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Critical Essay by Robert Merrill
SOURCE: "Mailer's Sad Comedy: The Executioner's Song," in Texas Studies in Literature and Language, Vol. 34, No. 1, Spring, 1992, pp. 129-48.
In the following essay, Merrill reconsiders the critical reception of The Executioner's Song through analysis of Mailer's presentation and major themes in the novel. According to Merrill, Mailer's treatment of social injustice and tragedy evokes compassion for all characters involved.
This is an absolutely astonishing book.
—Joan Didion
The time is right, I think, to reconsider The Executioner's Song (1979), Norman Mailer's famous "true life novel" (the book's oxymoronic subtitle). Though the work received an extremely favorable reception from reviewers (more favorable than any of Mailer's books save The Naked and the Dead, The Armies of the Night, and, curiously enough, Existential Errands), The Executioner's Song remains an enigma in the history of Mailer's critical reputation. Since 1979 most essays on the book have been friendly, but they have all dealt with limited topics—Mailer's presence or nonpresence within the text, Gary Gilmore's "character," the validity of Mailer's claim to have written a true life novel. It almost seems as if the book's sheer size has discouraged even its advocates from addressing such basic issues as the work's overall structure and informing themes. The questions that remain are fundamental. How should we assess the relationship between books 1 and 2, almost equally long but often thought to be of radically unequal narrative interest (the first book surpassing the second)? What are we to make of the final five hundred pages in which Mailer focuses on the intense legal and media activity that marked Gilmore's last three months? Perhaps most crucial, what are we to think of Gilmore? Is he a Maileresque hero, "fighting the whole liberal establishment for the right to choose his own death and expiation," as Robert Begiebing argues? Or is he no more than a violent "punk," as many readers no doubt suppose? Finally, what are we to make of Mailer's claim that his subject is "American Virtue," as he once considered titling the book? This claim should lead us to reconsider Mailer's thematic intentions in general, intentions all too often down-played because Mailer is so conspicuously "absent" from this huge book. Such a review should allow us to see that The Executioner's Song is Mailer's most ambitious attempt to "explain" America, a fundamental purpose in all his books but especially the works of nonfiction that he published in the 1970s.
I shall assume that the generic question is less crucial here than in many of Mailer's earlier works, for I think Mailer has written precisely the kind of book he set out to write: a "novel" in which everything happens to be "true" (i.e., exactly as reported by the one hundred witnesses from whose point of view the story is told). The principal critical questions should be how this massive set of experiences is organized and what the resulting aesthetic structure communicates to a sympathetic reader. Ultimately, the question is whether this book is the "astonishing" achievement Joan Didion took it to be in her early review.
It's as if he has set a camera down in the middle of the event, in the tradition of Warhol and cinéma vérité, and simply recorded all that passed the camera's eye.
—Chris Anderson
When Chris Anderson says that The Executioner's Song resembles Warhol's more extravagant experiments he is referring to his impression upon first reading Mailer's book; according to Anderson, a second reading reveals the author's shaping hand in ways that recall Truman Capote's in In Cold Blood. Anderson's comment is all too representative, for it does take some time to appreciate that there is a "shaping consciousness" at work. For example, a number of critics have pointed to Mailer's habit of concluding narrative sections with telling comments phrased in his own voice, as when he compares Gilmore's trip home after being released from prison to the westward journey of Brenda Nicol's great-grandfather many years earlier. The passage in question connects a dedicated Mormon pioneer and the all-too-aimless Gilmore, a fine irony made available by the author and not one of his characters. And there are many other such moments, often, as noted, at the end of sections. But it is easy to exaggerate Mailer's "presence" in the book as a whole—a few summarizing remarks do not go far in a book of over one thousand pages. Thus Anderson's allusion to Warhol. Thus Richard Stern's amusing comment: "Mailer's absence is so pronounced that it dominates the book like an empty chair at a family dinner." To locate Mailer, I think we need to look not at explicit formulations but the narrative structure itself.
Book 1 of The Executioner's Song is called "Western Voices," and we do overhear many different western voices during the five hundred pages devoted to Gary Gilmore's three and a half months of freedom in Provo, Utah (a period preceded by Gilmore's eighteen years in prison and brought to a stunning conclusion by the two apparently senseless murders he commits). These many western figures primarily observe and comment on Gilmore, however, who remains the unmistakable focal point of book 1. By presenting Gilmore from so many points of view, Mailer provides what seems as broad and objective a portrait as possible. Nonetheless, the details selected highlight certain features of Gilmore's character, as a brief review of part 1, "Gary," should confirm.
The first fifteen pages offer a number of quite sympathetic moments, or details concerning Gilmore's past. In these first pages, his cousin, Brenda Nicol, remembers a seven-year-old Gary helping her during "a good family get-together"; the unattractive details of Gary's reform-school days in Portland are left out of the narrative; Brenda's sister, Toni, testifies to the impact of Gary's drawings, especially those that depict "children with great sad eyes"; one of Gilmore's letters is quoted in which he says of prison, "It's like another planet," a haunting simile reinforced a bit later when he remarks that he seldom saw stars in prison; the pathetic austerity of Gilmore's one tote bag, his inability to stop "gawking" at beautiful girls, and his ignorance of the fact one can try on clothes before buying them all point up his abysmal past; and Gilmore's sensitive interplay with the small children of friends is noted twice. Later in part 1, when Gilmore meets Nicole Baker, those who know him are amazed at his positive transformation. These early pages consistently present Gilmore as a kind of waif, good at heart but deprived of the normal opportunities to express his goodness. Almost immediately, however, evidence from several sources begins to define Gilmore as what Mailer calls a "habit-ridden petty monster," "trapped" within his apparently unshakable selfishness. During his first date in Provo, Gilmore demands sex, refuses to listen when told he must earn things, and raises his fist against a woman who has done nothing to him; only a few weeks later he repeats this performance with a second date, finally busting the windshield of her car when she refuses to sleep with him. In the midst of many conversations, Gilmore launches into grim prison stories about beating a convict with a hammer, photographing a convict performing fellatio on himself, killing "this black dude … a bad nigger," and tattooing a friend with little phalluses; indeed, this ominous repertoire of prison tales is trotted out whenever Gilmore makes a new acquaintance in book 1. Soon we observe Gilmore lying to his sympathetic parole officer and shouting obscenities at a movie screen. Thus Mailer establishes at once the extraordinary difficulty of defining Gilmore's essence or even how one should respond to him.
This complex portrait is embellished throughout the remaining six parts of book 1. As developed in part 2 ("Nicole") and part 3 ("Gary and Nicole"), Gilmore's affair with Nicole deepens our sense of both his pathos and his viciousness. Mailer's treatment of their first days together is very sympathetic. He takes seriously their belief in reincarnation and presents without irony their separate assertions that they knew each other "from other time." He shows Gilmore playing the engaging youthful lover despite the fact that he is thirty-five and Nicole nineteen: Gilmore labels Nicole his "elf," carves their names on an apple tree, and tells her "that he hoped no unnecessary tragedies would ever befall them." With Nicole he seems much more in control of himself, as when he tells her that the whole point of living is "facing yourself." Yet Gilmore still seems compulsively violent: he forces Nicole into all-night sexual engagements to combat his impotence, clips off the speakers in a drive-in, hits Nicole at least twice, throws a tape deck at a security guard, and gets drunk soon after promising to give up drinking. His frequent reflections on reincarnation betray his basic childishness, for at this point his faith is little more than a pleasant fantasy: "After death, he said, he was going to start all over again. Have the kind of life he always wished he had." So it is no surprise when Gilmore cannot sustain his relationship with Nicole, who leaves him toward the end of part 3. Indeed, the depressing histories presented in part 2 offer almost no hope that Gilmore and Nicole can reverse the pattern of failure that informs both lives.
The first three parts of book 1 create sympathy for Gilmore even as they document his "monstrous" character. This opening movement is crucial to the work's overall effect, for beginning with part 4, "The Gas Station and the Motel," Mailer is obliged to record Gilmore's ghastly performance in murdering for $100 one night and $125 the next. The almost shockingly flat account of the Jensen and Bushnell murders is followed by Gilmore's pathetic effort to make love to Nicole's fifteen-year-old sister, April; his absurdly amateurish lies to the police; his repulsive boasting about the seventy to one hundred "successful" robberies he committed as a kid and the murder of Bushnell; and his extremely evasive stance at the subsequent trial, where he claims that he had no control over himself when he committed the murders, that it was fated for him to kill Bushnell. In part 5 ("The Shadows of the Dream"), part 6 ("The Trial of Gary M. Gilmore"), and part 7 ("Death Row"), we see Gilmore at a much greater distance, back in jail and no longer the somewhat sympathetic figure of the early sections. During Mailer's clinical account of the murders and Gilmore's subsequent arrest, trial, and sentencing, our "hero" often seems little more than the "recidivist" that John Hersey takes him to be. There is precious little to corroborate the initial hints that Gilmore is in part the victim of a system that imprisons a man for almost his entire adult life for relatively petty crimes. By the end of book 1, however, a strangely positive side to Gilmore does emerge, one that will become a major subject in book 2.
I refer in part to Gilmore's relative stability when he becomes once again a convict. Early in his jail stint in Provo, Gilmore tells a fellow convict, "I am in my element now," and the final sections of book 1 tend to confirm this claim rather than to undercut it as another instance of Gilmore's cheap self-inflation. But I also refer to the odd capacity Gilmore seems to develop to judge his life with apparent objectivity. Soon after his arrest, he tells an officer, "I can't keep up with life," as accurate a comment on his frenetic three and a half months in Provo as anyone is able to offer. A bit later Gilmore writes a long letter to Nicole in which he says that he cannot be the devil because he loves Nicole and the devil cannot love. "But I might be further from God than I am from the devil," he adds. "It seems that I know evil more intimately than I know goodness." This remarkable letter is followed by others equally fascinating, letters in which he praises Nicole's fearlessness, speaks of the unendurable pain he felt when he thought he had lost Nicole, celebrates their two months together while referring again to the thousands of years they may have known each other, and affirms courage as the ultimate virtue. Perhaps the most important letter is the one in which he tells Nicole, "I believe we always have a choice."
Gilmore's choice now is to die rather than to allow his soul to deteriorate further in this life. This logic leads him to reject any appeal of the death penalty, a decision that soon makes him nationally famous and confirms Mailer's portrait of Gilmore as profoundly ambiguous. This man who acts like a barbarian at one moment and quotes Emerson at another is a "mystery," Mailer has said, "malignant at his worst and heroic at his best." Book 1 does not verify Gilmore's heroism, but it does project a man whose complications are as vivid as his unforgettable malignancy. Gilmore as habit-ridden monster is the key to book 1, but we are made to ask whether this is all there is to say about the man. In book 2, of course, Mailer will offer many more words, as he pursues the mystery of Gary Gilmore through another five hundred pages.
Before turning to the lawyers and media figures who dominate book 2, we should note the role of the many relatives, friends, acquaintances, and victims who share the stage with Gilmore in book 1. These people are observers who contribute to the composite picture of Gary Gilmore, but they also help Mailer achieve the broad social panorama he admires in writers as different as Tolstoy and Dreiser. Indeed, Mailer has chided himself for doing so little with the secondary characters in his previous novels, a "flaw" he hoped to correct in The Executioner's Song. Here Mailer develops virtually every "minor" character and permits each to speak in something like his or her own voice, however much the several idioms blend into the flat, colloquial style for which the book is famous. Mailer's defense of his unadorned prose might apply to the minor characters themselves: "one's style is only a tool to use on a dig." Like the style by which we know them, the secondary characters are supposed to contribute to the book's larger formal ends.
One such end is to "examine" the American reality exposed by the strange saga of Gary Gilmore. Joan Didion sees Mailer as capturing two crucial features of western America. The first is "that emptiness at the center of the Western experience, a nihilism antithetical not only to literature but to most other forms of human endeavor." The second is an inability to direct our own lives, a failing so pervasive that all the characters seem to share in "a fatalistic drift, a tension, an overwhelming and passive rush toward the inevitable events that will end in Gary Gilmore's death." I believe that Didion's insights are exaggerated, but they do point up suggestive connections between Gilmore and the people who surround him. Bessie Gilmore, Brenda Nicol, Vern Damico, Kathryne Baker and her daughters Nicole and April—all are "trapped" in their futile efforts to find a life worth living. Indeed, almost every woman in the book first marries at fifteen or sixteen and eventually marries at least three or four times, and the men seem equally caught up in the fatalistic drift Didion notices. Didion does not do justice to the admirable stability of people like Brenda Nicol and Vern Damico, but the wasted lives of those around Gilmore suggest that his own fate is only an exaggerated instance of that moral emptiness Didion hears in the book's western voices.
In this respect as in others, Nicole Baker is the second most important character. Mailer has called her "a bona fide American heroine," but most readers will think she is rather the quintessential American victim. Promiscuous at eleven, institutionalized at thirteen, married at fourteen and again at fifteen, Nicole suffers three broken marriages before she is twenty. "Sex had never been new to Nicole," we are told, and it is more than plausible when she runs off with an older man because "she didn't care where she was going." Yet Nicole has virtues to match her troubling irresponsibility. As Gilmore sees, she is fearless and fiercely loyal. These are the very qualities that Gilmore counts on when he manipulates her toward a suicide pact. In his many letters from jail, he pleads with Nicole not to make love with other men, to give up sex altogether, and to join him on the other side in death. At the end of book 1, he leads her toward a double suicide attempt that epitomizes both his romanticism and his selfishness, even as it climaxes Mailer's portrait of Nicole as an endearing victim. Later Nicole will be denied the "clean" resolution of death, will emerge from yet another institution to tell Larry Schiller (and Mailer) the story of her love for Gary Gilmore, and will finally drift off to Oregon to new lovers if not a new life. Nicole's story is a familiar one among her family and friends; years of acute aimlessness followed by an utterly hopeless commitment. Surely it is no accident that Nicole comes to love Gilmore most fiercely when he is cut off from her forever. For the Nicoles of the world (and perhaps this means for all of us), there is no consummation except in an imagined future.
The stories of Nicole and the other witnesses point to one of Mailer's most crucial decisions in structuring book 1. Rather than trace Gilmore's grim history from reform school through his term in Marion, Illinois, Mailer chooses to focus on Gilmore's last months in Provo in 1976. The reasons for this no doubt include Mailer's desire to achieve greater dramatic unity and to emphasize Gilmore's "mystery" instead of the familiar stages of American crime and punishment. But another important reason is to allow Mailer to flesh out the human context in which Gilmore plays his final role or sings his final song, as the title would have it. This context is dominated by the same hateful "habits" that take more spectacular forms in Gilmore. Yet the human resources displayed in book 1 should not be dismissed quite so easily as Didion's formulation would suggest. Here we get example after example of human folly, western style, but also many instances of what Mailer calls "American virtue," the American's dogged determination to do his or her best in the worst of circumstances. The range of such portraits is really quite extraordinary, from Gilmore's mother, Bessie, to Brenda Nicol, to the Damicos, to the irrepressible Nicole. One of the earliest reviewers called The Executioner's Song "a remarkably compassionate work," and the truth in this judgment should remind us that, like Mailer's portrait of Gilmore, book 1 is structured to highlight the human frailties as well as the abominations of American life.
It might seem that book 2 offers a less sympathetic, more satirical history of Gilmore's last months. The very title of part 1, "In the Reign of Good King Boaz," signals a new kind of irony. Here lawyers and the press are omnipresent and one eighty-two-page section, "Exclusive Rights," is devoted to virtually nothing but Larry Schiller's and David Susskind's efforts to corner the Gilmore market, so to speak, by securing exclusive rights to his story. Packs of reporters are everywhere, confirming Mailer's worst fears about the press. The many lawyers introduced are often distinguished by one bizarre detail or another, as when Earl Dorius, Utah's assistant attorney general, is excited at the prospect of an execution and proceeds to work himself into a near breakdown to ensure that the state of Utah gets its execution on 17 January 1977, or when Dennis Boaz, Gilmore's second lawyer, supports his client's desire to be executed until it occurs to him that Gary would prefer to live if he could have connubial visits from Nicole, perhaps in Mexico! Gilmore's final lawyers Bob Moody and Ron Stanger, are a good deal less eccentric, but they too partake in the grim legal struggle in which the state of Utah pursues its pound of flesh, and the ACLU and other liberal groups fight stubbornly to save a man who does not want to be saved. The ironies here are obvious and may even seem undramatic. In the film version of The Executioner's Song, scenarist Mailer and director Schiller chose to leave out most of the materials of book 2, as if they were less relevant than the more "immediate" events of book 1.
My own view is that book 2 is at least as interesting as book 1, a remarkable feat when one considers that the protagonist is all but unavailable and the heroine is locked up throughout. Once again Mailer gets great mileage from his so-called minor figures, a few of whom (e.g., Boaz, Schiller, Barry Farrell) are among his most memorable characters. Of real interest for their own sake, they also provide perspective on Gilmore. For example, Gary's brother Mikal is at first reluctant to allow his brother to die and participates in legal actions to prevent it. When he finally talks with Gary, however, Mikal is won over by his brother's seriousness and depth of feeling. As they part, Gary first kisses Mikal, then utters perhaps the most haunting words in this very long book: "See you in the darkness." A cellmate of Gilmore's named Gibbs also effectively testifies on Gary's behalf. A police informer, Gibbs refers to Gilmore as the most courageous convict he has even seen. And Gilmore's relatives, especially Vern Damico and Toni Gurney, find themselves moving ever closer to Gilmore as he approaches death. Toni's relationship with Gilmore is especially moving. She first visits him the day before he is to be executed and is overwhelmed by his gentle affection. Later that day, after her own birthday party, she returns to the party Gilmore has been permitted at the prison and again experiences Gary's new warmth. Toni is sufficiently moved to try to attend Gary's execution. This sequence blends with many other small but affecting moments to verify the change in Gilmore that is sensed by many people during his final weeks.
Mailer uses Barry Farrell and Larry Schiller to temper the more sentimental implications of book 2, but ultimately these veteran journalists also testify to Gilmore's surprising depth. The title of book 2, "Eastern Voices," seems to refer to all those safely established in the social system, whether in the East or the West: lawyers, reporters, producers, assistant attorney generals, and so on. Farrell and Schiller are such voices. Each brings a heavy load of urban skepticism to the Gilmore assignment, hating Salt Lake City, as Farrell does, and believing there is no "center" to this story, nothing of real human resonance. When both men come to see Gilmore in a very different light, Mailer is able to bring his book to a genuine climax.
Farrell is at first confident that nothing sets Gilmore apart but his willingness to die. If Gilmore is not executed, Farrell suggests, he will become indistinguishable from the hundreds of others condemned to die but never executed. As he works with Gilmore's responses to hundreds of questions, however, Farrell notices that Gilmore "was now setting out to present the particular view of himself he wanted people to keep." Later Farrell responds profoundly to Gilmore's tapes: "Barry was crying and laughing and felt half triumphant that the man could talk with such clarity." Farrell still believes that Gilmore "had a total contempt for life," but this makes it all the more impressive when Gilmore responds so "humanely" to the massive attention of his last months. Farrell is stunned at Gilmore's apparent complexity. In the transcripts Farrell spots "twenty-seven poses," twenty-seven different Gilmores ("racist Gary and Country-and-Western Gary, artist manqué Gary, macho Gary"). Farrell begins to pursue the single Gary who presumably stands behind these multiple poses, but he is "seized with depression at how few were the answers" to his inquiry. There is an "evil genius" in Gilmore's planning Nicole's suicide, but much else in Gilmore's life suggests sheer ignorance; Gilmore's relations with Bessie, his mother, seem a potential key, but the answers to many related questions provide no "hope of a break-through." Continuing to ponder Gilmore's transcripts just before the execution, Farrell turns to yet another possible solution to the Gilmore mystery: Gilmore's fascination with small children. But this "answer" is also unsatisfactory: "It was too insubstantial. In fact, it was sheer speculation … beware of understanding the man too quickly!" Beware indeed. Farrell's final comment on Gilmore takes us back to the passage from André Gide ("Please do not understand me too quickly") that Mailer first used as his epigraph to The Deer Park (1955). Farrell's conclusion should caution us against reductive readings, psychological efforts to pluck out Gilmore's mystery. Indeed, Gilmore's complexity should impress us as much as it does Farrell, whose prolonged efforts to understand Gilmore are akin to Mailer's.
Larry Schiller's role is in part like Farrell's. Schiller also looks for the human side to Gilmore, the "sympathetic character" buried inside the cold-blooded killer, for Schiller cannot imagine making a successful book or film unless he first makes this discovery. Like Farrell, Schiller begins with many doubts and ends up convinced of Gilmore's essential seriousness, especially on such matters as life after death. Schiller shares with Farrell the scenarist's desire to grasp his subject, to "reduce Gary's mystery, attach him to conditions, locate him in history." Together Farrell and Schiller prove that it is impossible to achieve this "reduction" no matter how many materials are carefully scrutinized. Schiller's role is larger than Farrell's, however, for it also includes Schiller's personal drama. Both Farrell and Schiller make interesting discoveries about Gary Gilmore, but Schiller makes such discoveries about himself as well.
In book 2 Schiller's importance surpasses Nicole's and rivals Gilmore's. Much of book 2 is organized around Schiller's efforts to sign up the principals in the Gilmore story and to get information from Gilmore before the execution. This intricate, frustrating process educates Schiller about Gilmore, but it also constitutes a belated rite de passage for Schiller, who becomes "part of the story," as he himself notes. Before coming to Utah, Schiller has achieved "a terrible reputation" as a journalist. The last man to interview Jack Ruby, the author of "a quick and rotten book" about Susan Atkins, Schiller describes himself as a "communicator" but is laughed at by people who take him to be a hustler or, worse, "a carrion bird." Even his fiancée labels him a "manipulator." With the Gilmore story, Schiller struggles to be a good businessman as well as a good journalist, but he often seems to lose this fight as he worries whether there are any "sympathetic characters" in the plot he has purchased, works out alternate scenarios depending on whether Gilmore is executed, and schemes to get at Nicole, the love interest in this "democratic Romeo and Juliet," as Boaz describes the Gilmore tale.
Yet Schiller turns out to be much more than a carrion bird. He deals more honestly with everyone involved than most of us would have done; he suffers acute physical and emotional stress in deciding how far to go in exploiting his material; and he ends up committing himself to doing the best he can for the story rather than his bank account, even rejecting an offer of $250,000 from the New York Post. In his afterword Mailer says that Schiller "stood for his portrait, and drew maps to his faults" during their interviews. As Mailer remarks elsewhere, Schiller "wanted the best book that could be gotten out of what had become the biggest event in his own life, and so he did not spare himself, he offered himself." As a result, Schiller's faults and his final integrity in confronting them are deeply embedded in Mailer's text.
Schiller's role in The Executioner's Song is a bit like Mailer's in The Armies of the Night (1968). I have referred to Schiller's experience as a rite of passage, and of course that is the nature of Mailer's experience at the March on the Pentagon. In each case a man of mixed motives, even a mild cynicism, comes to believe in what he is doing and to act more honorably than we would have thought possible when introduced to him. Schiller is only one of many important characters in this large book, so he is not as central as Mailer is in Armies. As we shall see, however, his story very much resembles Mailer's in pointing up his book's more positive implications. The point to be made here is that Schiller's late-blooming integrity confirms Mailer's portrait of Gilmore as a man of unsuspected depth. The more we come to believe in Larry Schiller, the more we believe in his conception of Gary Gilmore.
This is not to say that Mailer's Gilmore is saintly. In fact, Mailer has noted his distaste for Gilmore: "When I started The Executioner's Song, I thought I would like him more than I did." In book 2 as much as in book 1, Mailer does ample justice to what is unattractive, even hateful in Gilmore. Gilmore's intense racism is evident throughout book 2; he never expresses any real contrition for his crimes; he is a man with "surprising veins of compassion or real feeling," but also "large areas that were absolutely unfeeling"; his diatribes against "publicity-hunting lawyers" are amusing but foul, exhibiting the "little mean streak" Gilmore is still exposing just before his death; to the nurses who treat him after his first suicide attempt, he is simply "spiteful, revengeful, obscene." Joseph Wenke points out that after his arrest Gilmore becomes "more and more demonically manipulative as his futile, despairing, and incredibly selfish desire to possess Nicole assumes control of his being." Indeed, Gilmore is still demanding celibacy of Nicole in his last letter, just as he is still asking his lawyers to help him to escape after supposedly resigning himself to a death that is best for his soul.
Yet Mailer's Gilmore is a man with "a capacity to grow," for Mailer the most crucial heroic quality. Mailer agrees with Boaz, Farrell, and Schiller that Gilmore is "serious about dying with dignity." For Gilmore, this means recognizing that we can choose death as well as life. In an interview Gilmore says, "In death you can choose in a way that you can't choose in life," an assertion that reveals Gilmore's great difficulty in making choices in life but also the seriousness of his belief in karma. Gilmore's earlier remarks on karma and reincarnation may seem juvenile, but his later statements impress Mailer (as well as such witnesses as Farrell and Schiller) that Gilmore achieves a genuine philosophical conviction. Thus Gilmore is able to say, when asked if there is anything worse than taking someone's life, "Well, you could alter somebody's life so that the quality of it wouldn't be what it could've been…. I think to make somebody go on living in a lessened state of existence, I think that could be worse than killing 'em." Mailer obviously sympathizes with this view, just as he shares Gilmore's belief that "the meaning of the events in any given life can't be comprehended entirely by what one's done in one life" (Mailer's definition of karma). Gilmore's desire to die rather than to deteriorate further appeals to Mailer as an act of self-definition but also as morally valid; as Mailer says, "We have profound choices to make in life, and one of them may be the deep and terrible choice most of us avoid between dying now and 'saving one's soul' … in order, conceivably, to be reincarnated." Thus Mailer describes Gilmore's belief in karma as "profound" and highlights Gilmore's growing ability to analyze his own moral condition, as when Gilmore says, "I was always capable of murder…. There's a side of me that I don't like. I can become totally devoid of feelings for others, unemotional. I know I'm doing something grossly fucking wrong. I can still go ahead and do it." No one in The Executioner's Song offers a more persuasive psychological profile of Gilmore than Gilmore himself.
Gilmore's capacity to "grow" is impressive, but it does not lead Mailer to forget Gilmore's viciousness. Instead, it leads Mailer to conclude that it is hard to draw conclusions. Mailer says that as he learned more and more about Gilmore he "knew less and less." His efforts to define Gilmore are no more successful than Farrell's or Schiller's, unless it is a success to realize that Gilmore is finally "too complex" to label. Mailer's Gilmore challenges society's "firm premise that we have one life and one life only and that if we waste this one life there is nothing worse we can do," but his sordid acts and unalterable meanness call into question the coherence of his personality. For Mailer, this makes Gilmore "another major American protagonist," someone who "comprehends a deep contradiction in this country and lives his life in the crack of that contradiction." But this means Gilmore is only in part "a modern man in search of his soul, wondering whether he might be closer to God or Devil, wanting to make himself whole, willing to pay his debts until he is right and clean and able to 'stand in the sight of God,'" as Begiebing would have it. Gilmore is also a habit-ridden monster whose essence is contradictory, if indeed he has a definable essence.
This balanced assessment of Gilmore is the key to the work's structure. Book 1 tends to highlight Gilmore's violence and book 2 his capacity to "grow," but each presents Gilmore's strengths and weaknesses through the eyes of many witnesses who try to understand this profoundly enigmatic figure. The very mode of representation stresses the many different perspectives on Gilmore, who is the one significant character never seen from "within." In addition, the book's sheer size underlines the many facts any theory about Gilmore must finally encompass. Whether witnessing Gilmore's grimmest acts (as in book 1) or pondering his most intelligent self-assessments (as in book 2), we are all but overwhelmed by the difficulty of reducing the material or the man to manageable dimensions. Some have felt that Mailer aggrandizes Gilmore by presenting his affair with Nicole in "tragic tones" denied to Gilmore's victims, but Mailer's handling of Gilmore's last hours illustrates the more complicated effect of his narrative method.
Toward the end Mailer continues to present Gilmore as he is seen by others in relatively detailed accounts of Gilmore's last-night party, the execution, the autopsy, the memorial service held on Gilmore's behalf, and the dispersal of Gilmore's ashes after cremation. In these final sections, however, the views of the several witnesses blend into a common awe of Gilmore's cool acceptance of his fate. This effect is most pronounced during the execution scene, in which Mailer shifts the point of view twenty times among seven characters yet seems to present an event perceived in much the same way by everyone present. The effect is awesome—indeed, the scene is perhaps the most powerful in all of Mailer's writing—but not in such a way as to exonerate or glorify Gilmore. Gilmore's courage is acknowledged here much as his monstrousness is acknowledged in the depiction of the Jensen and Bushnell murders. Mailer's comment on the autopsy scene also points to the nature of his narrative interests: "That's why I took the execution right through the autopsy—because that was something that I wanted the reader to feel. That's what it means when we kill a man. That even this man who wanted to die and succeeded in getting society to execute him, that even when he was killed, we still feel this horrible shock and loss." We feel shock and loss despite what we know of Gilmore's selfishness and despite our now intimate knowledge of what he has done. In part we respond because of what we have come to know of Gilmore as lover, Gilmore as poet, Gilmore as philosopher, and especially Gilmore as self-critic. In part we respond because, all his faults fully acknowledged, Gilmore remains complexly human. Like the book itself, our response is a complicated one that we can only try to dissect, as I have just done. To try to get at the meaning of such responses, as I am about to do, is an effort that Mailer makes a part of his very subject in this massive, painful, but fully articulated masterpiece.
[Gilmore] appealed to me because he embodied many of the themes I've been living with all my life long.
—Norman Mailer
I used to hate America for what it was doing to all of us. Now I hate all of us for what we're doing to America.
—Norman Mailer
There are of course many meanings in The Executioner's Song, but the one to which I refer at the end of the last section has been very popular among Mailer's more recent critics. Noting Mailer's challenge to traditional generic definitions and his insistence on Gilmore's ultimately impenetrable "mystery," these critics argue that Mailer's theme is "the necessity of fiction for the apprehension of complex reality," or "the fictionality of all narrative," or the view that "all history is in the end fiction." Mailer's sympathy with such views is both real and longstanding. As long ago as his 1954 essay on David Riesman, Mailer referred to the need for a sociological "fiction" to make sense of American life; at the end of The Armies of the Night, Mailer makes fun of journalistic pretenses to complete accuracy; and in his afterword to The Executioner's Song, Mailer acknowledges the editorial contributions (however minor) that went into the making of his book. I suspect that Mailer would agree with Phyllis McCord that The Executioner's Song demonstrates the subjective nature of all truth. But it is harder to accept the notion that this is Mailer's principal theme, central to everything he does in this huge book. To accept such an idea is to place Mailer among the metafictionists—something I cannot imagine doing without major qualifications.
Mailer's social interests in this book are simply too obvious to push aside as illustrating the fictionality of all narrative. Though Mailer dramatizes the difficulty of achieving even an unsure grasp of his material, his task is nonetheless to examine the American reality embedded in this material. Mailer once said that his material was "gold" if he "had enough sense not to gild it," and I think we should indeed ask what gemlike themes inform The Executioner's Song.
The possible answers to this question begin with Mailer's characterization of Gilmore. For many readers Gilmore is a reconceived, more artistic version of the hipster first glorified in Mailer's "The White Negro" (1957). For one such critic, Gilmore is "the figure of the artist of the self, defining and redefining his personality, controlling events and other characters, projecting a world." For another, Gilmore walks in shackles between guards but "looks freer than they, and people visiting him suspect they are the ones in prison." I have already suggested that these are very selective views of Gilmore, half-truths at best. Gilmore is no more adequately described as a hipster than is Marion Faye in The Deer Park. Neither the fictional Marion nor the real Gilmore commits himself to "that uncharted journey into the rebellious imperatives of the self" by which Mailer identifies the hipster. This is especially true if we recall that the hipster's "journey" is a sensual one, quite literally an adventure of the senses. As I argue elsewhere, Marion's "black heroic safari" is a matter of will and intellect, and Gilmore's actions prior to his final arrest are so aimless they can hardly be called a quest for anything. Even Gilmore's efforts to die with dignity derive from his will and spirit, not his senses. To think of Gilmore as a sexual rebel is to see at once how little he resembles Mailer's late-1950s ideal.
I suggest we might better see Gilmore as Mailer sees him: a man who lives his life in the crack of a deep American contradiction. To one side of this crack is the nihilistic emptiness Didion emphasizes, the "estrangement" Wenke rightly sees in most of the younger people in book 1 (though I would add older women such as Brenda Nicol and Kathryne Baker, each of whom marries four times). Gilmore's mistreatment of several women permits Mailer to present a seemingly endless chain of victimized women, young and old. What Didion hears in their voices is resignation, the belief that they cannot influence events. Perhaps the most memorable voice is that of Kathy Maynard, the young woman who discovers Nicole after her suicide attempt. In an interview Kathy describes her own life in the flattest tone imaginable: married at sixteen for no particular reason; witness to her seventeen-year-old husband's suicide with a hunting knife; married again two weeks later to a man she met at her husband's funeral; stranded at seventeen with two small children, no husband, and no particular sense of what she will do next week. Mailer has said that this interview is the one transcript he did not even abridge, for it was "a found object" he could not improve upon. One might describe Kathy as stoical, Didion's term for all the book's women, but stoicism implies recognition of the horrors one is resigned to and Kathy seems merely oblivious. Her brief tale should remind us of the real desert that surrounds these small Utah towns and the metaphorical desert to which Didion alludes.
Kathy Maynard's story is one side of The Executioner's Song in miniature, but there are many other memorable examples. My own favorite involves Nicole's mother, Kathryne Baker. When Gilmore retrieves a gun just before he kills Jensen, Kathryne realizes she does not even know his last name. This after Gilmore has lived with Nicole for two months! At such moments the book's westerners appear to be what Wenke calls them, "the beat legatees of the spiritually and politically exhausted hipsters, hippies, and left radicals whom Mailer derides at the conclusion of Of a Fire on the Moon." But they are in fact a much broader cross-section of the American social order, including the conventional Mormons who become Gilmore's "new jailers" (and his victims, for both Jensen and Bushnell are Mormon), the Utah lawyers who prosecute and defend Gilmore, and the many lower-middle-class and lower-class figures whose lives resemble Nicole's but who could not define a "left radical." What they share is a less extreme version of Kathy Maynard's tolerance for the intolerable.
Gilmore is the figure in the book who seems to rebel against this aimless society, just as he is the one who scorns the liberal establishment that takes him up as a "cause" in book 2: thus the common view of Gilmore as a Maileresque hero. The partial truth to this view is suggested by Mailer's statement that Gilmore embodied themes that Mailer has lived with all his life. Among these themes is the heroic individual's passionate (and often destructive) attempt to reject the deadly social environment endured so stoically by the book's western women. This attempt can also be seen in Gilmore's rejection of life in prison, his "dignified" preference for whatever succeeds this life. Indeed, Gilmore's concern for the hereafter is another of the themes to which Mailer no doubt refers, for the religious dimensions of Gilmore's thought correspond to Mailer's oft-expressed convictions or intuitions. Yet Gilmore is no less estranged than the people who surround him in prison or Provo, no less self-destructive, no less frozen in those "habits" to which Mailer relentlessly draws our attention. In his last days, Gilmore may achieve some perspective on his own compulsions and aspire to something more dignified, but he is also the book's primary example of someone who cannot endure life as it is experienced by all the other characters from Kathy Maynard to Larry Schiller. Gilmore is a mystery and not a model, a man who embodies Mailer's themes but not his solutions.
Mailer does not offer answers to the overwhelming problems his characters face, but The Executioner's Song is much less pessimistic than many of its admirers suggest. Mailer says that one of the lessons he learned is that the system is "fairer" than he had supposed: "The way things work in America is not necessarily as sinister as I always assumed. There may not be this grand paranoid network after all." This discovery lies behind Mailer's remark that he used to hate America for what it was doing to all of us but now hates us for what we are doing to America. Behind Mailer's hatred for America lay the paranoid's assumption that "they" were in conspiracy against an innocent citizenry; behind his hatred for us lies the romantic's faith that we know not what we do. Mailer's beliefs might be compared with the Transcendental notion that we always pursue the good but do not know what the good is (see Emerson's "The American Scholar" and Thoreau's Walden as primary texts). Thus our aimlessness or compulsive materialism, our mindless conformity or violent resistance. Thus the world represented in extremis by Gary Gilmore.
As Mailer says, however, this world seems to be fairer and less sinister than he always supposed. Indeed, the unifying subject in Mailer's story is what he calls "American virtue." In Mailer's view, everyone involved here wished to do "the right thing" and went to some trouble to act accordingly. This dedication to principle is the other side of the American contradiction embodied in Gilmore. Rocklike conservatives seeking the death penalty, dedicated liberals seeking to avoid a state execution, lawyers on all sides, friends of Gilmore, friends of his victims, men such as Barry Farrell and Larry Schiller—all did their best as they understood the best. Schiller is perhaps the most notable example, but only because his "best" involves personal growth—virtue in its most positive form. Many other examples of American virtue are grim reminders of why Mailer "hates" us for what we are doing to America. As he does with Gilmore, however, Mailer captures these other Americans in the richly detailed (if depressing) context of their dull habits and assumptions, a context elaborately built up page by page as Mailer offers the most compelling "social drama" of his long career.
If we read this book as Mailer conceived it, we must feel compassion for nearly everyone—for Kathy Maynard as well as Larry Schiller, for Earl Dorius as well as Kathryne Baker, for the youthful April Baker as well as the elderly Bessie Gilmore. Finally, there must also be compassion for Gary Gilmore, just as there must be "hate" for what Gilmore and the rest of us are doing to each other. The least judgmental of Mailer's works, The Executioner's Song is also the book in which Mailer's love for America is most impressively in evidence. Mailer has said that he learned from the Gilmore saga that society might not be evil but rather "a sad comedy." This phrase also applies to the "astonishing" book he wrote in the wake of his discovery.
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February 7, 2012
Darton sophomore Joe Sakulpolphaisan of Thailand holds his trophy for winning low medalist at the Titan Winter Invitational. (Bill Jones III/Special to The Herald)
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Good news, bad news as Darton golf wraps '12 season opener
The Darton golf team finishes a disappointing sixth place Tuesday in Melbourne, Fla., in its 2012 spring season opener, but sophomore Joe Sakulpolphaisan shoots 5-under to win low medalist — and the second tournament of his college career.
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2015 Carolina Cat Power Catamaran 23CC TAVERNIER KEY FL
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Powered With Twin Yamaha 115hp Four Strokes At 22'7" and with an 8'6" beam, the new Carolina Cat 23CC gives you cat-like offshore performance and the cockpit size of a much larger boat. So whether you"re running your crowd over to the local sand bar or cruising to the offshore fishing grounds, the 23CC is ready to rock. With a 30-gallon livewell, big forward fish boxes plenty of storage, and dual engine security, you can relax on the lean bar and cruise to where the big fish bite. But, when it's time for family and friends, there's seating for TEN and plenty of space for all your gear. Options include: The All New Full Tanglewood Tan Hull Color, T-Top w/spotlight bracket, fold up swim ladder, stereo w/2 speakers and USB, and leaning post with backrest. This Pkg. is also had a bit of a face lift with Custom Painted Motors to Match the boat! Come in or call today for a sea trial! For more pictures and information please scroll down and click to view our Dealer Website. Bow (5) through-bolted stainless 6-inch cleats on deck Bow area cushioned seating for (5) adults with integrated grab rails Bow storage under center seat Port and starboard forward 150-quart insulated fishboxes with overboard drains Through-bolted stainless bow eye Helm (2) console drink holders (2) stainless grab handles on the forward seat 2-shelf storage system under the helm Acrylic windshield Aluminum leaning post with cushioned seat and cooler space Console mounted battery management panel (portside) Electronics mounting area for a 12-inch screen Marine grade switch panel with waterproof rocker switches Raw water washdown Single ram hydraulic steering with a 15.5-inch stainless steering wheel and power knob Yamaha pre-rig includes dash instrumentation with Yamaha Command Link® multi-function gauge Hull Below-deck rigging tubes for electronics, trolling motor and additional batteries Foam filled hull with basic flotation Heavy-duty rub rail with stainless steel insert Self-bailing, non-skid fiberglass cockpit liner Stern (2) 1000-GPH automatic bilge pumps (2) 46.5-gallon polyethylene fuel tanks (2) fuel fills with internal vents (2) fuel/water filters (4) gunwale-mounted stainless steel rod holders 30-gallon livewell between aft flip-up seats, lighted with overboard drain and fiberglass lid Aft deck non-skid casting platform Below-deck rigging tubes for electronics, trolling motor and additional batteries Cockpit horizontal rod racks for (4) rods Dual batteries Flip-up aft seats with storage under
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***National Jewish Book Awards 2012, Finalist***Dorot Foundation Award for Modern Jewish Thought and ExperienceAn impassioned, erudite, thoroughly researched, and beautifully reasoned book from one of the most admired religious thinkers of our time that argues not only that science and religion are compatible, but that they complement each other—and that the world needs both. "Atheism deserves better than the new atheists," states Rabbi Jonathan Sacks, "whose methodology consists of criticizing religion without understanding it, quoting texts without contexts, taking exceptions as the rule, confusing folk belief with reflective theology, abusing, mocking, ridiculing, caricaturing, and demonizing religious faith and holding it responsible for the great crimes against humanity. Religion has done harm; I acknowledge that. But the cure for bad religion is good religion, not no religion, just as the cure for bad science is good science, not the abandonment of science." Rabbi Sacks's counterargument is that religion and science are the two essential perspectives that allow us to see the universe in its three-dimensional depth. Science teaches us where we come from. Religion explains to us why we are here. Science is the search for explanation. Religion is the search for meaning. We need scientific explanation to understand nature. We need meaning to understand human behavior. There have been times when religion tried to dominate science. And there have been times, including our own, when it is believed that we can learn all we need to know about meaning and relationships through biochemistry, neuroscience, and evolutionary psychology. In this fascinating look at the interdependence of religion and science, Rabbi Sacks explains why both views are tragically wrong.
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1. In a wide mouthed dish/ plate, put the flour. Set aside.
2. In a wide dish, break the eggs and lightly beat them. Set aside.
3. In a wide bowl, put the almond slices and set aside.
4. In a deep frying pan, heat oil to very hot.
5. Take a fillet of perch, dredge it in flour, roll it in egg and coat it with almond slices.
6. Put it carefully in the hot oil and fry till golden brown on both sides.
7. Transfer them on to paper towel to drain off excess oil.
8. Repeat this with all the remaining fillets.
9. In another pan, pour the balsamic vinegar and bring it to boil. Simmer till it reduces to half.
10. Put the red current jelly and simmer for a few more minutes till well combined.
11. In a serving platter, arrange the fried fish, drizzle the balsamic reduction generously all over it. Serve it hot with choice of side like rice, mashed potatoes or salad.


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A new plant-derived drug, EBC-46, was associated with regression or palliation in cancerous tumors in four Tasmanian devils, which have suffered massive losses to a contagious cancer. Veterinarian Jack Ayerbe, a director with the company that developed the drug, says he's used it successfully to treat some dogs and cats in his practice. Veterinarian Stephen Pyecroft, who helped develop and test the drug, says it may help treat captive devils and improve survival of their young, but it won't be a feasible treatment for wild animals. Human trials are planned as well.
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OtterBox Defender Series Case for Samsung Galaxy S4
The OtterBox® Defender Series® Case for the Samsung Galaxy S4 provides rugged, 3-layer protection for your device, while allowing complete interaction through the case. An inner layer of hi-impact polycarbonate shell and an outer layer of durable silicone skin protect your S4 from the inevitable day-to-day bumps, drops, scratches, dust and shocks. Silicone plugs keep out dust and debris. Includes a belt-clip holster. Made in USA.
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Question....why do we give our LO's rice cereal? I know that it's supposed to help them to transition to solid foods but is there some nutritional value I'm unaware of? Thanks.
Solid food questions
Danielle (28) + DH (28)
Kate 8/5/12 (.)(.) Diamond!
Tovah 3/29/15
The iron that the brand baby cereals are fortified with usually make the baby constipated. So even though they advertise as being healthy for baby, the aren't. It is true that after 6 months the baby needs to start getting more iron as the levels in the breastmilk decline. But other foods with the 'righ' iron are the way to go, not the 'Nestle' fortified ones that are a 'hook' for the mothers but really bad for babies.
Thank you for all the goof information! LO is still supplemented with breastmilk bottles so I was just wondering if the rice/oatmeal was needed for nutritional reasons (like fiber) & I'm glad to hear that it's not. I will keep an eye out to make sure LO is getting enough iron so ty for the heads up on that.
Surrogate for great couple, twin girls 11/21/14


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Attention: As part of the reconstruction at Mt. Charleston, Dolomite Campground was absorbed into McWilliams Campground. There will no longer be a Dolomite Campground. McWilliams, Hilltop, and Fletcher View are now the only overnight locations with family sites
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Monroe La to Washington DC via Houston Texas
... show me the lake near Farmerville, trailer homes on stilts (because they're in a flood zone), elaborate houses near the river and the house where the original owners of Coca-Cola lived. It's been made into a museum now, but closed today because it's Sunday. All shops and entertainment are closed on Sundays. Then they drove me to the airport and we said goodbye. Had time to recharge my ...
Our trip to visit Linda June
... windows rolled down since it was 90 degrees F had a number of stops for fuel and cold drinks and to stretch our legs. We actually travelled to PARIS - Texas that is. Just a small place. Passed near Le Tournea University. My father used to work for an American company in Sydney called Le Tournea . Later this company amalgamated with another and became Le Tournea-Westinghouse. ! Left at 10.30am and arrived 8pm. We had promised to take ...
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To get the full effect of the adoration I have for this television show I made sure our first stop was the infamous Haskell's Donuts. In an episode of Duck Dynasty, Jace and the boys head down to Godwin's sister's shop named Haskell's for a "hot dough-not," or so it sounds. There is a competition amongst them to see who could eat the most donuts and Si was the winner. He was paid up ...
Our last day in Monroe. Day 7.
... in the pool but the water was really cold!
We took a late evening walk so Kallen could 'rock hunt'. He insisted on taking some rocks home!
We leave tomorrow for Lake Charles and board our train around 2pm. We'll be home on Tuesday! Kallen is getting homesick and thought we were going to be home tomorrow....poor guy!
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WISH DAY! Day 6.
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You would never know by looking at these beautiful kids that they have been through so much. They are a blessing to all of us. These kiddos are fighters! We met Trey and his parents; it was a joy and privilege watching his happiness today. (Trey has Proteus Syndrome and he and his Mom travel to Maryland twice a year for ...


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Tres Chic
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cleaning out water tanks
I''ve got a little (10 gallon) plastic tank on my boat, and it has been sitting moist but empty for a while (I just got the boat) when I filled it to check for leaks, and drained it agian, pieces of fungus came out with the water. I know a small amount of bleach is sufficient to steralize a basicly clean tank, but what should one do about a tank thats become a bad science project.
This tank is moulded into the bow of the boat, and I dont think replacing it is an option. Any ideas are apreciated. Thanks.
cleaning out water tanks
A 6-inch deck plate in each of my 13-gallon fresh water tanks allows mechanical cleaning with a stiff brush. They are very easy to install and only cost $15 each.
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Obituaries Section :: Page 62
Mass for Umoja Bakari
A mass will be held at St. Paul's Catholic Church on Saturday, June 27, at 5 p.m., to commemorate the one-year anniversary of the passing of Umoja Iddi Bakari. All are welcome to join Umoja's family in this memorial occasion, as well as for the reception to follow.
Richard Miller
Richard (Dick) Miller died at Community Hospital in Springfield on Thursday, June 18. He had turned 94 on March 31 and celebrated the event with a gathering of friends. He was born in Spencerville, Ohio, to the late Elizabeth and John Miller.
Rose Chernick
Rose Elizabeth Chernick passed away on Sunday, June 7. She was 92. She was a resident of Friends Care Assisted Living and was previously a resident for many years of Waukegan, Ill., North Chicago, Ill. and Oconomowoc, Wisc.
Martha Givens
Martha "Marty" J. Givens of Enon died on June 10. She was 65. She was born on Oct. 24, 1943, in Bellefontaine, the daughter of Mary (Johnston) Corry and the late Eugene Corry.
Eugene Hagemann
Eugene "Gene" M. Hagemann passed away Saturday, June 13, surrounded by his family. He was 84. Gene was born in Caledonia on Aug. 8, 1924, the son of the late Casper and Stella (née: Block) Hagemann Sr. He moved to Racine at the age of 7.
Ray Schiff memorial set
A memorial service will be held for Ray Schiff on Sunday, June 7, beginning 1 p.m., at the Glen Helen Building. Schiff died on Feb. 10. He was a long time Yellow Springs resident, having come here in 1957 to work at YSI.
Carol Mulford
Carol Louise Mulford, mother of Ann Kent and grandmother of Thomas and Caroline Kent of Yellow Springs, passed away peacefully in the presence of family in Rochester, N. Y., on May 24. She was 91.
Edwina Malesko
Edwina M. Bittner Malesko died after a lengthy illness at her residence. She was 74. Edwina was born Dec. 31, 1934, in Clifton, Ohio to the late James and Dorothy Suiters. She retired from Cedar Cliff Elementary with over 10 years of service.
Yasuko Kakehashi
Yasuko Kakehashi, widely known as Kaki, died at home early Thursday morning, April 30. She was 87. Yasuko was born on Sept. 13, 1921, in Gaboten, Manchuria, during the period when the Japanese operated a concession in China to extract resources for their industrial needs. Her father, Kanzaburo Nakamura, taught Japanese to Chinese railroad laborers, […]
Harry Berley
Dr. Harry M. Berley died at the Yellow Springs Friends Care Assisted Living unit on Friday, April 24. He was 91. Born in Cambridge, Mass., on December 14, 1917, he was the son of the late Hyman and Anna Budin Berley. Raised in Kingston, Pa., he was a graduate of Antioch College and Northwestern University Medical School.


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Most Anticipated
Games of 2015
Top Games of 2014
Latest Reviews
Latest Previews
Let's Fish! Hooked On
Combining realistic fishing action with fast arcade style game play Let's Fish! Hooked On comes complete with a full story mode, which aims to make fishing fun for everyone, and bring increased variety to the PlayStation Vita.
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Home > About Us > Media Center > Disasters and Emergency Response
Laura Blank
p 646.245.2496
Lauren Fisher
p 206.310.5476
Up to the minute news, press releases, media and more.
The decline in education for Syrian children has been the sharpest and most rapid in the history of the region, according to a new paper published today.
Winter storm in Lebanon threatens Syrian refugees
This Christmas, join us in praying for children deeply affected by the crisis in Syria. The brutal cold of winter has arrived, and more than 1 million Syrian refugee children and their families are in dire need of life-saving assistance.
Donations help Syrian refugees living in difficult conditions.
As the world marks one month since Typhoon Haiyan hit the Philippines, a new report from World Vision calls for stronger disaster planning for cities to avoid widespread future devastation.
World Vision Senior Director of Humanitarian Affairs and Emergency Response Chris Palusky testified to Congress on December 3, 2013 about the relief response to Super Typhoon Haiyan in the Philippines.
World Vision is setting up about 40 Child-Friendly Spaces in order to provide a safe place for children recovering from Typhoon Haiyan to resume learning, play, and process the disaster's effects.
World Vision opened on Wednesday its first dedicated 'safe spaces' for 400 children affected by Typhoon Haiyan. The spaces allow children to continue learning, playing, and start coming to terms with the disaster.


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On Five Seasons of Buttholes with the 'Workaholics' Guys
Five seasons in, and there's still no shortage of butthole jokes on Workaholics. You have to respect that commitment.
Whereas some comedies will shift gears over time and bring on new characters or other developments, Workaholics keeps it real. Week after week viewers are treated to the drunken antics of three slacker morons. They only thing that changes is the mischief they get into. It's a formula that works so why mess with it?
I caught up with Workaholics stars Adam Devine, Anders Holm, and Blake Anderson prior to their Season Five premiere. We talked about buttholes (of course), A-list guest stars, and their various solo projects.


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Full time housekeeping. Must be able to work weekends and holidays. Benefits after 60 days. Apply in person to Caloosa Cove Resort, 73801 Overseas Highway, Islamorada, Florida 33036More info Email a friend
BREEZY PALMS RESORT is now hiring a full time Housekeeper. Must be motivated, dependable & flexible. Apply in person at MM 80 O/S in Islamorada.More info Email a friend
Housekeepers Needed PT weekends and Holidays a must. Apply in person MM98 Rock Reef ResortMore info Email a friend
Front Desk Reservations Associate with management possibilities F/P for Key Largo Dive Resort, clean cut, non smoker, some nights and weekends send resume to: firstname.lastname@example.com info Email a friend


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Software Project Management
Project Management
Software Project Management News
June 08, 2009
Sample JavaOne 2009's new development, cloud, testing products
A slew of third-party Java-centric products and services were announced at JavaOne 2009. This sampling of products includes a video booth tour.
Manage Software Project Management
Learn to apply best practices and optimize your operations.
Scrum and Kanban: Mixing two popular project management frameworks
Agile expert Lisa Crispin explains the similarities and differences in Scrum and Kanban and describes how the two might be mixed using principles from both. Continue Reading
A three-step process for managing project risk in Agile ALM
Consultant Howard Deiner talks of the importance of understanding the customer requirements and then gives a three-step process in determining and addressing project risk. Continue Reading
Managing software projects effectively: Key points project managers should know
Software project management roles continue to change is tool and process improvements become available. In this chapter learn how to effectively manage your team. Learn where experts say key focus areas lie in this chapter excerpt. Continue Reading
Problem Solve Software Project Management Issues
We've gathered up expert advice and tips from professionals like you so that the answers you need are always available.
Scrum Master or Scrum project management, is there a difference?
A Scrum Master is commonly mistaken for a project manager who works in a Scrum environment. Learn what distinguishes a Scrum Master in this expert response. Continue Reading


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24/7 Customer Support
Chat with a Pro
Genuine Whirlpool part. Whirlpool brands include Whirlpool, Maytag, KitchenAid, Jenn-Air, Amana, Magic Chef, Admiral, Norge, Roper, and others.
Whirlpool also makes various appliance models for Sears / Kenmore.
Check your model number or use our Cross Reference Tool to determine if this part will work with your appliance.
Where can I find my model number?
Part Diagram
Part Number 900456 (AP4110530) replaces 7-57120, 737678, 757120, 9-0456, 9-456, AH2096950, EA2096950, PS2096950, Y757120.
Compression Elbow Assembly


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The "Man in Black" bank robber has admitted to stealing more than $110,000 in 31 bank robberies across Minnesota, including the Wells Federal Bank in St. Peter. 50-year-old Mark Wetsch pleaded guilty Monday to five bank or credit union robberies between March 2011, and January 2012. Those robberies were in Hastings, St. Peter, Albertville, Hampton and Eden Prairie. In entering the plea, Wetsch also admitted responsibility for 25 additional bank robberies in 2011, including in Gaylord and Cologne. Last month, he pleaded guilty to holding up a bank in Brewster in 2012 – the robbery that led to his capture. He was arrested in St. Peter after that robbery after being stopped on Highway 169. Wetsch remains in custody, and the government is seeking a 14 year prison sentence. A sentencing date has not yet been set.
Home » Breaking News State & Local » Man In Black Bank Robber Guilty
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Pride Shotgun
Edit Page Last Edit: 2 years ago
In the tunnels, when you first find the secret Imperial Japanese subterranean base (with the radar dish) after your descent from the upper part of the tunnels, go right (down the stairs -- not the ladder) and head for the 2F of the next small room with the workbench. A blueprint is on the ground past the metal bars in this room's 2F.
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Steven Metrejean of Statesboro was in Chicago and Memphis last week. Sunday he was in Knoxville, Tenn., and Monday and today he's in Atlanta before finally coming home on Wednesday. But he'll be back on the road and in Florence, S.C., by Friday.
Assuring owners of Great Dane they picked wisely in selecting Statesboro as the site to build a 450,000-square-foot manufacturing plant, Gov. Sonny Perdue welcomed the company to Bulloch County during a groundbreaking ceremony Thursday.
In congratulating Ogeechee Technical College President Dr. Dawn Cartee on breaking ground Thursday for the school's new Health Science building, Gov. Sonny Perdue gave his theory behind OTC's success.
Members in the Women on a Mission group at First Baptist Church of Blichton take their job seriously. Their most recent mission brought eight group members to Statesboro so they could fulfill their latest project.
When her children were growing up in the 1970s, Verdery Kennedy told stories to keep them entertained as they drove from Statesboro to Atlanta.
After watching the one-room schoolhouse she cherishes travel on the back of a tractor trailer from her farm in southeast Bulloch County to Georgia Southern's Botanical Garden, Jan Anderson was a little wistful Wednesday morning.
Have you ever tried a glass of Chenin Blanc from South Africa? How about a California Chardonnay from all organic grapes? Or a D'Arenberg Footbolt Chiraz from Australia?
For the fifth annual Steak & Burger Dinner that benefits the Boys and Girls Club of Bulloch County, Mike Backus decided to lighten up the evening with a change of pace for a guest speaker.
Following the announcement Wednesday that an archaeological team from Georgia Southern University had discovered the site of the Camp Lawton Civil War prison site, five glass cases holding a few of the artifacts were unveiled.
Banks in the Statesboro and Bulloch County area should be on the lookout for people trying to cash bad checks as part of a statewide fraudulent check cashing operation.
Officials comment on the important archaeological finds at Civil War Camp Lawton at Magnolia Springs near Millen.
Officials comment on the important archaeological finds at Civil War Camp Lawton at Magnolia Springs near Millen.
For Kevin Chapman, the importance of finding the Camp Lawton Civil War prison site hit him when he came upon a small clay pipe during excavations.
Officials comment on the important archaeological finds at Civil War Camp Lawton at Magnolia Springs near Millen.
It's not a stash of Confederate gold, but what archaeologists from Georgia Southern University discovered at the Camp Lawton Civil War prison site may be more valuable in terms of history.
It's been more than a year since Dr. Ken LeCain took over as principal at Statesboro High School.
It's been a little more than a week since the tragic accident on Interstate 16 cut the lives of five nursing students from Georgia Southern University far too short. The healing process from the horrific events of April 22 is in the beginning stages across the campus, and, indeed, across the entire community.
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The Return of the Giant NYC Dance Club
By Steve Weinstein
July 4, 1976 Was a Ramones-less Weekend in NYC
By Bryan Bierman
LIVE REVIEW: Karen O at McKittrick Hotel
By Lindsey Rhoades
Remembering Dee Dee Ramone's Rap Album
By Chaz Kangas
Meet Lady Casa, America's Most Famous Raver
By Ben Westhoff and Sarah Purkrabek
Ridiculous Kanye West-isms, In Illustrated Form
By Jena Ardell
Casting Martin Scorsese's New Ramones Movie
By Jesse Sendejas Jr.
A Tour Around Ace Frehley's Bronx
By Katherine Turman
I expected snarky and I got it. But snarky can be fun, and in addition I got rock criticism in action. The finest moment came toward the end. Though hardly a standout among competing veterans of the voice-lessons wars and sympathetic semi-stars like John Flansburgh of They Might Be Giants and Craig Wedren of Shudder to Think, McGinty always reserves a gem for himselfin this case, "Mother of Pearl." Stage business had a bunch of Losers yakking at a party that suddenly disintegrated, leaving McGinty alone in his white tux with a look of panic on his face. He was Bryan Ferry stripped of faux-froid on his quest for love in a looking-glass world. But he was also a piano player compelled to sing a classic he knew was beyond his reach. And when he combined these two realities, "Mother of Pearl" wasn't beyond his reach anymore. He earned it by seizing itthe way Bryan Ferry earned his cool.
This moment replicated the way pop fans make songs their own, but it also evoked Ferry's very specific personahis hauteur and the fear it always masks. When I went back for Nilsson, however, no such revelation ensued, and I never returned. Right, Paul Williams and Serge Gainsbourg don't float my boat, but I have an appetite for learning. And Rod Stewart, XTCthey could have been interesting. But Prince Memorial Day weekend I couldn't resistnot because he's the great pop musician of our age, just because he's of our age.
Inevitably, the Loser's Lounge flirts simultaneously with jaded camp and romantic remembrances of a golden age. But not all classics are stuck safely in the past, and Prince's new hit album proved it. So as the Kustard Kings launched "1999," I felt a whoosh of excitementand within 30 seconds the air went out of it. The song just wasn't taking offthe Kings couldn't nail its groove. It looked like a long night, especially after Peter Salett, whose website boasts of his "plaintive melodies and harmonies" and his top-five hit in Thailand, unveiled the first of many insufficiently creamy falsettos on "When You Were Mine." And then something embarrassingly obvious happened. McGinty announced a Loser's Lounge debut in a duet with the sexiest Loser, willowy backup chick Connie Petruk: direct from backstage at Conan O'Brien, Eric "Badlands" Booker. Booker was big, fat, andmost important, I'm afraidblack. He did the rap from "I Feel for You" so straight he could have been auditioning for American Idol.
Amid a predictable complement of unacceptable substitutes and forced sex-u-ups, there was great camp at this show: an "If I Was Your Girlfriend" in which two male aspirants for Joanna Choy's affections wound up smooching, for instance. There was also great singing: Lianne Smith's perfect steal of Sinéad O'Connor's "Nothing Compares 2 U," or portly, business-suited Jed Parish unleashing his high end on "When Doves Cry" like a porn star pulling out his Package, or Edgar Martinez lining a double off the wall. And when Wendy Ip was so foolhardy as to essay the dance part of "Kiss," she had the moves to take it over. But the night still would have dragged were it not for debuts by five African American singers: after Booker, Marcy Harriell's stirred-not-shaken "Tamborine," GTO's tear-the-roof-off "Housequake," Carlton Smith's souled-up and crowd-rousing "Lady Cab Driver," and, best of all, a "Gett Off" by a compact ball of fire named Kim Loren that was as comic as Nick Danger's "Jack U Off" without wasting a volt of the song's erotic charge.
I knew without checking that Loser's Lounge had never before risked testing its own vitality against that of a still fully active honoree (although some would claim Elvis Costello counts). But the main way Prince's contemporaneity inflected this show wasn't all that metaphysicalit was by forcing everyone involved to confront the fundamental rhythmic remaking pop has undergone since the songwriters McGinty's subculture loves walked the marketplace. And something even deeper was at stake. What I didn't know until I checked afterward is that not one of the 30 or so of these songwriters to hit LL before Prince was African Americanno Smokey Robinson, no Curtis Mayfield, nobody. Loser's Lounge began in an era when "lounge" was a more freighted concept than proved supportable, partly in transparent, unadmitted reaction against pop's Afro-American canon. And the Losers still prize that aura of sophisticated hip. The five singers who saved the show didn't top the regulars' ambition, or even loveas Susan Sontag put it, "Camp taste is a kind of love, love for human nature." But they were longer on pride, and also on shamelessness: on an unquestioning determination to move the crowd.
The show I saw was opening night, almost a dress rehearsal. A week later, I hear, Fez patrons were dancing in the aisles.
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Hotel Botanico - Puerto de la Cruz
Avenida Richard Yeoward, 1 - Puerto de la Cruz1-877-662-6988
Book a room at this luxury Puerto de la Cruz hotel and you won't be disappointed! Hotel Botanico offers free breakfast, a rooftop terrace and a restaurant with ocean views.
The Oriental Spa Garden is the place to be for rest and relaxation, offering aromatherapy, body scrubs, hydrotherapy, Turkish bath/hammam, as well as body treatments, body wraps and facials. This 5-star Puerto de la Cruz hotel has 4 restaurants serving breakfast, lunch and dinner so there's no need to worry about dining options on this trip. Don't forget to pack your swimsuit and towel as this hotel features 3 outdoor swimming pools. Spend your days lounging by the pool with a cool drink, having a spot of lunch at the restaurant or simply enjoying the beverage selection at the lounge bar before dinner. Additional leisure facilities include a library. Multilingual staff at the 24-hour front desk can provide tour/ticket assistance. Family-friendly amenities at this hotel include a children's pool, babysitting and supervised childcare/activities.
This hotel has a business center. Free high-speed (wired) Internet access is available. The lobby has been fitted with a TV so you can catch up on all the news while you wait, and you will also find a safe at reception for your valuables. Other amenities include an area shuttle, a hair salon, dry cleaning/laundry, an elevator (lift), beach/pool umbrellas and a garden.
EXCELLENT HOTEL, BEST IN TENERIFE NORTH.Venere Guest, Spain
These reviews have been left by customers who actually stayed at this hotel
Check Availability at Hotel Botanico
Breakfast at Hotel Botanico
A free buffet breakfast is served each morning.
Facilities at Hotel Botanico
- Business Center
- Bar
- Pool bar
- Laundry service
- Lift/elevator
- Hairdresser
- Room service - 24 hour
- Shops in the hotel
- Pets accepted
- Beach umbrellas and deck loungers
- Laundry room
- Garden
- Personal newspapers
- Multilingual staff
- Front desk - safety deposit box
- Front desk - 24 hour
- Luggage room
- City tour
- Limousine service
- Shuttle service
- Valet service
- Tennis court
- Children swimming pool
- Billiards / Snooker
- Health club
- Sauna
- Steam bath
- Massages
- Spa/Wellness Centre
- Hydromassage Jacuzzi
- Turkish bath
- Internet/Email services
- TV Lounge
- Baby sitter
Know before you go
- Cash transactions at this property cannot exceed EUR 2500, due to national regulations. For further details, please contact the property using information in the booking confirmation.
- A resort fee is included in the total price displayed.
- Children 1 years old and younger stay free when occupying the parent or guardian's room, using existing bedding.
Check-in: after 2 PM.
Check-out: before noon.
PolicyExtra-person charges may apply and vary depending on hotel policy.
Government-issued photo identification and a credit card are required at check-in for incidental charges.
Special requests are subject to availability upon check-in and may incur additional charges. Special requests cannot be guaranteed.
City tax and/or any other fees charged by the hotel
The following fees and deposits are charged by the property at time of service, check-in, or check-out.
- Pet fee: EUR 15 per pet, per day
- Pet deposit: EUR 50 per stay
The above list may not be comprehensive. Fees and deposits may not include tax and are subject to change.
The charges below are included in your overall room price:
- Resort fee
We have included all charges provided to us by the property. However, charges can vary, for example, based on length of stay or the room you book.
Hotel Botanico is also known as
Hotel Botanico & The Oriental Spa Garden
Hotel Botanico And The Oriental Spa Garden
Botanico Hotel
Hotel Botanico Tenerife
Hotel Botanico reviews
- January 2011
- Venere Guest
- Couple
- Spain
- October 2010
- Venere Guest
- Couple
- United Kingdom
This is a truly 5 star hotel. Facilities, service, friendliness, décor, staff and breakfast were all excellent at a very reasonable price. The area is very pretty and clean but a bit too quiet and perhaps more suitable for the older clients and located in the cloudy part of the island which can be annoying.
- October 2007
- Venere Guest
- Couple
- United Kingdom
This hotel is supposed to be 5* but is not offering a 5* service. We arrived at 11pm from a Madrid flight and there were no porters! When we left several times at 5am to go to other islands there were no porters and no functioning front desk - we had to check out the night before. The room service menu from 10.30pm had 5 items. It was almost impossible to get room service breakfast early and one of the receptionists said we could and another said we could not. Given the location of the hotel away from the centre of Puerto de la Cruz it is apparent that they have put in the fancy spa to give it an edge over other hotels. The rooms are quite nice although the small old television is stuck into the wardrobe wall and does not swivel so it is impossible to see when in bed! We were at the buffet breakfast once and certainly that is excellent but starts too late if you want to do anything else on the island. Before we went we contacted the hotel direct find out the price of a junior suite and to see if they had any deals on (as their web site says they do) and they did not even bother to reply. All in all it is really a fairly typical 4* 'resort hotel' with limited services, although most of the staff (with a couple of notable exceptions) are very pleasant. Having said that we would probably return since there is very little that is remotely nice in this part of Tenerife and if you are driving it is easy to get to the motorway/airport
- October 2006
- Venere Guest
- Not Specified
- Canada
A nice hotel, although rooms quite small and fairly basic for a 5 star hotel. Food was quite good, bar prices high (two to three times what you pay for a drink at a bar in town). Cliental a mixture of Spanish, German and English, fairly elderly and affluent. This is not a "fun" hotel, atmosphere pretty stuffy. The staff were very helpful, gave us some great restaruant recomendations.
Loading reviews in other languages...
- May 2012
- Venere Guest
- Family with young children
- France
Hotel Botanico reviews by TripAdvisor
Room Details
Book your luxury accommodation at Hotel Botanico, offering 252 guest rooms with climate control. Rooms open onto balconies. Guests can unwind at the end of a long day and enjoy LCD televisions with satellite channels. Corporate travelers will benefit from free wireless high-speed Internet access as well as desks, complimentary newspapers and phones during their Puerto de la Cruz visit.
Private bathrooms are outfitted with shower/tub combinations, bathrobes, slippers and bidets. Minibars and hair dryers are supplied in each room to facilitate basic travel needs. Additional guest comforts include air conditioning, safes and blackout drapes/curtains.
Bathroom toiletries are provided free of charge. A turndown service is available. Irons/ironing boards can be provided on request.
Accommodation Services
- Telephone
- Air conditioning
- Mini bar
- Ironing facilities on request
- Hairdryer in each room
- Safe
- Desk
- Individually controlled air conditioning
- Terrace/Balcony
- LCD flat screen TV
- Satellite TV
- Wireless Internet access
Distances from Hotel BotanicoBotanical Garden of La Orotava - 0.2 km / 0.1 mi
Mirador de La Paz - 0.4 km / 0.3 mi
Sitio Litre Garden - 0.7 km / 0.4 mi
Lago Martianez Swimming Pools - 0.8 km / 0.5 mi
Taoro Park - 1.1 km / 0.7 mi
Casino Puerto de la Cruz - 1.1 km / 0.7 mi
Risco Belle Aquatic Gardens - 1.1 km / 0.7 mi
Church of Nuestra Senora de la Pena de Francia - 1.2 km / 0.7 mi
Ermita de San Juan - 1.3 km / 0.8 mi
Plaza del Charco - 1.4 km / 0.9 mi
Pueblo Chico - 1.8 km / 1.1 mi
Bollullo Beach - 1.9 km / 1.2 mi
Castillo San Felipe - 2 km / 1.3 mi
Garden Beach - 2.1 km / 1.3 mi
Loro Parque - 2.6 km / 1.6 mi
The preferred airport for Hotel Botanico is Santa Cruz de Tenerife (TFN-Tenerife North) - 20.6 km / 12.8 mi.
Distances are calculated in a straight line from the property's location to the point of interest or airport and may not reflect actual travel distance.
Distances are displayed to the nearest 0.1 km and mile.
Transportation services Hotel Botanico
- Limousine service
- Shuttle service
- Valet service
We have the accommodation you need, all over the world
- • Hotel du Grand Paradis & Spa La Baita - Cogne, Italy
- • Antica Corte B&B - Lucca, Italy
- • Spindrift Inn - Monterey, USA
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- • Vacation Rental La Casa delle Querce - Montepulciano, Italy
- • Hotel Americas Best Inns - Beaufort, USA
- • Advena Europa Hotel Mainz - Mainz, Germany
- • Pignone Hotels, Italy
- • Jaworzno Hotels, Poland
- • Riccò del Golfo di Spezia Hotels, Italy
- • San Marino Hotels, San Marino
- • Arcola Hotels, Italy
- • Bolano Hotels, Italy
- • Rovereto Hotels, Italy
- • Borghetto di Vara Hotels, Italy
- • Naples Hotels, Italy
- • Brugnato Hotels, Italy
- • Augsburg Hotels, Germany
- • Coraopolis Hotels, USA
- • West Yarmouth Hotels, USA
- • Kempten Hotels, Germany
- • La Thuile Hotels, Italy


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BOISE -- Health officials are warning parents after fifth bat in Ada County has tested positive for rabies.
There are serious health risks associated with touching bats, and children walking to school or waiting for the bus who find a bat should not touch it or take it to school.
It is extremely important for everyone to avoid bats or other wild animals that appear to be sick or that are acting aggressively or abnormally, says Dr. Leslie Tengelsen, Deputy State Epidemiologist. If a child finds a bat, they should leave it alone and tell an adult. Anyone bitten or scratched by a bat should call their health care providers immediately. Medical therapy administered to people after an animal bite is extremely effective in preventing rabies.
Most bats are harmless and do not carry rabies, however they are the only animal in Idaho that is a natural carrier for the virus.
If left untreated, rabies is a fatal viral illness in humans and other animals. Dog, cats and horses should be vaccinated for rabies.
To protect yourself and your pets, the Idaho Department of Health and Welfare offers the following tips:
- Do not touch a bat with your bare hands.
- If you have had contact with a bat or wake up to find a bat in your room, seek medical advice immediately.
- If you come in contact with a bat, save the bat in a container without touching it and call your public health district to arrange testing of the bat for rabies. Whenever possible, the bat should be tested to rule out an exposure to rabies; this is a free service.
- Always vaccinate your dogs, cats, ferrets, and horses - even indoor pets could be exposed to a bat that has gotten into the house.
- Bat-proof your home or cabin by plugging all holes in the siding and maintaining tight-fitting screens on windows.


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Top Linksmain detailsbiographyby votesphoto galleryquotes
Filmographiesby yearby typeby ratingsby votesby TV seriesby genreby keyword
Did You Know?photo galleryquotes
Lewis Bodine (Character)
from Titanic (1997)
FilmographyEdit Credits
- Titanic (1997) Played by Lewis Abernathy
... aka "Titanic in 3D" - USA (3-D version)
... aka "Titanic: The IMAX Experience" - USA (IMAX version)
Additional Details
Fun Stuff
[Rose is telling the story of how she and Jack met]
Lewis Bodine: Wait a second. You were going to kill youself by jumping off of the Titanic?
[laughing hysterically]
Lewis Bodine: All you had to do was wait two days!
See more »
You may correct errors and omissions on this page directly. Clicking the 'Update' button will take you through a step-by-step process.


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Hey there
I am new to the Forums and wanted to say hi.
I have done things around the house but I am certainly not an expert on home improvement. So I registered simply to get ideas ask questions...
Welcome, you certainly came to the right place.
Try using the search feature since many of the same questions have been answered hundreds of times.
If that doesn't work, ask away.
Hello Lark and welcome to the best darn DIY'r site on the web.
As the previous poster said there is a search feature, but more importantly, post pictures of some of those difficult to explain scenario's makes answering much better and easier.
Welcome to the site !
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