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Critical Essay by Louis Owens
SOURCE: "The Culpable Joads: Desentimentalizing The Grapes of Wrath," in Critical Essays on Steinbeck's The Grapes of Wrath, edited by John Ditsky, G. K. Hall, 1989, pp. 108-16.
In the following essay, Owens draws attention to Steinbeck's effort to evoke sympathy for the Joad family without sentimentalizing their plight. According to Owens, Steinbeck incorporates panoramic interchapters to offset over-identification with the Joad family.
The Grapes of Wrath is one of John Steinbeck's great experiments, perhaps his greatest, a novel that exploded upon the American conscience in 1939, bringing home to American readers both the intimate reality of the Joads' suffering and the immense panorama of a people's—the Dust Bowl migrants'—suffering. In spite of howls of outrage from opposite ends of the novel's journey—both Oklahoma and California—America took the Joads to heart, forming out of The Grapes of Wrath a new American archetype of oppression and endurance, survival if not salvation. So warmly did readers embrace the Dust Bowl Okies, in fact, that critics began almost immediately to accuse Steinbeck again of sentimentality in his portrayal of the downtrodden proletariat. Edmund Wilson was one of the first serious critics to take such a position, declaring that in this novel Steinbeck learned much from films, "and not only from the documentary pictures of Pare Lorentz, but from the sentimental symbolism of Hollywood." Bernard De Voto had anticipated Wilson when he complained that the novel's ending was "symbolism gone sentimental." Still a third major American critic, R. W. B. Lewis, found Steinbeck's fiction "mawkish" and "constitutionally unequipped to deal with the more sombre reality a man must come up against…."
As Steinbeck's most imposing and both popularly and critically successful work, The Grapes of Wrath has been studied from a multitude of angles, with critics focusing on its historical, political, philosophical, religious, symbolic, structural, and stylistic aspects. Steinbeck's great formal experiment in this novel—the interchapters—has been often studied and commented upon. What has been little noted in this novel, however, is the care Steinbeck takes to counterbalance the narrative's seemingly inevitable drift in the direction of sentimentalism as the story of the Joads and of the migrants as a whole unfolds in all its pathos. While Steinbeck is undeniably intensely sympathetic in this novel to the suffering of the croppers and to the plight of the seemingly powerless "little people" caught up in the destructive path of corporate America, he is at the same time painstakingly careful not to sentimentalize these figures, a fact of utmost importance to a critical understanding of The Grapes of Wrath.
A primary means by which Steinbeck attempts to unsentimentalize this story of displacement and suffering is through his use of interchapters. As has been often noted, the most obvious value of the intercalary chapters is to provide the big picture, to ensure the reader's awareness of the panoramic dimensions of this socioeconomic tragedy. At the same time, the narrative chapters focusing on the Joad family stem from Steinbeck's self-professed awareness that "It means very little to know that a million Chinese are starving unless you know one Chinese who is starving." Through the interchapters we feel the scope and dimension of the Dust Bowl drama; through the narrative chapters we experience the tragedy of one family on a personal, intimate level. A second very important function of the interchapters, however, one that has gone largely unnoticed, is that of offsetting the intimacy of the narrative chapters, of creating necessary distance between the reader and Steinbeck's representative family, the Joads. Steinbeck uses the interchapters skillfully as a means of preventing the reader from identifying too closely with the Joads. Again and again, just as we begin to be drawn fully into the pain of the Joads' experience, Steinbeck pulls us away from the intimate picture into the broad scope of one of the interchapters, reminding us that these are merely representative people, that the scale of suffering is so great as to dwarf the anguish of one small group such as Ma Joad's family. Chapter 18 ends, for example, with the Joads about to descend into the promised land of California's Central Valley, weighted with the emotionally charged burden of the dead Granma. The heartbreaking courage of Ma, who has lain beside Granma all night to ensure that the family gets "across," is deeply moving, and as the Joads drive down into the highly stylized Eden of the valley the reader must respond emotionally to the courage and suffering of the family. Immediately, however, with the opening lines of chapter 19, Steinbeck shifts the reader's focused away from the Joads onto a broad, impersonal sweep of California's agricultural history culminating in a view of the Hoovervilles and a generic portrait of the migrants. The Joads' suffering is put into perspective as we realize once again that this family's tragedy is every migrant's, that there must be a thousand Granmas and as many Ma Joads, and that the family is about to descend into a sea of families in precisely the same circumstances and facing their predicament with roughly the same proportion of courage and cowardice. In place of the familiar voices of Tom and Ma Joad and reader now hears the voice of history, and the perspective is readjusted once again. It is more difficult to become sentimental about the fate of the individual when one is simultaneously aware of the fate of the species.
In addition to the depersonalizing distance achieved through the movement from narrative chapter to interchapter, Steinbeck also takes advantage of a more familiar device to desentimentalize his treatment of the downtrodden sharecropper in this novel: the objective authorial stance that he exploited so successfully in the earlier study of oppressed workers, In Dubious Battle. In that novel, published just three years before, Steinbeck was careful to underscore the failings of the migrant workers as well as those of the oppressors—both sides are greedy, selfish, lazy, blood-thirsty, and ignorant. These are simply aspects of the human character, says Steinbeck in that strike novel, simply the way it is, nonteleologically. In The Grapes of Wrath, Steinbeck does not assume the purely objective stance of the narrative voice of In Dubious Battle, choosing not to become "merely a recording consciousness, judging nothing" as he claimed to be in the earlier strike novel. In The Grapes of Wrath, Steinbeck allows his authorial voice the freedom to intrude in the guise of a modern Jeremiah, judging, condemning. However, once again in spite of his sympathies with the displaced Okies, as he did in In Dubious Battle in Grapes Steinbeck takes care to similarly undercut the nobility and "goodness" of the migrants.
Tom, for example, is a loner who begins the novel looking out only for number one, as his solitary initial appearance and his aggressive manipulation of the witless truck driver indicate. Only gradually, through the tutoring of Casy, does the unsympathetic Tom grow into his role of proletarian savior. Throughout the novel, Pa Joad is self-centered and weakwilled, too ineffectual to assume the role of leadership demanded of him, a character thoroughly incapable of igniting the reader's sympathy, as Tom makes clear when he tells Casy late in the novel "Think Pa's gonna give up his meat on account a other fellas?" Tom's brother Al is concerned chiefly with his own concupiscence, eager even near the end of the novel to abandon his family and strike out on his own with his wife-to-be, Rose of Sharon's husband, Connie, proves himself to be a selfish and soft-minded believer in the American Dream advertised in comic books and a deserter of his pregnant wife. Rose of Sharon, in turn, forces the reader to suffer through hundreds of pages of whining self-pity before her miraculous conversion near the novel's end. Even Ma, larger-than-life Earth Mother and obvious heroine of this novel, demonstrates her limitations as she rambles on pointlessly about "Purty Boy Floyd," repeating herself tediously the way real people really do as she intones one of the folkmyths of Oklahoma and the Dust Bowl region.
While the trials of the Joads engage us, even excite our admiration and pity, Steinbeck takes pains to deny is the luxury of sentimental attachment. The Joads, including even the ultimately heroic and Christ-like Casy, are no better, no greater, no less human than they should be. Nor are any of the other migrants in the novel.
More important than either Steinbeck's illumination of the human failings of his characters on such limited levels or his use of the interchapters as distancing devices is his care to emphasize the migrants' culpability, their portion of responsibility for what has happened to the land and to themselves. Certainly Steinbeck makes it clear that the sharecroppers are victimized by an inhuman economic monster that tears at the roots of Jeffersonian agrarianism. However, when Steinbeck causes his representative migrant voice to plead with the owners for a chance to remain on the land, he qualifies the celebrated Jeffersonian agrarianism and love-for-the land by tainting the croppers' wish: "Get enough wars and cotton'll hit the ceiling," the cropper argues. A willingness to accept war and death as the price for further cottoning out of the land is difficult to admire on any level. And Steinbeck goes a step further, to make it clear that the migrants are firmly fixed in a larger, even more damning American pattern. Though the tenants have tried to persuade the owners to let them hang, one hoping for a war to drive up cotton prices, the tenant-voice also warns the owners: "But you'll kill the land with cotton." And the owners reply: "We know. We've got to take cotton quick before the land dies. Then we'll sell the land. Lots of families in the East would like to own a piece of land." With their words the westering pattern of American history is laid bare: we arrive on the Atlantic seaboard seeking Eden only to discover a rocky and dangerous paradise with natives who aggressively resent the "discovery" of their land; the true Eden must therefore lie ever to the west, over the next hill, across the next plain, until finally we reach the Pacific Ocean and, along with Jody's grandfather in The Red Pony, we end up shaking our fists at the Pacific because it stopped us, breaking the pattern of displacement, a pattern put into focus in Walt Whitman's poignant query in "Facing West from California's Shores": "But where is what I started for so long ago? / And why is it yet unfound?"
That the croppers are part of this pattern becomes even more evident when the representative tenant voice informs us that their fathers had to "kill the Indians and drive them away." And when the tenants add, "Grampa killed Indians, Pa killed snakes for the land," we should hear a powerful echo of the Puritan forebears who wrested the wilderness from the Satanic serpent and his Indian servants, killing and displacing the original inhabitants of the new Canaan.
It is difficult to feel excessive sorrow for these ignorant men who are quite willing to barter death to maintain their place in the destructive pattern of American expansion, a pattern that has ravaged a continent. That Steinbeck thought long about the American phenomenon of destroying the Garden just discovered in the search for an even better Garden is suggested in his declaration more than a decade later that in East of Eden, his great investigation of the myth of American, "people dominate the land, gradually. They stripe it and rob it. Then they are forced to try to replace what they have taken out."
The tenant and owner voices are wrong, of course: you cannot "kill the land." The land can be altered, made inhospitable for the sons of Cain who inhabit it, but it will survive. The epic perspective with which the novel begins suggests the enduring nature of this earth, the land which "abideth forever."
The first paragraph of The Grapes of Wrath opens with an impressionistic swath of color reminiscent of Stephen Crane as Steinbeck intones, "To the red country and part of the gray country of Oklahoma, the last rains came gently, and they did not cut the scarred earth." He continues:
The plows crossed and recrossed the rivulet marks. The last rains lifted the corn quickly and scattered weed colonies and grass along the sides of the roads so that the gray country and the dark red country began to disappear under a green cover. In the last part of May the sky grew pale and the clouds that had hung in high puffs for so long in the spring were dissipated. The sun flared down on the growing corn day after day until a line of brown spread along the edge of each green bayonet. The clouds appeared, and went away, and in a while they did not try any more. The weeds grew darker green to protect themselves, and they did not spread any more. The surface of the earth crusted, a thin hard crust, and as the sky became pale, so the earth became pale, pink in the red country and white in the gray country.
A close look at this paragraph shows that following the panoramic, generalized opening, the paragraph begins to focus, to zoom in: "The plows crossed and recrossed the rivulet marks." And finally, from the impressionistic opening image our vision has closed the distance to focus very closely upon not just "the growing corn" but the "line of brown" that spreads "along the edge of each green bayonet." At once the narrative eye begins to pan back to register broader details of clouds and generalized "weeds" until the paragraph ends where it began, with a panoramic image of the earth, which "became pale, pink in the red country and white in the gray country." "In the second paragraph, the camera's eye again zooms in for a close-up: "In the water-cut gullies the earth dusted down in dry little streams." And again this paragraph expands to end with a panorama: "The air was thin and the sky more pale, and every day the earth paled."
In these first paragraphs, Steinbeck is introducing the pattern upon which The Grapes of Wrath will be structured; a pattern of expansion and contraction, of a generalized panoramic view of the plight of the migrants in the interchapters followed in the narrative chapters by a closeup of the plight of the representative individuals, the Joads. As early as the novel's opening paragraph, the reader is being subliminally programmed for this movement in the novel, and he is being introduced to the idea that beyond the Joads is the pattern made up of the migrants and the Dust Bowl phenomenon as a whole; beyond the seeming tragedy of the drought and the cropped-out land is the pattern made up of the panoramic earth itself. The shifting focus is designed to remind us that the individual tragedies are played out against a backdrop of enduring life. In teleological terms, as defined by Steinbeck and Ed Ricketts in The Log from the Sea of Cortez, the drought, the Dust Bowl, and the tragedy of the migrants seem immeasurable disasters for which blame must be assigned; in nonteleologically terms, however, we are reminded by the panoramic sweep of the author's brush that we are seeing only part of the picture, partial indices of what the Log defined as "all reality, known and unknowable."
Paradoxically, such a nonteleological perspective serve to make the Dust Bowl a tragedy only insofar as it is judged according to transient, human values. From a distance, the drought-wasted land is lovely, a sweeping panorama of pastels; up close, the picture becomes one of horror, but only in human terms. For the sharecroppers this is a tragedy; the larger picture suggests that the tragedy is limited, transient, that the earth abides beyond man's errors and shortsightedness. To believe, as the croppers and landowners in this novel do, that one can "kill the land" is to see only part of the picture, to commit the error Joseph Wayne commits in Steinbeck's early novel To a God Unknown of believing that the land can die. The biblical prose style of these opening paragraphs, recalling the incantatory force of Genesis, also underscores the power of primal creation that precedes man and exists beyond man's ability to effect or effect. Like the people who, drawing their strength from the earth, "go on," the earth cannot be destroyed, and Steinbeck's style and tone in these first paragraphs is designed to reinforce that message.
If Steinbeck's message in the opening paragraphs is that the land cannot die, he nonetheless begins as early as the second sentence of the novel to subtly imply human responsibility for the disruption of the drought. In the second sentence, he tells us that "The plows crossed and recrossed the rivulet marks," superimposing an ultimately self-destructive human patter—the erosion-inducing plow lines—upon the natural watershed pattern. The rivulet marks are a sign of the earth's flow, cycle, continuum; their crossing and erasure is a sign of a failure of human understanding. The wheels that "milled the ground," and the hooves that "beat the ground" until "the dirt crust broke and the dust formed" further underscores man's responsibility for the human tragedy depicted in the first paragraphs and developed throughout the novel. By the novel's end, the rain will come again in a great, destructive, cleansing flood, erasing in its turn the pattern of human failure set upon the edenic valleys of California.
Steinbeck also foreshadows in these opening paragraphs the fate of the migrants. The "weed colonies" that are "scattered … along the sides of the roads" suggest the colonies of migrants that will soon be scattered the length of Route 66; and the minuscule ant lion trap, a funnel of finely blown sand from which the ant simply cannot escape, serves as a naturalistic image to define the situation of the sharecroppers. They have no further in the cropped-out region of blowing dust and sand; they have sealed their fates should they stubbornly struggle to remain. Muley Graves, whose name hints strongly at his character and fate, chooses to remain in the trap, a "graveyard ghos'" without a future.
Through this burnt country cut the tracks of walking men and machines, raising dust clouds as signs of their passage. When Tom Joad appears, he will be the representative walking man, the individual who must accept responsibility for what man has done to himself and to the earth. Along with Tom, the Joads and all of the migrants will be sent on the road on a quest to rethink their relationship with humanity as well as with the land itself. What Warren French has aptly termed the "education of the heart" is a journey toward a new national consciousness, one that may, Steinbeck seems to imply, finally break the grip of the westering pattern in this country, causing Americans to free themselves from the delusive quest for a New Eden and this from the destructive process of exploitation and removal entailed in such a pattern.
Once the Joads and their fellow migrants have reached California, they can go no farther. The Joads are the representative migrants, and the migrants are the representative Americans. The migrants' westward journey is America's, a movement that encapsulated the directionality of the American experience. The horrors of the California Eden confronting the migrants have been brought on by all of us, Steinbeck implies; no one is innocent. When Uncle John releases Rose of Sharon's stillborn baby upon the flood waters with the words, "Go down an' tell'em," Steinbeck is underscoring the new consciousness. This Moses is stillborn because the people have no further need for a Moses. The Promised Land has long ago been reached, and there is nowhere else to go, no place for a Moses to lead his chosen people. The American myth of the Eden ever to the west is shattered, the dangers of the myth exposed. The new leader will be an everyman, Tom Joad, who crawls into a cave of vines—the womb of the earth—to experience his rebirth and who emerges committed not to leading the people somewhere else but to making this place, this America, the garden it might be. The cleansing, destructive flood that prepares for the novel's concluding tableau rises not merely around the threatened migrants but over the entire land.
The Grapes of Wrath is Steinbeck's jeremiad, his attempt to expose not only the actual, historical suffering of a particular segment of our society, but also the pattern of through, the mindset, that has led to this one isolated tragedy. In this novel, Steinbeck set out to expose the fatal dangers of the American myth of a new Eden, new Canaan, new Jerusalem, and to illuminate a path toward a new consciousness of commitment in place of removal, engagement instead of displacement. And in making his argument, Steinbeck was careful not to sentimentalize his fictional creations, careful to emphasize the shared guilt and responsibility—there are no innocents; a new sensibility, not sentimentality, is Steinbeck's answer.
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Welcome to the latest installment of a new supplemental feature here at The Wild Hunt, The Wild Hunt Podcast (focus groups loved the name). This weekly podcast will take a deeper look at stories, links, and personalities that I feature in my daily updates. In this third episode of The Wild Hunt Podcast we interview author, ritualist, and Wiccan Elder, Ivo Dominguez, Jr. about Pagan chants, and his revived Panpipes Pagan Chants Site (and yes, we also discuss the recent controversy concerning Z. … [Read more...]
Pagan Community Notes: Patrick McCollum, Pagan Pride, Pagan Chants, and More!
April 8, 2012 by
Pagan Community Notes is a companion to my usual Pagan News of Note series, more focused on news originating from within the Pagan community. I want to reinforce the idea that what happens to and within our organizations, groups, and events is news, and news-worthy. My hope is that more individuals, especially those working within Pagan organizations, get into the habit of sharing their news with the world. So lets get started!Patrick McCollum's India Speech: On February 26th, Pagan chaplain … [Read more...]

subset: commoncrawl


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Country Album Sales Down 16.3 Percent in 2007
- Total album sales in the U.S are down 15 percent in 2007, but country music album sales dropped even further in 2007–to 16.3 percent–and no country artist made the top-10 digital chart in 2007. Sounds pretty bleak, but then again, so does a lot of the music. Dig.
- Charley Pride will receive a lifetime achievement award at the 2008 Mississippi Gov.'s Awards on Feb. 8 for Excellence in the Arts. The only artist to sell more albums at RCA Records is Elvis Presley.
- Take a guess at which album topped the Washington Post's Top Albums of 2007 list.
- Chet Flippo digs the new duet album from Anne Murray.
The world could sorely use a bit of beauty just now, and I've found some. Anne Murray is releasing a gorgeous CD of duets with some of her favorite women singers, and it's an absolute joy. Murray has quietly gone about her business for years of recording songs she loves and, along the way, has racked up an admirable country music chart history with such No. 1 country hits as "Could I Have This Dance," "I Just Fall in Love Again" and "A Little Good News." It's hard now to believe that she first charted country in 1970 with "Snowbird." How time flies.
- Is the Tim McGraw for governor story really gaining legs?
- Galleywinter's Brad declares "Texas Music" of the '90s and early '00s dead, but says 2007 marked a "changing of the guard, a rebirth…the start of a renaissance."
You can't fake or copy the authenticity of Ryan Bingham, the soul of Adam Hood, the depth of Josh Grider, the melodic genius of Randy Rogers, or even the firepower of Miranda Lambert…so don't try. Be yourself…people will dig you all the more.
- Little Big Town gained a new member. Actually, band members Phillip Sweet and wife Rebecca had a baby girl, Penelopi Jane Sweet.
- The third installment of Country Universe's "Best Debut Singles of All Time" features some fantastic songs an artists. Can't wait to see who made the Top 10.
11 Comments
See Jim, you were right….overrated….
springsteen isn't on that list. 'magic' should be in the top 10.
Jim, Ultimately, I still dont think that she is as overrated as maybe that album might be. I was just trying to have a little fun. It seems to be a clear case of non-country writers and bloggers deciding that they will "diversify" the same way that their fellow non-country scribes are trying to. Very redundant and predictable, especially considering that they all have the same 5 or 6 non coutry albums at the top of those lists (anyone ever heard of M.I.A.??)
Miranda's album has been on so many of these lists because it is worthy and of high quality. It is not because some secret underground society of critics got together and said "lets rank Crazy Ex-Girlfriend really high to piss off all the non-fans." It seems every media source can see the great talent that Lambert has and what a fine album she released in 2007 (all except for one).
Having all that said, I don't think it was the very best album of 2007 like the Post says (I think the only one that was better was Trisha Yearwood's), but that doesn't excuse the continued badgering and bashing of Miranda Lambert that occurs on this site just because a lot of critics like her album. If you have a problem with her album and the recognition it receives, maybe you can give feedback to the people composing the lists instead of bashing an artist who happened to release a damn good album. It's not her fault that a lot of people like what she released. I'm sure you're all crossing your fingers that she'll release a piece of crap when it comes time for her to release another one. Just don't hold your breath.
Can't we just be happy that a contemporary country album is actually getting noticed at all by the hipster music press? If Miranda weren't on those lists there probably wouldn't be any country on them at all.
Haven't we beaten this horse dead a few times over by now?
Just wanted to say, since I don't say it nearly enough, thanks for the shout-out!
Current Discussion
- Paige: Oh damn. :( I never commented here and I haven't been listening to any music at all since Thanksgiving (it …
- Dave W.: Just read the news here. Will miss E145 very much - love this site. All the best to you Juli …
- Leeann Ward: Oh, dang! This is real. Farewell to the most generous, informative, quality, intelligent, consistent, ethical country music blog! You …
- bll: Thanks Juli for all the great articles and information; you'll be missed by me and I suss several others. Best …
- Both Kinds of Music: I hope people appreciate the irony that one of the best "Americana" albums is titled Metamodern Sounds in COUNTRY Music.
- Barry Mazor: I would not rule out that possibility..There's a different set of voters involved..
- Dana M: Does anyone else think that Brandy Clark actually has a good chance of winning since this isn't a country awards …
- Juli Thanki: UPDATE: Brandy Clark got a Best New Artist nom. BEST AMERICANA ALBUM: Rosanne Cash -- The River & The Thread John Hiatt -- Terms …
- luckyoldsun: Glenn Campbell is great and I'd love to see him get an award, but the words of that song may …
- Casey Penn: Juli, it was an honor to write for you here on Engine145.com. You're good at what you do, and The …


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34 Holiday Ideas for Gifts in a Jar
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Sewing Lover's Ornament and Love to Teach Ornament
By: Kathleen George for STYROFOAM Brand Foam
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These personalized hobby ornaments make great gifts. Create and decorate them using STYROFOAM™ Brand Foam, craft paint and ribbon and give them as gifts. Sewing enthusiasts will love the stitching ornament.
Sewing Lover's Ornament
- STYROFOAM Brand Products:
- Ball, 3"
- Block, 2" thick
- Acrylic craft paint, purple
- Ribbon: 1/8" x 2/3 yd. yellow satin; 1/4" x 12" red satin; 5/8" x 1-1/2 yd. measuring tape print
- Dollhouse miniatures: spools of thread, scissors, patterns, buttons, thimble, needlepoint needle
- Fabric, 1" x 1" scraps
- Quilt pins with colored heads
- Thick white craft glue
- Insert skewer in foam ball to use as handle while painting; paint ball purple. Insert skewer in foam block while paint dries, or, place skewer in cup.
- Hang selected miniatures, such as spools, scissors and needle, from 1/8" ribbon. Glue 2" - 3" lengths of ribbon to mini spools; pin ribbon ends to top of ball so spools hang down side of ball. Tie a short length of ribbon to scissors and pin to top of ball. Thread ribbon through needle and pin to top of ball. Glue remaining miniatures to ball, using photo as a guide; when gluing, gently press objects into surface of ball.
- Make a small hole at top center of ball with skewer. Tie 1/4" red satin ribbon in loop; add glue to hole and insert ribbon ends and knot.
- Make bow with eight loops from measuring tape ribbon; glue to top of ball, covering hole.
Love to Teach Ornament
- STYROFOAM Brand Products:
- Ball, 3"
- Block, 2" thick
- Ribbon: 1/8" x 2/3 yd. violet; 1/4" x 12" red satin; 7/8" x 1-1/2 yd. purple with wired edges Acrylic craft paint: red
- Quilt pins with colored heads
- Dollhouse miniatures: A, B, C buttons; 1, 2, 3 buttons; clock and star buttons; dictionary; crayon box; books; scissors; apple; chalkboard (See NOTE for creating your own miniatures)
- Skewer
- Paintbrush
- Low temperature glue and glue gun
- Insert skewer in foam ball to use as handle while painting; paint ball red. Push skewer into block of foam while drying, or place in cup.
- Glue 2" - 3" lengths of 1/8" ribbon to backs of books and crayon box; pin ribbon ends to top of ball so books hang down side of ball. Glue remaining miniatures to ball, using photo as a guide. When gluing, gently press objects into surface of ball; if necessary, slice off a tiny portion of ball to create a flat surface for gluing flat items, such as the chalkboard.
- Make a small hole at top center of ball with skewer. Tie 1/4" red satin ribbon in loop; add glue to hole and insert ribbon ends and knot.
- Make bow with eight loops from wired ribbon; glue to top of ball, covering hole.
NOTE: If you prefer, have fun creating your own miniatures:
Books - Glue miniature book advertisements to 1/16" scraps of balsa wood
Pencils - Cut 1" lengths from wooden skewer, whittle point, paint light orange with brown point
Ruler - Cut strip of 1/16" balsa wood and mark measurements with fineline marker
Blackboard - Frame small piece of black mat board with strips of 3/16" balsa wood; write message on board with white pencil; glue miniature apple to frame
Chalk - Cut 1/2" lengths from toothpicks; paint white
®™ Trademark of The Dow Chemical Company ("Dow") or an affiliated company of Dow. For more project ideas, please see styrofoamstyle.com.
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I am looking for needlepoit patterns Now I am looking for needlepoint, not Crochet or Knit or sewing. I said needlepoint patterns do you understand what I am saying I don't think I am asking for too much Michael C. Coffee
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From the Publisher"A mine of useful information for communication researchers....The data presented here represent a major contribution to the field and will be of immense value to scholars interested in the historical linkages between mass media and communication technology."— ournal of Communication
"This is a well-balanced book that presents the growth of telecommunications techologies within a global context."—Journal of World History
"Headrick's broad-ranging study of the connections between international communications and world politics from the rise of the submarine cable to the end of World War II makes a major contribution."—Journal of Interdisciplinary History
"The value of Headrick's book to communication historians is primarily in its compilation of a wealth of examples and minute details about Western cable development and politics the world over.... A good resource for anyone interested in the early global development of telecommunications."—Journalism History
"With The Invisible Weapon Daniel Headrick puts the capstone on a decade of solid research centered on technology and global politics during the nineteenth and twentieth century....A work that furture historians will turn to repeatedly as the study of information and communications takes on increasing intellectual and social importance."—Business History Review


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Marvin Hamlisch
Justin Bieber: Prince William's hair a source for amusementComment
Daybreak Daily's peek inside the pop-culture beauty salon spies a suprising critique, disturbing bands, other things, and the mystery music video.
Marvin Hamlisch dies: Famous 'A Chorus Line' composer passes away at 68Comment
Marvin Hamlisch, who composed the scores for dozens of movies including "The Sting" and won a Tony for "A Chorus Line," has died in Los Angeles at 68.
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July 19, 2014: The News from Lake Wobegon
Saturday, July 19, 2014
"It's been beautiful this last week. The Lake Wobegon Whippets opened their '94 home season with the annual Memorial Day doubleheader at the Wally 'Old Hard Hands' Bunsen Memorial Park." Ernie discovers the secret to a perfect knuckleball as the Whippets begin their season, high school graduates ponder their future, and the host shares a few memories of the Grand Ole Opry's last night at the Ryman, in a monologue from June 1994.
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Md. Hospitals Bracing For Local Ebola Cases, Retraining Staff
While officials in Texas scramble to get a handle on the latest case of Ebola, there, hospitals in Maryland are bracing and preparing in case someone with Ebola walks into a local emergency room.
Md. Medical Facilities Taking Precautions As Ebola-Stricken Arrive In U.S.
Out of control. World health experts say the Ebola outbreak in West Africa is moving faster than efforts to control it.
New Safety Measures In Place At Baltimore Co. Schools 1 Year After Perry Hall Shooting
Hard to believe it's been almost one year since shots rang out inside a Baltimore County high school, critically injuring a student.
Union For Correctional Officers Criticizes State Over Security Threats
Another assault on a correctional officer at the maximum security prison in Western Maryland has union officials demanding three directors be fired.


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Release Date: 2004 |
Album Rating: 3.5As of today, I have been a member of Sputnikmusic for six months. As such, I thought I'd post this review.
Happy sixth month membership?
Lol, good review dude. I never could really get into these guys, partly because I'm not the biggest fan of Fear Factory. Is there sophomore album any good?
Album Rating: 3.5Antares? I haven't heard much of it yet, but it seems to be better than this, so go ahead and give that one a try.
Album Rating: 3.0Locrian u dum? ANTARES ROOOOOOOOOOOOOOOOOOOOOOOOOOOOOLZ
Didn't like this album too much though.
u dum?
Album Rating: 3.0My dear East...
i tink it is u who is dum.
maybeh. but dis band is a no no. :]
Album Rating: 3.0I swear we talked about that album a few days ago!
We did, dummy
Album Rating: 3.0And I told you why I liked this so much, dummy.
And i told you why I DIDN'T like this so much, dummyer.
Album Rating: 3.0OKAY THEN. CASE CLOSED.
Have you ever listened to The Shizit? That therr is sum good industrial metal.
Album Rating: 3.0LOL Are you really asking ME that? ME? DO YOU KNOW WHO I AM? HUH? DO YOU?
Album Rating: 3.5Thank God, this album has been needing a review for a while. Its a good one, but Antares is still way better.
Album Rating: 3.0YES Silence!
But yeah East, I like The Shizit too. You should also check out Rabbit Junk, same guy.
Same vocalist? That was my favorite part of the Shizit.
Album Rating: 3.0Yep, same guy. He's with a girl in this one though, so there are some pretty sick female vocals sometimes. Although Rabbit Junk doesn't sound as angry.
Well their band bio said they combined stuff like hip-hop, black metal, and new wave, so I'm intrigued. Thx bro.
Bands: A B C D E F G H I J K L M N O P Q R S T U V W X Y Z


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Arsenal Tavern HostelLondon, England
Average sums it up. Good value for London. Minus points; small toilet, no shaving mirror.
St Christopher's GreenwichLondon, England
I spent two days here, though originally I had booked just one night. Having rebooked in the morning, I didn't expect I woold have to change rooms when I returned. There was a "computer says no" response to my enquiries. I had to book my second night online, despite being stood in reception. Not enough electric points in the rooms. The security cages under the beds are awkward to use, the lids can't be lifted without pulling the whole cage from under the bed. The beds and duvets are excellent
Smart Russell SquareLondon, England
This one has slipped in my estimation, I had been impressed when I first visited. To be fair they are renovating, still the sight of half a ton of plaster outside the room is unusual. I had problems getting a duvet, almost needed to call down the wrath of god before one was produced. Location is of course, still excellent. Good common area where I enjoyed the banter of the drifters. But the weekend had arrived and prices had bolted, somewhere else was required.
Istanbul HostelIstanbul, Turkey
No customer comment
- Novice Nomad
- England
- Male, 31-40
- (4 reviews)


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Looking at the universe of stocks we cover at Dividend Channel, on 7/26/13, Value Line, Inc. (VALU) will trade ex-dividend, for its quarterly dividend of $0.15, payable on 8/9/13. As a percentage of VALU's recent stock price of $9.05, this dividend works out to approximately 1.66%, so look for shares of Value Line, Inc. to trade 1.66% lower — all else being equal — when VALU shares open for trading on 7/26/13.
Click here to learn which 25 S.A.F.E. dividend stocks should be on your radar screen »
Below is a dividend history chart for VALU, showing historical dividends prior to the most recent $0.15 declared by Value Line, Inc.:
In general, dividends are not always predictable; but looking at the history above can help in judging whether the most recent dividend from VALU is likely to continue, and whether the current estimated yield of 6.63% on annualized basis is a reasonable expectation of annual yield going forward. The chart below shows the one year performance of VALU shares, versus its 200 day moving average:Looking at the chart above, VALU's low point in its 52 week range is $8.02 per share, with $13.69 as the 52 week high point — that compares with a last trade of $9.05.
In Wednesday trading, Value Line, Inc. shares are currently trading flat on the day.


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Black Holes Can Only Get So Big
There appears to be an upper limit to how big the Universe's most massive black holes can get, according to new research led by a Yale University astrophysicist and published in Monthly Notices of the Royal Astronomical Society.
Once considered rare and exotic objects, black holes are now known to exist throughout the Universe, with the largest and most massive found at the centres of the largest galaxies. These "ultra-massive" black holes have been shown to have masses upwards of one billion times that of our own Sun. Now, Priyamvada Natarajan, an associate professor of astronomy and physics at Yale University and a fellow at the Radcliffe Institute for Advanced Study, has shown that even the biggest of these gravitational monsters can't keep growing forever. Instead, they appear to curb their own growth – once they accumulate about 10 billion times the mass of the Sun.
These ultra-massive black holes, found at the centres of giant elliptical galaxies in huge galaxy clusters, are the biggest in the known Universe. Even the large black hole at the centre of our own Milky Way galaxy is thousands of times less massive than these behemoths. But these gigantic black holes, which accumulate mass by sucking in matter from neighbouring gas, dust and stars, seem unable to grow beyond this limit regardless of where – and when – they appear in the Universe. "It's not just happening today," said Natarajan. "They shut off at every epoch in the Universe."
The study, which appears in the Monthly Notices of the Royal Astronomical Society (MNRAS) on 15 October, represents the first time an upper mass limit has been derived for black holes. Natarajan used existing optical and X-ray data of these ultra-massive black holes to show that, in order for those various observations to be consistent, the black holes must essentially shut off at some point in their evolution.
One possible explanation put forth by Natarajan is that the black holes eventually reach the point when they radiate so much energy as they consume their surroundings that they end up interfering with the very gas supply that feeds them, which may interrupt nearby star formation. The new findings have implications for the future study of galaxy formation, since many of the largest galaxies in the Universe appear to co-evolve along with the black holes at their centres.
"Evidence has been mounting for the key role that black holes play in the process of galaxy formation," said Natarajan. "But it now appears that they are likely the prima donnas of this space opera."
The authors of the paper are Priyamvada Natarajan (Yale University and the Radcliffe Institute for Advanced Study) and Ezequiel Treister (European Southern Observatory, Chile and University of Hawaii).
Image Caption: Black hole withing NGC 5408 (NASA)
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A Cowboy's Touch - eBook
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ChristianBook eBooks on the Sony Reader
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Product Description
Abigail Jones isn't sure how she went from big-city columnist to small-town nanny, but her new charge is growing on her, to say nothing of her ruggedly handsome boss. Love blossoms between Abigail and Wade--despite her better judgment. Will the secrets she brought with her to Moose Creek, Montana separate her from the cowboy who finally captured her heart?
Product Information
|Format: DRM Protected ePub
Vendor: Thomas Nelson
Publication Date: 2011
Availability: In Stock
Series: Big Sky Romance
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Publisher's Description
Abigail is just in Moose Creek, Montana for the summer to temporarily care for her great aunt. But a tender-hearted cowboy beckons her to stay.
Abigail Jones intends to spend just one summer in middle-of-nowhere Montana with her Aunt Lucy. Time away from her job is just what Abigail needs to reassess her life. The slow pace has her breathing deeply for the first time in years. And the majestic scenery encourages her to get reacquainted with herself . . . and God.
What she didn't count on was the handsome widowed cowboy who owns the ranch where her aunt lives. When the rancher loses his daughter's nanny, Abigail decides to lend a hand for the summer.
Wade Ryan can't help being attracted to Abigail. But he's given up everything to protect his daughter, and he's not about to risk it all on a pretty face.
Under Abigail's care, Wade's home and daughter thrive. And with Wade's touch, Abigail's heart feels at home at last. But Abigail knows this elusive rancher is hiding something. Will her own secrets separate her from the cowboy who finally captured her heart?
Abigail becomes a nanny for Wade's daughter, Maddy, and lives on his property, Stillwater Ranch. As Abigail grows closer to Maddy, her interest in Wade deepens until she discovers he is the celebrity cowboy J.W. Ryan who vanished after his wifes death. She learns he did this to protect Maddy, but quickly becomes torn between publishing the story exposing the missing cowboy and letting her magazine collapse. Abby writes an article despite her increasing emotional sentiments toward Wade, but he discovers her writing and is angered by her betrayal. When Wade forces her to leave Stillwater Ranch, the separation weighs heavily on the two until one event changes this.
The characterization and character development are strong throughout the book and ring true, particularly with women characters. However, as with most romance novels the plot is sometimes predictable. Overall, A Cowboy's Touch is a sweet romance about a big city girl falling in love with a macho cowboy and contains a solid message about truth. I recommend this book for women interested in the romance genre. Michelle C. Archer, www.ChristianBookPreviews.com
Product Reviews
BarrelRacer99MinnesotaAge: Under 18Gender: female5 Stars Out Of 5A Must Read!April 12, 2013BarrelRacer99MinnesotaAge: Under 18Gender: femaleQuality: 5Value: 5Meets Expectations: 5This is an amazing read. I couldn't put the book down. Chapter after chapter I read. I cannot wait to read the next two Big Sky Romance Series. I'm excited to get them!
Its About Time MamawCleveland, TexasAge: 55-65Gender: female5 Stars Out Of 5Lies and Deceit Ruins RelationshipsOctober 4, 2011Its About Time MamawCleveland, TexasAge: 55-65Gender: femaleQuality: 5Value: 5Meets Expectations: 5Workaholic Abigal Jones aka The Truth Seeker is a succesful columnist and is forced to take a well needed hiatas from her job. Her boss whom is her mother is concerned with her daughters health. She banishes her to her Aunt's home in Montana not only for her health but to check on her aunt because they fear that her aunt is slipping into dementia. But the kicker is her mother insists that Abigal is to stay there for three months.
The author, of course, has added a handsome widowed rancher, Wade Ryan owner of the Stillwater Ranch, as her aunt's neighbor. To top it off he has a darling daughter, Maddy that is in dire need of a women's infulence in her young life.
Lies and deception are strong in this story on both Abigal and Wade's side which creates any chance at friendship between the two, much less love.
I did not want to put this book down. Definitely one of my favorites.
I highly recommend A Cowboy's Touch.
I gladly give it a 5 out of 5.
I received a free ebook copy of this book for review from NetGalley. This is my honest opinion and was in no way compensated for that opinion.
newreaderNevadaAge: 35-44Gender: female5 Stars Out Of 5Excellent!September 2, 2011newreaderNevadaAge: 35-44Gender: femaleQuality: 5Value: 5Meets Expectations: 5I just finished this boook! Wow what a great read. I was so moved by the way the writer keep you hanging on and wondering what will transpire between Wade and Abigail. It had perfect background information on branding and cowboy work.
schoolmarmHeber Springs, ARAge: Over 65Gender: female5 Stars Out Of 5Facing is easier than hidingJuly 31, 2011schoolmarmHeber Springs, ARAge: Over 65Gender: femaleQuality: 5Value: 5Meets Expectations: 5Wade was comfortable hiding from the public, but when
Abigail enters the picture as his daughter's nanny that
may no longer be the case. What will it cost for the truth
to come out?
Rambling Reader5 Stars Out Of 5Fast-Paced, Light Summer Read!July 7, 2011Rambling ReaderQuality: 5Value: 5Meets Expectations: 5After reading The Inconvenient Groom by Denise Hunter a few months ago, I was anticipating the release of A Cowboy's Touch, the first in her new "Big Sky" series. My expectations for a light and enjoyable read were fulfilled, and I even surprised myself by reading the novel in practically one sitting!
The plot of A Cowboy's Touch moves along at a steady pace, and in many ways it reminded me of a Hallmark movie. While Wade has a past that threatens their relationship, Abigail has secrets of her own. I was very sympathetic to Wade and his daughter Maddy; and at times, I became very exasperated by Abigail's actions. But any great story needs to have its share of tension and characters who make their share of mistakes. Ultimately, it is is a story of forgiveness and finding new beginnings.
I look forward to Denise Hunter's next novel in this series, The Accidental Bride, which is scheduled to be released in January 2012.
I received a complimentary e-copy of this book from NetGalley, courtesy of Thomas Nelson Publishers. I was not required to write a positive review. The opinions expressed above are my own. I am disclosing this in accordance with the Federal Trade Commission's 16 CFR, Part 255 "Guides Concerning the Use of Endorsements and Testimonials in Advertising."
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This is a OOAK necklace made with copper chain chain and a unique antique Africa brass centerpiece.
The African centerpiece is hand-wrought and features an amazing pattern of coiling circles which create a beautiful pattern.
A single strand of delicate chain runs through the centerpiece and comes out the bottom; it is attached to a small loop where lots of dangling chains make a sexy tassel.
We love tassel necklaces because they go with just about anything and have great movement.
I love the elements of metal and antique components that make for a very contemporary necklace.
The centerpiece is suspended from a single length of gold-tone brass chain which joins with a hand-made loop and toggle clasp.
Simple and sexy, to be sure. This necklace fun necklace is one of those beauties you'll wear with everything.
It is long and dramatic and you won't be able to keep you hands off the tassel. It has great texture and is very tactile.
This looks great when worn and is a stand-out piece.
Measurements: Chain is 23 ¾" long and 2mm wide, African bead is approx. 1" in diameter and ¼" deep, Centerpiece (w/ dangling chains) is 3 ½" long Weight: 20 grams (0.71 oz)
If you are the pending buyer of this item, go to My Account to view, track and pay for this item.
Carefully Curated Extra Special Jewelry, Accessories, Collectibles. A Few of Your Favorite Things!
Thank you for shopping at Easterbelle's Emporium!


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(b. 1931, National City, California. Lives and works in Santa Monica, California.)
John Baldessari studied at San Diego State College, U.C. Berkeley, UCLA, the Otis Art Institute, and the Chouinard Art Institute. Baldessari received an honorary Doctor of Fine Arts in 2000 from the Otis Art Institute, an honorary Ph.D. from San Diego State University, San Diego, California in 2003, and was elected to the American Academy of Arts and Sciences in 2004. His many awards include the Goslar Kaiser Ring, Germany (2012), the B.A.C.A. Award for Contemporary Art (2008), the Archives of American Art Medal, Washington DC (2007), the Guggenheim Fellowship (1986), the Oscar Kokoschka Prize, Austria (1996), and the Governor's Award for Lifetime Achievement in the Visual Arts, California (1997). His work has been exhibited in the 47th Venice Biennial (1997); the Carnegie International (1985-86), the Whitney Biennial (1983), and Documenta V (1972) and VII (1982), and he has exhibited recent retrospectives at the Metropolitan Museum of Art, New York (2010) and the Kunsthaus Graz in Austria (2005).
Pictures & Scripts, Marian Goodman Gallery, London
Early Work, Galerie Marian Goodman, Paris
John Baldessari: Movie Scripts/Art, Marian Goodman Gallery, New York
Your Name in Lights, La Monnaie de Paris, France
John Baldessari: 1+1=1 Garage Center for Contemporary Culture, Moscow Russia
John Baldessari: Installation Works, 1987-1989, Marian Goodman Gallery, New York
and Sander, Robert Bills Contemporary, Chicago
John Baldessari, Mӧnchehaus Museum Goslar, Goslar, Germany
John Baldessari: A Print Retrospective from the Collections of Jordan D. Schnitzer and His Family Foundation, Museum of Contemporary Art San Diego La Jolla, La Jolla, CA
Marian Goodman Gallery Paris. Paris, France
John Baldessari: I Will Not Make Any More Boring Art, Le Case D'Arte. Milan, Italy
John Baldessari: Pure Beauty, Los Angeles County Museum of Art / Metropolitan Museum of Art, New York.
John Baldessari: Brick Bldg, Lg Windows w/ Xlent Views, Partially Furnished, Renowned Architect, Museum Haus Lange, Krefeld, Germany
John Baldessari: Pure Beauty, Tate Modern, London, England
Biannual Award for Contemporary Art Exhibition, Bonnefantenmuseum, Maastricht, The Netherlands
John Baldessari: Music, Kunstmuseum Bonn. Bonn, Germany.
CODEX, CCA Wattis Institute for Contemporary Art, San Francisco, California
Imaginary Portraits, Schwartz Gallery Met, Metropolitan Opera, New York
Time Pieces, The video art collection of Neuer Berliner Kunstverein at Nordstern Videokunstzentrum, Gelsenkirchen, Germany
Damage Control: Art and Destruction Since the 1950s, Mudam Luxembourg; Kunsthaus Graz, Austria
The Collection of the IVAM XXV Anniversary, Institut Valencia d'Art Modern, Valencia, Spain
Spitting in the Wind, Oceanside Museum of Art, Oceanside, California
Secondhand, Pier 24 Photography, San Francisco, California
The Avant-Garde Collection, Orange County Museum of Art, Newport Beach, California
Small Museum for the American Metaphor, REDCAT Gallery, Los Angeles, California
ARTandPRESS, ZKM, Museum of Contemporary Art, Karlsruhe, Germany
Poesie der Reduktion – Minimal, Concept, Land Art, Museum Moderner Kunst Stiftung Ludwig, Vienna, Austria
Beg, Borrow and Steal, Palm Springs Art Museum, Palm Springs, California
Besser scheitern, Hamburger Kunsthalle, Hamburg, Germany
Punkt.Systeme – Vom Pointillismus zum Pixel, Wilhelm Hack Museum, Ludwigshafen
Malerei in Fotografie – Strategien der Aneignung, Städel Museum, Frankfurt
Circa 1971: Early Video & Film From the Eai Archive, Dia Beacon
Explosion! – Painting in Action, Moderna Museet, Stockholm
Malerei in Fotografie – Strategien der Aneignung, Städel Museum, Frankfurt
Beg, Borrow and Steal, Palm Springs Art Museum, Palm Springs
América, América En La Colección Del IVAM, Institute Valencià d'Art Modern, Valencia
Pacific Standard Time: Art in L.A. 1945 – 1980, Series of over 40 concurrent exhibitions across Southern California
Off the Wall, Fora da Parede, Serralves Museum, Porto, Portugal
The Shape of Things to Come: New Sculpture, The Saatchi Gallery, London, England
After Images, Musée Juif de Belgique, Brussels, Belgium
Beg Borrow and Steal, Rubell Family Collection, Miami, Florida
See This Sound, Lentos Kunstmuseum, Linz, Austria
Into the Sunset: Photography's Image of the American West, Museum of Modern Art, New York, New York
The Pictures Generation, 1974-1984," Metropolitan Museum of Art, New York, New York
Alphabetical Order, Index, The Swedish Contemporary Art Foundation, Stockholm, Sweden
Color Chart: Reinventing Color, 1950 to Today," The Museum of Modern Art, New York, New York
Learn to Read, Tate Modern. London, England