics and theoretical chemistry from the University of Erlangen-Nurnberg and spent a postdoctoral year at the IBM research laboratory in San Jose, Calif. He taught and did research in quantum chemistry and computational physics at the University of Erlangen-Nurnberg until joining the Michigan Tech physics faculty in 1986.
He was named interim dean of Michigan Tech's College of Sciences and Arts in 1989 and served as its dean from 1991 to 2008, when he chose to return to research and teaching.
"We were looking for a provost who could provide strong leadership in the academic mission of the University, who understands the goals of Michigan Tech and is willing to do what is necessary to help us reach these goals," said Alex Mayer, chair of the provost search committee and professor of civil and environmental engineering. "Seel easily fits those criteria. He had to compete against an excellent, diverse pool of candidates who had extensive experience in a wide range of academic positions. The search committee recognized Dr. Seel's intellectual vision, his demonstrated commitment to excellence in teaching, research and service, and his impressive skills as an experienced administrator."
The new provost said, "My academic focus will be on new undergraduate and graduate degree programs and certificates; faculty development; research in key areas such as nanotechnology, biotechnology, atmospheric sciences, sustainability; computational science and engineering; communication; policy; and science/technology/society studies."
His research involves large calculations in various areas of physics, chemistry and biology, such as materials surfaces, polymers, nanotubes and biological molecules like proteins and DNA.
He is a member of the American Physical Society, the physics honor society Sigma Pi Sigma, and Sigma Xi, a scientific research society. He is listed in "Whos Who in Science and Engineering."
Mayer, the search committee chair, added: "I'd like to thank the search committee for their hard work during the process. They were easy to work with, but could be counted on to bring diverse viewpoints about the priorities for this position. I also want to thank the University community for their input into the process. We are grateful that so many students, faculty and staff attended the various forums during the candidates' campus visits and contributed comments via the search website."
Members of the search committee in addition to Mayer are Vice Chair Darrell Radson, Sarah Anderton, Mari Buche, David Flaspohler, Nancy Grimm, Randal Harrison, Amy Hughes, Jackie Huntoon, Theresa Jacques, Rudy Luck, Erik Nordberg, Ravi Pandey, David Reed and Tim Schulz.
2. Former Biological Sciences Faculty Member Dies in UAHuntsville Shooting
by Marcia Goodrich, senior writer
Gopi Podila, esteemed both for his science and his humanity, was shot and killed Friday, Feb. 12, at the University of Alabama at Huntsville.
Podila, 52, came to Michigan Tech in 1990 as an assistant professor of biological sciences. Twelve years later, he left to chair the UAHuntsville Department of Biological Sciences. According to
news reports,
police say Podila and two others were killed when a biology faculty member opened fire during a routine department meeting.
Among his colleagues and former students at Michigan Tech, he is remembered for his agile intellect and loving heart.
"He's one of the finest men I've ever known," said David Dixon, who worked under Podilas direction as a visiting assistant research professor. "He was congenial, kind and had high expectations. It's unusual to have a boss that you can call a friend."
Dixon, now a microbiologist with the Western UP Health Department, recalled the family's hospitality. "He and his wife, Vani, would have us over for traditional Indian dinners. She would share the recipes, and he'd introduce it to us and explain the customs." The dinners were "delightful," Dixon said, offering both "scientific and cultural exchange."
Patricia Asselin, coordinator of the biological sciences department, concurred. "He was kind, sweet, a real gentleman. They taught me to cook Indian food," she said, adding, "This is so hard; we were friends."
Biological sciences professor John Adler, former chair of the department, was on the search committee that hired Podila in 1990. "He was one of the nicest people you'd ever want to meet," he said. "He was very kind, considerate and focused on making things happen. He was very careful of people and yet could get them to do what needed to be done. That takes a special type of person, and I think that's why he was as successful as he was."
Podila was committed to both to teaching and research. "The reason we have the BS in Bioinformatics is because Gopi believed in it," Adler said. "And through his research he interacted with people across campus, including [former SFRES faculty members] Dave Karnosky and Chung-Jui Tsai, and with colleagues in France and Italy. He was good at building bridges."
Professor Chandrashekar Joshi (SFRES) met Podila 20 years ago at Ohio State, where the two were postdocs. "This is horrific," Joshi said. "He was a brilliant scientist, and he contributed so much. Destroying someone who was so kind, so generous, so loving . . . you can't imagine anything like this."
"Do faculty members need to wear bullet-proof vests?" Joshi asked rhetorically. "I think we need training. We know how to teach, but we're not trained to deal with human relations."
Podila's research focused on microbiology and the genetics of trees. In particular, he was interested in developing trees for energy production and in the relationship between trees and symbiotic fungi. His lab helped coordinate the first genome-sequencing project on a fungus that has a beneficial relationship with tree root systems.
"He was a major force in Michigan Tech's biotechnology research," said Joshi. "He touched the lives of so many of us."
Provost Max Seel provided a letter of recommendation for Podila when he applied for the UAHuntsville postion, in which he wrote, "Dr. Podila has clearly distinguished himself as an internationally recognized leader in his field of molecular genetics and genetic engineering."
"Gopi had my strong support; he had all the attributes and potential to make him a good chair," Seel said later. "He was a good man. My heart goes out to his family."
Trisha Colling met Podila shortly after he came to Michigan Tech, when she was an undergraduate. "He was one of those rare people who changed my life," she said. "I went to him to talk about classes, and he invited me to work in his laboratory." She joined a research team that included undergrads, grad students and research faculty. "That was a big privilege," Colling said. "He treated us with the utmost respect and kindness. He was like a father to us; he and his wife, Vani, had us over all the time." When Colling decided to enter Tech's master's program in 2005, "he was cheering me on, checking with my professors to see how I was doing.
"He was a good, kind, caring man, and very humble," said Colling, now an adjunct faculty member at both Finlandia University and Gogebic Community College. "This is so heartbreaking."
Podila earned a bachelor's degree in biological sciences from Nagarjuna University, in the Indian state of Andhra Pradesh, and, in 1983, a master's degree in plant pathology from Louisiana State University at Baton Rouge. In 1987 he received a doctorate in molecular biology from Indiana State University.
He was an editorial-board member of the journals "Symbiosis," "New Phytologist," "Physiology and Molecular Biology of Plants," and the "Journal of Plant Interactions."
He is survived by two teenage daughters and wife Vani Podila, who earned a BS in Business Administration from Michigan Tech in 1994.
"This is a real loss for the community," Adler said. "He had friends everywhere, including many friends here that he still communicated with. That tells you something about him. He was a great colleague and a great friend."
Funeral arrangements are being handled by Berryhill Funeral Home, 2305 Memorial Parkway NW, Huntsville, AL 35810. Open visitation is scheduled from 10 a.m. until noon, Thursday, Feb. 18. A private memorial for the family follows at noon.
3. Nominations Sought for Williams Award
The Center for Teaching, Learning and Faculty Development solicits nominations for the Fredrick D. Williams Instructional Innovation Award.
Nominations from faculty, department chairs and deans will be reviewed by a panel of prior award recipients and center personnel.
This award recognizes the extraordinary efforts of faculty members who develop innovative approaches to instruction or implement instructional innovations developed by other educators.
The award is not given each year, rather, only when a nominee's contribution is deemed to be truly noteworthy by the reviewing committee.
Nominees will be recognized at the Academy of Teaching Excellence Award Banquet on Sunday, April 11. The deadline for nominations is Monday, March 22. The nomination form is available on the center's website at:
The CTLFD initiated the Williams Award in 2005. It is named after Fred Williams, a renowned chemistry professor, an educational innovator and a former director of the Center for Teaching Excellence.
In part, the CTLFD seeks to recognize outstanding faculty independent of student evaluations.
4. Undergraduate Scholarships Available
submitted by the Financial Aid Office
Please inform your students of the following available scholarships.
Sons and Daughters Scholarships
--Michigan Tech Employee Sons and Daughters Scholarships, valued at $100 each, will be available for the 2010-11 academic year. Applicants must be children of Michigan Tech employees. Application submission deadline is Sunday, Feb. 28. Applications are available online by clicking "Sons and Daughters Scholarship" above.
Leann Becia Family/AFSCME Scholarships
--Two $250 Leann Becia Family/AFSCME Scholarships are anticipated to be available for 2010-11. Applicants must be the son, daughter or spouse of a current AFSCME Local 1166 member. Application deadline is Sunday, Feb. 28. Applications are available by clicking "Leann Becia Family/AFSCME Scholarships" above.
Both scholarships require that applicants be full-time Michigan Tech undergraduates in their first four years of study or high school students planning to enroll for fall 2010. In addition to being available online, applications for these scholarships are also available in the Financial Aid Office, Administration/Student Services Room 160.
5. Update on the Parking Survey Process
The Parking Task Force has made considerable progress on its charge, but they need current data on parking lot usage in order to make informed recommendations. Based on feedback from the campus community, the survey process has been adjusted to make it easier for respondents to complete.
The survey is intended to gather information regarding the current parking needs for faculty, staff and students. Respondents can choose to provide their vehicle information (make, model, license plate number) at this time, which will allow them to expedite the new vehicle registration process that is expected to take place later this year. To complete the form before Feb. 18, visit
The task force will host an open forum for the campus community on Tuesday, March 2, to share the results of the survey and receive comments and suggestions.
The task force was established by President Mroz in fall 2009 to review and evaluate the current University parking registration and enforcement system. To date, the committee has created a fair and equitable parking citation appeals process and is reviewing new technology options for the parking lots and for processing citations.
To review Professor Bill Sproule's parking
task force presentation
to the Senate on Nov. 19, 2009, click "task force presentation" above.
6. Club Indigo Presents Czech Film, "Closely Watched Trains"
The Czech film, "Closely Watched Trains," meant to be shown last November, will now show Friday, Feb. 26.
"Closely Watched Trains" is a comic satire that took many awards including the 1966 Oscar for Best Foreign Language Film. It's about a young station guard who longs for two things: to keep out of World War II and to lose his virginity. The other station workers are equally eccentric. One man raises exotic birds while another continually seduces young ladies--prosecuted not for sexual misconduct, but for improperly using the German language. All await the arrival of a German train loaded with war munitions while local militants plot to blow it up.
The movie begins at 7:15 p.m., preceded at 6 p.m. with a Czech buffet provided by Chef Cormac of The Irish Times restaurant in Laurium. The Irish Times also sponsors the film.
Cost is $18 for both food and film; $5 for film alone. Call the Calumet Theatre at 337-2610 for reservations by Thursday, Feb. 25, for seating at the buffet.
7. Reminder: Travel Back to the 80s with "The Wedding Singer"
submitted by the Rozsa Center
The Wedding Singer is bringing back the 80s when it dances into the Rozsa Center at 7:30 p.m., Wednesday, Feb. 17. This musical comedy will take audiences back to a time when pastel was in, hair was big, and the wedding singer was the coolest guy in the room. Based on the hit film starring Adam Sandler and Drew Barrymore, the Wedding Singer is crammed with 80s pop culture and familiar songs.
Don't miss this chance to see the musical Newsday called "One Big Party! A good-natured, high-energy musical." Put on your leg warmers and head over to the Rozsa Center to see the Wedding Singer, which is sponsored by the Student Entertainment Board (SEB) and the James and Margaret Black Endowment.
Ticket prices for the general public are $25 and $20; Tech student prices are $20 and $15 (student ID required). To purchase tickets, contact the Rozsa Box Office at 487-3200, the Central Ticket Office at 487-2073, Tech Express at 487-3308 or go online at tickets.mtu.edu .
No refunds, exchanges or late seating.
8. Tech's Symphony Orchestra Presents "Night at the Opera"
submitted by Visual and Performing Arts
Michigan Tech's symphony orchestra says "Come to the Rozsa" to enjoy a midwinter "Night at the Opera" at 7:30 p.m., Saturday, Feb. 20. Soloist Lara Neves will sing selections from two all-time favorite operas, Bizet's "Carmen" and Verdi's "Otello," as the orchestra, directed by Joel Neves, adds selections drawn from the world of opera.
Tickets are $15 for general public, $7 for K-12 students, and free to Michigan Tech students as part of the Experience Tech program. Tickets are available from the Rozsa Box Office at 487-3200 or at tickets.mtu.edu .
Lara Neves, a professional soloist and voice teacher who moved to Houghton last summer, was a featured soloist in Handel's "Messiah" in the Rozsa Center in December. She has performed in productions of "The Magic Flute," "Die Fledermaus," "Tales of Hoffman," and "The Marriage of Figaro," as well as the "Carmen Suites," in Arizona and Utah.
Saturday's "Night at the Opera" is certain to prove once again that nothing is better than live performance, as Lara and Joel Neves, with the 60-member KSO, bring us a scintillating evening of some of the world's best loved music.
9. ME-EM Graduate Seminar
Professor Silvia Salinas Blemker from the University of Virginia will be the ME-EM Graduate Seminar guest speaker at 3 p.m., Thursday, Feb. 18, in ME-EM 112. Her presentation is "Multi-scale modeling as a framework for uncovering the relationships between skeletal muscle structure, function, and injury."
For more information on this guest and the ME-EM Graduate Seminar Series, visit
10. MSE Seminar
Jon Stinson, manager at R&D Materials Analytical Lab, Boston Scientific Interventional Cardiology Division, will present the MSE seminar from 10 to 11 a.m., Thursday, Feb. 18, in M&M 610. His presentation is "Metallurgical Investigation of Medical Device Titanium Alloy Wire Fracture During Forming."
11. CEE Graduate Seminar
Professor Catherine French from University of Minnesota and ACI and PCI Fellow, will speak on "Structural Health Monitoring of Bridge Systems" at 4 p.m., Thursday, Feb. 18, in Dow 642.
For more information, contact Tess Ahlborn at 487-2625 or at
12. CEE Department Seminar
Professor Catherine French from University of Minnesota and ACI and PCI Fellow, will speak on "Seismic Design Principles and Role of Experimental Research in Advancing Performance-Based Engineering" at 7 p.m., Thursday, Feb. 18, in Dow 642.
For more information, contact Tess Ahlborn at 487-2625 or at
13. Biological Sciences Seminar
Director Emeritus Robert A. Andersen, Provasoli-Guillard National Center for Culture of Marine Phytoplankton, of Bigelow Laboratory for Ocean Sciences, and senior research scientist, at Friday Harbor Laboratories, of the University of Washington, will present "The Heterokont Algae: Their Origins, History and Current Phylogenetic Relationships." His presentation is from 2 to 3 p.m., Friday, Feb. 19, in Chem Sci 101.
14. Biomedical Engineering Candidate Seminar
Xiaohua Liu of the Department of Biologic and Materials Sciences at the University of Michigan will present, "Biomimetic Nano-fibrous Scaffolds and Bioactive Molecules Delivery for Bone Tissue Engineering," at 2:30 p.m., Friday, Feb. 19, in EERC 226. Liu is a faculty candidate in the Department of Biomedical Engineering.
15. Sports in Brief
What's Happening This Week
by Wes Frahm, director of athletics marketing and communications
Wednesday, Feb. 17
Huskies Drive Time, 7:30-8 a.m., Live Radio, Mix 93.5 FM
Thursday, Feb. 18
Women's Basketball at Findlay, 5:30 p.m. (Live Radio, Mix 93.5 FM)
Men's Basketball at Findlay, 7:30 p.m. (Live Radio, Mix 93.5 FM)
Friday, Feb. 19
Hockey at Denver, 9:37 p.m. (Live Radio, Mix 93.5 FM)
Saturday, Feb. 20
Nordic Skiing hosts Central Region Championships
Women's Basketball at Hillsdale, 1 p.m. (Live Radio, Mix 93.5 FM)
Men's Basketball at Hillsdale, 3 p.m. (Live Radio, Mix 93.5 FM)
Hockey at Denver, 9:07 p.m. (Live Radio, Mix 93.5 FM)
Sunday, Feb. 21
Nordic Skiing hosts Central Region Championships
All times Eastern. Home events are italicized.
Last Week's Results
Nordic Skiing
Feb. 13-14--Michigan Tech men first of eights teams, women third of nine teams at Central Collegiate Ski Association Championships (Ishpeming)
Men's Basketball (6-15, 5-11 GLIAC)
Feb. 11--at Michigan Tech 70, Ferris State 67
Feb. 13--at Michigan Tech 53, Grand Valley State 46
Women's Basketball (22-1, 17-1 GLIAC)
Feb. 11--at No. 4 Michigan Tech 64, Ferris State 41
Feb. 13--at No. 4 Michigan Tech 68, Grand Valley State 47
Hockey (5-22-0, 4-18-0 WCHA)
Did not compete
Men's Tennis (3-1, 0-0 GLIAC)
Feb. 12--at Michigan Tech 8, Lake Superior State 1
Feb. 14--Lewis 5, at Michigan Tech 4
Women's Tennis (11-3, 7-2 GLIAC)
Feb. 12--at Michigan Tech 6, Lake Superior State 3
Feb. 14--at Michigan Tech 5, Lewis 4
Top News of the Week
Men's Nordic Skiing Wins CCSA Title
The Michigan Tech men's Nordic ski team claimed the overall men's team title at the Central Collegiate Ski Association championships over the weekend. The team finished five points ahead of Northern Michigan who finished second. Senior Oskar Lund placed first in the 10-kilometer classic and second in the 20-kilometer freestyle. Senior Henna Riikonen-Purtsi recorded a pair of top-10 finishes to lead the women on the weekend. She finished eighth in the five-kilometer classic and seventh in the 15-kilometer freestyle. The women finished third out of nine teams on the weekend.
Sweepsville at the SDC Gym
The Michigan Tech basketball teams wrapped up a four-date homestand last Saturday by sweeping Grand Valley State. The Huskies finished the home streak a combined 8-0 in men's and women's. The ladies have won 12 straight games and own a 22-1 overall record. The men are on a four-game winning streak and have an 8-15 overall slate. Both teams will head to Findlay and Hillsdale this week for their final two road games of the regular season.
16. New Staff
Kevin A. Endsley joins the Michigan Tech Research Institute (MTRI) as an assistant research scientist. Previously, he earned a bacehlor's degree in applied geophysics from Tech, was a teaching assistant, and had two interships with MTRI.


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Two kinda random questions I'm going to ask:
Firstly, have you ever acted against your better judgement (in terms of maybe reviews, considering watchability by looking at plot outline/concept) and watched some TV show or movie just to partake in viewing either an actress/actor you like?
Secondly, every now and then I'm totally tempted by food advertised by various outlets. Do any of you just eat a particular food because you saw it in an ad, even though it didn't come off as being very tasty?


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Effingham Daily News
---- — Carolyn Ray Painter, 62, of Effingham, passed away at 10:50 p.m. Tuesday, Nov. 19, 2013, at St. Anthony's Memorial Hospital, Effingham.
Funeral services will be held at 2 p.m. Sunday at Pagel Funeral Home, Edgewood, with Mark White officiating. Burial will follow services in the Keens Chapel cemetery, rural LaClede. Visitation will be held for one hour prior to service time at the funeral home. Memorials may be made to ARC Community Support Systems, Teutopolis.
Carolyn was born Oct. 10, 1951, in Vandalia, the daughter of Lowell and LaVona (Reynolds) Painter. Carolyn lived in Edgewood for several years until the year 2010, when she moved into the Effingham Terrace Group Home for the mentally handicapped. She then lived at Lakeland Nursing Home until she went home to be with the Lord. Her passion was dancing and she loved Elvis. She also loved being with her family and friends and will be greatly missed by everyone.
She is survived by her mother, LaVona Jones of Effingham; four brothers, Ben (wife Angie) Colclasure of Long Beach, Calif., John (wife Linda) Bonner of Champaign, Jim (wife Connie) Bonner of Edgewood, and Lee (wife Barb) Painter of Effingham; three sisters, Retha Coleman of Effingham, Bonnie (husband Tony) Holste of Altamont, and Mary (husband Keith) Veatch of Edgewood; stepmother, Aberta Painter of Salem; and many nieces and nephews.
Carolyn was preceded in death by her father, Lowell Painter; and stepfather, Calvin Jones.
Sign the guestbook at www.effinghamdailynews.com.


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