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Saturday, 14 August 2010
A Very Sad Independence Day For Pakistan – Floods Of Unprecedented Magnitude In Pakistan Causing Death & Destruction Not Seen Before
Today is 14th of August, the day when in 1947 Pakistan won its independence from Britain. 64 years have passed and Pakistan has made a lot of progress in all fields of life. Today should have been a day when Pakistanis felt happy but floods of a magnitude not seen in Pakistan's history since 1908 have made this
day a day for contemplation instead of celebration. There are millions of people on the move in Pakistan who have lost their homes in Baluchistan, Khyber Pakhtunkhwa, Punjab, Sindh, Gilgit Baltistan and Azad Kashmir. Pakistan is facing unprecedented hardship at this moment in time and they require all the help they can get from the wider world.
This was the harvest time in Pakistan but rising waters did not give anyone a chance to salvage anything, the lucky ones barely escaped with their lives. Pakistan is the gift of Indus just as the Egypt is the gift of Nile but this time Indus is angry. At its widest, the river banks have swollen upto 20 kilometres with forecasters saying that next three weeks are very dangerous indeed.
Pakistanis in all regions have been equally effected which is hampering any effort inside Pakistan to mount a rescue mission like the one seen after the Azad Kashmir earth quake. On that occasion disaster area although large but confined to northern Pakistan. The sheer scale of disaster this time has made everyone in the country go numb and everyone is still trying to come to terms with the scale of death, destruction & displacement. In the areas where water is stagnant now, people are facing death by cholera and other water carried diseases. May the God help them in this hour of pain and misery but all this makes a very sad Independence Day indeed.
Related Posts:
1. Pakistan Floods - Thousands Dead, Millions Displaced
2. Pakistan Floods Update
3. Poor Indian Flood Victims Face Caste Discrimination
2 comments:
the situation cannot be remedied in a few days or months,it is indeed the biggest natural disaster faced by Pakistan, but what makes it so tragic is that the world, the international media has not responded to this disaster as would have been expected. It is indeed extremely tragic that the world cannot keep its personal prejudices to themselves and have condemned Pakistanis to suffer the consequences of a natural disaster, and have even forgotten their duty as humans. And the worst part is that it is not even the fault of any Pakistani.ReplyDelete
Hi Naima Saqib,ReplyDelete
Thanks for your comment. I agree with most of what you have said but there is a degree to which Pakistanis are responsible for their plight as well. We keep electing otherwise corrupt & inept politician who instead of serving Pakistan serve their own greed. Unless all Pakistanis take personal responsibility to not elect the biggest crook in any given constituency, nothing will get better.


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Keep wound and dressings dry and clean. To remove old blood or drainage use mild soap and pat gently, rinse with water.
Do Not Rub.
Make an appointment to be seen if you notice any of the following:
Minnesota State
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subset: commoncrawl


text:
This Mustang Parts Installation Guide Works For
Tools Required
Figure 1
Figure 2
Figure 3
Figure 4
Figure 5
Install your new C&L intake tube onto the throttle body and tighten the clamp to secure in place. At this time you can reconnect the PVC line to the left of the tube. It will just pop back into place.
Reconnect the cabin sound tube to the new intake tube and tighten clamp to secure in place.
(Steps 7-9 final product shown in figure 6 to the right)
Figure 6
Install the C&L air filter to the intake tube and tighten the clamp to secure in place.(Figure 7)
At this point you may want to recheck all wiring connections, clamps, and any other items you may have loosened or removed to make sure they are secure and tight.
Figure 7


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text: Andrew Thompson home Andrew Thompson Home Log cabins--Georgia--Gainesville Andrew Thompson home. Photograph of the Andrew Thompson home. Originally constructed of logs, it is probably one the the oldest houses in Hall County now standing. The house is located across Thompson Bridge off Thompson Bridge Road on the shore of Lake Lanier on Dunlap Place. First part of the house probably built prior to 1819; back part added in 1834. Caption: "Hall County Library Photo Collection (0256) Gainesville, Georgia." Digitized by: Digital Techniques, Inc. Electronic version made available through a federal Library Services and Technology Act Grant and Georgia Public Library Services. [Gainesville, Ga. : Hall County Library System] Hall County Library System (Ga.) 2001 Black-and-white photographs http://dlg.galileo.usg.edu/hall/hchp/do:0256 image/jpeg 1 photograph : b&w ; 25 x 16 cm. Forms part of: Hall County, Georgia historical photograph collection. 1890/1910 Hall County (Ga.) Gainesville (Ga.) Cite as: [Name of photograph], Hall County, Georgia historical photograph collection, Hall County Library System.


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The American Recovery and Reinvestment Act 2009 (ARRA) provides significant new funding for services for children with disabilities under the IDEA's Parts B and C. These additional IDEA funds are provided under three authorities: (1) $11.3 billion for IDEA Part B grants to states (2) $400 million under Part B Preschool Grants to States (children ages three to five) and (3) $500 million for Part C Grants for Infants and Families (children with disabilities from birth through age two).
The Department of Education plans to move quickly, awarding half of this additional IDEA funding by the end of this month, March 2009, and the other half by October 1, 2009. The funds are in addition to the regular Fiscal Year 2009 Part B grants to states. You can find information about each state's allocation at http://www.ed.gov/about/overview/budget/statetables/recovery.html.
This additional IDEA funding is expected to be temporary and available for only one to three years. The Department of Education, therefore, expects that states and local education agencies will use the funds for "short-term investments that have the potential for long-term benefits…" Examples of possible uses of these funds include:
Obtaining state-of-the art assistive technology devices and providing training in their use to enhance access to the general curriculum for students with disabilities.
Providing intensive district-wide professional development for special education and regular education teachers that focuses on replicating proven innovative strategies in reading, math, writing, and science, and positive behavioral supports to improve outcomes for students with disabilities.
Developing or expanding the capacity to collect and use data to improve teaching and learning.
Expanding the availability and range of inclusive placement options for preschoolers with disabilities by developing the capacity of public and private preschool programs to serve children with disabilities.
Hire transition coordinators to work with employers in the community to develop job placements for students with disabilities.
This information is based on fact sheets issued on March 7th by the Department of Education regarding implementing the American Recovery and Reinvestment Act of 2009. Please note that in the second bullet above, I emphasized using using the funds to provide professional development regarding positive behavioral supports. It has been my experience that training in the use of positive behavioral supports is often lacking and can be a critical factor in including children with disabilities in school.
Filed under: children with disabilities, early intervention and part C, Individuals with Disabilities Education Act


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At Rockwood Music Hall | Photo by Greg Pallante.
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Rush My Passport
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Book your room at SpringHill Suites Phoenix Airport/Tempe
Studio SuiteMax Occupancy: 5 guests (up to 4 children, 4 infants)
Standard Room, 1 King BedMax Occupancy: 4 guests (up to 3 children, 3 infants)
Family-friendly Tempe hotel with an outdoor pool
Situated near the airport, in Tempe, this hotel is close to Tempe Center for the Arts, Phoenix Zoo, and Grady Gammage Memorial Auditorium. Also nearby are Mill Avenue District and Sun Devil Stadium.
Hotel Features
At SpringHill Suites Phoenix Airport/Tempe, recreational amenities include an outdoor pool and a spa tub. The hotel also features a roundtrip airport shuttle and complimentary wireless Internet access.
Room Amenities
Televisions come with cable channels. Guestrooms also feature complimentary wireless Internet access, complimentary high-speed (wired) Internet access, and sofa beds.Information missing or incorrect? Tell us!
At your hotel
At your hotel
In addition to an outdoor pool, SpringHill Suites Phoenix Airport/Tempe provides a spa tub and a fitness center. Public areas are equipped with complimentary high-speed wired and wireless Internet access. This 3-star property offers access to a 24-hour business center and meeting rooms. A complimentary breakfast is offered. Event facilities measure 795 square feet (72 square meters). A roundtrip airport shuttle is complimentary to guests (available on request). This family-friendly hotel also offers coffee/tea in the lobby, complimentary newspapers in the lobby, and laundry facilities. Onsite self parking is complimentary.
- Number of buildings/towers - 1
- 24-hour business center
- Conference space size (feet) - 795
- Conference space size (meters) - 72
- Number of meeting rooms - 3
- Free Wi-Fi
- Airport transportation (complimentary)
- Free breakfast
- Coffee/tea in lobby
- Complimentary newspapers in lobby
- Dry cleaning/laundry service
- Elevator/lift
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- Total number of rooms - 130
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Available in some public areas: Free Wi-Fi , Free wired high-speed Internet
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Eat and drink
Guests are offered a complimentary continental breakfast.
An outdoor pool and a spa tub are on site. Other recreational amenities include a fitness center.
To make requests for specific accessibility needs, complete the "Special or Accessibility Requests" section of "Trip Preferences" when you book your hotel.
- Accessibility equipment for the deaf
- Accessible path of travel
- Accessible bathroom
- Roll-in shower
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The fine print for SpringHill Suites Phoenix Airport/Tempe
When you arrive
Check-in time starts at 3 PM
When you leave
Check-out time is noon
How you can pay
You need to know
Extra-person charges may apply and vary depending on hotel policy.
Government-issued photo identification and a credit card or cash deposit are required at check-in for incidental charges.
Special requests are subject to availability upon check-in and may incur additional charges. Special requests cannot be guaranteed.
We should mention
The property has connecting/adjoining rooms, which are subject to availability and can be requested by contacting the property using the number on the booking confirmation.


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When working with tabular data, it is nice to be able to see as many columns as possible. If the table is the only widget on the page, then you can let the table expand and the viewport will scroll. However, this will not work if you need to display multiple tables along with other modules in a more complicated arrangement. Since traditional, fixed width layout is not acceptable, this led to the creation of Page Layout which supports fluid layout of multiple modules on a page.
(Click the screenshot to play with this example.)
Page Layout provides fluid layout for modules arranged either in rows or columns. Each row or column contains one or more modules. Each module contains an optional header, a body, and an optional footer. (A previous incarnation of Page Layout supported arbitrary layouts via nesting, but this turned out to be way too slow.)
You can set the size of each row or column and the size of each module within a horizontal list or vertical stack. Since the layout is fluid, all sizes are specified as percentages of the available width or height. You can also set the minimum supported width and height of your layout (in em's), to ensure that none of the modules on your page shrink too small.
Modules can be collapsible. A single module in a row (or a module in a vertical stack) collapses vertically, folding up so only the module header is visible. A single module in a column (or a module in a horizontal line) collapses horizontally into a thin bar which can be clicked to re-expand the module.
Individual modules can be a fixed size, managed by CSS. However, this is an edge case, and will not be discussed in this article. Please refer to the examples for details.
Page Layout also supports a page header and page footer which span the width of the page. These are assumed to be fixed height containers.
Page Layout has three modes:
This is the default. The layout is adjusted to fit the viewport. Each module has a vertical scrollbar if the content is taller than the allocated space. The viewport scrollbars only appear if the viewport is smaller than the configured minimum size.
The layout's width is adjusted to fit the viewport, but each module's height expands to show all the content. The viewport's vertical scrollbar appears if the layout is taller than the viewport.
This mode automatically takes effect if there is only one module on the page.
Fit to content is used if the content is not as tall as the viewport. Otherwise,
fit to viewport is used. This is especially useful for a module with controls in the footer, because the controls will stay close to the content instead of being stuck at the bottom of the viewport.
The layout is specified in the markup by attaching classes to the appropriate divs, so you can continue to build the contents of each module the way you normally do.
For a row-based layout, the structure is:

...

...

...

...

...

The page header and footer are optional.
The visibility styles are removed once the layout is ready to be displayed. This avoids displaying the raw contents while the page loads.
To transpose to a column-based layout, simply change
layout-module-row to
layout-module-col. Note that you cannot mix rows and columns.
You can stack as many rows or columns as you want, and you can stack as many modules as want inside each row or column. Of course, if you put too much on one page, the modules will be so small that nothing will be visible! (For efficiency, the layout algorithms do not degrade gracefully. Caveat emptor.)
To set the height of a row or a module inside a column add
height:N% to the class, where N is a positive number. To set the width of a column or a module inside a row add
width:N% to the class.
To change the mode to
fit to content, add
FIT_TO_CONTENT to the class of the main body div (
layout-bd). If you want to avoid the
single module behavior, add
FORCE_FIT to the main body div's class.
Modules that collapse vertically simply hide the body and footer. The elements for collapsing and expanding both go inside the module header. Here is an example using buttons:

 ... <button class="layout-vert-collapse-nub">↑</button> <button class="layout-vert-expand-nub">↓</button> ...

Modules that collapse horizontally are replaced by a thin strip that serves as the expand button. Here is an example of collapsing left:

→

 ... <button class="layout-left-collapse-nub">←</button> ...
 ...

To collapse to the right, replace
left with
right in the above CSS classes. (Page Layout does not actually make any distinction between collapsing left or right, but the classes are useful for styling.)
Modules can be collapsed or expanded programmatically by using the API:
toggleModule, and
moduleIsCollapsed. All four functions require that you pass the div containing the module, i.e., the one that has the class
Once you instantiate Page Layout, it immediately begins managing the modules on the page, so you don't have to do much. Page Layout automatically reflows the layout when the window is resized or the text size is zoomed. However, you must notify Page Layout when an element on the page changes size. Simply call
elementResized and pass the element that changed. You must also notify Page Layout if you add or remove modules, by calling
When displaying a widget that manages its own scrollbars, e.g.,
Y.DataTable, you need to notify the widget when the module is resized. Page Layout fires two events:
beforeResizeModule and
afterResizeModule. The plugin for DataTable shows how to handle these events. Before the module is resized, reset the height to auto. Afterwards, set the height to fit the module.
Nice, I'm still using YUI2 Layout Manager in a big project that I recently migrated to YUI3.
Definitely going to have to try and play with this some time.
That's really cool, thanks for sharing!
Now to complete the picture, if only the columns could support resize…
If you set an element (row/column/module) to be fixed size, then you could attach YUI Resize to the element and then call PageLayout.elementResized() during the drag operation.
Page layout always looks children from body tag. Is there anyway to configure it so it always do page layout from given node ?
Since PageLayout takes control of the entire page, there isn't really any point in adding extra layers of DOM. Are you trying to use PageLayout for only part of the page?
I have mojito application which gives default view a div.
and I have to insert my mark up inside those divs.
I am also using Mojito parent child hierarchy for templating.
Well I have mojito app where I am using parent child relationship for templates. Mojito gives default view which is a div and I want to put PageLayout inside that div.
I don't think Mojito forces you to be inside a div, but to avoid it, I think you would have to maintain your own version of HTMLFrameMojit.
I added a "body" configuration option to PageLayout, so you can specify the element which contains the layout-(hd|bd|ft) elements. This enhancement will be in the next gallery CDN push.
Thanks John!
i'm a newbie to YUI and have been trying to add resize functionality you mentioned
>>If you set an element (row/column/module) to be fixed size, then you could attach YUI Resize to the element and then call PageLayout.elementResized() during the drag operation.
I have a simple Layout
Left | Right
Layout is based on your demo code…
I am a fixed module header
I am a fixed-width, fluid-height module body that scrolls if needed
I am a fixed module header
I am a fluid-width, fixed-height module body that scrolls if needed
Javascript code…
gallery: 'gallery-2013.01.16-21-05′
}).use('gallery-layout','resize', function(Y) {
"use strict";
var resize = new Y.Resize({
node: '#left',
handles: 'r'
var pl = new Y.PageLayout();
resize.on('resize:resize', function(event) {
The handle appears to the right of the screen, not between the 2 panes as I would have expected.
Can you help me detect what i'm doing wrong ?
Can you put your code on jsfiddle.net? It's possible that Y.Resize is confused because PageLayout uses floating to help position the modules.
Sorry for the delay in getting this to you
The resize handle has position:absolute and right:0, and somehow this causes it to appear at the right edge of the viewport instead of the right edge of the element you are trying to resize. Unfortunately, I can't figure out why.


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text:
Launchpad Records are taking off
Back in 2004, following the release of Wiley's debut album Treddin' on Thin Ice and Dizzee Rascal's semi-seminal Boy in Da Corner the previous year, a young grime fan named George Quann-Barnett wrote a handwritten letter to XL Records asking if there was any way he could be involved in working for the label, "In hindsight" he tells me, "I should have realised that I wasn't really going to get anywhere at 12-years-old, but the music business was something that I definitely wanted to get involved in".
Fast forward to 2012 and George now works co-running the label Launchpad Records with his business partner Louis Serrano as well as managing Manchester's grime and hip-hop prodigy Blizzard, whose rap battle with teacher Mark Grist went viral and became a Youtube sensation earlier this year. Getting to this point in his career has taken a combination of grime's entrepreneurial spirit, some good fortune and a lot of old-fashioned hard work but what really got the ball rolling was some vital help from a very unlikely source.
In 2010 grime legend Wiley and his manager tweeted advertising the chance for fans to get involved in the video shoot for his upcoming single Electric Boogaloo. George travelled down to London from Skegness hoping to meet Louis after talking to him on the internet "about music and whatnot". Louis was unable to make it, so George immersed himself in the video shoot, talking to the film crew, the cast and Wiley's fellow crew members, J2K and Manga.
By the time Wiley arrived, he had been told that George had travelled over 150 miles to get involved in the video shoot and vowed to repay him for his efforts, "He gave me his number and told me to stay in touch. A few days later I rang him saying that I wanted to get involved in the industry in some way, he said I could help him with A-List Records [Wiley's label]."
Soon, George and Louis were running the social networks for A-List Records, and promoting the label online. George and Louis decided that they wanted more, George tells me "there was something lacking for myself and Louis, so we decided to form our own record label: Launchpad Records". The early days of the label were a struggle, by their own admission neither George nor Louis really knew what they were doing, but they were keen on getting as many demos in as possible in order to get their first release under their belts. W
hen Wiley found out that George had been using the grime star's U Stream account to promote Launchpad Records he wasn't happy, but called Louis to ask about their plans for the label. "We told him that we didn't have our first release sorted but we wanted to get something out asap, he told Louis that he wanted to go with us for our first record under one condition, that we had to have it out on iTunes and all other retailers the following Sunday".
Less than 24 hours later Wiley had sent them the beats and vocals for The Radio Kid, the song that was to become the first Launchpad Records release. The Radio Kid was played on Logan Sama's Kiss FM grime show the very next day and all of a sudden Launchpad Records was go. "That week was crazy" says George, "the single was played on Mistajam's show, Westwood's show, Radio 1, there was a Sun feature and we seemed to be getting interviewed and featured left, right and centre".
The Radio Kid ended up hitting number seven in the Electronic Chart and 165 in the official chart, this was followed by Joombi, a second Wiley track which proved equally successful for the team. After the release of Joombi, Wiley took a step back from Launchpad and became an A&R for the label, rather than releasing any more singles. Importantly, Launchpad now had two successful singles out, and suddenly they were being taken a lot more seriously.
Since then, Launchpad has released music from Roll Deep's Manga, Scratchy and J2k, given us Dexplicit's Pull Up Riddim, a furious eight-bar rally featuring grime legends Big H, Big Narstie and Durrty Goodz as well as Toronto grime MC Tre Mission's Maxin' Everything EP. The label also helped Manchester MC Blizzard achieve a top 20 in the itunes Album Chart with his EP Sooner than Never, and a number three in the Single Chart with Neckbreaker, the first release off the EP. You can also hear their latest release Get Down, a single from Juxta, one of Launchpad's own producers on the radio now after it was premiered on Mistajam's show on October 8th.
So what's next for Launchpad? "We are working on a big Blizzard single" says George, "we're currently looking at the route we would like to go into in terms of production and features, we believe that artists shouldn't be forced into one lane, they should always be 100 per cent comfortable with the music that they make".
I, for one, am glad to hear that George and Louis are still as ambitious as ever and hoping to disprove the notion that grime doesn't pay, "we are looking forward to the future, we have some tricks up our sleeves that will hopefully change the way people see grime. We know that grime can chart, it's just about doing it right".
For more information about Launchpad Records visit facebook.com/LaunchpadRecordsTagged in: dizzee rascal, grime, hip hop, westwood, wiley
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text:
2 Comments to "New Video: Shawty Lo Releases The Video For 'M.V.P. Featuring Rocko & Gucci Mane"
did he try to diss talking about their fake jewelry? he has some nerve lol.
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Happy new year everyone!
I received a beautiful story from a woman named Maria about a child named Thomas who was born with a heart condition that keeps him in and out of the hospital. Being fed through a tube, he has displayed a willingness to live to be with his older brother and sister. So through the holidays it took a little longer to get a hold of them as the family was in the hospital with Thomas, but I'm so glad I waited it out as they are definitely deserving of the Giving is Awesome event. Because of Thomas' amazing determination and his family's love, I know our portrait session will be beautiful and also very meaningful to me and hopefully to everyone else.
Thanks again to Maria for introducing me to this beautiful family!
That is awesome!! What a great choice!! :) Prayers for Thomas and his selfless family!(01.04.10 @ 03:09 PM)
NEMA Photography:
That's great! Yes indeed, it will be very meaningful to all! Have a wonderful shoot with Thomas and his family.(01.04.10 @ 03:42 PM)
I have joined up for Giving is Awesome, a worldwide photographic giveaway to a family who deserves amazing photographs.
I'm giving $1000 worth of prints/albums to the winning family and the person that nominated them will get a free session from me (valued at $175) as well.
How this works is you nominate a family who deserves photographs. Maybe they are going through some trying times, or they have given so much to others selflessly, or they just have really bad pictures on their wall, haha just kidding.
To nominate others, email me at firstname.lastname@example.com with a great story! The nomination window will be open until December 21st and I will pick a winner on December 23rd. This is a great gift for deserving people, so please spread the word about this to everyone in San Diego.
Here are some portraits that I have taken recently.
November 22, 2009 // portraits / sneak peek
I got referred to my client Jennifer (or Da for short, get the title now?) by her good friend Be and I knew that she wanted some stylish shots for her own family. We headed out to the convention center in downtown San Diego and we got to the portrait making!
Teaching kids how to be cool early.
Jennifer Phanhthaly:
Great job Chaz!!!!!(11.16.09 @ 04:42 PM)
tracy kinnaman:
thats cute(11.22.09 @ 10:50 PM)


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Go to Admin » Appearance » Widgets » and move Gabfire Widget: Social into that MastheadOverlay zone
Updated at 7:45 p.m.
A 1.5-acre fire that began shortly before 1:30 p.m. south of Pagosa Springs was considered fully contained by about 4:15 p.m. Monday.
The fire is believed to have started with a lawnmower and burned a small ATV trailer, said Christina Marquart, Archuleta County's deputy director of emergency management. The fire was located off of County Road 500 (Trujillo Road), near mile marker 17.
County crews will continue to monitor the fire over the coming days until it is deemed out.
For more information on the fire and the current fire danger in Archuleta County, see Thursday's issue of The SUN.
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Walks through moving a typical Joomla! 1.5 site to Joomla! 2.5 using two different tools, jUpgrade and SP Upgrade, including migrating a custom template.
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With about 75 percent of the squad's scoring coming from six freshmen in the contest, Wesleyan took control in the second half and pulled away from Conn. College for an important NESCAC victory Sat., Feb. 6, 79-70.
The win improves the Cardinals' chances of earning a NESCAC playoff spot for the first time in four years and gave the squad double-digit victories for the first time since that last NESCAC playoff season in 2004-05. Wesleyan closes out the regular season with a road NESCAC weekend beginning Fri., Feb. 12 at Bowdoin and concluding at Colby Sat., Feb. 13. A victory in either contest would put the Cardinals in excellent shape for the post-season. The contest at Bowdoin will be webcast and a link to watch the game is posted on the athletics home page under "Webcasts."
Against Conn. College, Wesleyan scored nine straight points over a three-minute span to extend a 50-46 lead to a 59-46 advantage with 6:45 remaining, and never let the Camels get closer than six points en route to victory.
Wesleyan got 19 points from its top scorer Shasha Brown '13 (#5, main photo), leading a pack of newcomers who totaled 59 of the Cardinals' 79 points.
Wesleyan fell behind briefly a few times in the first half but for the most part held the edge and led 33-27 at intermission. The Cardinals extended the gap to 50-41 with 12:20 to go but five in a row by the Camels narrowed the difference to 50-46 at the 9:30 mark. That was as close as the score would get as Wesleyan went on its nine-point run and still led by 13, 63-50 with five minutes to go. A pair of Conn free throws got it to 71-65 with 2:07 left. The Cardinals scored on each of their last five possessions to seal the triumph as Brown had a basket and went 4-for-4 at the line while Greg St. Jean '13 (#10, photo insert upper left) hit a pair of FTs and Jason Mendell '12 added a bucket. St. Jean finished with 12 points, Mike Callaghan '13 had 10 and Dave Fogel '13 netted 13 to support the frosh parade for Wesleyan.
(photos courtesy of SteveMcLaughlinPhotography.com)


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I have already sent a statement to the government of Russia that we are ready to consider buying in the next few years Su-35 fighters to modernize and enhance our defense powers."
Venezuelan President Hugo Chavez
He added that the issues of security, defense and the development of the country should be the priority for the government of Venezuela within the frames of the national independence provision.
The Sukhoi Su-35 is a single-seat, twin-engine and super maneuverable fighter jet. The aircraft has thrust-vectoring capabilities, and caneffectively engage several air targets simultaneously using both guided and unguided missiles and weapon systems.


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Peregrines on the Clock Tower
March 2010
March update
The peregrine camera has just been reinstalled on the roof.
Despite the building works going on here we have managed to get the camera up on the roof. With a little ingenuity and the construction skills of a colleague in the Department of Industry the camera has been mounted on a purpose built metal support.
All being well the camera will be live by the end of next week.
Conserving Government Propaganda prints from the Great War
Historic Photography Project (Esmee Ffairburn)
Linking Natural Science Collections in Wales
Peregrines on the Clock Tower
Research in Norway and the Barents Sea
St Fagans National History Museum Making History Project


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The surface and surface pro are nice products
The surface and surface pro are nice products
It's Windows 8 that let's the side down TBH as with the Surface tablets Microsoft's had hardware that was on a par with Apple IMO. Ironic really given that Microsoft's main focus should be software! I've just installed Windows 8.1 upgrade one and it's filled me with disappointment at how little has changed I guess we'll have to hold out for Windows 9 until Microsoft get round to fixing the issues introduced by Windows8.
Last edited by flyinghaggis; 12th April 2014 at 07:22 PM.
Windows 8 has definitely improved a lot (I've been using it since dev previews became available) and the core OS really is a step up but the polarizing UI is what it will be remembered for and I'm with the majority on that one; it's a cumbersome mish-mash that's not really a good fit for mouse or touch screen users.
Here's hoping Windows 9 follows the good/bad trend!
EDIT: so much for me being out of the thread eh?
I've started to use it again just by pushing the windows key and typing the name of whatever I want. Actually makes me work quicker than in 7 but it is still cumbersome navigating through menus to find things. Confusing for everyone I think, unfortunately!
I sometimes wonder if MS actually used Windows 8 themselves before they released it!
Last edited by flyinghaggis; 12th April 2014 at 09:09 PM.
flyinghaggis (12th April 2014), synaesthesia (12th April 2014)
Lol love it
I'll give you my alternative list of reasons why a rational person would buy Apple products:
1) High build quality combined with great industrial style.
2) OS X is a Unix-based OS with a very good GUI and excellent software (iLife, iWork, FCPX, Logic Pro, etc.)
3) Ease of visiting a local Apple Store (or Apple Care centre) for purchasing and support
4) Apple makes their product line easy to understand for the non-technical person making purchasing decisions less confusing
5) Full vertical integration of Apple products
For quite a few people any or all of the first four are enough reason for them. For me, it is the the 5th reason that seals the deal.
Good build quality and industrial styling can be found from some other manufacturers or product lines besides Apple. Microsoft and Samsung both have stores you can visit now for support, and many Linux distros have great GUIs and some great software (not as wide a selection as OSX of course). But, most manufacturers fail in comparison to Apple for number four, although there are a few smaller companies that do get it.
However, none of them provide the level of vertical integration that Apple do, and this does make a difference. Microsoft are starting to get this, and Samsung are now doing their best to copy Apple in this regard too. If you can't beat them, join them...
ICTDirect_Dave (13th April 2014), mac_shinobi (13th April 2014)
Crucial 16 gb ram kit is about £114 and a reasonable ssd such as a 256 gb samsung 840 pro is aprox £170
Taking into consideration I paid about £600 for it at the time and on top of that just before the first year ran out paid £140 for apple care which touch wood I don't have to use
All I am saying is they could have used a 7,200 rpm hdd ie 750gb wd black and the crucial 16gb ram kit
I will soon upgrade it but want to wait until apple care expires which I believe is around August this year and will then follow the ifixit guide to a T and can then use the mac mini more effectively
The reason for 5,400rpm drives has more to do with the physics of minimising heat in a very small internal space. If 7,200rpm drives are used they generate more heat that must be dealt with. This would require larger fans or increasing the rpm of the fans, which would either increase the size of the computer or make it noisier. SSDs solve that problem, but large SSDs are expensive and replacing a 1TB HDD with a 128GB SSD in the base model wouldn't suit a lot of people. As the price comes down, I expect that's what you'll see.
As for RAM, that's the cheapest and easiest upgrade, I wish I could order one without any RAM and reduce the cost rather than Apple putting 16GB as the default.
Last edited by seawolf; 13th April 2014 at 02:46 PM.
Optical drives make very little sense in modern PCs anyway since most things are downloadable now.
stopped selling 7,200rpm HDDs due to lack of demand and Western Digital don't make many 7,200 rpm HDDs either.
Switching to hybrid hard drives (SSHDs) wouldn't make sense for Apple, because they would rather sell you a Mac with a significantly faster 'Fusion Drive' instead (128GB SSD + 1TB or 2TB HDD).
20%-30% this year, I expect we'll see the next Mac mini (or perhaps the one that follows that) with PCIe SSDs - like the MBA or rMBP - and soldered on RAM. Once that happens, Apple can make the Mac mini a bit smaller since it's still the same size as when it came with an optical drive.
There's also the additional heat to deal with as @seawolf mentioned.
The only Mac with a 7,200rpm HDD is the 27" iMac.
Prettiness comes at a price. (re crap hard drives). SSD's are a blessing for Apple.
SSDs are a blessing for anyone who uses them, not solely Apple.
mac_shinobi (14th April 2014)
Obviously, but the point was it saved Apple having to continue to nerf performance by using crap hard drives.
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A History of Excellence in Choral Performance
The Bach Society of Dayton brings the art of great choral singing to Dayton with a regular season of four concerts. With a repertory that spans seven centuries, the Society presents one choral masterwork each season, such as Mozart's Requiem or Grand Mass in C Minor, and J. S. Bach's Magnificat, St. John Passion, or Mass in B Minor.
The Bach Society of Dayton was established in 2002 as a successor to the former Dayton Bach Society, which was founded in 1974 and disbanded in 2001 upon the retirement of the founding director. The choristers chose to continue the Bach Society, and seven chorus members were chosen as trustees of the new organization. John Neely, Associate Pastor for Music at Westminster Presbyterian Church in Dayton, has held the role of Music Director since 2002. R. Alan Kimbrough continued as accompanist. The ensemble presented its inaugural concert on December 8, 2002, featuring the Kettering Children's Choir as guest artists.
Since 2002, the organization has quickly established a reputation for inspiring performances and has been awarded numerous grants, including five from the Montgomery County Arts and Cultural District, four from the Ohio Arts Council, and two from the Miriam Rosenthal Memorial Trust Fund. The grants have supported innovative projects involving young singers, the commissioning and premiere of a new choral work with brass and organ, the collaboration with Gem City Ballet in performing a new ballet by Peter LeBreton Merz, set to J.S. Bach's Magnificat and a partnership with the Marian Library at the University of Dayton Other recent collaborations include the 2010 performance with the Dayton Philharmonic Orchestra and Chamber Chorus of Monteverdi's Vespers of 1610, the 2010 Project Sing with The Muse Machine, the 2011 performance of J.S. Bach's St. John Passion with Cappella, the college preparatory group in the Kettering Children's Choir, and the 2012 home-and-home concert collaboration with the Central State University Chorus.


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September 19, 2012
Keith Ridgway Interview
Regular readers of this blog will not need to be reminded that I think Keith Ridgway's latest novel, Hawthorn & Child, is one of the best books of the year, perhaps of many years – that, in workplace appraisal terms, it stands head and shoulders above its peers. Having spent far too much time on Twitter urging people to read it, I've been pleasantly surprised that almost all the responses I've seen have agreed with me. As I think this is not the first great book Ridgway has written, I jumped at the opportunity to ask him about his work.
How did the novel find its form? When and how did it become clear to you that this set of stories was a book predominantly about Hawthorn and Child? And when that realisation came, did the writing then get easier, or harder? Did it feel like you were heading for a destination, or still feeling your way?
I wanted to write a book of fragments. Many small fragments that would be impossible to put together – like a shattered novel in a bag. I didn't even think of it as a novel, just a book. There were working titles like 78 Pieces Of Shit, and 54 Demonstrable Fictions. At some point it became 38 Marching Songs. Then just Marching Songs. Eventually it became Hawthorn & Child. In all that reduction there was a failure to do what I'd wanted to do. Fragments kept on fitting together, cohering in a really annoying way, wanting to become stories. So I went from 78 to 8. That's all loss. But the tension between what I wanted and what I was doing became interesting in itself. H&C is, without being, I hope, too maudlin about it, a book about the failure to write a much better, much more interesting book. At some point I fixed on these two detectives – who came to me originally just as comic ghosts, turning up repeatedly and ineffectively to haunt the scene of some catastrophe or other – and I recognised myself – the writer – in their feeble interventions. And then I realised that I was writing a police novel. Which was a shock. But at least then I could play with that. And the writing became a little easier I suppose, though of course it never really does, you just shift the difficulty slightly. As for a destination – no, I never had one. That much at least I never lost. Or found. Or what have you.
You've spoken before about resistance to telling our days and lives as stories, and of our addiction to narrative. Yet most of the stories in Hawthorn & Child have strong narrative drive, so they satisfy this addiction up to a point. Are you lulling the reader into a false sense of security? Do you want them to want to know if Hawthorn is going to be OK?
I don't know what I want. I suppose I want them to feel something of what I feel – that stories are subjective creations, personal things. That there isn't really anything like a shared story – or a shared experience – in reality, and that novels for the most part lie about this. The writer of a novel is assumed, and assumes herself, to be an authority on the world of her novel. And I dispute that. Certainty is the enemy of understanding. And I want what I write to be attempts at understanding. So I am filled with uncertainty about everything that seems to happen in anything I write. It's very difficult to get that on to the page without either inducing a sort of crisis of perception for myself, or worse, boring the reader. So I'm not lulling, there's no 'false'. I don't know what's going on. I want to know if Hawthorn is going to be OK. But I have no idea whether he will be or not. Or whether I really care. I'm not sure I like him very much. He's sort of pathetic. But the important thing for me, as the writer of this, is that he feels like he might be a real character, in the sense that he embodies emotions and attitudes and failures and neuroses that we are familiar with. And he's a creep. A self-pitying creep. Which is what most of us I think fear that we are.
Hawthorn & Child begins and ends with chapters that foreground the relationship between the two detectives (I've heard a couple of people compare them to Bill James' police procedurals). I could have read a whole book just of the dialogue between Hawthorn and Child. Do you read crime fiction? Do you 'prepare' characters by writing more about them and then cutting away? How well do you feel you know them, and the other characters in the book?
I do read crime fiction. Usually in binges. I enjoy crime fiction a great deal. Or two thirds of it. By which I mean the first two thirds of each book. The last third of a crime book usually pisses me off. I love the exposition, getting everything set up and into position, and then the cranking out of the mechanics that are going to get the thing to dance. But in the last third it seems to always end up in a sort of badly choreographed dogfight and the pacing goes haywire and there's so much chasing after loose ends that it ceases to have anything to do with our experienced world and becomes more a sort of fantasy of resolution, a kind of neurotic tidying of life's mess, like sport.
I don't 'prepare' characters, but I do write much more than you'll read. I cut a lot. But this happens when I'm just trying to write. I don't really do preparation in the sense I think you mean. I might make some notes – but just very general things. Child wears glasses. Hawthorn's brother is a taxi driver. That sort of thing. As for how well I know them – I don't really know them at all. Or, no better than someone who's read the book a few times perhaps. I'm not holding back information – other than locations maybe. I know where Cath goes to school. I know where the shooting in '1934' happens. I know roughly where Mishazzo's office is. But anyone reading the book can imagine those things for themselves. I have ideas about some of the characters that aren't in the book. But so will any reader. I don't know anything.
Your first two publications, Horses and The Long Falling, are more traditional narratives than the later novels. Since then the structures have become bolder and there's a greater presence of the uncanny. What do you attribute this to? Were you shaking off influences or Irish traditions with your early work?
This is an example of story telling isn't it? I've no real idea what I was doing in those books. I'd only be guessing. But Horses is very much a bit of traditional Irish rural gothic with the stock characters and the silly plot, and I think it's a piss-take. I remember writing it, and I remember that I wrote it very quickly, and that I really enjoyed it. And I've never written anything as quickly since, nor enjoyed writing anything as much since. I haven't looked at it in ages though and don't feel responsible for it.
The Long Falling is different. It was written before Horses, and it seems terribly earnest to me now, but I have a sort of love for it. I was a different person when I wrote it – young and quite unworldly – and it seems to me at this distance that it was a brave novel for me to write. I like that it was my first book and yet I made these choices : it is largely told from the perspective of a middle aged woman; the character closest to myself – young, gay – turns out to be a bastard; it has lots of gay sex; it speaks very directly about the X Case, and it's angry about that; and it foreshadows, to some extent, the suspension of kindness that came with the boom years. I wanted to write a book about all of that. And I wrote it in the way I found that I could – conventionally, without much thought about narrative or structure. But again, it was written by someone else, and I admire him – naive little creature – but I can't really see the connection to me.
The way my writing has changed over the years comes down I think to dissatisfaction with what I've done before. I felt after The Long Falling that it wasn't true. Which is a dumb thing to say about fiction. But I felt that it was faked. Forced. Contrived. The next novel I wrote – The Parts – was an attempt at not-faking. It is almost entirely fake. It's a terrible book. And it so shocked me that I had written it that I completely stopped what I was doing and tried to start again. And Animals feels to me now like my proper first novel. I began to use what Bolaño talks about – memory and ethics. I stopped trying to write novels and just wrote, and wrote out of myself, relying on my own experience and perception, and shaping something that I feel is true.
Hawthorn & Child is a composite novel in stories; Animals began as a short story. Do you find the short form more satisfying than a long single narrative? What effect, if any, did publication in The New Yorker – the holy grail to many practitioners – have on you as a writer of stories?
As I said above – I try to just write. And what I'm writing tries to find its own length. I don't find any form satisfying – or no more or less satisfying than any other. And I think the distinctions between various forms – the short story, the novella, the novel – are being blurred, particularly with the emergence of digital media, and I think that's a really interesting thing for writers, and is something we should welcome and enjoy. I write things sometimes that are too short for publication. Or which, if I put them aside to collect, wouldn't reach a reader in years. And so I put them on my website. And I love that. That I can wake up in the morning and write something I like but which is finished almost as soon as it's started, and I put it on the website and by afternoon it has its readers. It's the most satisfying form of publishing in a way. And no money changes hands. There was a piece that was originally in H&C called The Spectacular, which was too long for The New Yorker or The Paris Review or places like that, but not long enough to put out in book form on its own. And I persuaded Granta to put it out as a digital only thing. For 99p. Like a single that precedes an album. And that seemed to work very well. So different ways of doing things are opening up, and I think, I hope, that will change the way writers write.
The New Yorker pay well, and I got to work with a really wonderful editor there called Cressida Leyshon. So that was great. But I don't really get that Holy Grail thing. Cressida's editing on that one section of H&C I think had a ripple effect on the rest of it. Nothing structural, just at sentence level, word level. I went through the whole book again having borrowed her eye as it were, and just tightened everything up a notch. As to what effect that's had since – you learn from a good editor. You can hold on to their perspective to some extent and return to it.
A sense of place is strong in your work, either named (Dublin in The Parts, London in H&C) or unnamed (in Animals). Is setting important to you? You wrote about London when living there for ten years; now you're back in Ireland. Where will your fiction go next?
I react to what I'm surrounded by. Maybe I don't have a very good imagination. But I think of both Animals and H&C as London novels, though yes, it's not named in Animals. I'm back in Dublin now. So that will bubble up, I have no doubt. Though before I moved back here I had planned a novel set largely in Ireland anyway – though not much in Dublin. And that's still the plan. But my writing is for the most part about filtering my own experiences and perceptions through whatever set of assumptions I'm currently making about human beings and the state of the world, so it's what's to hand that I use.
I've been reading Witold Gombrowicz's Bacacay after reading your praise for him. You said "he's the only writer I know of who has come close to putting a stop to literature." Can you elaborate? And explain too why you've "gone off Beckett"?
I'm not sure I can elaborate. Literature is all failure. And is therefore without limit. He is so good that he comes close to success. On his terms of course, and for readers to whom those terms make sense, seem right, ring true. Maybe I mean that he came close to putting a stop to my literature. I read Cosmos first, after I'd written Animals. And I just thought – Oh. So that's what I was trying to do. It is unnerving to read books that feel better than my best possible hopes for my own books. He seems to have been in my head. And he seems to have looted all the good stuff. And he seems to have written it all down – before I was even born – with the sort of direct, honest, fiendishly wicked, clarified insanity and utterly cold conviction of an Old Testament prophet. And he's hilarious. And he was sexy, and intricately intelligent and well read and cunning. And he led an interesting life. I hate him really.
I don't remember saying that I'd gone off Beckett, though it sounds like the stupid sort of thing I would say. Someone who goes off Beckett goes off. I love Beckett. Though it does annoy me a little when people (I think I mean reviewers) latch on to that and talk about my writing in the light of it. And it's invariably people who have an idea of Beckett that is superficial and inaccurate. The Beckett stereotype. I'm not that interested in the plays. It's the fiction that I love, though it's been a few years since I've read any of it. But it's the warmth and the funnies and the subversion that I love. And I love the man, if that's not creepy. He was a wonderful person, by all accounts. That's really rare in writers. There is a tiny snippet of film on YouTube of him talking. And you get the south Dublin accent that some people in my family have, and it's very clear, and you get a real sense of kindness from him, and honesty, integrity, even in just a few seconds, talking about a play somewhere. And I find it genuinely, peculiarly, moving.
Can you recommend an overlooked book or author to readers of this blog?
Witold Gombrowicz.
September 12, 2012
Zadie Smith Interview
Zadie Smith's new novel NW was – mathematically – one of the longest awaited of the year, and its mixed reception surprised me. For every 850 words of closely-argued praise, there was a crowd of cavils by a normally perceptive critic. I had expected critical near-unanimity on this one, with the only disagreement being which section was best. Anyway the attention paid to the book affirmed that any new work by Zadie Smith is a publishing event, and this time, in my view, a literary event too. I was grateful for the opportunity to ask the author some questions about NW and her writing.
(You can buy any of the books mentioned by Zadie Smith from the excellent independent bookshop Bookseller Crow by clicking on the images below.)
NW is a novel in varied parts, about the lives of very different people in one area of London. Did you always know that their stories would be part of something larger? How did the novel find its form?
I didn't begin with any stories, really. Just this single idea of a girl coming to the door. The novel found its form slowly, over a long period. I wrote the first lines almost nine years ago. And that's really how it was built: sentence by sentence, hoping the shape would emerge by itself. But once I had the idea of the girl coming to the door, I started to read around the idea of guests and hosts… and there's sort of a long philosophical history to those ideas, and inevitably they ended up being a part of the book, and shaping it. And from "Who gets invited?" I went to "Once you're invited, what kind of hospitality is ideal?" – and that gets you into thinking about utopia and dystopia… And those ideas ended up being another room in the house of the book. It's hard for me to explain, but I guess as a general rule I find the characters subconsciously, but then the conscious part of a novel are these larger ideas. The whole trick for me is not to let the ideas overwhelm that subconscious work, which is where I feel the real life of the thing is. But perhaps for 90 percent of readers all the larger framework goes unnoticed and all they see is a lot of uncouth Kilburn people, talking… I can never tell. It doesn't really matter. I think that's just the risk you take when you shape a novel round the present. People distrust the present – it looks formless, unserious. They want the security of the past, and of familiar forms.
Much of the strength of the book lies in the way it reports communication between characters, particularly those of different social and cultural backgrounds. Is NW a state-of-England (or part of it) novel?
I find that idea really boring: 'state of the nation'. It's one of those phrases that people who secretly dislike fiction use to pretend a novel is just a spring board to enter into some other, less embarrassing discussion: a political analysis or a sociological portrait. I really don't presume to know the state of England. I'm a fiction writer. I'm interested in trying to find ways to depict experience through a medium that can never succeed in depicting experience fully: language. It's a fool's task, but I know that the pleasure I have as a reader is watching different writers attempt it. And this is just my attempt, to add to all the attempts by others that have come before it. Of course some of that experience involves 'having been born and bred in England,' but a sense of place is just one part of a larger concern, as it is with all novelists, no matter where they were born. How does language feel to hear and use? How does time feel? How can we know other people are real and not just projections of our own desires or fears? What does the thought of death do to us? These are the sort of vulgar, childlike question that novelists ask – at least, the kind of novelists I'm interested in. Because it's just so odd to be alive! And fiction is about that. I think all good novels are about "the state of being alive." Trying to make them act as national sociological descriptors isn't the worst crime in the world, but focusing on that aspect ignores the very particular linguistic thingyness of the form. To me writing is deeply irrational, idiosyncratic, because its medium – language – has so much ambiguity built into it. That argument that Alice and Humpty Dumpty have about the instability of meaning that's the epigraph of a million graduate dissertations… Language is the absurd bit of writing that can't be entirely suppressed or controlled by journalistic ideas like 'state of the nation' novels. Maybe the phrase, if it's used at all, is best used satirically, as Amis used it.
Sometimes it feels that in England and America especially there is this desire that the novel behave itself and exist as only a sort of mildly creative interpretation of the news. Faction. Solid, recognizable, like a TV sitcom written down. But a novel should have a little witchcraft in it, don't you think? It should be a little weird. It should try to do something that can only be done in this form, in language.
When reading NW, I thought of other books. London Fields (obviously), which is similarly controlled in its prose yet enacts the messiness of life even as it portrays it. Or Evan S Connell's Mrs Bridge, which like the 'Host' section in NW, makes up a whole life in short discrete scenes. Does the book have any direct literary inspirations or influences?
Hmmm… When I think of London Fields I think of White Teeth. And there the influence is direct. But nothing could have been further from my mind writing NW than London Fields… I see books in terms of their sentences and to me the sentences of White Teeth and NW are really from different planets! But this may be my own delusion. In the end, you have to defer to readers: you can't instruct them to see a sentence your way – they have to see it themselves.
Anyway, Mrs Bridge was certainly in there, though perhaps not as much as Roland Barthes' autobiography, Raymond Queneau's variations, and various books of epigraphs I was reading. I became envious of that numbered structure – and then it seemed to suit Natalie so perfectly, with her determination to march boldly into the future. Originally her section was in a sort of fractured first person. Everyone who read it hated it – me included. Then another writer said to me: "You're the only writer I know who can create no sympathy in the first person." I thought: that's right! When I write the pronoun "I", I think of myself and end up being incredibly cruel. I'm not sympathetic to myself, as it turns out. I need the she and he.
NW is on the one hand psychologically acute and strongly character-driven, but also experiments with form and content – it's littered with up-to-date cultural references, has typographical trickery and surprising appearances of the way we live now (such as a chapter made of Google Maps directions). Do these elements come easily? Or is "the culture doing strange things to novels"?
Oh, not so strange. You could find far, far stranger in 1918 or 1761. Nothing new under the sun. The novel has always been a weird form, full of oddities. If there's trickery in this one, I'm sorry for it: I genuinely wanted to try and get closer to reality, not to obscure it. I mean, look: a version of the most realistic novel possible right now would be the one that took into account the fact that for much of each day in the west, the consciousness of many of us is projected outwards into a 14-inch lit screen, and any thought we have constantly penetrated by news, trivia, gossip, adverts, glimpses of content, and email, always email. I can't figure out a way to do that, but some younger writer will. Not in the dull manner of 'putting emails in a novel' but some organic and genuine way of representing that reality. And stuff like that will always be called 'trickery' and accused of shallowness and then fifty years later it will be understood as pure realism. I remember David Foster Wallace saying somewhere that his 'real' life did not involve walking by a stream, pausing under an apple tree and having a deep internal monologue about the nature of the world – yet that's what his fiction teacher expected of him and it's true to this day that much contemporary fiction hangs upon what are actually quite unrealistic premises. But people still call it realism and think of it as completely 'natural,' not strange at all. To me it's a little strange.
The same goes – at the most banal level – for content. When I first started writing, people often asked why I insisted on this 'multicultural' cast. To them it was a publishing 'angle' or some kind of post-modern trick. Slowly you realize: these people live in an entirely white social world. So to them it probably is exotic, it is an angle. I had interviewers – especially abroad – congratulating me on the "trendiness" of my family, as if I had picked out a black mother and a white father for fashion purposes. But to me what's exotic is a world in which everyone is white. I've never lived in that world. Being mixed race is not some kind of gimmick: a third of the kids in my school had families like that, and nothing could have been more dull to all of us, more everyday. I remember, too, the shock of reading reviews that took it for granted that Willesden is a sort of piteous place to live, unutterably 'grim.' And if a character of mine isn't living in a four storey house in Hampstead their lives are also described as 'grim,' or brutally modern, or whatever. It makes you wonder: where do these reviewers come from? This is just bog standard London life I'm describing, the lives of millions. But perhaps the only 'moral' of my fiction is that one person's strange is another person's normal.
Your essay 'Two Directions for the Novel' attracted much attention, contrasting lyrical realism (in Joseph O'Neill's Netherland) with the 'alternative road' of Tom McCarthy's Remainder. Where do you place your own work in this context?
I don't really. The critic in me and the writer in me are two different people. The critic writes of what she would ideally like to read; the writer only writes what she can. Criticism is easy; fiction hard. I know what I'm doing when I write an essay. I have no idea what I'm doing when I write a novel. Fiction is a much riskier enterprise.
And then that essay is a polemic, and describes what I felt, at the time, to be an extreme situation in publishing. I think China Miéville – my Kilburn neighbour! – said recently that English fiction tends to privilege recognition over strangeness and alienation, and I think that has often been true. Personally I adore the recognition Jane Austen provides but I also love the strangeness of B.S. Johnson or Octavia Butler. In "healthy" times there's no need for the polemic: it's a wide church and both types of writers can exist perfectly happily in there. But it didn't seem to me to be a very healthy time. I think it's got a little better, at least from the books that I'm being sent. And the ideal – as I think I said in the essay – are those books that defy all categorization, that are great on their own idiosyncratic terms. I was describing two particular paths in the tradition of the novel, but what marks the most interesting novels is their absolute particularity. You can't pin them down so easily. What kind of a novel is Invisible Cities? What kind of novel is [Naipaul's] Half a Life? I'm afraid real writing laughs in the face of polemical essays. They were rare four hundred years ago, two hundred years ago, fifty years ago, yesterday – great books will always be rare. Lolita doesn't come around every day. Heart of Darkness doesn't come around every day. Most novels are just "good enough", and given that this is so, shouldn't they be welcomed in their full variety? Great writing comes in a trickle, not a flood. And we're not so drowning in riches that we can afford to dam up certain tributaries.
As for my own writing, I'm surprised to find I'm quite excited about the future, which I've never really been before. NW feels like my first novel in some ways, maybe because it's the first I've written as what my mother would call "a grown ass woman." So I'm just going to keep on shuffling down my own path, wherever it leads me. The next novel I have in mind is actually a sort of speculative fiction, set in the future, so I don't know where that lies along those two paths. I don't think I care!
As a reader, I've discovered that since becoming a parent, limited reading time means I'm much less forgiving of – or willing to continue with – mediocre books. Does parenthood have any comparable effect on writing? Are the short sections of NW an effect of this?
Sure. But that makes it sound purely practical. To me, the intense awareness of time that parenthood creates makes a different person of you, and necessarily a different writer. I hate waste of all kinds now. I hate padding. I want only essential things. A good analogy is party-going. I love to drink and I love to dance. I didn't used to need an excuse to do those things. But now it better be the best party that man has ever invented, otherwise I ain't going. Otherwise I'm not paying the babysitter, enduring the tears, texting to check the child hasn't died, and so on and so forth. The same logic works on the page. If I'm going to write it, it better be a necessary word. It better be essential. Because otherwise I could be hanging out with my family, which most days is about infinity times more enjoyable than struggling over a paragraph in the library.
Parenthood is also a central subject in NW. Is this something that came from the essence of the characters Leah and Natalie, or from a desire to write about something prominent in your own life?
I began the book five years before I had a child. That seems to be a pattern with me. On Beauty is about a marriage of thirty years standing, but at the time I had been married only two. I don't know the reasons. You'd have to ask a psychiatrist.
Can you recommend an overlooked book or author for readers of this blog?
I don't know if it's overlooked, but someone just recommended it to me and I'm enjoying it. It's got a great title, too: How to make love to a negro without getting tired by Dany Laferrière.
September 3, 2012
Zadie Smith: NW
In approaching this book, I've been wondering how to avoid reading it – and writing about it – as Zadie Smith's first novel in seven years, when it is, undeniably, her first novel in seven years. Such a formulation creates expectations of something massive, epic, exhaustively life-encompassing. Most of all it sustains the illusion that the author really was working on the book for all of the intervening period. This does happen, but rarely. Yet we know that Smith, after On Beauty (2005), had many other things to occupy her, not least becoming a parent. She has, perhaps to dampen expectations, called her new novel a "very, very small book."
NW is a small book – in page count, Smith's shortest novel yet. There is not a scrap of fat on it. But it unfolds, like an origami water lily, and contains multitudes. Indeed it is by making it such a small book – set in a few square miles of north-west London – and making us so intimate with her few characters, that Smith has created such a rich experience for the reader. After Hawthorn & Child, it feels like the second great London novel of the year (and yes, I did try Lanchester's Capital). It feels, in fact, like a refinement of White Teeth and a focusing of that novel's messy but charming potential, speaking of the encounters and fields of exchange that take place in a world city: even in part of it.
The window logs Kilburn's skyline. Ungentrified, ungentrifiable. Boom and bust never come here. Here bust is permanent. Empty State Empire, empty Odeon, graffiti-streaked sidings rising and falling like a rickety roller-coaster. Higgledy-piggledy rooftops and chimneys, some high, some low, packed tightly, shaken fags in a box.
These encounters are across social and racial boundaries, and show how people who share the same streets, and labour under the same governments, engage, or fail to. There are three main sections to the book, though the characters sometimes cross into one another's pages, to emphasise the point. Leah Hanwell anchors each end of the book. At the beginning ('Visitation'), she has just discovered that she is pregnant, when she answers the door to a young woman, Shar, who needs to borrow money urgently. Shar is garrulous, gabby, half-charming; Leah is more distant, at a disadvantage. Shar lives in the nearby Garvey House council block, where Leah grew up ("From there to here, a journey longer than it looks"). The friction of their exchange sets up a charge that runs through the book.
Leah lives with her husband Michel, from whom she has secrets, and their dog Olive ("ridiculous, adored"). Leah's character is cool, perhaps cold, and it is a notable achievement to convey this in prose as likeable and slinky as Smith's. Her ease of style and lightness of touch are there on every page, and she is very good on the internal uncertainties which paralyse us all yet drive our actions. She uses a scattering of textual styles and surprising inclusions – a chapter in Google Maps directions, a cacophony of workplace voices running down the page, one character's internal monologue proclaiming 'EPIC FAIL' – which reflect the wild diversity and modernity even of this one corner of the city. Crucially, she writes fluently about race: her characters have various ethnicities, but it is through others' awareness of their racial and cultural differences that abrasions and illuminations occur. Leah's mother, castigating her for lending Shar the money ("robbed on your own doorstep by a Gypsy"), places her trust in Michel. "You can't con his people so easy." ("All of them are Nigerian, all of them, even if they are French, or Algerian, they are Nigerian, the whole of Africa being, for Pauline, essentially Nigeria…") Leah's colleagues offer a passive-aggressive word of advice:
no offence, but for the women in our community, in the Afro-Caribbean community, no offence, but when we see one of our lot with someone like you it's a real issue. It's just a real issue you should be aware of. No offence.
The pleasure is that these brief phrases pack so much in, not only about those speaking – you can hear the very voice and tone in that last excerpt – but about their relationship to Leah, and touch too the book's wider themes. Leah herself is a fascinating character, resisting change ("why must love 'move forward'? What way is forward?") and seeing increasing disparity between her life and that of her oldest friend, Natalie, now a lawyer and a parent. "Overnight everyone has grown up. While she was becoming, everyone grew up and became."
The risk for an author in a composite novel like this is of frustrating the reader when cutting away from an interesting character. Here – and again comparison with Hawthorn & Child is inevitable – Smith achieved the rare feat of taking me out of a story I was enjoying, and making me enjoy the next one even more. In the second part, 'Guest', the book moves up a gear in its depiction of how people engage across divides. Felix Cooper is 32 years old and a charming man – no mean trick to make a former drug dealer the most likeable person in a book – and his story is the most perfect self-contained part of NW. He is an urban creature, who "had been to Wiltshire once and returned astounded." He has a series of encounters on his way to meet his sometime girlfriend, and former customer, Annie. He meets his feckless father Lloyd (one of the few family connections Felix has left: brother in prison, mum gone), an elderly neighbour Phil Barnes, and Tom Mercer, a posh young man selling a car. The awkwardness of Tom's inept negotiations with Felix – an unease which goes beyond the generic discomfort of a middle-class householder struggling to make conversation with the tradesman – is a comic highlight of the book. Much more brittle is his meeting with Annie, a privileged but damaged young woman, one of those who "could fall and fall and fall and still never quite hit the ground."
Smith breaks the story again, and takes a bigger risk, in the third section, 'Host', which occupies most of the second half the book. This gives us a scattered history of Leah's friend Natalie – born Keisha – told in short, numbered sections, like Evan S. Connell's Mrs Bridge and Mr Bridge. Natalie, even while she is still a child, while she is still Keisha, fears that she has no identity of her own ("You are making it up as you go along," she chides herself): so she creates one. The story of Natalie and Leah is of drive and no drive: or of Drive and Neutral. The representation of Natalie's adolescent and post-adolescent angst is just so: "she struggled to think of anyone besides perhaps James Baldwin and Jesus who had experienced the profound isolation and loneliness she now knew to be the one and only true reality of this world." A finely judged teenage pretension also slips into the numbered sections themselves, and their titles too, which if read straight might seem to run close to affectation. It is into this part of the book that parenthood ("her whole life had essentially become work") comes in full flood; parenthood, and the absence of it, running through the novel.
It filled her with panic and rage to see her spoilt children sat upon the floor, flicking through past images, moving images, of themselves, on their father's phone, an experience of self-awareness literally unknown in the history of human existence – outside dream and miracle – until very recently. Until just before now.
It may be this part that Smith refers to in this interview, where she says that she rewrote the last third of the book after her husband, Nick Laird, told her it had gone "very wrong". There remains a strangeness to it, an ill-fitting quality. This may be a function of the staccato telling: screengrabs of a life which don't create an illusion of wholeness as Connell's Bridge books do. It may be of the sadness which begins to overwhelm the book in the second half, and sits oddly with Smith's always sparky prose. Yet the more I thought about this section, the more I felt that these were 'problems' that, more than anything, demand another reading to get to grips with. (Increasingly, I am of the view that I should read a book twice before committing any thoughts to writing at all.) New things are, by definition, strange, and NW feels new all the way through. It's almost in the title. The book is full of how we live now, but it has a traditional feel for people, and for language across generations and social classes: like a third way between Smith's two directions for the novel. It also feels like a breakthrough for Smith, in a sense her first mature work. Her previous novels were written before the age of 30, and ultimately fell down to a greater or lesser extent: books I enjoyed, but wouldn't reread. Not so NW, a novel altogether tighter and trickier to unlock. My feelings about it are similar to those for Damon Galgut's In a Strange Room: quibbles while reading, once I began thinking and writing about it, began first to dissolve and then to transform into praiseworthy qualities. Not incidentally, I was softened up a little by finding an author at the top of her game who shares so many of my cultural references: a late-thirties thing, I suppose. How many novels, after all, contain a chapter titled Spectrum 128k?


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DIY: Make Your Own "Taggies" Blanket
Recently, a client of Pins & Needles, who is also a new mom, stopped by the shop and showed me a special "Taggies" blanket her mom had stitched up using some fabrics that she had purchased from us. I had heard of "Taggies" blankets before and how much babies enjoy playing with them, but I especially liked this one since it was handmade! I was so inspired that I created a DIY so you can make one too.
1/2 yard of lightweight cotton fabric
1/2 yard of a soft fabric like a minky or fleece
Decorative ribbons – approximately 1/2 yard of each
Matching thread
Fabric marker or pen
Sewing machine or hand sewing needle
I made two—one for a boy and one for a girl. For the girl's, I chose a pretty paisley print with some pink fleece. For the boy's version, I used a graphic orange, red and cream squiggle print with some red Minky fabric. Minky fabric is very popular for baby and nursery projects because it is ultra soft and cuddly and comes in so many colors, prints and textures. We carry a nice selection at the shop, but you can find other places that carry it.
Step 1: Cut each of your fabrics into a square the size you would like your blanket to be. In my case, I cut 15"X15" squares as this seems to be the standard size of "Taggies" blankets. These will be your front and back.
Step 2: Cut your assorted ribbons into 4" – 5" pieces. I chose four different prints for each of my blankets, but you can get creative and mix as many as you like. Consider using a variety of ribbon textures as well for baby to explore.
Step 3: Mark where you want your ribbons to be using fabric chalk or a marking pen or pencil. Since I was using four ribbons on each side, I spread the ribbons apart with 2" – 2 1/2" in between. You can use as many or as few as you like.
Once you have made your marks, pin the ribbon loops in place at each mark, lining up the raw edge of the ribbon with the raw edge of the fabric. Make sure the ribbon loops are facing away from the edge. Baste them in place using a 1/4" seam allowance (distance between your seam and the edge of the fabric). Basting is a temporary stitch that is very long so it can be removed easily. Doing this will make it easier and keep the ribbons from moving around when you sew your front and back together.
Step 4: Now sandwich the ribbons in between the right sides of your two fabrics, and sew them together using a 1/2" seam allowance. You can repeat this step to make the ribbons even more secure.
Make sure to leave a 2" – 3" hole along one side (I suggest doing it in the center of one of the sides), so you can turn everything right side out. Clip your corners to keep the points clean.
Step 5: Using the opening you left, turn the blanket right side out and stitch around all four sides making sure to sew the hole closed. Be sure to check that all ribbons are securely attached. You're all done!
I like to experiment with my DIYs. With this one, I chose to decorate the front of the girl's blanket with two hearts cut from the fleece. You can use any shape or even an initial would be fun. Sew the shape on your front fabric before sewing everything together.
Also, as I have mentioned in my previous DIYs, if you do not have a sewing machine, you can always hand sew with a good needle and your thread.
http://www.facebook.com/ross.neytiri Ross Neytiri
I have never used taggies blankets before. I should try these when I get another chance. And thanks for the tutorial. These would make nice handmade gifts for baby showers.
Sara Pierce
I made one of these for my nephew and it turned out great!
http://www.facebook.com/people/Nella-Atkinson/100002029438307 Nella Atkinson
Thanks for the tutorial. The best thing about it is you can use scrap or leftover fabrics and ribbons!
I love this tutorial, but I've been told you need to sew the ribbons in place 3 or 4 times to ensure they aren't pulled out by questing bubs. Is that your experience?
http://www.thecallious.ca/ Crystal Calliou
If you're worried, I would simply sew around the square twice while you have it inside out. Then after you turn it and topstitch it, you'll have gone over all the ribbons 3 times. :) It's probably what I'll do when I make mine.
Your directions are crystal-clear! My 10-year-old daughter wanted to make a taggie blanket for her brother, and she had no trouble following your instructions. Thanks so much for sharing your tutorial!
What a sweet thing for your daughter to do! Glad the tutorial helped you.
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Added Jul 14, 2011
by luasarcy
Leamington Spa, ...
A 1920's inspired bridal gown with pale grey orissa silk pleated bodice, duchess satin empire band and silk tulle, feather and lace column skirt.
Hair and Make-up
Dress designer and manufacturer
Sep 4, 2012, 12.53 AMby Lydiamr26
GOODNESS!!! this is stunning!!
Oct 25, 2011, 11.53 PMby cosette1
When will this be available for purchase?
Sep 21, 2011, 09.47 PMby carahd
I love your dress. Its a dream.
Sep 1, 2011, 04.18 AMby Ashley Doll
You look like a magical swan princess! ;)
Aug 2, 2011, 07.57 AMby luasarcy
Thank you for all the wonderful comments! Lucy here- The Tiara is Sara's (the other half of LuaSarcy) from when she got married (its beautiful isnt it!) We make the pattern ourselves from basic measurements to fit every bride perfectly so this dress was made for Chloe (top 3 pictures) for our photoshoot… We actually bought this piece of fabric embellished, but will make our own fabric in the future… The feathers and lace are attached by sewing machine with a special stitch onto silk tulle in diagonal rows.
Jul 20, 2011, 02.53 AMby blackpearl
Love the colours, I had a grey/silvery wedding dress and I loved it. Did you buy the skirt fabric like that or embellish it yourself? Either way it's impressive, if bought it's the perfect use for it and if you did it yourself it must have taken so long!!
Jul 18, 2011, 09.45 PMby popbabe7
Beautiful dress!!
Jul 16, 2011, 07.55 PMby Tokie Ang
this is amazing..wish there is tips and trick how to make such dress like this :)
Jul 16, 2011, 01.15 AMby mollykatherine
i can quite pick the words that explain how amazing this is! I'd expect to see this on a runway, followed by ooohhhs and ahhhhs – perfect, perfect job! well done!
Jul 16, 2011, 01.06 AMby bastor
It is very cute. I'll love to wear it one day, when I get married.
Jul 16, 2011, 12.17 AMby loyl8
Jul 15, 2011, 10.02 PMby cosette1
How did you attach the feathers and lace?
Jul 15, 2011, 04.09 PMby margaretchandler
Simply wow, I can but imagine how long it took to get the skirt so perfect!
Jul 15, 2011, 02.59 PMby cosette1
Jul 15, 2011, 02.32 PMby susanne2011
It is stunning, would love to see the back though!
Jul 15, 2011, 01.23 PMby ladynunu
This is stunning. I love the soft grey, it's such a refreshing alternative to the usual white/ivory. Your dress has given me some inspiration!
Jul 15, 2011, 07.24 AMby cocomochaholic
Jul 15, 2011, 02.23 AMby lanternwaste33
I think this is breathtaking. I echo all the sentiments of the other comments! Bravo!
Jul 15, 2011, 01.37 AMby poppykettle
kick-ass – pure and simple. Love it!
Jul 14, 2011, 11.02 PMby missycas17
Jul 14, 2011, 10.01 PMby JuliaBobbin
Jul 14, 2011, 08.40 PMby beccatherine13
lovelovelovelove it !! future wedding dress <3 <3 <3
Jul 14, 2011, 07.51 PMby mahaila
This dress rocks! LOVE IT! The detail, the colour, the fit… it's all so fantastic
Jul 14, 2011, 06.32 PMby nouvellegamine
this is very pretty, but i'm a little confused. is it for sale by your company?
Jul 15, 2011, 12.53 PMby luasarcy
It is a sample from our upcoming bridal collection.
Jul 15, 2011, 06.32 PMby nouvellegamine
ooooh, very lovely :)
Jul 14, 2011, 05.15 PMby natnatcherry
Did you make this? from a pattern? I absolutely love it, so beautiful yet not over the top, perfectly romantic!!
Jul 14, 2011, 04.17 PMby cambra
It is so stunning in the sunlight!
Jul 14, 2011, 02.55 PMby mkonieczki
The feather and tulle elements of the skirt are so ROMANTIC! And, I love the pleated bodice! It's very flattering and polished looking without being overdone!
Jul 14, 2011, 02.21 PMby colorwild
Jul 14, 2011, 01.22 PMby ginasophia
Jul 14, 2011, 12.45 PMby turtlegirl00
this is gorgeous! and I love the tiara with stars!
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