text:
The postmodern author on stage: Fair Use and Wallace Stegner.
--Sands Hall (1)
I'm not trashing him. I'm just pointing out that he "borrowed" word after word someone else wrote, typed them into a manuscript, and called himself the "author."
--Playwright, Fair Use
On the website program for the 2002 Western Literature Association meeting in Tucson, Arizona, conference attendees were gently admonished to behave themselves at the Reader's Theatre, a cherished annual event. That year's play was an abridged version of California playwright Sands Hall's Fair Use, a complex feminist look at the ongoing debates regarding originality and plagiarism in Wallace Stegner's 1971 Pulitzer Prize winning novel, Angle of Repose. When Hall, who attended the performance of her play at WLA, referred to the organization as "a bastion of Stegner adoration," she accurately described the esteem with which Stegner is regarded by many of its members (Reynolds 8). The website's warning therefore embodied a reasonable anxiety.
The specific historical and ethical disputes the play investigates have been known to academics for three decades. Stegner's Angle of Repose weaves together two stories. The first is the historical story of writer and illustrator Susan Burling Ward and her engineer husband Oliver Ward as they move throughout the West following Oliver's dreams of invention and irrigation. The second is the contemporary story of Lyman Ward, Susan's grandson, as he pieces together her life from unpublished letters and other writings for a novel he is writing on her life. In the course of sorting through her writings--primarily letters to her dear friend back east, Augusta--Lyman comes to understand the tragic events that led to his grandmother and grandfather's enduring unhappiness with one another. Stegner's novel won a Pulitzer Prize and received largely positive reviews, particularly regarding Stegner's rendition of the historical portion of the novel. But Stegner had "borrowed" heavily from Western writer and artist Mary Hallock Foote's personal correspondence to her Eastern friend, Helena Gilder, and her then-unpublished reminiscences for the basis of his fictional Susan Ward. Many of Foote's original letters to Gilder appear in the novel, either unchanged or slightly edited, as letters from Susan to Augusta. In addition, the novel's title, numerous other characters and scenes, and the major action in the novel can be traced directly to Foote's writings.
When Stegner appropriated Foote's personal letters and other writing into his novel, and then did not identify them or their original context except in an oblique and deliberately vague thank-you to Foote's descendents at the beginning of the novel, he set in motion one of the more frustrating episodes of his career. (2) Responses to Stegner's actions vary. While some see his decision to use Foote's writing (and the outlines and episodes of her life) as outright theft, the kind of bad-spirited behavior that gets writing students expelled, others defend Stegner as a creative writer merely and necessarily taking creative license in the production of a fictional work.
Fair Use strides into this debate intent on provoking the audience to ponder the issues and implications of what it means to be an Author. Like Angle of Repose, Fair Use works structurally to intertwine stories, but here there are three, rather than two. The first historical story is the presumably "real" story of Mary Hallock Foote's journey west with her husband, Arthur. The second historical story is the fictitious Susan's journey west with her husband, Oliver. As the play progresses, the two historical stories sometimes merge but more often conflict or even clash as scenes unfold from Hallock's pen, and then from Stegner's. The contemporary story that surrounds these is also reminiscent of Angle of Repose (which is always simultaneously recalling Foote's letters and reminiscences) in that it features a writer doing creative work based on discovered letters--in this case it is a female playwright who has discovered Foote's letters and reminiscences, as well as Stegner's fictionalizing of them--and embarks on writing a play to present a "truer version of Mary's life" (II: 87). These layers of storytelling comprise the playwright's imagining of Mary Hallock Foote's life based on Foote's writings, the playwright's simultaneously imagining of Wallace Stegner's imagining of Foote's life, and the unfolding of the playwright's own somewhat dissembling life as she and her young daughter attempt to live in some harmony with her father, the historian who, like Lyman from Angle of Repose, has dedicated his life to research and books at the cost of intimate and lasting relationships with the women in his life.
The play is structurally complex as various story- and time-lines emerge and intersect. It is equally provocative as it traces the playwright's attempts to write a play about Foote that ultimately brings her to face her own investment in "borrowing" and its nearness to plagiarism, her vulnerability as a female writer compared with the authoritative structures that reward masculine genius even when it is appropriated from women, her anger at her father as an embodiment of that authority and at her ex-husband for, ironically, rejecting that model of authority for himself, and the dynamic, fluid nature of authorship as a collaborative activity that makes it far more difficult for her to condemn Stegner's actions. In other words, Fair Use engages the literary event of Stegner's presumed plagiarizing of Foote from a postmodern perspective: a metanarrative that constantly performs its own embeddeness in a collaborative chain of "authors." It refuses the desire for individual authors or authoritative interpretations. By positioning itself as a postmodern commentary on the impossibility of originality and the inevitability of collaboration, Fair Use bridges the divide between Stegner camps and exposes our unexamined assumptions regarding individual authorship and the authority of male creativity.
At the end of Act I, Playwright quotes from a 1970 letter from Stegner to Janet Micoleau, Foote's granddaughter and the "J.M." of Stegner's opaque dedication, explaining his decision to cease relying on the factual outlines of Foote's life near the end of Angle of Repose and to depart entirely from Foote's biography, making his character Susan a potential adulteress whose dalliance renders her responsible for her young daughter's drowning:
PLAYWRIGHT: He's just found out the Rems are going to be published by the Huntington Library, and he's a little freaked out. (Reads.) "Me, I think it's a splendid idea. But if the reminiscences are to be published it won't take much literary detective work to discover what family I am basing my story on. Must I now unravel the little threads I have so painstakingly raveled together, the real with the fictional, and replace all troth with fiction? Or does it matter to you that an occasional reader or scholar can detect the Footes behind my fictions?" (I: 55)
Stegner ends the letter by saying, dryly, "Wonderful. I feel like a character in literary history" (I:56). The Historian responds: "He is. And you'll see to it that she is too" (I: 56). Through exchanges like this, Fair Use simultaneously works forward and backward in time, while moving outward to interweave the play's action with the legal, ethical, and theoretical issues it raises.
One of the central discoveries postmodernism has made is to our understanding of representation. Traditionally, representation assumes an original; it takes as a given that what is being represented has an original, and that recourse to that original proves both the truth of it as original and the accuracy of its representation. Intellectual property laws, which largely came into effect in the 18th and 19th centuries with the printing press and the growing (international) market for literary productions, responded to this traditional understanding of representation. Any copies--representations--of the original must acknowledge their creator because that original is understood as having its genesis in the unique creativity of the author. Much of our unexamined belief in the author as a uniquely creative, inspired individual genius also solidified during this time. (3) Postmodern theories of authorship challenge the belief in the inspired, individual author. Language in particular has been a focus for this challenge. Postmodernism deconstructs the dualism of original/copy, positing instead a web of representations that echo and build upon prior representations, which likewise are indebted to still prior representations, and are prevented by their very nature as language from ever leading back to the original. At its boldest, postmodernism argues that there are no originals; all acts of language, and thus of representation, carry traces of past contexts that inflect their present meanings. The implications for authorship are dramatic.
Foucault's famous claim, that our traditional reverence for the author is the mechanism by which we throw up the gates and bar the door against the endlessly proliferating meanings of the text is, by now, both old hat and blithely disregarded:
The author is not an indefinite source of significations which fill a work; the author does not precede the work, he is a certain functional principle by which, in our culture; one limits, excludes, and chooses; in short, by which one impedes the free circulation, the free manipulation, the free composition, decomposition, and recomposition of fiction.... The author is therefore the ideological figure by which one marks the manner in which we fear the proliferation of meaning. (159)
The author as we traditionally valorize him is a mechanism for classifying and controlling knowledge. For example, our penchant for associating various aspects of the text--word choice, mood, genre, and a host of other stylistic markers--with a particular individual is instead a determining factor limiting the meaning of the text, circumscribing the range of possible meanings a text can have, and ultimately "reduc{ing} the great peril, the great danger with which fiction threatens our world" by granting us mastery over the text (158). We further establish our mastery through the writer's biography, which, if known, shapes our expectations of the text's meaning, as can a record of the writer's explicit intentions regarding the meaning of the text. All of these signifiers of stable identity function to close the text off from a range of meanings.
The very nature of drama poses challenges traditional definitions of authorship. Jeffrey A. Masten, writing about Renaissance drama prior to the construction of authorship as an individualized demonstration of genius, argues that "collaboration was the Renaissance English theatre's dominant mode of textual production" (363). Postmodernism returns us to the possibility of interpreting drama as a fundamentally polyvocal art form that is inevitably "about" the thing it can't fail to perform: the endless indeterminacy of representation. In this way, drama ensures another series of collaborations takes place: between writer and readers, writer and performers, performers and audience. (4) Although plays have authorial signatures and therefore claim individual authors as their originators, the illusion of a single, overarching author that precedes the work is visibly undone by the elaborately highlighted participation of many contributors. Hall notes this contradiction in the development of Fair Use:
{The director} and several actors work through various scenes from the play; I watch and take notes. And I find this deeply ironic: I am writing a play about the issue of using words and ideas that belong to someone else, and there I am, looking for a line an actor tosses out that is more effective than one I wrote, or even one I haven't thought of at all. I compliment the actor, thank the director, but the line becomes one I have "authored." ("Fair Game?" 4)
Fair Use makes much of the polyvocal mode of its production to challenge the limiting function of traditional definitions of individual authorship.
Within the intertwining historical stories, this intellectually energetic play sets forth a fictional meeting between Stegner and Foote (who never met in real life), and engages critical questions surrounding our interpretation of Stegner's actions, including questions about copyright, creative license, and gender. For most of Act I, WS and MHF do not see each other, although MHF can hear WS as he quotes from her reminisces and his fictionalization of them. As the characters gradually become aware of one another--and of their own position as characters acting in a play within a play, they are sometimes frustrated at competing directions from Playwright and WS, and they often have opinions about the issues that emerge, particularly near the end of the play when Playwright is seeking some resolution, or "repose" for MHF and WS. All the characters except Historian are taking place in Playwright's imagination.
Although on the whole Fair Use paints Stegner as more guilty than innocent, even positing an apology from WS to MHF near the play's conclusion, and tends to argue for Foote as the unacknowledged center of the novel, the many intertwined voices, multiple character depictions, shifting timeframes, and simultaneous presentations of the material from various viewpoints emphasize the play's postmodernity, making the blame game impossible to win. Fair Use is literally a palimpsest of others' words in shifting contexts that simultaneously evoke the parallels between the characters and between the writers of these various interpretations of Foote. For example, Historian and Playwright both parallel Stegner's fictional Lyman. Like Lyman, who is also a historian, Historian has focused so self-absorbedly on his own research and intellectual expertise that he has missed much of the richness of his personal life; also like Lyman, his wife has left him. Playwright, too, shares Lyman's desire to find the truth and present it; also like Lyman, the truth she finds is already an interpretation that requires subsequent interpretations:
PLAYWRIGHT: I want to give another, I hope truer, version of Mary's life. And of what she meant by "angle of repose." Stegner has Lyman Ward define it as "horizontal, permanently." He has Susan and Oliver live in bitter silence to the ends of their lives. What kind of "repose" is that?
WS: (in a sudden, theatrical fit of weeping) "In all the years I lived with them I never say them kiss, I never saw them put their arms around each other, I never saw them touch!"
PLAYWRIGHT: (crossing to him) That was your anguish, WS. You gave that line to Lyman Ward--
WS: You gave that line to me!
PLAYWRIGHT: So.
WS: God. Let me out of this play!
PLAYWRIGHT: But it's true! You're working out your anger and grief, figuring out some element of your life, through someone else's story!
WS: Oh, and you're doing something so very different? (II: 87)
Like Lyman, she is struggling with a disintegrating marriage and only will look reluctantly at her role in that. Also like Lyman, there are some indications at the end of the play that forgiveness--or at least a negotiated truce--may be possible.
Fair Use makes much of other possible parallels, fore-grounding them for the audience: in Angle of Repose, Lyman gathers some news clippings that suggest his grandmother's adulterous romance and its tragic consequence in the death of her daughter, Agnes. These clippings are one of the things for which no factual parallel exists in Foote's life. As Playwright says, "A lot of people recognized the Footes in Stegner's play, thought he'd exhumed a well-hidden skeleton from the family closet" (II: 97). In a scene to which I will return later, Playwright confronts WS with news clippings describing accident he had while in a clandestine meeting with a graduate student. The accident happened; the woman and the clippings don't exist in fact? Identity is thus portrayed as fluid and subject to interpretation--sometimes wild interpretations based more on the interpreter's (un)conscious needs or desires than on any factual basis. In a postmodern sense, identity is not a fixed, definable essence that can be fully and accurately represented; as Fair Use shows, identity is constantly constructed, negotiated, and struggled over. That we rarely recognize the tenuousness of identity is due to the successful covering over of the shifting contexts present in every utterance.
In numerous interviews, when asked about the composition process of Angle of Repose, Stegner makes virtually identical arguments that insist on creative license: "I used her as a model, but whenever her papers didn't suit me, I changed them, which is why it is a novel and not a biography. If I'd been writing her biography, I couldn't have changed them" (Hepworth 36). Yet, Stegner's view of history as implicitly a man's province suggests why he chose a fictional format for his use of Foote's life. Stegner says that, after reading Foote's letters to Helena Gilder,
I decided, quite frankly, that she wasn't worth a biography. She wasn't an important enough literary person, though she was pretty good. And her art was hard to judge, because she drew so commonly, particularly in later life, directly onto wood blocks, so there are no originals ... So I decided against writing a biography. (Hepworth 69)
When Rodman Paul edited and published Foote's A Victorian Gentlewoman in the Far West: The Reminiscences of Mary Hallock Foote in 1972, only one year after Angle of Repose was published, Stegner expressed concern Foote would be recognized in his novel. (6) In other words, her obscurity warranted his dramatic incorporation and assimilation of her life into his text; when she becomes somewhat more widely known, he simultaneously opens himself to accusations of plagiarism.
Deeply held assumptions about gender inflect Stegner's assessment of Foote, as we can see in Fair Use's inclusion of what Angle of Repose elides or mocks: the hidden elements of women's history from this period, including early attempts at birth control and the common occurrence of debilitating miscarriages. In its presentation of history, Fair Use reveals history as a construct with ideological functions. For example, Historian plans to speak about Stegner in a scheduled talk on "How Artists Captured the West," and Playwright urges him to "Talk about a woman! We've got to change the way people perceive things! The way things are. Dad! Mary Hallock Foote! Talk about how she captured the West! Her illustrations! Her novels" (I: 27). Such gendered assumptions likewise shape responses to Stegner, and readings of him as plagiarist challenge the authorized discourses surrounding Stegner as the West's premiere Author. The common definition of plagiarism is intentionally taking the literary property of another without attribution and passing it off as one's own, having failed to add value to the copied material and having reaped from its use an unearned benefit (Stearns 7). In short, it is a form of cheating.
All the apparent evidence, which includes letters and interviews from Stegner regarding the production of the novel, suggests that Stegner knowingly made use of Foote's materials in publicly unacknowledged ways. And, as Fair Use emphasizes, Stegner's act of plagiarism is none too subtly connected to gender as well: would Stegner have felt as entitled to borrow the work of a male writer, albeit a then unknown one? If so, would he have defended that sense of entitlement as persistently, even arrogantly as he defends his use of Foote's papers? (7) As Debora Halbert has argued, in their symbolic roles as nurturer and even Nature, women are historically linked to writing as the origin of ideas voiced by the male author--as the male's muse, or as the site of inspiration. In other words, it has been acceptable to plagiarize from women because it is impossible to do so; "male creativity is dependent upon appropriation, and this appropriation is not recognized as plagiarism" (114). Instead, the male writer rescues those ideas by transforming them into writing and literature. In fact, Stegner claimed to use Foote's writing as "raw material" for his work and that, through the writing and publication of his novel, he "want{ed} her to cast a bigger shadow" through him than she could do on her own (Hepworth 69).
But, as the copyright law also argues, one test of plagiarism is transformation. Did the author merely copy the material or did he transform it? The issue is one of traditional conceptions of authorial genius and creativity. Angle of Repose is a lengthy, complicated novel, and although Stegner undoubtedly relied heavily on Foote's writing, first for its framework, and then for much of Susan's characterization and the content of her letters, his own contributions are undeniable--as, in fact, we can see by the very changes he introduced to the biographical Foote's life near the novel's end, which he described to an interviewer in 1982:
Mary Hallock Foote didn't die until she was ninety-two. And I wasn't going to follow her life that long. That's one of the reasons I had to give her a catastrophe. Her daughter didn't die in a ditch at all at the age of five or six. She died of a ruptured appendix at seventeen. So there was that tragedy in her life. This was a favorite daughter and so on. But I just moved it back and drowned the poor child like a kitten a little younger. That's all right, I think. I wasn't writing a biography, I was writing a novel. (Hepworth 71)
While he certainly reaped a benefit from the publication of Angle of Repose and the eventual Pulitzer it won, it is hard to argue that, strictly, he "failed to add value" to the parts he "copied," as the definition of plagiarism puts it. One of the ironies of the situation--and of the play--is that equally disturbing is Stegner's failure to plagiarize utterly. In the intricate slippage between fact and fiction, Foote's identity is formed for many readers: they believe the first part of the novel, based on Foote, is "true," so the final part of the novel, which is wholly Stegner's creation, must be "true" as well.
Return for a moment to the term plagiarism: stealing words--the belief that one can steal words from someone whose ownership of those words precedes and determines the theft--is both a modern and very Western concept. Plagiarism can only exist in a legal system that recognizes intellectual property and offers copyright protection to those designated as authors. But as Alfred Yen argues, the law recognizes that a system of influence is both inevitable and desirable in literary production: "Authorship is possible only when future authors have the ability to borrow from those who have created before them. If too much of each work is reserved as private property through copyright, future would-be authors will find it impossible to create. Society would presumably suffer from the decreased production of creative works" (159-160). The loophole to copyright protection is the concept of "Fair Use: the breathing space at the heart of copyright," and it is not coincidental that Hall titles her play Fair Use (I:15). With only small exceptions, such as the subplots about Playwright's failed marriage to her husband Skip, due largely to his inattentiveness to the family, and her anger at her father's own sense of male superiority, all of the characters are from the pages of Foote's Reminiscences and Stegner's novel. And of course, those subplots--failed marriages and male entitlement--directly parallel issues raised in Angle of Repose and by the current debates about Stegner and Foore. Hall readily acknowledges that
"'In some ways I've done exactly what he did: in addition to creating an original piece of art (in my case a play, in his case a novel), I've copied word after word I didn't write into a manuscript that will have my name on it.' But, she adds, 'there is one major difference: I've made it clear when I am using someone else's words, and whose words they are. Yet even while I've tried to clarify when the words are Foote's when they are Stegner's, or a quote belonging to an expert on plagiarism, water rights, or fair use, the play is considered to be 'by' me'" ("Fair Game?" 4).
The authority of authorship is endlessly dispersed throughout Fair Use. Hall's valiant efforts to footnote and otherwise ascribe material to specific individual authors, while understandable and even legally necessary, functions to uphold traditional ideas of originality and creativity that are readily undone throughout her play. For example, when the fictional Playwright of Fair Use inserts a portion of a letter from Foote into the play, whose authorship are we reading? Foote, whose initial penning of those words was in an entirely different context? Stegner, who also used the words, but attributed them to his character Susan? Or Hall, who gives us their most recent incarnation? Fair Use resists a definitive answer to this question by having WS and MHF frequently speak the same lines, either sequentially or simultaneously, thereby emphasizing WS's use of words and themes that originated with Foote but are now a part of the play being written by Playwright--and by Hall. Another common strategy for complicating our understanding of authorship is for WS and MHF to recite similar but not identical lines, revealing WS's alterations and, frequently, the gendered assumptions about women in the West those changes belie:
WS and MHF: The lonely little clusters of settlers' houses with the great monotonous waves of land stretching miles around them make my heart ache for the women who live there. They stand in the house doors as the train whirls past, and I wonder if they feel (WS stresses this): the hopelessness of their exile.
PLAYWRIGHT: It's always interesting, WS, what you choose not to include.
MHF: Alone on the platform, I had the sunset and great prairie all to myself--its outline against the sky was absolutely without a single detail to break its magnificent loneliness. A wind blew across it, very strong and yet soft--as if it came over miles and miles of sun-warmed fields ... Every moment has been delightful--after the first night, when I could not sleep for thinking--but in the morning I woke in a new world, and began to look forward instead of back. (I: 31)
In this scene WS and MHF are quoting from a letter Foote wrote to Gilder. WS's interpretation emphasizes the despair and sense of exile with which Stegner imbued his heroine, Susan, while as the scene continues, MHF's letter acknowledges wistfulness but stresses that it is replaced by anticipation and pleasure. In many such examples throughout the play, WS's interpretations of Foote's writing emphasize her unhappiness and recreate her as an Easterner ill-suited to the physical or intellectual rigors of the move West, while MHF protests those interpretations with presumably more "accurate" ones that show her keen understanding of mining and business interests and her satisfaction with the life she created with her husband. On the one hand, the kinds of interpretations WS makes indicate creative license: Stegner did not merely copy Foote's writing, he altered it to create a narrative ripe with suspense and mystery. On the other hand, the kind of suspense and mystery he created had everything to do with attitudes toward femininity that cast his version of Foote, his character Susan Burling, into the role of archetypal female destroyer whose uncontrolled sexuality eventually led to her youngest daughter's death and threaten her marriage.
Yet Fair Use does not build its case for a postmodern perspective on gendered insights alone. As these characters talk, argue, and come to recognize one another's viewpoints, Fair Use expands our definitions of authorship by expanding our understanding of subjectivity as not simply gendered--leading us down that tedious path where Stegner was the predictable male patriarch and Foote the passive female who, although duped posthumously, haunts his pages-, but as always already functioning within historically changing constructions of what counts as individual authorship. In short, the play forces us to see the many intertwined collaborations that take place in this--in any--process of writing. Remarking on the indeterminate layers of writing that have made their way into the play, Hall says:
I've borrowed from all my research: biographies, histories, novels, Internet articles, interviews, trips to the Huntington and Stanford Libraries--there is no way to include thanks to all of them, no way to track or to acknowledge the ideas I've garnered from so many sources ... ("Fair Game?" 4)
In this, Hall sounds considerably like Lyman as he sifts through his grandmother's letters to uncover the mystery of her life. Yet, while Fair Use in a sense "rewrites" Angle of Repose, it does so with a difference: Hall's play is self-consciously focused on the ironies that emerge when what is considered an individual masterpiece is revealed to be a collaborative project that is itself governed by expectations of individuality and originality.
Countering such assumptions of individuality and originality are the many echoes that run through the play, including the most famous "warp," Stegner's word for the changes he made in Mary Hallock Foote's character and life story. He used the word "warp" to describe those changes in a personal letter to Janet Micoleau (I: 55) and in the printed acknowledgment to Angle of Repose. In Act II, as Playwright describes her decision to "heighten and complicate things"--also words Stegner, and WS within the play--used to describe their method of creation--by introducing "a young brunette with large tits" into the car accident Stegner did in fact have, she notes: "Oops. Your character just warped. It warped itself." (II: 76) WS's response echoes that of Foote's descendants: "You're talking about my life! People will leave your play thinking that {sic} story's true! And it's not! That's not fair!" (II: 76). Later Playwright returns to this event:
PLAYWRIGHT: I sent away to the Albuquerque Historical Society for some news clippings, WS. I thought you might be interested in hear them. (Pretends to quote.) Albuquerque, March 28, 1993: The well-known writer, WS, was involved in a car-accident on Tuesday night, following a dinner given by his friends. He was accompanied by Hester Prynne--a brown-haired student at the University of New Mexico. Ms Prynne suffered a slight concussion in the crash, which occurred when a car hit them from behind as they were parked high on Red Mesa, otherwise known as Lover's Lane. WS was--
WS: That never happened.
PLAYWRIGHT: But I've worked out so many details to make it sound as if it did. "Must I now unravel the little threads I have so painstakingly raveled together? Does it matter to you than an occasional reader or scholar can detect--"
WS: I never cheated on my wife!
Rather than conclude the play with an apology that solidifies Stegner's guilt and provides a reinscription of the concepts of individual authorship and originality by having Stegner acknowledge his failure to achieve them, is final moments resist any single interpretation. When WS kneels before MHF saying, "I'm sorry. I regret it," Playwright interrupts, "No no no. Maybe not" (II: 104). Because Fair Use simultaneously critiques the vexed origin of Angle of Repose and the process of writing a play that also derives much of its plot, language, and detail from Foote's and Stegner's writings, it represents writing itself as an inescapable challenge to originality and interpretative finality, something Historian highlights when he says to Playwright, "You've set yourself quite a problem, haven't you?" (II: 104). The engineering term "angle of repose" refers to that angle of incline at which detritus stops rolling downhill; Stegner takes the term directly from Foote's Reminiscences and uses it as his novel's title and as a metaphor for the increasing marital strain between his characters in the novel. Fair Use also makes use of this term at the conclusion, when Historian, referring now to the conflict between WS and MHF, asks his daughter, "What do you think, dear? Do they get their repose?" Viewers and readers seeking finality in this play are instead presented with indeterminacy: "I don't know. I'm trying...." Playwright will remark in the final moments of the play (II: 105). The structure of Fair Use highlights these challenges to any desire to find a comfortable "angle of repose" from the potentially multiplying meanings available in the multiple intersections between reminiscences, novel, and play.
Stegner preferred what he called "traditional" writing--which included Angle of Repose--to more experimental fiction "which can be read backwards as well as forward, which turns chronology on its head and has no continuity and no narrative, which, in effect, tries to create a novel by throwing all the pieces in a bag and shaking the bag" (Hepworth 58). Most indications suggest that Stegner would have rejected a postmodern reading of Angle of Repose, as well as a postmodern rewriting of it in the form of Fair Use, but curiously, he gave his protagonist Lyman a far greater capacity to appreciate indeterminacy. Describing the final scenes of the novel where Lyman wonders if he might be "man enough" to be more forgiving than his grandfather, Stegner says,
I left him there in bed sweating and listening to the night sounds of traffic on the grade. I suppose it sounds as if he did have an epiphany. What I meant him to have was ... an ambiguous epiphany, a wondering rather than a decision ... I think he might wonder, and that's as far as I wanted to take him. If that's an epiphany, all right, but it's got a question mark after it. (Stegner and Etulain 95)
Stegner overtly refuses his character the kind of interpretative certainty he claims for himself in the ongoing debates regarding Angle of Repose--and with good reason since the novel is at some level obsessed with the ways in which interpretative certainty is always revealed as subjective and contextual.
Fair Use gives the last word to MHE As the lights fade on the final scene, WS stops typing and turns away from the audience as MHF begins writing: "There, in the whisper of the desert wind, it all comes back ... the purple shadows darken in their canons, the color mounts to zenith, the plains are flushed with light ..." (II: 105). Especially given the lyricism of this ending, which foregrounds Foote's writing, we might wonder if Playwright succeeds in writing a "truer" version of Mary Hallock Foote's life. If the intricacies the play presents give any answer, it is "no," because every version of Foote's life, including her own letters and Reminiscences, is an interpretation that is always only a version of the life it represents. But if we shift the question to "Did Hall writer a truer version of Mary Hallock Foote's life?" we may well say, "yes," because Hall's version, Fair Use, calls attention to its own partiality, its own situatedness in various contexts that are themselves never completely knowable. Fair Use refuses an authoritative interpretation of Foote's life--and of Stegner's appropriations of Foote's life--in favor of a complex and shifting (re)presentation of the richness of authorship.
(1.) Email to the author, 19 Nov. 2003.
(2.) Stegner's now famous epigraph reads: "My thanks to J.M. and her sister for the loan of their ancestors. Though I have used many details of their lives and characters, I have not hesitated to warp both personalities and events to fictional needs. This is a novel which utilizes selected facts from their real lives. It is in no sense a family history" (9). One of the reasons Stegner was deliberately vague in his acknowledgment was his agreement not to use family names, a request Foote's granddaughter Janet Micoleau made after Stegner decided to fictionalize Foote's life, rather than write her biography. None of Foote's descendants read a draft of the novel before it was published. See Stegner and Etulain 86.
(3.) See Woodmansee and Jaszi for a widely ranging discussion of the construction of authorship as an individually inspired act of original creativity and on the development and effects of intellectual property laws.
(4.) A timely example of the collaborative nature of drama, even when unwanted, occurred at the play's 2004 Boise production, where the director and her husband (who played Historian) approached Hall with possible changes: "They appeared to adore the play, and had a 'few changes' to suggest--and I was open, as I was using the opportunity of this second full production to try ideas of my own that had been steeping since the first production and the WLA reading. There was an ironic almost fair use issue that arose: without my permission, they deleted and changed things-actually cut WS apologizing to MHF! ... Some of the changes I managed to salvage, but as it was two days before the actors were to be in front of an audience, to some degree--especially being an actor myself and sympathetic to how such last-minute changes can throw one-my hands were tied (I chose to have them tied)." Email to the author, 31 Mar. 2005.
(5.) Here, too, there are wonderful layers of interpretative richness, as the fictional graduate student's name is Hester Prynne, the adulterous woman from Hawthorne's The Scarlet Letter. Foote illustrated a gift edition of The Scarlet Letter, which Stegner used in a scene in Angle of Repose. In an interview, he noted that, "Hester lurks in all our souls, I think" (Hepworth 63).
(6.) After learning that Foote's Reminiscences were to be published by the Huntington Library, Stegner wrote to Foote's granddaughter Janet Micoleau (J.M. of the epigraph) of his concern that Foote will now be recognizable in his novel: "Must I now unravel all those little threads I have so painstakingly raveled together, with the real and the fictional, and replace all truth with fiction?" (quoted in Reynolds 5).
(7.) One of the most satisfying reparation fantasies in Fair Use comes in Act II, when WS tells Playwright, "she just wasn't important enough to make her more than modestly interesting. A mere biography would have sold, at best, three thousand copies. By converting her to fiction I at least had the chance to make her immortal" (II: 96). Playwright responds, "I see," to which WS replies, "No, you don't. And you took that from an interview, too. It sounds just horribly fatuous, doesn't it?" (II: 96).
Buranen, Lise, and Alice M. Roy. Perspectives on Plagiarism and Intellectual Property in a Postmodern World. Albany: State U of New York P, 1999.
Foote, Mary Hallock. A Victorian Gentlewoman in the Far West: The Reminiscences of Mary Hallock Foote. Ed. Rodman W. Paul. San Marino, CA: Huntington Library, 1972.
Foucault, Michel. "What is an Author?" Textual Strategies: Perspectives in Post-Structuralist Criticism. Ed. Josue V. Harari. Ithaca: Cornell UP, 1979. 141-160.
Graulich, Melody. "The Guides to Conduct That a Tradition Offers: Wallace Stegner's Angle of Repose." South Dakota Review 23.4 (1985): 87-106.
Halbert, Debora. "Poaching and Plagiarizing: Property, Plagiarism, and Feminist Futures." Perspectives on Plagiarism and Intellectual Property in a Postmodern World. Ed. Lise Buranen and Alice M. Roy. Albany: State U of New York P, 1999. 111-20.
Hall, Sands. Fair Use. Unpublished playscript, 2001.
--. "Fair Game?--Or Fair Use?" ArtMatters (Spring 2001): 3-4.
Hepworth, James. Stealing Glances: Three Interviews with Wallace Stegner. Albuquerque: U of New Mexico P, 1998.
Masten, Jeffrey A. "Beaumont and/or Fletcher: Collaboration and Interpretation of Reniassance Drama." Woodmansee and Jaszi. 361-381.
Reynolds, Susan Salter. "Tangle of Repose." www.latimes.com/features /printedition/magazine/la-tm-stegner12mar23001506,1,6768616.story
Stegner, Wallace. Angle of Repose. 1971. New York: Penguin, 1992.
Stegner, Wallace and Richard W., Etulain. Stegner: Conversations on History and Literature. Rev. ed. Reno and Las Vegas: U of Nevada P, 1996.
Stearns, Laurie. "Copy Wrong: Plagiarism, Process, Property, and the Law." Buranen and Roy. 5-17.
Woodmansee, Martha and Peter Jaszi, eds. The Construction of Authorship: Textual Appropriation in Law and Literature. Durham and London: Duke UP, 1994.
Yen, Alfred C. "The Interdisciplinary Future of Copyright Theory." Woodmansee and Jaszi 159-173.
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CHICAGO—One year after the introduction of NextRadio, with one smartphone on one network, the tagstation blog for NextRadio reports that there are now 25 devices that come pre-loaded with the NextRadio app, available via the Sprint, Boost Mobile, and Virgin Mobile networks. A few of the HTC models are FM-enabled and support NextRadio on all the major carriers.
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• There are over 5 million FM-enabled phones in the market at this one-year anniversary
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... car and drove us to our nearby hotel. In many ways, it is like being time warped back into 1984! People are scooting around in little box cars which look to be held together by tape. Others zipping around in new volvo's etc. One thing stood out immediately. There appears to be absolutely no order and the roads are definitely not for the faint hearted. The traffic is complete chaos and an endless noise of car ...
Palaces of the Romanovs, Faberge Eggs and Sable!
... we were very grateful that this field program was created for us (those who went on the Moscow trip) a few days ago because many of us wanted to go but the original trip conflicted with Moscow. Anyway, we went and of course, they were absolutely amazing!
I have just been so overwhelmed by beauty these past few days, I can't handle it—it's unreal. The Rococo style Catherine Palace was the summer residence of the czars and is actually not named for Catherine ...
Storming the Fortress
It was a lazy morning and we took our time getting ready, having a leisurely breakfast at a French style bistro around the corner from the hotel. The sun was out, so we decided to spend the day in outdoor pursuits. We crossed the Neva river in two places to get to Hare Island, the location of the Peter and Paul Fortress. The fortress encompasses the entire island, which sits within the Neva River, and was the first establishment in the city. Peter ...
Weekend in St Eyecandyburg part 2
... looking over, but he was disgusted with himself when he realized he was also perving on Hermaphrodite!! (See photos). We spent most of the day in the Hermitage and still didn't see everything. Luckily we have a two day pass! We met the people from our tour on Saturday night. Would you believe it, they are all Aussies!! In fact, there were multiple connections! One woman went to school with ex-persecutor come barrister Janine Gleeson, ...
Wow... In one word: Wow
... passports again. Highly efficient and especially useful. We were warned that these officers are stoic and severe, some are stocky women with more hair in their moustaches than on their heads but it turns out it wasn't so bad. Pierre even got patrol guard eye candy on a couple of occasions.
We drive through the Russian countryside and can see the poverty everywhere. The houses are dilapidated and run down, the cars are old and rusted, the few farmers roaming ...


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You can either develop everything from scratch, this will take forever or a little while longer, or you can use jQuery plugins, frameworks or other tools to complete the work faster and with less hassle and more accuracy. Designers and Developers are releasing tools and plugins more often than people would expect and that is a good thing because we have a whole bunch of them to choose from. In this article, we are featuring some wonderful jQuery plugins along with other tools useful for web designers and web developers.
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Rick Rhoden PGA Golfer
Annika Sorenstam to compete at American Century Championship
The golfers that compete at the American Century Championship have someone new to worry about this weekend in Annika Sorenstam.Story | Conversation | July 17, 2014
John Smoltz eager for celebrity golf eventLynn Hoppes
Baseball great John Smoltz is trying to temper his own expectations, but he really wants to win this weekend's 23rd annual American Century Celebrity Golf Championship. "This is going to be the greatest week of my life!" said Smoltz, who won the 1...Blog | July 19, 2012
Rick Rhoden wins Tahoe celeb tourney for record 8th time
Defending champion Rick Rhoden held on Sunday to claim a record eighth victory at the American Century Celebrity Golf Championship after Dan Quinn's comeback attempt ended with a shot into the pond guarding the 18th hole.Story | Conversation | July 19, 2009
Grant Fuhr, Rick Rhoden share lead at Tahoe golf tournament
Grant Fuhr had two eagles and seven-time champion Rick Rhoden birdied five of the last seven holes Saturday to tie for the second-round lead at the 20th annual American Century Celebrity Golf Championship.Story | Conversation | July 18, 2009
Rhoden nips Quinn for record seventh Celebrity Golf Championship ...
Rick Rhoden birdied the last two holes Sunday to win a record seventh American Century Celebrity Golf Championship, edging four-time champ Dan Quinn on the shores of Lake Tahoe where they've been rivals for 18 years.Story | Conversation | July 13, 2008
Rhoden takes lead going into final round at celebrity tournament
Six-time champion Rick Rhoden was back in a familiar place Saturday in the lead at the American Century Celebrity Golf Championship at Lake Tahoe.Story | Conversation | July 12, 2008
Rhoden, Jones get medalist honors at Champions Q-school
Former major league pitcher Rick Rhoden shared medalist honors with Gene Jones in the Champions Tour's National Qualifying Tournament, securing a spot next year into open qualifiers at all co-sponsored events.Story | Conversation | November 16, 2007
Ex-pitcher Rhoden tied for lead at Champions Tour Q-school
Former major league pitcher Rick Rhoden double-bogeyed the final hole to drop into a three-way tie for the lead Thursday after the third round of the Champions Tour's National Qualifying Tournament.Story | Conversation | November 15, 2007
Chandler finishes with record 78 points to stop six-time winner R...
Ex-NFL quarterback Chris Chandler had seven birdies during a nine-hole stretch Sunday to shoot a 5-under-par 67 and pull away from six-time winner Rick Rhoden for his first victory in the American Century Celebrity Golf Championship at Lake Tahoe.Story | Conversation | July 15, 2007
With 5-under 67, Rhoden jumps to lead at Tahoe
After struggling in the U.S. Senior Open at Whistling Straits on the shores of Lake Michigan a week ago, Rick Rhoden was back in his element on Saturday atop the leaderboard of the celebrity golf tournament he's won six times before at Lake Tahoe.Story | Conversation | July 14, 2007
Former pitcher Rhoden to return to celebrity tourney
Rick Rhoden, the six-time winner barred from last year's celebrity golf tournament at Lake Tahoe after earning a provisional Champions Tour card, is set to return for the July tournament.Story | Conversation | May 24, 2007
Who are some pro athletes turned golfers?Jason Sobel
Scott Draper is just the latest person to make the transition from one professional sport to golf's big leagues. The list also includes Babe Didrikson Zaharias, Esteban Toledo and Rick Rhoden.Story | Conversation | February 27, 2007
Six-time champ Rhoden out of Tahoe celeb event
Rick Rhoden, who has won the annual celebrity golf tournament at Lake Tahoe a record six times, is ineligible to play this year because of his status on the Champions Tour, sponsors said Monday.Story | Conversation | May 15, 2006
Rhoden still in hunt at Champions Q School
Massy Kuramoto and Scott Masingill are the leaders with one round left at Champions Tour Qualifying School.Story | Conversation | November 20, 2005
Rhoden in position to win tourney for seventh time
Billy Joe Tolliver had a pair of eagles to take a narrow lead over six-time champion Rick Rhoden in the 16th annual American Century Celebrity Golf Championship at Lake Tahoe on Saturday.Story | Conversation | July 16, 2005
Sir Charles: 'It's going to be like the British Open'
Six-time tourney winner Rick Rhoden has the first-round lead with a 5-under 67 and Chris Webber and Charles Barkley are battling over a $50,000 side bet on who will finish last.Story | Conversation | July 15, 2005


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No Games Lyrics - Copywrite
Are we going
Are we going
Are we going, shit?
So listen close
Let it begin
Who ,what ,why and when?
Jumping straight from the five to the frying pan
Head them straight from the zoo to the lion's den
177,18, no ,19
Let's wait it to stay clean
Let's call it court
A small town boy carrying his guitar
But his parents think something's wrong
They speak, he doesn't hear
He's just running along
He is amazed of that dead man
He even plays with his left hand
The man might bug
But he's full of pain cause he can't find love
He rocks hard every show he has
A rock star, yeah, he knows he's bad
He won't bend the '
No sale out
Won't change up his brilliant methods
Fast forward he lost his spark in his eyes
And he became everything he ever criticized
Picked up an old habit
Put his house on flames
But what have happened if he hadn't signed that deal?
No game,no gain
But this life ain't playin' no games
This life ain't playin' no games
So he never signed that deal
Fuck it!
Sure, his best friend Chris was pissed
But he's passive aggressive, he bit his lip
But this was his decision
He wanted to go on tour and have 7 million fans screaming his name
But he stayed straight edge
And now he's waking up at 3 am in the morning to change diapers
He's ignoring his depression, won't see a doctor
He wouldn't kiss his daughter, should have got some help
He stayed in his garage and had the shotgun shell
Click here to submit the Corrections of No Games Lyrics
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Department: College of Music
Degree Discipline: Piano Performance
Collection: UNT Theses and Dissertations
The Six Piano Sonatas of James Sellars: Aspects of Form, Rhythm, Texture, and Style
Date: August 2003
Creator: Solomons, John
Description: James Sellars has established himself as one of America's foremost composers whose eclectic style reveals a wealth of influences. His artistic combination of various traditional and avant-garde techniques, along with his sensitive and expert craftsmanship has earned him an important position in contemporary American music. Sellars' compositional styles have encompassed neo-Romanticism, in his early days, through post-serialism and Dada to an eclectic, post-Romantic style utilizing popular elements including electro-acoustic techniques. His extensive catalog of over 150 compositions includes works for orchestra, opera, chorus, dance, chamber, voices with ensemble, solo voice, piano, instrumental solos, band, and media. Sellars' compositions for piano solo span a 38-year period and total 17 works, the most important of which are his six one-movement sonatas, which represent, according to Sellars, "a journey from modernism to post-modernism." Their value lies in their eclectic stylistic approaches, artistic nd technical challenges, and pianistic effectiveness. The first three sonatas, incorporating post-serial elements, fall into a modernist stylistic stance while numbers four through six, in postmodern style, contrast one another drastically. Sonata Brasileira, recalls the broad sweeping gestures of the Romantic period; Sonata V reveals the influence of the absurdist Dada movement; and the last sonata Patterns on a Field, blends ...
Contributing Partner: UNT Libraries
Addition, Omission and Revision: the Stylistic Changes Made to Zehn Variationen über ein Präludium von Chopin by Ferruccio Busoni, with Three Recitals of Selected Works by J.S. Bach, D. Scarlatti, Beethoven, Brahms, Debussy, Schumann and Liszt
Date: December 1994
Creator: Yoon, Soomee
Description: This study examines what Busoni meant by "formal deficiencies" when he described his 1884 version of Chopin Variations, and reveals that changes made to the 1884 version during its process of revision in 1922 correct the "formal deficiencies" and show a fundamental change in Busoni's compositional style and perception of musical motion. Including a detailed analysis of the modifications, omissions, and additions made to the 1922 version (including an examination of the Chopin Prelude in C minor, op. 28, No. 20 as a theme to reveal aspects of its construction used in the variation process), which shows how these changes affect the work's compositional structure.
Contributing Partner: UNT Libraries


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A dual representative of Rochester, New York, and Washington, D.C., rapper Illanoise aims to "bring the East back, one bar at a time." On his latest street mixtape, Rooftop Vol. 1, Illa has scooped up Konvict duo and Virgin Islanders, Rock City, to help Tell U Again about his master plan to take over the rap game. Vocally, no one artist outshines the others, but rather all play off of producer Styles (not P), who contributes a solid mid-tempo organ instrumental. Whether the Northeast will be "brought back" as a result of Illanoise's efforts, however, still remains to be seen.
Written by Burmy on 05/7/08
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Seamus Coleman, playing at right back, assisted on Everton's first goal and scored the go-ahead goal only to see Norwich peg them back for a 2-2 draw.
Sergio Aguero's hat-trick - including two goals in the last five minutes - kept Manchester City's Champions League hopes alive in a dramatic victory over Bayern Munich.
It hasn't been a very productive second season at Hull City for Jake Livermore so far but Week 12 saw a goal against his former club.
Wayne Rooney led a lackluster Manchester United effort from a fantasy point of view despite the team winning on the field.
David De Gea was where he needed to be for 90+ minutes against a consistent Arsenal attack and his fantasy output reflected that.
His team may have slumped to an embarrassing home defeat to lowly Burnley but Bojan put together his third consecutive strong fantasy outing in Week 12.
Alexis Sanchez may not have come out on top against Manchester United but he continued to delivery for fantasy managers.
Jack Wilshere could be out for anywhere from three weeks to four months depending on what a scan reveals later this week.
Victor Moses' roller-coaster of a season has come to a temporary halt after a scan on Tuesday confirmed the on-loan winger would be out for around eight weeks because of injury.
Sean Dyche has heaped praise on the Manchester United loanee Michael Keane following his second half introduction for the injured Michael Duff during Saturdays' win at the Britannia Stadium.
Nacer Chadli was a noticeable absentee on Sunday as Tottenham travelled to the KC Stadium to take on Hull in game week twelve as Pochettino confirmed his squad was without nine first members including the suspended Kyle Naughton.
Eric Dier continued his fantasy slump with a negative score in Tottenham's win at Hull.


text:
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|By PR Newswire
Article Rating:
|February 13, 2013 06:01 AM EST
ST. LOUIS, Feb. 13, 2013 /PRNewswire/ -- Amdocs (NYSE: DOX), the leading provider of customer experience systems and services, today announced the release of the cloud-based Amdocs Unified Communications solution, which brings together messaging services, video and voice over IP (VoIP) calling, inside a service provider-branded app. With the Amdocs Unified Communications solution, service providers can quickly launch services to compete with over-the-top (OTT) offerings, strengthening their relationship with customers and allowing them to better monetize the opportunity.
(Logo: http://photos.prnewswire.com/prnh/20120722/NY44154LOGO)
The solution, accessed via iOS and Android device apps or through a web portal:
- is compatible with the GSMA's Rich Communication Services (RCS) standard, providing future-proofing, as well as existing social networks, including Facebook, Twitter and LinkedIn
- allows for syndicated interoperability between operators and can be offered to non-subscribers, extending brand beyond the operator
- is modular, allowing for the addition of advertising and premium features such as video conferencing and whiteboarding to monetize the service
- brings all the end user's social network and mobile communities into one unified address book and keeps the subscriber inside the service provider's brand for messaging, VoIP conversations or video chats with their contacts
"Until now, the over-the-top players have led the mobile video, messaging and VoIP communications market, eroding service providers' revenues and undermining the relationship with their customers on basic communication services," said Maribel Lopez, principal analyst at Lopez Research LLC. "Service providers have the opportunity to strengthen their ownership of voice calls to cover VoIP and video conferencing with their own branded solution. By providing a unified launch pad for all their customers' communications, across multiple platforms and media, service providers can increase their customer loyalty."
"Today's smartphone users are turning to a variety of services to communicate, often at the expense of the service provider," said Rebecca Prudhomme, vice president of product and solutions marketing at Amdocs. "Amdocs Unified Communications is the first brandable, cloud-based solution, offering fast time to market, which allows service providers to leverage their customer relationships to build revenues through metered data packages, premium features and applications."
Supporting Resources
- Learn more about Amdocs Unified Communications solution
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About Amdocs
For more than 30 years, Amdocs has ensured service providers' success and embraced their biggest challenges. To win in the connected world, service providers rely on Amdocs to simplify the customer experience, harness the data explosion, stay ahead with new services and improve operational efficiency. The global company uniquely combines a market-leading BSS, OSS and network control product portfolio with value-driven professional services and managed services operations. With revenue of $3.2 billion in fiscal 2012, Amdocs and its 20,000 employees serve customers in more than 60 countries.
Amdocs: Embrace Challenge, Experience Success.
For more information, visit Amdocs at www.amdocs.com
Amdocs and Sustainability
Amdocs is committed to working in a sustainable way and to providing its customers with solutions that ensure success in achieving their environmental goals. These include cloud-based solutions, adopting leading technologies such as virtualization to minimize hardware and therefore energy requirements, and enabling eBilling to reduce the need for paper invoicing. Amdocs is also continuously working to decrease the impact of its own operations on the environment.
Amdocs' Forward-Looking Statement
This press release includes information that constitutes forward-looking statements made pursuant to the safe harbor provision of the Private Securities Litigation Reform Act of 1995, including statements about Amdocs' growth and business results in future quarters. Although we believe the expectations reflected in such forward-looking statements are based upon reasonable assumptions, we can give no assurance that our expectations will be obtained or that any deviations will not be material. Such statements involve risks and uncertainties that may cause future results to differ from those anticipated. These risks include, but are not limited to, the effects of general economic conditions, Amdocs' ability to grow in the business markets that it serves, Amdocs' ability to successfully integrate acquired businesses, adverse effects of market competition, rapid technological shifts that may render the Company's products and services obsolete, potential loss of a major customer, our ability to develop long-term relationships with our customers, and risks associated with operating businesses in the international market. Amdocs may elect to update these forward-looking statements at some point in the future; however, the Company specifically disclaims any obligation to do so. These and other risks are discussed at greater length in the Company's filings with the Securities and Exchange Commission, including in our Annual Report on Form 20-F for the fiscal year ended September 30, 2012 filed on December 11, 2012.
SOURCE Amdocs
"There is a natural synchronization between the business models, the IoT is there to support ," explained Brendan O'Brien, Co-founder and Chief Architect of Aria Systems, in this SYS-CON.tv interview at the 15th International Cloud Expo®, held Nov 4–6, 2014, at the Santa Clara Convention Center in Santa Clara, CA.
Nov. 23, 2014 12:00 PM EST Reads: 1,558
The major cloud platforms defy a simple, side-by-side analysis. Each of the major IaaS public-cloud platforms offers their own unique strengths and functionality. Options for on-site private cloud are diverse as well, and must be designed and deployed while taking existing legacy architecture and infrastructure into account. Then the reality is that most enterprises are embarking on a hybrid cloud strategy and programs. In this Power Panel at 15th Cloud Expo (http://www.CloudComputingExpo.com), moderated by Ashar Baig, Research Director, Cloud, at Gigaom Research, Nate Gordon, Director of T...
Nov. 23, 2014 07:45 AM EST Reads: 1,411
The definition of IoT is not new, in fact it's been around for over a decade. What has changed is the public's awareness that the technology we use on a daily basis has caught up on the vision of an always on, always connected world. If you look into the details of what comprises the IoT, you'll see that it includes everything from cloud computing, Big Data analytics, "Things," Web communication, applications, network, storage, etc. It is essentially including everything connected online from hardware to software, or as we like to say, it's an Internet of many different things. The difference ...
Nov. 22, 2014 10:00 PM EST Reads: 1,246
Cloud Expo 2014 TV commercials will feature @ThingsExpo, which was launched in June, 2014 at New York City's Javits Center as the largest 'Internet of Things' event in the world.
Nov. 22, 2014 05:30 PM EST Reads: 1,381
An entirely new security model is needed for the Internet of Things, or is it? Can we save some old and tested controls for this new and different environment? In his session at @ThingsExpo, New York's at the Javits Center, Davi Ottenheimer, EMC Senior Director of Trust, reviewed hands-on lessons with IoT devices and reveal a new risk balance you might not expect. Davi Ottenheimer, EMC Senior Director of Trust, has more than nineteen years' experience managing global security operations and assessments, including a decade of leading incident response and digital forensics. He is co-author of t...
Nov. 22, 2014 05:30 PM EST Reads: 1,221
ARMONK, N.Y., Nov. 20, 2014 /PRNewswire/ -- IBM (NYSE: IBM) today announced that it is bringing a greater level of control, security and flexibility to cloud-based application development and delivery with a single-tenant version of Bluemix, IBM's platform-as-a-service. The new platform enables developers to build ap...
Nov. 22, 2014 05:30 PM EST Reads: 1,422
Explosive growth in connected devices. Enormous amounts of data for collection and analysis. Critical use of data for split-second decision making and actionable information. All three are factors in making the Internet of Things a reality. Yet, any one factor would have an IT organization pondering its infrastructure strategy. How should your organization enhance its IT framework to enable an Internet of Things implementation? In his session at Internet of @ThingsExpo, James Kirkland, Chief Architect for the Internet of Things and Intelligent Systems at Red Hat, described how to revolutioniz...
Nov. 21, 2014 09:15 PM EST Reads: 1,309
Technology is enabling a new approach to collecting and using data. This approach, commonly referred to as the "Internet of Things" (IoT), enables businesses to use real-time data from all sorts of things including machines, devices and sensors to make better decisions, improve customer service, and lower the risk in the creation of new revenue opportunities. In his General Session at Internet of @ThingsExpo, Dave Wagstaff, Vice President and Chief Architect at BSQUARE Corporation, discuss the real benefits to focus on, how to understand the requirements of a successful solution, the flow of ...
Nov. 21, 2014 08:00 PM EST Reads: 1,389
The security devil is always in the details of the attack: the ones you've endured, the ones you prepare yourself to fend off, and the ones that, you fear, will catch you completely unaware and defenseless. The Internet of Things (IoT) is nothing if not an endless proliferation of details. It's the vision of a world in which continuous Internet connectivity and addressability is embedded into a growing range of human artifacts, into the natural world, and even into our smartphones, appliances, and physical persons. In the IoT vision, every new "thing" - sensor, actuator, data source, data con...
Nov. 21, 2014 08:00 PM EST Reads: 1,328
"BSQUARE is in the business of selling software solutions for smart connected devices. It's obvious that IoT has moved from being a technology to being a fundamental part of business, and in the last 18 months people have said let's figure out how to do it and let's put some focus on it, " explained Dave Wagstaff, VP & Chief Architect, at BSQUARE Corporation, in this SYS-CON.tv interview at @ThingsExpo, held Nov 4-6, 2014, at the Santa Clara Convention Center in Santa Clara, CA.
Nov. 21, 2014 07:00 PM EST Reads: 1,249
Focused on this fast-growing market's needs, Vitesse Semiconductor Corporation (Nasdaq: VTSS), a leading provider of IC solutions to advance "Ethernet Everywhere" in Carrier, Enterprise and Internet of Things (IoT) networks, introduced its IStaX™ software (VSC6815SDK), a robust protocol stack to simplify deployment and management of Industrial-IoT network applications such as Industrial Ethernet switching, surveillance, video distribution, LCD signage, intelligent sensors, and metering equipment. Leveraging technologies proven in the Carrier and Enterprise markets, IStaX is designed to work ac...
Nov. 20, 2014 09:15 PM EST Reads: 1,345
C-Labs LLC, a leading provider of remote and mobile access for the Internet of Things (IoT), announced the appointment of John Traynor to the position of chief operating officer. Previously a strategic advisor to the firm, Mr. Traynor will now oversee sales, marketing, finance, and operations. Mr. Traynor is based out of the C-Labs office in Redmond, Washington. He reports to Chris Muench, Chief Executive Officer. Mr. Traynor brings valuable business leadership and technology industry expertise to C-Labs. With over 30 years' experience in the high-tech sector, John Traynor has held numerous...
Nov. 20, 2014 06:00 PM EST Reads: 1,293
Bit6 today issued a challenge to the technology community implementing Web Real Time Communication (WebRTC). To leap beyond WebRTC's significant limitations and fully leverage its underlying value to accelerate innovation, application developers need to consider the entire communications ecosystem.
Nov. 20, 2014 04:45 PM EST Reads: 1,081
The 3rd International @ThingsExpo, co-located with the 16th International Cloud Expo - to be held June 9-11, 2015, at the Javits Center in New York City, NY - announces that it is now accepting Keynote Proposals. The Internet of Things (IoT) is the most profound change in personal and enterprise IT since the creation of the Worldwide Web more than 20 years ago. All major researchers estimate there will be tens of billions devices - computers, smartphones, tablets, and sensors - connected to the Internet by 2020. This number will continue to grow at a rapid pace for the next several decades.
Nov. 20, 2014 01:00 PM EST Reads: 1,544
The Internet of Things is not new. Historically, smart businesses have used its basic concept of leveraging data to drive better decision making and have capitalized on those insights to realize additional revenue opportunities. So, what has changed to make the Internet of Things one of the hottest topics in tech? In his session at @ThingsExpo, Chris Gray, Director, Embedded and Internet of Things, discussed the underlying factors that are driving the economics of intelligent systems. Discover how hardware commoditization, the ubiquitous nature of connectivity, and the emergence of Big Data a...
Nov. 20, 2014 12:30 PM EST Reads: 1,771
Almost everyone sees the potential of Internet of Things but how can businesses truly unlock that potential. The key will be in the ability to discover business insight in the midst of an ocean of Big Data generated from billions of embedded devices via Systems of Discover. Businesses will also need to ensure that they can sustain that insight by leveraging the cloud for global reach, scale and elasticity.
Nov. 18, 2014 09:00 PM EST Reads: 2,003
SYS-CON Events announced today that Windstream, a leading provider of advanced network and cloud communications, has been named "Silver Sponsor" of SYS-CON's 16th International Cloud Expo®, which will take place on June 9–11, 2015, at the Javits Center in New York, NY. Windstream (Nasdaq: WIN), a FORTUNE 500 and S&P 500 company, is a leading provider of advanced network communications, including cloud computing and managed services, to businesses nationwide. The company also offers broadband, phone and digital TV services to consumers primarily in rural areas.
Nov. 18, 2014 08:15 PM EST Reads: 1,583
SYS-CON Events announced today that IDenticard will exhibit at SYS-CON's 16th International Cloud Expo®, which will take place on June 9-11, 2015, at the Javits Center in New York City, NY. IDenticard™ is the security division of Brady Corp (NYSE: BRC), a $1.5 billion manufacturer of identification products. We have small-company values with the strength and stability of a major corporation. IDenticard offers local sales, support and service to our customers across the United States and Canada. Our partner network encompasses some 300 of the world's leading systems integrators and security s...
Nov. 18, 2014 08:15 PM EST Reads: 1,533
IoT is still a vague buzzword for many people. In his session at @ThingsExpo, Mike Kavis, Vice President & Principal Cloud Architect at Cloud Technology Partners, discussed the business value of IoT that goes far beyond the general public's perception that IoT is all about wearables and home consumer services. He also discussed how IoT is perceived by investors and how venture capitalist access this space. Other topics discussed were barriers to success, what is new, what is old, and what the future may hold. Mike Kavis is Vice President & Principal Cloud Architect at Cloud Technology Pa...
Nov. 18, 2014 01:30 PM EST Reads: 1,996
Cloud Expo 2014 TV commercials will feature @ThingsExpo, which was launched in June, 2014 at New York City's Javits Center as the largest 'Internet of Things' event in the world. The next @ThingsExpo will take place November 4-6, 2014, at the Santa Clara Convention Center, in Santa Clara, California. Since its launch in 2008, Cloud Expo TV commercials have been aired and CNBC, Fox News Network, and Bloomberg TV. Please enjoy our 2014 commercial.
Nov. 13, 2014 05:00 AM EST Reads: 3,536


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Securities and Exchange Commission: Shareholder Choice Regarding Proxy Materials
GAO-07-1170R: Aug 15, 2007
Additional Materials:
- Full Report:
Shirley A. Jones
(202) 512-8156
(202) 512-4800
(202) 512-8156
Office of Public Affairs
(202) 512-4800
GAO reviewed the Securities and Exchange Commissions's (Commission) new rule on shareholder choice regarding proxy materials. GAO found that (1) the final rule allows shareholders to choose the means by which they access proxy materials and requires issuers and other soliciting persons to post their proxy materials on an internet website and provide shareholders notice of the internet availability of the materials; and (2) the Commission complied with applicable requirements in promulgating the rule.
Nov 26, 2014
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text:
I'm reading the book "Wheat Belly" right now
Submitted by RonPaul4Prez2012 on Fri, 04/26/2013 - 13:54. Permalink
The wheat we eat today, is not the wheat we ate in the 60's.
It's now a GMO that is very bad for your body.
Eating wheat is like eating cake, because your body reads it as sugar.
And the biggest problem is that wheat is in just about everything.
Thanks Monsanto!
- Login to post comments


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Cancer Survivor Is Gutted Then Disembowled By Her Troubled Son
Schizophrenia is a terrible illness that should not be taken lightly. Bobby Rankin [pictured below] suffers from the disease: and his mother's four years spent trying to find him help for his diagnosed schizophrenia was futile.
Margaret Rohner worried about her troubled adult son not taking his psychiatric medications and had been trying to find him proper care in the years leading up to her horrifying murder at his hands.
The 45-year-old Rohner was viciously attacked Dec 26 with a fireplace poker and knife, her torso butchered and her intestines pulled out by son Robert O. Rankin, who was charged with murder after police said he confessed to the killing.
It was a tragic end for a woman who had spent years trying to find appropriate care for her son she called Bobby, a person she desperately wanted to help after doctors took him off medication prescribed to treat schizophrenia.
Patricia Unan, a close friend, said Rohner expressed frustration to her Dec. 19 about Bobby's deteriorating mental condition since he stopped taking his medications. Bobby for months had been receiving residential respite services offered at River Valley Services in Middletown, a program run by the state Department of Mental Health and Addiction Services, according to Bobby's father.
'She told me she'd pleaded with the person she spoke with (at River Valley Services) to hospitalize him and force meds because she recognized when he was headed for a break down from previous experiences,' Unan wrote in an email. 'She said they told her they wanted to wait until after the holiday to address the situation.'
Mary Mason, a DMHAS spokeswoman,: couldn't confirm whether Bobby was a client, citing patient: confidentiality laws. But she described the respite program as a: voluntary alternative to a hospitalization, where temporary, supportive: housing is provided. She said patients can check themselves out but need to notify staff when they're leaving.
Bobby's father picked him up Dec. 23, not wanting his son to spend the holiday: away from family. The elder Rankin understood Rohner didn't want Bobby: to come to her house because he hadn't been taking his medications,: which often prompted outbursts directed at his mother.
To Rankin's surprise, Rohner decided: to let Bobby spend Christmas night at her home, where he typically: stayed when he wasn't in Middletown.
Bobby spent an uneventful night with Rohner and her boyfriend, Jack Adanti.: But soon after Adanti left the house on Dec. 26 to run errands, Rohner: was killed. The young man once known as a kind, high honors student with good manners and who had been accepted to Hofstra University told his: father afterward that he was 'sick and tired of being sick and tired.': State police say he immediately confessed to killing Rohner, telling a: trooper: 'I used the knife to kill my mother.'
Adanti is still stunned by what happened, saying Bobby was quiet when he left: that morning. Bobby even shook his hand and thanked him for his: Christmas presents. 'If I: had the slightest inclination that anything was wrong, I wouldn't have: left,' he said. 'That's going to haunt me for a long time. Probably: forever.'
Mental illness is nothing to be disregarded or messed with. If you think that someone close to you needs help and has gone off their medication, please take safety measures; never be alone with them and tell authorities.
See also,
7 Kids Who Were Punished By Schools For Using Imaginary Guns
Also see...
After his 20-year old son overdosed on drugs, Mike Stollings decided to post a photo of his body at the funeral home on Facebook out of grief and guilt. The...Read More
Tiffiny Ruegner
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three words ran together. bye,later,and see ya.
blaya,playa! (created by Mike Buchta)
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What's Going On?
Cardston County Survey
During the Information meetings held recently, there was a survey that the taxpayers were asked to fill out to help the County gather some input on some common question. If you have the time, please follow the link and complete the survey. We would love to hear from you.
County Council Meeting
Cardston County Council meeting is held on the 2nd Monday of each month, occasionally they will require a second meeting during the month. The next scheduled Council meeting is on November 10, 2014 at 9:00 a.m. The Agenda is HERE.
CIBC Online Banking added.
Cardston County has added CIBC as an online banking option. This adds to RBC, TD, ATB and Alberta Credit Unions. All taxes and recievables can be paid online through these banks, listed as Cardston County Taxes. If you have any questions please call the office, at 403-653-4977.
Benchmark Assessment Consultants Inc.
Benchmark Assessment is currently in the County doing inspections for assessment purposes. They will carry proper identification and are in Cardston County Vehicles. If you have any questions please call the County office.


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Family Practitioner, General Practitioner, Primary Care Doctor
37 years of experience
37 years of experience
New River
3618 W Anthem Way
Ste D120
Anthem, AZ 85086 Phone number & directions
3618 W Anthem Way
Ste D120
Anthem, AZ 85086 Phone number & directions
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text:
"Where Fillmore County News Comes First"
Online Edition
Thursday, November 27th, 2014
Volume ∞ Issue ∞
- 8:03:53, Nov 24th 2014 - FountainFarmer - Doc, Why do people like you have to turn stories that don't have ... [Read More]
- 7:13:36, Nov 21st 2014 - FountainFarmer - doc, why do people like you think that every story needs a sense ... [Read More]
- 3:50:54, Nov 21st 2014 - Frank Wright - Does the author of this article realize it is not April 1st? ... [Read More]
- 3:03:32, Nov 21st 2014 - Roberto - That IS a stereotype on Libertarians from extreme right-wingers BTW. See ... [Read More]
- 5:10:46, Nov 17th 2014 - doc - I'm surprised conservatives aren't picketing there for their war on women. ... [Read More]
- 5:09:30, Nov 17th 2014 - doc - Is it illegal to push THEIR snow into the street though? ... [Read More]
- 4:16:40, Nov 15th 2014 - Gudrun - Ralph's burial at Arlington National Cemetery is scheduled for February 12, ... [Read More]
- 4:47:53, Nov 7th 2014 - KingslandGrad95 - Hey winters coming, why don't you take your concerns to that of the ... [Read More]
- 6:43:44, Nov 6th 2014 - winters coming - Tell Fillmore central in harmony that it is against the law to push t ... [Read More]
- 11:34:53, Nov 3rd 2014 - Tom Kaase - First of all, thank you again to Editor Jason Sethre for allowing people ... [Read More]
Fillmore County District Court: Warrants issued for ATV thefts in Rushford
Thu, Jul 3rd, 2003
Posted in Features
Posted in Features
Warrants for the arrest of three men wanted in connection with the theft of ATV�s and other vehicles in five states were issued in Fillmore County District Court on June 27.
Juan Carlo Sanchez, 47; Abel Carcasco Zamora, 51; and Lazaro Seara Marin, 26; no know addresses, are wanted in the theft of ATV�s from M&M Lawn & Leisure in Rushford in late December 2001, as well as in January 2003. The warrants follow an extensive investigation carried out by Rushford Police Chief Sam Stensgard. In the criminal complaint it is alleged that the three men stole 6 ATV�s valued at more than $38,000 from M&M Lawn & Leisure on December 28, 2001. In addition, the men are believed to have stolen a pickup truck and Feather Lite trailer valued at $36,000 from Darr Auction & Realty in Rushford. The truck and trailer were later recovered at a parking lot in Faribault. On January 6, 2003, 16 ATV�s valued at more than $100,000 were stolen from M&M Lawn & Leisure. Surveillance cameras were helpful in identifying the activities of the three men as they used a forklift to load the ATV�s. An enclosed 40 foot trailer was also stolen. Rushford Police Officer John Kulas was able to identify the registration of a suspicious vehicle in the area in the early morning hours. This led to the Albert Lea Police Department being contacted. Sanchez and Zamora�s names later surfaced when a truck stolen from Dade County, Florida was recovered in Albert Lea. On January 24, 2003, a Polaris dealership in Mobile, Alabama contacted M&M to report that ATV�s with serial numbers linked to those stolen in Rushford were being sold near Pensacola, Florida. On May 15, Stensgard interviewed Quesado Reinaldo in Albert Lea who had information about a series of thefts. Reinaldo said that he had helped unload ATV�s into U-Hauls in Albert Lea earlier in the year. He identified Sanchez, Zamora and Marin as the three men he had helped. Reinaldo linked the three men to thefts in Minnesota, Iowa, South Dakota, Wisconsin and Colorado as well as to the thefts of ATV�s from M&M in 2001. He also provided a link to the buyer of the stolen property, identified as the �Fat Guy� Adrian Abdul Prado in Homestead, Florida. Prado is believed to have sold two ATV�s belonging to M&M earlier this year to a man in Fort Lauderdale for $16,000. In the first warrant, Sanchez, Zamora and Marin are charged with eight counts of Theft of Motor Vehicle related to the thefts in 2001. In the second warrant, they face another 18 counts of Theft of Motor Vehicle and one count of Criminal Damage to Property from the incident in January. Bail on each warrant has been pre-set at $100,000.


text:
Orlando Jordan
Real Name
Orlando Jordan
Date of Birth
April 21, 1974
Place of Birth
Through Instagram, Justin Gabriel stated that is not going to be doing the ice bucket challenge. The WWE star revealed that he takes cold showers every day. He also stated that he would much rather see people donating the full amount instead of doing the challenge in order to donate a smaller amount. To his credit, Gabriel has already donated to the cause.
August 21, 2014
A picture of Randy Orton being pulled over by a police officer in Florida because the tint on his car was darker than the state allows. The WWE star posted the image on his Instagram account and stated that the authorities should have bigger fish to fry than to simply pull over someone with tint that is too dark.
July 21, 2014
A somewhat interesting thing took place backstage at Monday Night Raw this week. Naomi Knight took a picture of herself with Kevin Hart and uploaded it to Instagram. However, the WWE diva made the mistake of including John Cena and Kane, who are fighting in the story line, in the background. Luckily, she was able to remove and edit the photo before management caught on.
June 17, 2014
"In good news, 'I'll be wrestling again soon' will actually be happening. Please be patient because nothing happens until the dust settles. Thank you again for your unwavering support. I'll continue to be active on Twitter and Instagram, and I'm working on setting up a Facebook. Much love." - Evan Bourne discusses his WWE release
June 13, 2014
The Samoan presence in WWE has just gotten a little bit stronger, as Savelina Fanene is now under a developmental contract with the company. She is related to the Rock and does have an athletic background. Savelina recently noted on Instagram that she had moved to Orlando, where she will be training for the next year at the WWE Performance Center.
May 10, 2014
A picture of Curt Hawkins' pretty girlfriend from Instagram. The WWE star said she was not only was his Woman Crush Wednesday, but his crush for every day as well.
April 28, 2014
Through Instagram, the Rock informed his fans that he has started shooting the new San Andreas film. The movie will be about the biggest earthquake to ever hit the city of Los Angeles. Filming is taking place in Australia, where the former WWE star has been participating in rescue training over the last several days. The movie is expected to draw huge numbers.
April 25, 2014
While the widespread assumption is that CM Punk has been avoiding everyone in WWE since walking out on the company, it looks like he has been keeping up with Rey Mysterio. The masked superstar revealed on Instagram that the two of them still maintain communication. Mysterio also revealed that Punk sent him a custom made shirt this week.
April 15, 2014
For Throwback Thursday on Instagram, Rosita posted a picture of herself with Angelina Love and Velvet Sky, where the three TNA Knockouts are climbing a mountain together.
April 3, 2014
In order to reach more of her fans, Stephanie McMahon has decided to join Instagram. The longtime WWE executive has posted two pictures, both of which contain her husband, Triple H. The two of them are seen in a vehicle in one of them, while the other one is the two of them kissing backstage. Her handle is StephanieMcMahon.
April 2, 2014
When she made some changes to her social media accounts earlier in the month, Brooke Tessmacher inadvertently flamed the rumors mills with speculations that she was no longer with TNA. The former Knockouts champion has since made her return to both Twitter and Instagram with no mentions of leaving the company.
March 26, 2014
This steamy picture of Jeff Jarrett and Karen Jarrett has surfaced on Instagram, and the belief is that it has something to do with the new business that the couple has been working on for the last few weeks. Many are under the belief that it will be a new wrestling promotion.
March 17, 2014
To promote her addition to the cast of the San Andreas movie, the Rock posted this picture of himself and Carla Gugino, who will be portraying the female lead, on Instagram.
March 16, 2014
While a big buzz was created earlier this month about her rumored departure from the company, it appears that Brooke Tessmacher is not leaving TNA. She simply opted to be less active on Twitter, which was what initially sparked the flames of the speculations. The former Knockouts champion is still quite active on Instagram, posting pictures and updates routinely.
March 15, 2014
An Instagram picture of Nikki Bella in extremely tight pants during her workout session.
March 15, 2014
A rather interesting picture surfaced on Instagram lately. It is a candidate image of Tara and Sarita, each of whom is wearing a pajama in the shape fo a dinosaur. Sarita recently celebrated her birthday by visiting Tara in Chicago.
March 13, 2014
With rumors floating around that he might be leaving WWE after his contract expires in a couple of weeks, Rey Mysterio has decided to go silent on social media websites. He has not posted on Twitter since February 23, and his Instagram account has not been touched in two weeks. The belief is that he will be moving on to another chapter of his life soon.
March 11, 2014
Through Instagram, Santino Marella posted this really hot picture of his girlfriend, a woman named Anna. The WWE star noted that he misses her quite often when he is on the road.
March 10, 2014
There has been heavy speculations about the status of Brooke Tessmacher in TNA this week. Many are under the belief that the Knockout has left the promotion. The source of the rumors stem from the fact that she changed her Twitter and Instagram handles. She also posted a message talking about changes. TNA still has her listed on the official roster page.
March 6, 2014
Since they were both on hand for the big WWE NXT show this week, Eva Marie got a chance to meet the legendary Bret Hart on the set. She took the opportunity to take this picture of them two together and posted it on Instagram.
March 1, 2014
"It was a great opportunity working with you in Barcelona. Time did make a difference, Brian. Rest in peace. Condolences to Dana and her two daughters." - Orlando Jordan on the death of the Ultimate Warrior
April 25, 2014
A lot has changed since Orlando Jordan came out of the closet and revealed to the wrestling world that he was gay. The former WWE star shocked a lot of people when he announced that he was marrying a woman back in November. Now, Jordan has revealed that he is expecting a child soon.
April 17, 2014
Back in October, Orlando Jordan captured the headlines when he revealed on Twitter that he was getting married. Fans were shocked when it was discovered that the openly bisexual wrestler was tying the knot with a woman. Since then, he has kept relatively quiet on the social media site, only posting short messages on holidays.
March 5, 2014
Former WWE star Orlando Jordan has been running a wrestling school in Australia, where he personally trains some of the performers.
November 4, 2013
Orlando Jordan, who is openly gay, married a woman in Australia a couple of weeks ago.
November 3, 2013
Orlando Jordan was not happy with the direction that his character was taking, so he contacted TNA officials to ask if more could be done. Since the company did not have a plan that he liked, Jordan requested his release, and it was granted shortly thereafter.
July 11, 2011


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king of kings
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