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Critical Essay by MaryKay Mahoney
SOURCE: "A Train Running on Two Sets of Tracks: Highsmith's and Hitchcock's Strangers on a Train," in It's a Print: Detective Fiction from Page to Screen, edited by William Reynolds and Elizabeth A. Tremblay, Bowling Green State University Popular Press, 1994, pp. 103-13.
In the following essay, Mahoney provides a comparative study of Highsmith's novel Strangers on a Train and Alfred Hitchcock's film adaptation of the work, concluding that "the two works are substantially different in focus and direction."
Highsmith's Strangers on a Train provides a psychological analysis of Guy Haines and Charles Anthony Bruno and their intertwined relationship. Hitchcock transforms the material into a thriller, focusing on action, suspense, and surprise. In the novel, the personalities of the characters, Highsmith's stylistic techniques, and the plot structure emphasize the similarities between Haines and Bruno; in the film, however, the visual links between the two are confused by the transformation of Haines into an innocent hero.
It begins with a casual conversation between two men on a train. When one of them shifts the topic to a "trade" of murders—"I kill your wife and you kill my father"—the first strands are spun of a web of violence that will entangle both men. Readers of suspense fiction and fans of Alfred Hitchcock films will immediately identify this plot: Patricia Highsmith's novel Strangers on a Train (1950) and Alfred Hitchcock's 1951 film adaptation of the same name.
Highsmith describes the starting point for her novel [in Plotting and Writing Suspense Fiction]: "the germ of the plot for Strangers on a Train was: 'Two people agree to murder each other's enemy, thus permitting a perfect alibi to be established.'" Highsmith's own novel deals somewhat ironically with that plot germ, since Guy Haines does not, on the train, "agree" verbally to the trade of murders suggested by his fellow "stranger" Charles Anthony Bruno. In Guy's revelations about his wife, Miriam, to Bruno, and in his silence after Miriam's murder, however, there is an implicit consent, and Guy eventually becomes a full accomplice in the exchange of murders, killing Bruno's father as his part of the trade. In Hitchcock's film, on the other hand, the exchange of murders is far more one-sided, with Bruno Killing Miriam but Guy, in return, attempting instead to warn Bruno's father, the intended second victim.
As suggested by the dramatic plot change in the film, the two works are substantially different in focus and direction. Highsmith focuses on the psychological analysis of the two men and their intertwined relationship, whereas Hitchcock's transformation of the material into the genre of the thriller means a corresponding focus on action and the characteristic Hitchcock elements of suspense and surprise. According to John Russell Taylor, "In Strangers on a Train Hitch had managed, by instinct rather than conscious thought, to find a deeply disturbing subject—that of an exchange of guilt—which could be satisfactorily externalized in thriller form." Hitchcock himself commented, "Strangers on a Train wasn't an assignment, but a novel that I selected myself. I felt this was the right kind of material for me to work with."
As various film critics have pointed out, Hitchcock's opening shots for the film capture a sense of the film as a whole:
Extremely low camera placements in the opening sequence prepare us for a film that will take place largely in a subterranean world of anxiety and nightmare. The credits run over a scene looking back from the inside of a cavernous train station to the brightness of the world outside. As they end, a cab turns into the entrance. It disgorges Bruno, or more accurately, Bruno's garish shoes and trouser legs. A second cab pulls up at the dark curb and unloads Guy's legs, feet, and tennis racquets. The film begins with a movement into darkness from which it will return only at the very end….
As the action of guilt and entrapment commences, images of descent and imprisonment proliferate. The camera stays at knee level for a minute and a half after the credits, until Bruno's foot and Guy's bump under a table in the lounge car. This opening sequence includes an expressive shot of the shadow of the train proceeding along the intersecting and diverging tracks of the railyard…. The image of the converging rails at the beginning of Strangers on a Train serves as an emblem of the plot, in which characters in a chaos of unconnected human lives coincidentally converge and collide, turn apart, and pursue crucial actions in parallel.
Those opening shots of the two pairs of feet moving towards each other and of the converging railroad tracks emphasize the connection between the two men, the deliberate image of them as doubles. Robin Wood points out that, in the process, our sense of the opposition between the two pairs of shoes seen in the opening sequence—Guy's modest dark shoes and Bruno's flashier two-toned spats—becomes a parallel "imposed by the editing on what would otherwise be pure contrast." This sense of Bruno and Guy as doubles is reinforced both visually and linguistically throughout the scenes that follow by such elements as Guy's lighter with its engraving of crossed tennis racquets, the link between the "doubles" of tennis player Guy and the scotch doubles ordered for them both by Bruno, and Bruno's thoughtful murmurs of "Crisscross" as he lies back in his private compartment, holding the lighter Guy has left behind and contemplating the trade in murders he has just suggested to Guy.
Yet despite the film's technical brilliance in suggesting the idea of doubles, the viewer's sense of Bruno as the representative of Guy's unexamined and repressed desires is shortcircuited by the plot level of the film, resulting in a significant departure from the dynamics of the Highsmith novel. In plot terms, Guy is an innocent man, guilty on a conscious level of neither Miriam's death nor Bruno's plans to have his father killed. Hitchcock's editing techniques visually link Guy and Bruno; for example, when Hitchcock cuts from a scene in a telephone booth where Guy, drowned out at first by a train, shouts about Miriam, "I said I could strangle her!" to a shot of Bruno's curved, upheld hands, the sequence directly links Guy's desire for Miriam's death to the means by which Bruno will accomplish that death. Yet the essence of the film's plot is that Guy, the innocent hero, will eventually emerge uncorrupted from the world of darkness into which Bruno has temporarily plunged him.
When Hitchcock's Guy, having entered Bruno's father's bedroom at night in accordance with Bruno's murderous plan, attempts to warn the father (only to find a suspicious Bruno there in his place), the opposition, rather than the likeness, between the two men becomes marked. Even though Guy carries a gun with him on his nocturnal expedition, the speed with which he pockets the gun outside the bedroom and calls out the name of Bruno's father makes it nearly impossible to believe that Guy is seriously tempted to carry out the killing to protect himself from Bruno's blackmailing threats. As a result, the scene's suspense derives from Hitchcock's deliberately misleading the viewer, rather than from any sense of Guy as a potentially complex and unpredictable character torn between two possible choices. When Guy is confronted on the staircase by an apparently vicious guard-dog and the viewer is swept into fear for Guy's safety, that very anxiety (considering that Guy may be about to kill a defenseless old man in cold blood) is designed to force viewers to deal with the moral ambiguity of their own reactions. Yet the viewers' moral dilemma is patently manufactured if there is no real chance of Guy's killing Bruno's father, and this converts the whole sequence to the level of a clever trick. (Interestingly, Wood, in revising his essay on the film, shifts from seeing this problem as simply a "misjudgment" to commenting that "Major lapse in artistic integrity' is perhaps not too strong a description.")
This confrontation between Bruno and Guy reveals to Bruno as well as to viewers that Guy will not succumb to Bruno's dark desires. In retaliation, Bruno threatens to find an appropriate revenge for the "betrayal": he will falsify evidence of the innocent Guy's guilt. After Bruno's decision, the film moves quickly to two dramatically crosscut races against time: Bruno's attempting to rescue Guy's lighter from a sewer so he can use it to incriminate Guy, and Guy's attempting to win his tennis match at Forest Hills as quickly as possible so he can thwart Bruno's plans. This crosscutting emphasizes the differences between the two men by means of a striking visual contrast: the darkness of the sewer scenes and the open, sunlit scenes of the tennis match represent each character's moral condition.
As the film progresses, viewers clearly discern the men's dramatic opposition despite the chaos of events and the confusion of the police. In the film's climactic scene Guy follows Bruno to the carnival grounds where Bruno killed Guy's wife, Miriam. There the police are misled by the ambiguity of a carnival worker's cry; looking towards the two men, he exclaims: "He's the one. He's the one who killed her." As the accidental shooting of the carousel operator sends the carousel hurtling at top speed, Guy is swept dramatically from the ordered safe world he craves into the instability and disorder linked with Bruno. Nevertheless, the opposition between the two men remains paramount, captured in miniature by a vignette where a young boy attempting to help Guy is pushed viciously by Bruno and nearly falls from the wildly spinning carousel; Guy risks himself to save the child, with the result that he himself is nearly killed by Bruno.
As soon as the carousel's crash and the discovery of Guy's lighter in the dead Bruno's hand have revealed Guy's innocence to the police, Guy is able to return to a harmony with the ordered world beyond the carnival gates. The film ends, however, not with the death of Bruno, but with a humorous parallel that indicates the degree to which Guy is free of Bruno and the threat to Guy's world and his sense of self that Bruno represented. A minister on the same train as Guy and Anne (the woman Guy loves and intends to marry) inadvertently repeats Bruno's opening question, "Aren't you Guy Haines?"; Guy and Anne look at each other and exit the car, leaving behind the bemused minister. The repetition of Bruno's comments by this clearly harmless "stranger" underlines Guy's return to a world of order and normalcy.
Earlier in the film, the use of other minor "strangers" on trains also de-emphasizes the idea that the link between Guy and Bruno is predestined, necessitated by something within Guy himself rather than by random chance. Just as the minister's question is a harmless repetition of Bruno's, so another passenger has earlier nudged the foot of another man accidentally, just as Guy had nudged Bruno's. And Guy's supposed acquiescence to Bruno's murder plot—"Now, you think my theory's okay, Guy? You like it?" "Sure, Bruno, sure. They're all okay"—is humorously repeated, on the same night that Bruno kills Miriam, when Guy casually assures the drunken Professor Collins, in response to a confused question about differential calculus, "Yes, I understand."
The clear separation between Guy and Bruno during the later part of the film is responsible for an element of moral ambiguity in the film as a whole: Guy's pleasant future of marriage to Anne and a political career has been provided for him courtesy of Bruno, who has removed Miriam, the only obstacle to Guy's happiness. Guy's ability both to separate himself from that murderous desire and to profit from its results has been described variously: Spoto calls it "one of Hitchcock's darkest ironies," whereas Wood notes that "the effect seems at times two-dimensional, or like watching the working out of a theorem rather than a human drama."
In contrast to the portrayal in Hitchcock's film, Highsmith's novel makes the link between Guy and Bruno a major component of the book's overall direction. Highsmith's use of both Guy's and Bruno's narrative points of view acts structurally as Hitchcock's crosscutting does in his adaptation: forcing us to picture the two men as inextricably linked doubles, rather than as separate individuals. But whereas in the Hitchcock film this visual fusing runs counter to the development of the plot itself, in Highsmith's novel the personalities of the characters, the stylistic techniques, and the structure of the plot all emphasize the doubling.
The fusing of the two main characters in Highsmith's novel begins, as does Hitchcock's visual linking, with the train journey. The encounter between Highsmith's Guy and Bruno is accidental only in the most superficial way; though the encounter is not planned, the sense of shared identity arises immediately and is reinforced by Guy's denial of its existence: "All he despised, Guy thought, Bruno represented. All the things he would not want to be, Bruno was, or would become." Despite these protests, Highsmith's Guy is quickly drawn to something in his companion, unlike Hithcock's Guy, who is presented as alternately amused, annoyed, or irritated by Bruno and his notions. When Bruno propounds his theory that "a person ought to do everything it's possible to do before he dies, and maybe die trying to do something that's really impossible," Guy's reaction reveals a likeness to Bruno: "Something in Guy responded with a leap, then cautiously drew back. He asked softly, 'Like what?'"
Highsmith continues to stress the psychological links between the two men through her portrayal of Guy's passive vulnerability when he is confronted with Bruno's aggressive curiosity. Hitchcock's adaptation de-emphasizes this sense of passivity, instead presenting Guy as a successful professional tennis player—a career choice which helps emphasize his physical presence and suggests that he is a man of action. In the film, Miriam's threat to Guy is minimal, existing only because it is impossible for Guy to refute her false charge that the child she is carrying is his and she an abandoned wife. This strong, active, tennis-playing Guy effectively resists Bruno's murder scheme by attempting instead to warn the intended murder victim. In contrast, Highsmith's Guy is not a tennis player but a successful architect with a tendency to live in his mind, to see the world in ideals and abstractions while refusing to recognize or fully acknowledge his own suppressed emotions and needs. Until he meets Bruno, his companion on the train is a volume of Plato, an old high school text that he accidentally leaves in Bruno's compartment and that later becomes a clue to be used against him. He has brought the book as "an indulgence to compensate him, perhaps, for having to make the trip to Miriam." But while the words he reads make sense to him, an inner voice questions, "But what good will Plato do you with Miriam."
Guy's inability to face his tangled feelings about Miriam makes him an easy prey for Bruno, with his cool, unshockable curiosity. Finding in Bruno the stranger to whom he can admit Miriam's unfaithfulness, Guy realizes that "he had never told anyone so much about Miriam." Bruno evokes in Guy the feelings he has tried both to conceal and ignore; when Bruno asks how many lovers Miriam had, Guy, in answering, finds himself caught in a surge of emotion: "'Quite a few. Before I found out.' And just as he assured himself it made no difference at all now to admit it, a sensation as of a tiny whirlpool inside him began to confuse him. Tiny, but realer than the memories somehow, because he had uttered it."
Despite, or perhaps because of, this whirlpool of emotion, Highsmith's Guy remains vulnerable and passive, enabling Miriam to control him through his inability to confront difficult situations. He is willing to give up the chance to bring into actuality the Palmyra, a building he has designed, rather than face the emotional chaos and failure of his relationship with her. Miriam recognizes Guy's weakness and taunts him about his decision to give up the Palmyra to keep her from coming with him: "Running away?… Cheapest way out." Guy later tells Anne that, because of Miriam, he had decided the Palmyra simply wasn't part of his "destiny."
While Hitchcock's stronger, more active Guy Haines successfully resists Bruno's attempts to draw him into crime, Highsmith's confused, passive architect fails to resist Bruno because Bruno represents a part of Guy himself. In fact, in the novel the interaction between Guy and Bruno immediately takes on an overtone of mutual sexual attraction downplayed in the film's presentation of their first encounter. In the film, Bruno has no sooner met Guy than he launches into innuendoes about Guy's publicly known relationship with Anne, a senator's daughter, and his desire to get a divorce so that he and Anne can marry. In the novel, Bruno's conversation focuses on Miriam, the hated and destructive other. He knows nothing about Anne, and later feels cheated when he learns about Guy's relationship with her. However, the novel's Anne is significant in her absence, since Guy is thinking about Anne when he initiates the meeting with Bruno: "Suddenly he [Guy] felt helpless without her. He shifted his position, accidentally touched the outstretched foot of the young man asleep, and watched fascinatedly as the lashes twitched and came open." Thus begins the complex triangle as Guy's allegiance shifts between her and Bruno.
Later in the novel, Guy's relationship with Anne and Bruno becomes an almost mystical ménage à trois. During his wedding, Guy discovers Bruno in the church: "He [Guy] was standing beside Anne, and Bruno was here with them, not an event, not a moment, but a condition, something that had always been and always would be. Bruno, himself, Anne. And the moving on the tracks. And the lifetime of moving on the tracks until death do us part…." Soon, however, three becomes a crowd. Guy and Anne's home is invaded by an uninvited Bruno, who is as immediately comfortable as if he were one of the inhabitants. Before long, Bruno comes to view Anne as the invasive presence and begins to think and act destructively toward her. Anne's prized sailboat is damaged on a surreptitious sail that Guy and Bruno take together; and Bruno finally considers eliminating Anne as the only obstacle left between himself and Guy: "Anne is like light to me, Bruno remembered Guy once saying. If he could strangle Anne, too, then Guy and he could really be together."
Guy's suspension between Anne and Bruno represents the struggle between the creative and destructive elements within himself, a struggle which Hitchcock's secure playboy is never forced to endure. For Guy, his architectural designs represent in concrete from the grace, beauty, and order that he discovers in the act of creation; as Kathleen Klein describes it, "His work is, for him, a spiritual act, defined by unity and wholeness; it rejects disorder, fragmentation and shallowness." His ultimate dream as an architect has always been to build that visible symbol of unity and balance, a bridge—he imagines designing "a white bridge with a span like an angel's wing." Guy's vision of Anne as an ideal—the light opposed to the darkness represented by Bruno—links her directly with the creations of his mind; and at Guy's wedding, Bob Treacher, who later offers Guy a chance to realize his dream, notes that Anne is "as beautiful as a white bridge."
Similarly, Guy recognizes a starker, destructive side of himself mirrored in Bruno. As Guy journeys to Great Neck to kill Bruno's father, he defines the relationship between them quite differently than at their first meeting: "He was like Bruno. Hadn't he sensed it time and time again, and like a coward never admitted it? Hadn't he known Bruno was like himself? Or why had he liked Bruno? He loved Bruno." After the murder, that sense of shared identity tightens; as Guy considers how good and evil, hate and love exist simultaneously in the human heart, he thinks, "Bruno, he and Bruno. Each was what the other had not chosen to be, the cast-off self, what he thought he hated but perhaps in reality loved." This insight is confirmed by a dream later that night, in which Guy imagines himself waking to find Bruno springing into his room. To Guy's question, "Who are you?" Bruno finally answers, "You." While he and Bruno are on the train early in the novel, Guy sees how the intelligence and clarity of his creative professional life run counter to the confused emotion and blindness of his personal life; once he has murdered, Guy understands a starker contrast:
He felt rather like two people, one of whom could create and feel in harmony with God when he created, and the other who could murder. "Any kind of person can murder," Bruno had said on the train. The man who had explained the cantilever principle to Bobbie Cartwright two years ago in Metcalf? No, nor the man who had designed the hospital, or even the department store, or debated half an hour with himself over the colour he would paint a metal chair on the back lawn last week, but the man who had glanced into the mirror just last night and had seen for one instant the murderer, like a secret brother.
Guy is at peace in his work on the Palmyra project because of his belief that it will reach perfection: "And the more he immersed himself in the new effort, the more he felt recreated also in a different and more perfect form." The house that Guy designs for himself and Anne is likewise beautiful in both design and final form. But the idea of that house, like the finished and inhabited house itself, becomes infected and changed by becoming linked with the thought of Bruno. On the night Guy learns that Miriam is dead, he has been visualizing the house he will build, seeing it in his hotel room as "shining white and sharp against the brown bureau across the room." After the phone call reporting Miriam's murder, he looks again at the bureau: "Now, where he had seen the vision of the white house, a laughing face appeared, first the crescent mouth, then the face—Bruno's face."
Symbolically, the design of the house, planned by Guy before his encounter with Bruno on the train, reflects Guy's position as the focal point of a triangle. The house is conceived of as "Y"-shaped; and while Guy has considered dispensing with one of the arms of the "Y" in the interests of economizing, "the idea sang in Guy's head only with both arms." The house is designed to project from a white rock, and to look "as if alchemy had created it from the rock itself, like a crystal"; Guy, in fact, considers naming the house "The Crystal." As Guy imagines the house, it is a work of proportion and balance, in harmony with both itself and the environment from which it has sprung.
The idea of the house as a crystal echoes and contrasts with Guy's earlier menial description of himself when he thinks about ways in which he has sabotaged himself and chosen to fail: "There was inside him, like a flaw in a jewel, not visible on the surface, a fear and anticipation of failure that he had never been able to mend." The jewel image is repeated when Guy drops overboard the gun he has used to kill Bruno's father. Bruno has sent Guy a Luger for the murder; Guy rejects the gun for its ugliness and ungainliness, and uses instead a gun he had bought as a teenager, an object purchased solely for its cleanness of design and aesthetic appeal. Guy's use of his own gun indicates the degree to which he is fusing what he considers the best of himself, his sense of beauty and design, with this act of destruction; it also emphasizes that he is acting of his own volition, rather than being compelled by Bruno. After the murder, despite the fact that the gun is the one concrete piece of evidence linking him to a crime, Guy is reluctant to eliminate its loveliness: "How intelligent a jewel, he thought, and how innocent it looked now. Himself—." Highsmith's Guy, unlike his creations or the beautifully designed gun, is "flawed," and he is unable to achieve within himself the harmony and balance he values. This inability renders him vulnerable to Bruno's suggestions and makes him utterly unlike the Guy Haines created in Hitchcock's film.
In the opening minutes of the Hitchcock adaptation, the shot of railway tracks coming together, and then diverging, sets the tone for the film: Guy's and Bruno's lives will converge, and then separate. In Highsmith's novel, however, the image of train tracks is used throughout to emphasize Guy's sense of imposed direction, a cessation of choices: "the lifetime of moving on the tracks."
In the firm, the encounter with a stranger asking "Aren't you Guy Haines?" can be answered differently (and in a sense replayed) and so escaped. But for Highsmith's Guy, a meeting with another "stranger," Miriam's lover Owen, to whom he goes to confess his guilt, brings a fear of being further swept into a cycle rather than a sense of escaping one; as he describes the murder scheme and hears himself voicing Bruno's ideas, he has "a horrible, an utterly horrible thought all at once, that he might ensnare Owen in the same trap that Bruno had used for him, that Owen in turn would capture another stranger who would capture another, and so on in infinite progression of the trapped and the hunted." Guy can be renewed and escape from the cycle only by capture, confession, and punishment. True to his nature, the novel's Guy achieves a new ending for his script by passivity and acceptance rather than by action. He attempts to purge himself by going to Owen, telling him of the two murders, and waiting for him to make the appropriate decision. When Owen refuses to act—and indeed shows little interest in the whole situation—Guy is rescued from his passivity by the actions of the detective Gerard, who has listened to the confession by means of a telephone connection.
Despite the status of the Hitchcock film as an adaptation of Highsmith's novel, the differences in focus and plot ultimately make the two very different and individual works of art. And in spite of the drastic shift in overall effect caused by Hitchcock's plot changes, Highsmith considers Strangers on a Train one of the best of the films made from her novels. Perhaps the key to her ability to accept Hitchcock's vision of her novel as well as her own can be found in a comment Highsmith made on the artistic process:
Every human being is different from the next, as handwriting and fingerprints prove. Every painter or writer or composer has consequently something different to say from the next (or should have). A Rembrandt or a Van Gogh is identifiable from a distance and at once. I believe in individuality, in being oneself, in using the maximum of one's talent…. That is what the public finally loves—something special and individual.
This section contains 4,517 words
(approx. 16 pages at 300 words per page)


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Ramayanam: B.Sundar Kumar, Sringeri Jagadguru Pravachana Mandiram, R.A.Puram, 7 p.m.
Mahabaratham: Nagai Mukundan, Sundara Vinayakar temple, New Colony, Chromepet, 7 p.m.
Gita: Mitrananda, Chinmaya Heritage Centre, 13th Avenue, Harrington Rd., Chetpet, 6.45 p.m.
Lalitha Sahasranamam: V.Abirama Sundaram, Sri Sankara Gurukulam, 8, C.P.Ramaswamy Iyer St., Abhiramapuram, 7 p.m.
Nanmukan Thiruvanthathi: Venu Raza Narayanan, Sri Santhana Venugopalaswamy temple, 115, Pedariyar Koil St., Mint, 6 p.m.
Sri Sathya Sai Bhagavatham: T.E.Vasudevan, Shirdi Sai Universal Prayer Hall, Virugambakkam, 6 p.m.
Panchadasi: S.Vasudevan, 11, 1st Avenue, Tiruvalluvar Nagar, Thiruvanmiyur, 4.30 p.m.
Thiru Kovaiyar: K.Sivakumar, Marundeeswarar Temple, Thiruvanmiyur, 7 p.m.
Guided Meditation: Atmashraddhananda, Vivekanandar Illam, Kamarajar Salai, Triplicane, 7 p.m.
Draupathi Maanam Kaatthal: Tiruchi Kalyanaraman, Karpaga Vinayagar Pandurangan Temple, Adambakkam, 6.30 p.m.
U.S. Consul General: Photo Exhibition 'Landmarks of New York,' C.P.Art Centre, Eldams Rd, Alwarpet, 10 a.m.
Indian Bank: Union Minister P.Chidambaram lays foundation stone head office building, 266, Avvai Shanmugam Salai, Royapettah, 11.15 a.m.; Inauguration of Touch Screen Kiosk by RBI Deputy Governor Usha Thorat, T.Nagar Branch, 9.15 a.m.
Principal District Sessions Judge, Kancheepuram district at Chengalpattu and Bar Assn., Advocates Assn. and Tambaram Advocates Assn.: Inauguration of Combined Court Buildings by Madras High Court Chief Justice A.K.Ganguly, Union Minister T.R.Baalu and State Ministers Durai Murugan and T.M.Anbarasan participate, Kone Krishna Reddiyar Community Hall, Mudichur Rd., West Tambaram, 5.15 p.m.
TANSACS and Centre for Disease Control: Launch of Operation Research Programme by Minister M.R.K.Paneer Selvam, IMAGE auditorium, R.A.Puram, 10.30 a.m.
MMA: Video Discussion on 'Team player', Bharatiya Vidya Bhavan, Mylapore, 5.30 p.m.
Dhanraj Baid Jain College: Dr. C.L.Baid Metha endowment lecture, Thoraipakkam, 11 a.m.
Renyl Mathew Foundation: Website inauguration, Hotel Ambika Empire, 9 a.m.
Sakthi Engineering College: Training on Quality circle- PDCA, Thiruninravur, 2.30 p.m.
Education in the UK: Counselling, British Council, 737, Anna Salai, 10 a.m.
Sevalaya: Eye camp, Panchayat office, Karalapakkam, 10 a.m.
Vel Tech: 'Parishram 2008' technical symposium, Avadi, 9.30 a.m.
Rotary Club of Madras East: Meeting, Hotel Park Sheraton, 6.30 p.m.
Lions Club of Madras Cosmopolitan: Meeting, Hotel Savera, 7 p.m.
Sree Ramakrishna Chaithanya Mandiram: Platinum jubilee celebration, Reddy Raman St., Sowcarpet, 5 p.m.
Sri Ahobila Math Oriental HSS.: Condolence meeting for educationist N.Srinivasachariar, West Mambalam, 2 p.m.
Alcoholics Anonymous: Meetings, St. Velankanni Church, Besant Nagar; Anglo Indian Assn., Ponniamman Koil St., Egmore; St. Lukes Church, Blue Star, Anna Nagar; Loyola Matric School, Kodambakkam; C.S.I. Good Shepherd Church, Taramani Link Rd., Velachery; and Kondithope Police Community Hall, Walltax Rd., 7 p.m.

subset: commoncrawl


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Portugal's drug policy pays off; US eyes lessons
LISBON, Portugal These days, Casal Ventoso is an ordinary blue-collar community - mothers push baby strollers, men smoke outside cafes, buses chug up and down the cobbled main street.
Ten years ago, the Lisbon neighborhood was a hellhole, a "drug supermarket" where some 5,000 users lined up every day to buy heroin and sneak into a hillside honeycomb of derelict housing to shoot up. In dark, stinking corners, addicts - some with maggots squirming under track marks - staggered between the occasional corpse, scavenging used, bloody needles.
At that time, Portugal, like the junkies of Casal Ventoso, had hit rock bottom: An estimated 100,000 people - an astonishing 1 percent of its population - were addicted to illegal drugs. So, like anyone with little to lose, the Portuguese took a risky leap: They decriminalized the use of all drugs in a groundbreaking law in 2000.
EDITOR'S NOTE - This is part of an occasional series by The Associated Press examining the U.S. struggles in its war on drugs after four decades and $1 trillion.
Now, the United States, which has waged a 40-year, $1 trillion war on drugs, is looking for answers in tiny Portugal, which is reaping the benefits of what once looked like a dangerous gamble. White House drug czar Gil Kerlikowske visited Portugal in September to learn about its drug reforms, and other countries - including Norway, Denmark, Australia and Peru - have taken interest, too.
"The disasters that were predicted by critics didn't happen," said University of Kent professor Alex Stevens, who has studied Portugal's program. "The answer was simple: Provide treatment."
Drugs in Portugal are still illegal. But here's what Portugal did: It changed the law so that users are sent to counseling and sometimes treatment instead of criminal courts and prison. The switch from drugs as a criminal issue to a public health one was aimed at preventing users from going underground.
Other European countries treat drugs as a public health problem, too, but Portugal stands out as the only one that has written that approach into law. The result: More people tried drugs, but fewer ended up addicted.
Here's what happened between 2000 and 2008:
- There were small increases in illicit drug use among adults, but decreases for adolescents and problem users such as drug addicts and prisoners.
- Drug-related court cases dropped 66 percent.
- Drug-related HIV cases dropped 75 percent. In 2002, 49 percent of people with AIDS were addicts; by 2008 that number fell to 28 percent.
- The number of regular users held steady at less than 3 percent of the population for marijuana and less than 0.3 percent for heroin and cocaine - figures that show decriminalization brought no surge in drug use.
- The number of people treated for drug addiction rose 20 percent from 2001 to 2008.
Portuguese Prime Minister Jose Socrates, one of the chief architects of the new drug strategy, says he was inspired partly by his own experience of helping his brother beat an addiction.


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1. Aly Raisman tweeted this, then appears to have deleted it immediately. Max Read managed to screenshot it before it was removed.
Raisman's 18. She's nervous! The Internet is so weird. I hope she has fun. I don't know. BE CAREFUL ABOUT YOUR DMs.
3. ALSO, EVEN BETTER: She tried to cover it up with this tweet right after. Don status for Aly Raisman.
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Do you think they programmed robots to perform the first dance for them?
Do you think they programmed robots to perform the first dance for them?
I must have missed this scene in Episode Three.
My cousin married a marine who is also a star wars nerd. He was thrilled when he asked him to be the god-father to our son Luke. I have to admit that I am a star-wars nerd also and my god-daughter's name is Leia.
Roxy takes pity on the lives of wee humans in love.
When my fiance proposed, he surprised me by using a special program that allows you to change the Log-In screen on computers with Win7. He made a collage of graphs, pictures of us, and things that he loves about me, and made it the Log-In screen. I had to type my answer, which he set as the new password--"YES!"--in order to log in to the computer. It was the sweetest and most adorable thing ever, and totally us! The text says (starting in the top left): "Hey Shasta, I love you sooooo much...and


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Married 35 years, 2 sons, 1 gs, 2 gd. 1 dog, 1 cat. Started crocheting when I was 6, learned to knit when I was 12. Atopped knitting 28 years ago as I could not stand the sound of the aluminum needles. Started knitting again last year when I found out about how easy bambo needles were. Love them. Have knitted 3 sweaters for gks, 1 for my Mom, and a top for me. Right now working on a shrug for me.
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I haven't been impressed with Halftime shows the last few years, during the big game... but this one I had to see. Bruno Mars and RHCP crushed it! I was so impressed, and Bruno is so cool you can't help but like him :)
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Cool Cardboart Cat Condo!
posted 6 years ago
This is the neatest thing I have found for my cat in a long time! It's a 3-story sturdy cardboard play structure for kitty. Cats love cardboard for some reason and this will keep them busy for hours. They can nap in this structure, play peak-a-boo, rub and groom on the edges of the walls, tunnel through it, and have fun! I finally found something where my cat can feel he's off the ground and loves the cardboard feel too!
Pros: Cat loves it, recyclable, unique.
Cons: None so far.
2 of 2 people found this review helpful.
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posted 6 years ago
My mom's cat really enjoys this a lot!
Pros: everything
Cons: nothing
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Sleep and Sleep Disorders in Children and Teens Center - Middletown, OH
WebMD Physician Directory
Middletown, Ohio
Sleep and Sleep Disorders in Children and Teenagers
How much sleep do children need?
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Edward VIHardback Yale English Monarchs
List price $43.52
Unavailable - AbeBooks may have this title.
Additional formats available
- Format
- Paperback $25.99
- Publisher: Yale University Press
- Format: Hardback | 224 pages
- Dimensions: 162mm x 240mm x 24mm | 589g
- Publication date: 11 December 1999
- Publication City/Country: New Haven
- Sales rank: 1,595,447
Product description
This new biography of Edward VI, the boy king who died at 15 after ruling England for only six years, reveals for the first time his significant personal impact on the history of his country. Jennifer Loach portrays Edward as healthy and vigorous (contrary to previous views), precocious, highly educated, and decisive, and she details the dramatic context in which his reign played out.
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Editorial reviews
The latest addition to the 'Yale English Monarchs' series provides not only a fresh perspective on the six year reign of Edward VI, son of Henry VIII and Jane Seymour, but also offers a re-evaluation of this important but negelected phase in Tudor history. Loach's Edward is not the sickly child of tradition but rather a vigorous lad who showed signs of taking after his father. He clearly had more influence on the actions of the Protector Somerset and the Duke of Northumberland, who successively governed in is name, than has often been imagined. Although brief, Edward's reign was of the utmost significance in following though the reformation of the 1530's, with much of the fabric, ritual and ceremony of the old church being swept away at this time never to return. Loach has done the boy king and the period much service. (Kirkus UK)


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Crystal Palace boss Ian Holloway says today's Wembley showdown with Watford is the biggest game in football.
He insists the £110m at stake makes today's Championship play-off final the biggest game in the world. Holloway will guide Crystal Palace into the Premier League if they beat Watford at Wembley.
Ollie said: "It is absolutely the biggest game in the world. It's the size of the prize. The last time I fought for this it was £90m, now it's more.
"That's why people are buying Championship clubs and trying to do it. They're throwing money at it, they want success.
"Look at Cardiff. They've had seven goes, so well done to them this year. But if they hadn't made it, how much would they have owed?"


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PH likely to host second round of Davis Cup
The Davis Cup may return sooner than expected at the Plantation Bay Resort and Spa in Lapu-Lapu City after Philippine Davis Cup administrator Randy Villanueva said that there is a big possibility that the second round of action pitting the Philippines versus Thailand will be held at the shell-clay court of the resort this April.
Villanueva, also the vice president of the Philippine Tennis Association (Philta), said the Philippines will be hosting Thailand, which also advanced to the second round after defeating Kuwait.
According to Villanueva, he still has yet to discuss with the Philta board regarding the venue of the tie but most likely, holding it at the resort is a shoo-in.
Plantation Bay Resort and Spa general manager Efren Belarmino and Lapu-Lapu City Mayor Paz Radaza said the event is most welcome should it return even in such a short period of time.
"Yes, we are very willing to host it again this April. Everything is prepared already," Belarmino said.
He added that putting up bleachers in just two sides of the court was a great idea because it jampacked the event.
"Looking at the crowd, it was a great feeling," Belarmino said.
Villanueva agreed saying that the crowd that showed up last Saturday to see Philippine's Treat Conrad Huey and Ruben Gonzales defeat Syria's Issam Haitham Taweel and Marc Abdelnour was what he had been looking for here in Cebu.
"Perfect yung set-up sana ma maintain nila yon. Mas gusto din ng mga players yung shell clay-court kasi namimaintain yung moisture," Villanueva said.
Meanwhile, Syria won the last two reverse singles, which were already non-bearing in yesterday's last day of the tournament.
Issam Haitham Taweel defeated Vicente "Elbert" Anasta, 6-7, 6-1, 6-4, while Marc Abdelnour defeated Treat Conrad Huey, 7-6, 6-2. Because the matches were already non bearing, only three sets were played each.
Rains also halted the match between Anasta and Taweel for almost an hour.
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|I need points so I can continue to pay for my premium membership and so I can properly thank all you fine people who visit me on Deviantart.
1 point= 2 favs
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You can commission fanfics or original stories if you like with your OC in them, or with your favorite pairing. I'll ask how long you want the story to be, what type of story and what pairing if any. But I'd be glad to do just about any story you can think of.


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Peso expected to stay at 41:$1 level in 1st half
popular .
The peso is expected to stay in the 41-to-a-dollar territory throughout the first semester as the government tries to curb the currency's appreciation resulting from robust foreign exchange inflows.
In the April issue of "The Market Call," a joint publication of First Metro Investment Corp. and University of Asia and the Pacific (UA&P), the peso is projected to average at 41.08 against the US dollar in May and may weaken to 41.46 in June.
Earlier this year, the peso stood at the 40-to-a-dollar level but fell to the 41 territory in April as the Bangko Sentral ng Pilipinas and the Department of Finance initiated measures to temper the effects of foreign exchange inflows.
In particular, the BSP has cut the interest rate on special deposit accounts (SDAs) by a total of 150 basis points since the start of the year, bringing it to a record low of 2 percent.
Investors consider SDAs to be highly attractive investment instruments. Monetary officials believe that foreign funds are being invested in SDAs even though the deposit facility caters only to domestic fund owners.
Also, the Finance department announced that it had abandoned its foreign and commercial borrowing plan for the year.
In settling the government's maturing obligations denominated in foreign currencies, the government will simply borrow from the domestic market and use the proceeds to buy dollars from the BSP, the DOF said.
The move is expected to temper the peso's appreciation, resulting from the inflow of foreign exchange.
Also, efforts of the government to boost its infrastructure development program are expected to increase demand for imported materials, according to the Market Call report. Higher imports, in turn, will fuel demand for dollars and dampen the peso's rise.
"The planned infrastructure development will incur dollar demand and help soften the peso," The Market Call report said.
Moves to counter the peso's appreciation came about after the currency rose significantly in 2012, becoming one of the fastest-rising currencies against the US dollar. The peso rose by nearly 7 percent in 2012. At the close of the year, it hit 41.05 against the greenback.
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Disclaimer: The comments uploaded on this site do not necessarily represent or reflect the views of management and owner of INQUIRER.net. We reserve the right to exclude comments that we deem to be inconsistent with our editorial standards.
To subscribe to the Philippine Daily Inquirer newspaper in the Philippines, call +63 2 896-6000 for Metro Manila and Metro Cebu or email your subscription request here.
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Cano, Yankees touch up Dickey in 6-5 win over Mets
NEW YORK Not even R.A. Dickey's darting knuckleball could prevent another power show by the New York Yankees.
Robinson Cano hit a tiebreaking homer in the eighth inning, and the Yankees touched up Dickey for five runs in a 6-5 victory over the New York Mets on Sunday night.
Nick Swisher hit an early three-run shot against Dickey, who was coming off consecutive one-hitters - making him the first major league pitcher in 24 years to accomplish that feat. But in a much-anticipated matchup at sold-out Citi Field, both he and Yankees ace CC Sabathia were missing their best stuff.
"We feel like we can beat everybody. We never go into a game saying, `We'll probably lose this one because this guy's hot,'" Yankees slugger Mark Teixeira said. "When people say, `You can't beat him,' we go, `OK, we'll prove you wrong.' It's kind of fun."
Leading off the eighth, Cano drove a 2-0 delivery from Miguel Batista (1-2) over the home run apple in straightaway center for his 16th homer and fifth in seven games. Taking advantage of a shaky Mets bullpen again, the Yankees won the final two games of the weekend series by one run to finish 5-1 against their crosstown rivals this season.
"Not too bad for a bunch of chickens," said Swisher, eager to take a shot at Mets closer Frank Francisco.
Before the series, Francisco called the Yankees "chickens" and later explained what he meant was that they often complain about calls by the umpires - especially balls and strikes.
Francisco saved the series opener Friday but was placed on the 15-day disabled list on Sunday with a strained muscle on his left side.
Including a sweep at home earlier this month, the Yankees have won five consecutive series against the Mets since May 2010.
The Bronx Bombers hit 15 home runs against the Mets this season - seven at reconfigured Citi Field - to account for 24 of their 32 runs. They lead the majors with 112 homers in 71 games, including 34 in the last 19 games.
"They hit balls out of the ballpark like there's nothing to it," said Mets manager Terry Collins, who acknowledged he should have brought in left-hander Tim Byrdak to face Cano.
The talk of the town lately, Dickey was riding an unprecedented roll of dominance that rivaled any in baseball history. But the knuckleballer had an uncharacteristic bout of wildness against the homer-happy Yankees and lasted only six innings. He walked three, hit a batter and threw his first wild pitch of the season.
"I didn't have a great knuckleball. It was just coming out wobbly a little bit. I kept searching for it," Dickey said.
Boone Logan (2-0) gave the Yankees another splendid performance out of the bullpen, and David Robertson retired Ruben Tejada with a runner on third to end the eighth. Rafael Soriano worked a scoreless ninth in the rain for his 15th save in 16 chances.
The Yankees have won 14 of their last 18 road games.


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New York City, New York
My Rating
I wasn't overly impressed with this tour. We did not see nearly as many hotspots that were suggested in the description of the tour and the majority of the ones we did see were down the street in the distance behind trees. We were charged 9 dollars for the cosmopolitan.
Paris, France
My Rating
Very good, would definitely recommend this tour. Well timed tour and got to see plenty
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