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Items Tagged with 'Denial-of-service attack'
Remember Ellie Mae's cyber attack? It didn't happen
No evidence of malicious attack found
April 14, 2014Read More
What happened at Ellie Mae? Twitter holds the answer
Social media captures mortgage blackout
April 2, 2014Read More
Cyber hackers: the modern Bonnie and Clyde
May 7, 2013Read More

subset: commoncrawl


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Cudahy Carolers find heart of holiday, aina hey?
In the best of many wonderful moments in "A Cudahy Caroler Christmas," Alison Mary Forbes makes her appearance as Trixie, a mousy librarian auditioning for Stasch Zielinski's Cudahy choir.
Trixie can't sing a note - until downing half a bottle of mango-peach schnapps. Suitably fortified, the real Trixie moves into a clothes-shucking burlesque routine that liberates her body and unleashes Forbes' amazing voice. Forbes may be singing a sadistic librarian's fantasy about torturing patrons, but her Trixie is also gloriously - and uproariously - free. »Read Full Article(3)
Sarah Brightman fills Riverside with lights, video, same-sounding tunes
Lights and videos and costumes — oh, my!
British pop/classical crossover vocalist Sarah Brightman filled the Riverside Theater stage with lights and images Sunday evening, in a one-night stop on her "Dreamchaser" tour. »Read Full Article(7)
Martin Short performing at Laugh It Up Milwaukee benefit
Comic actor Martin Short, creator of Ed Grimley and Jiminy Glick, and one of the most successful alums of "Saturday Night Live" and "SCTV," will perform an evening of comedy at the Pabst Theater Jan. 18 for the third annual Laugh It Up Milwaukee fundraiser.
A program of the Harry and Rose Samson Family Jewish Community Center, Laugh It Up in the past two years has brought comedians Seth Meyers, Richard Lewis and Susie Essman to perform charitable events in Milwaukee. »Read Full Article
Phoenix, Alt-J, Arctic Monkeys, Grouplove playing WLUM-FM's Big Snow Show
WLUM-FM (102.1) is going really big for its eighth annual Big Snow Show yearend concert, bringing in Phoenix, the French electronic alternative-rock group and this year's Lollapalooza co-headliner.
Oh, and British "it" band Alt-J, which sold out the 2,500-seat Riverside this spring. And Arctic Monkeys and Grouplove, fresh off their well-received new albums. And also another U.K. group, Foals, new buzz band Bastille and Scandinavian electronic alt rock trio NoNoNo. And more acts are to be announced in the coming weeks. »Read Full Article
Jada Pinkett Smith taking metal band to Shank Hall
Hollywood actress Jada Pinkett Smith — wife to Will Smith, and mother to Jaden and Willow — will take on the role of rock frontwoman Nov. 11 at Shank Hall with her metal band Wicked Wisdom. The 42-year-old metal fan formed the band in 2002, performing as an opener for a Britney Spears tour in 2004 and at Ozzfest in 2005.
Fellow California-based metal band Better Left Unsaid will open. »Read Full Article
On Tap for Today: Hypnotic Brass Ensemble, Gretchen Primack and Youngblood Theatre
Need a little help with your plan for Monday?
You've come to the right place. »Read Full Blog Post
Milwaukee Film Festival pick: Day Five
Start the first full week of the Milwaukee Film Festival with a daytime screening of "Band of Sisters," a documentary that Journal Sentinel faith and spirituality reporter Annysa Johnson says offers a different view of nuns than the cloistered-women-in-black-habits stereotype.
Johnson says: "The documentary by Mary Fishman looks at the work of Catholic women religious in the decades since Vatican II catapulted the church into the modern world. »Read Full Blog Post


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Altman clarifies a convoluted plot with a magician's ease, creates an atmosphere that brims with the pleasures of the unexpected and explores character nuances. show more
Altman has delivered a lot of surprises in his long directing career, and his new comedy, Cookie's Fortune, is one of the most refreshing -- not because it's so good, but because it's so sweet and affectionate. show more
Fortune is smiling down on veteran filmmaker Robert Altman with Cookie's Fortune. show more


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Herbs and a banana can cure AIDS?
- By P.J. Aroon
The president of Gambia can cure AIDS, but just on Thursdays, the only day when his healing powers work. The cure includes applying a green sludge to the skin of the patient, sprinkling a mystery liquid, having the patient swig a brown broth, and topping it all off with a banana snack. Whirling about the patient and uttering verses from the Koran are also part of the treatment.
President Yahya Jammeh says this treatment, with its seven secret herbs, can cure AIDS "with absolute certainty" if patients meet two requirements: 1) abstaining from alcohol, tea, coffee, sex, and theft during the multiweek course of treatment, and 2) ceasing to take antiviral medications.
Oh, the president also claims he can cure asthma and diabetes.
Speaking seriously, though, this "cure" for AIDS highlights the misinformation that surrounds the disease in many countries. In Africa, many aren't aware that condoms protect against HIV infection. Even if they are told, they also face anti-condom messages: Condoms are a conspiracy by whites to lower African birthrates; condoms are tainted with HIV to decrease the African population. On top of it all, traditional healers, tribal leaders, and the Catholic Church warn against using condoms. What is one to believe?
Related Stories
Laugh, cry, take your pickDaniel W. Drezner
Daniel W. Drezner is professor of international politics at the Fletcher School of Law and Diplomacy at Tufts University and a senior editor at The National Interest. Prior to Fletcher, he taught at the University of Chicago and the University of Colorado at Boulder. Drezner has received fellowships from the German Marshall Fund of the United States, the Council on Foreign Relations, and Harvard University. He has previously held positions with Civic Education Project, the RAND Corporation, and the Treasury Department.| Daniel W. Drezner |


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Here are some of the latest health and medical news developments, compiled by editors of HealthDay:
Government Food Education Program Not Changing Children's Eating Habits, Survey Finds
The U.S. government's nutrition education program of more than $1 billion is failing, a survey by the Associated Press reveals.
The money spent on videos of dancing fruits and vegetables, Web site emphasis on snacking on carrots and celery, and repeated instruction on how eating well makes a person feel good are all coming to naught, the wire service says.
The A.P. reviewed 57 scientific studies that looked at the effectiveness of the federal program and found only four showed any measurable success in changing the way children ate.
Here are the major obstacles that come into play, the wire service reports:
Parents If parents don't practice proper nutrition, most times their children won't, either.
Poverty Less healthful food -- especially fast food -- is cheaper and more often eaten by poor children, the researchers found.
Advertising Not one of the almost 9,000 television ads for food products aimed at children between ages 8 and 12 in the study promoted fruits or vegetables.
Study Shows Reduced Pregnancy Rate for Women Using Alternative Medical Therapies
Alternative medical treatments and herbal supplements may reduce a woman's chance of getting pregnant, according to a study presented July 4 at a meeting of the European Society of Human Reproduction and Embryology in France.
According to the Associated Press, the study was conducted on 800 Danish women who were receiving in vitro fertilization. Alternative medical treatments and/or herbal supplements such as reflexology, homeopathy, kinesiology and acupuncture were used by 261 of the participants, the wire service reported.
The results showed that the women who used one or more of these therapies were 20 percent less likely to become pregnant. While more research is needed to determine a cause and effect relationship, one of the researchers, Dr. Jacky Boivin of Cardiff University, told the A.P. that the lowered fertility incidence didn't seem to be accidental.
"There still seems to be an association between the use of complementary therapies and the reduced chances for pregnancy," Boivin said. "Doctors tend to think that these kinds of therapies are benign, but maybe they're not as benign as we think they are."
Asthma Drug Label Gets Anaphylaxis Warning
Labeling on the Genentech asthma medication Xolair (omalizumab) has been updated to include the U.S. Food and Drug Administration's strongest possible "black box" warning, advising doctors and consumers of the risk of anaphylaxis, the agency said Tuesday.
Anaphylaxis is a sudden, potentially life-threatening allergic reaction, with possible symptoms including trouble breathing, chest tightness, dizziness, fainting, itching, hives, and swelling of the mouth and throat.
Xolair, an injected medication, was approved in 2003 for people 12 years and older with moderate-to-severe persistent asthma that is inadequately controlled with inhaled corticosteroids.


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Supreme Court
It's a blatant lie to say liberals respect this nut. They don't.
Proves that...Only the good die young..
@Anon, anyone who respects clear and incisive writing should respect Scalia.
No - anyone who respects clear and incisive writing should respect Scalia's writing.
Scalia the man is inconsistent and insincere. His entire judicial outlook is condescending and misinformed, in my opinion.
I still think he's a good writer.
Instead of the press demonizing public school teachers for having some job security, defined pensions and employer-subsidized health insurance, maybe the press should attack the lifetime appointments of Federal judges. Many school teachers can't wait to retire, while judges like Scalia would be at a loss if he did not have the power and prestige that comes from being an associate Supreme Court justice. Scalia is 75 years old and spends much of his time promoting his Originalist dogma, as if anyone outside of his law clerks cares. If anyone else but Scalia claimed to be able to divine the thoughts of people dead for around two centuries, the guys in white coats would be be taking that guy in for a psychiatric examination.
i'd love to read this article, but its on a computer that receives the internet and our Founding Fathers didn't have computers or the internet so I'm sure they wouldn't approve of me using any of these heathen devices either.
"It's a blatant lie to say liberals respect this nut. They don't."
Larry Tribe, in providing his recommendations to Obama regarding potential Supreme Court nominees, specifically cited the need to appoint someone who is intellectually capable of combating Scalia (and famously asserted that Sotomayor is not that person). That suggests liberals respect Scalia, even if they strongly disagree with him.
Justice Scalia will be remembered as one of the greatest jurists ever to grace the SCOTUS bench. Greenhouse can't see beyond her liberal glasses to acknowledge the intellectual merit that Professor Kerr and many others see in his dissents.
during con law i had to listen to a glass-eyed, overcaffeinated lunatic liberal student interrupt discussions of scalia's dissents by dismissing him a fascist, from which we were expected to conclude that his opinion wasn't worth reading or discussing. i can see why that kid had his eye punched out and replaced with glass.
I feel as if Scalia is always so set in his method of analysis and in his conclusions that he is unable to truly listen to alternate viewpoints. In the Michigan v. Bryant opinion he contradicts himself several times and even asserts that he knows what a now-deceased man was thinking during his final moments alive while talking to the police. I respect justice Scalia, particularly in his administrative law related opinions, but I think he is childish sometimes, partisan always, and unyielding. These characteristics are not those of a good judge (in my opinion)
Orin Kerr couldn't be more accurate, Scalia himself told our law class last year that his primary objective when dissenting, is to make sure the issues are addressed by future lawyers/judges/law students. Additionally, Scalia literally laughed at a student who asked if he was pressuring fellow justices. He endlessly respects the other justices (even though he readily disagrees, ex. Ginsburg is his closest friend on the Court) and has no delusions about changing their minds.
Justice Scalia provided the Court with an entirely new lens through which to view the Constitution? I find that hard to believe, considering "originalism" was the norm until Oliver Wendell Holmes penned this gem: "The life of the law has not been logic; it has been experience." Before then, everyone was clear that "it is emphatically the province and duty of the judiciary to say what the law is."
@Original Originalist: I guess that's why Yale Law has that exact Holmes' truism on their archway?
Bush v Gore, Scalie argues 14th amendment trumps state law. What a hypocrite.
I hope this guy loses weight. His second chin's gotten enormous.
Tom K: "even asserts that he knows what a now-deceased man was thinking during his final moments alive while talking to the police."
That's true of most people, isn't it? You get a hint about what they think by listening to what they say. Or is there a deeper point in your comment that I have missed?
All those on this board who dislike Scalia would love him if he thought that the US Constitution required states to permit baby killing. Its all about abortion. (Or as I accurately call it - baby killing).
Greenhouse is one of those strange creatures who "asserts that she knows" enough about Justice Scalia's personal and interior life to know that he won't have a happy birthday. I'm sure Justice Scalia would get a kick out of that. Anyone who's seen him interviewed knows that Justice Scalia is a fellow of good cheer. I suspect that Nino will have a nice dinner with full complements and share some thoughts and many laughs with family and friends and have quite a happy birthday, thank you very much.
Why? Because he really is that smart. Smart enough to know that you can't internalize disagreements about judicial and legal philosophy and certainly not about what the dying man was thinking. And because you can bet that he enjoys mixing it up - he should, he's awfully good at it. He has plenty to be proud of and plenty to be thankful for both professionally and personally. There will be a Mediterranean twinkle in his eye as he is toasted with "cent' anni!"
Thank goodness we have a few remaining who think the USA founders had a good idea.
Greenhouse has scribbled in a Supreme Court coloring book for years without ever figuring out how to color between the lines. Scalia has nothing to fear from such a pygmy.
I'm with Kerr. I graduated law school a couple years ago and I agree: Scalia's sharp dissents had a powerful impact in shaping our class discussions in Criminal Procedure, First Amendment Law (especially balancing free exercise and establishment concerns), and, of course, standard Constitutional Law. I currently work in appellate law, and Scalia is still incredibly influential to what we do. Daily emails tracking SCOTUS opinions are passed around the office. Whenever the opinion or a dissent is authored by Scalia, people pay attention. Love him or loathe him, he's the Holmes of our time.
Greenhouse might note that it is sometimes the dissenting opinions that have impact for years to come. How many lawyers can quote any lines from the majority opinion in Plessy v. Ferguson, upholding "separate but equal" racial segregation? How many can even identify the justice who wrote it? Yet, Justice Harlan's lone dissent (7-1) lives on as one of the great opinions, studied by all. If Greehouse had lived at the time, what would she have said about the pointlessness of such a scathing lone dissenting opinion? (Does she know if his 75th birthday was an unhappy one?)
I cannot restrain myself from defending one of the greatest minds the SCOTUS has seen in the last 100 years. For a myriad of reasons, of which I will enumerate only a few, paeans of gratitude should be showered upon this man.
First, OO @ 4:22 is right on: originalism WAS standard SCOTUS jurisprudence for nearly two centuries prior to the arrant (and errant) Warren Court. Therefore, Scalia's originalism is closer to true SCOTUS jurisprudence than what has been foisted upon this country by the heresies of the Warren Court.
Second, and I cannot stress this enough, Scalia's briliance is simply unmatched on the SCOTUS (perhaps with the exception of John Roberts, but I digress). His genius, coupled with his great erudition (more so than the other justices most likely, to his vast knowledge of historical facts), suggests great eminence in the law.
Finally, to merely sum his great accomplishments, Scalia is very likable and personable. A trait that some of the other justices would do well--Sotomayor, for example, to emulate.
Kerr might be right about what Scalia is trying to do in his dissents. The problem is that he has set up an intellectual framework--his beloved originalism--that simply doesn't fly. The framers themselves recognized that the Constitution would be interpreted at different times by people whose understanding of words and phrases differed from theirs, and intended it to be so. Furthermore, they intended that their words be given full effect, which Scalia and his progeny, on and off the Court, have often refused to do, most conspicuously in the flagrantly dishonest recent 2d Amendment cases. So, in contrast to the celebrated dissent in Plessy, or Holmes's string of dissents that have since become good law, he's writtin a string of dissents that are destined to remain shrill and unpersuasive in the eyes of the majority of clear-eyed, nonideological law students, practitioners and judges.
Two thoughts: 1) surely the NYT has it all over Scalia when it comes to "exercise[s] in self-indulgence", every single publishing day; 2) like most liberals, LG thinks the First Amendment only applies to her and her views, but certainly not his. Of course, wholly apart from First Amendment concerns, it surely is inherent in the job and role of a Supreme Court Justice to express his- or herself on the law, even in dissent even when it is clear that no votes will change, for the reasons given by others. Can LG cite even one case where the votes changes after circulation of a draft dissent? Now, that would be real reporting, not her vituperative hacking at Scalia. But I suppose she's just upset that others of the female gender, like actual experienced judge Sotomayor or totally unexperienced (in judging, unless you count Moot Court (surely she did some of that while Dean at HLS!)) Kagan, achieved a seat on the Big Bench whilst she was not invited to step down from the NYT to do so, although one could certainly argue that LG knows considerably more federal and specifically Supreme Court law than Kagan, now and for years to come. Tut, tut.
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Here is what you need to know about Friday's gay-marriage ruling.
If blockbusters Supreme Court battles ended the way sports championships do, U.S. Solicitor General Donald Verrilli would be soaked in champagne and showered with Gatorade. And Jones Day partner Michael Carvin, the lawyer for the losing plaintiffs, would glumly file back into a hushed locker room.
Who are the Americans accused of trying to join ISIS? A new study released this morning by Fordham Law School's Center on National Security breaks down the numbers.
If you've been drinking Beck's beer thinking that you were consuming an authentic German pilsner, Law Blog suggests that you might want to sit down for this: Beck's is produced in St. Louis, brewed with water from Missouri. The good news is that you may qualify for a refund.
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Sorry for not posting. Today, I was going to go on this long-ass spiel on how I hate the Social Justice Warrior movement in addition to the Anti-Social Justice Warrior movement, but when I sat down at the computer, ready to procrastinate by not doing homework, I couldn't do it. I don't know enough to accurately explain or form an opinion on the subject, and I was afraid to discuss something I really had no idea about. I mean, that doesn't stop some people, but it stopped me.
So instead, I want to talk about the specifics of not posting for two years. What drives a man to do such a thing? Yeah, it was laziness, and yeah, it was schoolwork, but it was also pure, unbridled paranoia. And I want to talk about that experience. The experience of my first blog post and the experience of basically straw-manning myself to the point of near-depression.
Sounds pretty serious, right? Yeah, I thought so too, at the time. What could have led to that unbridled sadness, that unspeakable tragedy, that terrible ache that stayed with me for days? Well, it was Sim City.
Not the game itself. It was... well... It's complicated, to say the least. And I feel like my experience is worth sharing for a couple of reasons, but reasons that I don't really want to go into at the beginning of the blog post. It feels a lot more like aftermath stuff than precursor stuff.
So, let's jump back into our time machines and pretend it's 2013. At the time, I was pretty fuckin' hyped for this new game coming out called Sim City. All the pre-release hype pre-DRM was pretty good, and I wasn't pre-destined to hate Maxis. I actually liked them a lot. They had released some of my favorite games like Sim City 3000, Sid Meier's Sim Golf, The entirety of The Sims franchise, and so in my book, Maxis was pretty high on the list of Companies I Could Trust.
So this new game that comes out, I really like the look of it. Seems much like a unique take on the style of the visuals of SimCity (If there's one thing about New Maxis that I can say I definitely love, it's their Art Direction) and it looks hella fun to play. The Glassbox Simulation Engine was still kind of a hype machine, and all the additions, like add-ons for buildings, multi-city trade in online mode, and multiplayer in the first place just seemed like it might add up to the best time ever.
But I'm also getting a little off track here. I need to start getting to the part where I actually talk about what happened. And, well, DRM and the community happened.
Try for one moment to put yourself back in that place in time. Do you remember how angry everyone was? Comments were thrown about how people were going to protest the game, pirate the game, burn down EA, whatever. But I think the thing that bothered me most were the people protesting against it. They just showed NO RESPECT. I come from a community where open discourse is "valued" and this was about as closed-minded as it could get, at least in my eyes. Why was nobody even trying to reach out to the other side? Why is everybody assuming that all corporations are evil? Why wasn't EA and Maxis handling this situation? I didn't agree with anybody, and when I see something that I don't agree with, I get a little bit crazy.
I call this the Star Trek: Into Darkness effect for a very personal reason. I don't like Star Trek: Into Darkness, but for a completely different reason than a lot of people. And so I don't line up with either the haters or the fanboys, and that becomes really irritating because I think everybody around me is being irrational and straw-manning the hell out of each-other. I really do want to have positive discussion, but I just have no input. I feel almost left out. This is what happened to me with the Sim City debacle. I was Maxis lenient, and I felt like nobody agreed with me. That's when I started blogging on Destructoid, because I felt like it was an outlet for that kind of emotion. The feeling of hatred tormented me, and I just needed to let it out.
Silly me, I thought I was going to be amazing on my first try. I was going to get front-paged, or whatever for sticking to my opinion. I have no idea why I believed that, but I definitely felt like I could really make a difference in the world with this blog. On Destructoid. Seriously, I love you guys, but yeah I was a bit naive to say the least.
I read through it once carefully, and then read it about twenty more times. I wanted to make sure every point was articulated well. I didn't want to be one of those people who was stupid as hell and tried to make an argument without backing it up. I wanted to be an intellectual. I wanted to be respected, and the only way I was going to be respected was if I was respectful in return.
I immediately regretted posting it. What if they didn't like it? What if they gave arguments that I didn't know how to respond to? What if I didn't know enough and was just being ignorant about the whole situation? I stayed up all night worried about it. Then the first daily recap or whatever it's called came out and while I can't remember what it said about my article, I remember to this day, I felt like it painted my review in a negative light, and I will never be sure if it did or not. I felt devastated though, I can tell you that. I felt like I had done a bad job conveying my point to other people. It must've been something I did, right? I said Maxis is amazing, didn't I? I was too hateful, wasn't I? What did I do?
I drove myself insane. I felt SO bad about writing that article. This was one of the first times I had expressed any emotions in a constructive way, and I felt like it was a mistake. Most people worry about me because they think I'm about to explode and have some sort of episode, and I tried to channel that instead into writing this article, and it didn't work. All my confidence that I had left vanished. I felt like I had been the asshole, the completely blinded fool ranting like the village idiot. How could I not feel dumb?
It sounds angsty as all hell, I know, but I felt terrible. There were no words for the lump in my stomach that sat for three days or so. I didn't look at the comments. I tried to write a post about Professor Layton, but it didn't feel the same. In that specific moment, that blog post was the most heart-wrenching thing and nobody could convince me that anything was more important.
Not to mention how I felt when the game actually came out and the problems were maximized by ten. At this point, I had fooled myself into believing that I had written that this was going to be the best game ever made and boy, had I messed up. It definitely didn't help that not only was I convinced that I had written that EA was amazing, but that everyone kept saying how EA wasn't amazing and it just drove me to the point where I kind of had a little tiny PTSD, like looking at Sim City caused my blood pressure to rise or something
Ever since, I've been afraid to voice my opinions, specifically about video games. I didn't feel right, posting. I felt paranoid to even click the blog button. I felt paranoid that everybody was going to remember and laugh at me. And when big events happened that I cared about, like Anita Sarkeezian or whatever and more recently Hashtag FuckIdon'tevenwanttotalkaboutitthiswholethingisamessandIjustwishtherewereobjectivetruths, I didn't want to talk about them. Nobody cared about my shitty opinion. I just had to bear the weight, and spend time walking around in my room mulling angrily to myself. it felt and continues to feel terrible.
People always try to convince me that there's a light at the end of the tunnel, and that all of this ends eventually and none of it really matters, and I ask, how am I supposed to know this, and then why am I doing it in the first place? There are so many things wrong with this argument, but I think the biggest problem is that I interpret the world through my own eyes: You have perspective of someone who already went through that experience, that even if you tell me a million times that things are going to be okay, things are still shit in mine. How do I change my world? I'm a dot in a George Seurrat painting. Someone told me once when I explained one of my arguments, "You're very opinionated, but you won't be able to change anything," and I believe it. I can't do jack shit. How do I break the pattern? Is there a way?
It's probably wrong to act this way. It feels selfish, like my life has to be perfect. Wanting more would take away from others and I'm just a selfish ass who wants the world to be flowers and cupcakes for himself and doesn't have any real problems Oh god I'm doing it again
And that's why I've been gone for two long years. Cause I defended EA and I feel like an idiot. There were definitely some other feelings I had during that time, including those elusive feelings of "joy" and "comfort." So please, don't worry about me. As for the takeaways, I don't really know. I just kind of made up the fact that this had any point. I thought it might, but to me, it's just good to tell y'all about my problems. Here's what I'll do: You, reader, you go embrace your inner post-structuralist and find your own damn meaning.
And finally, before writing this blog post, I ventured to read the comments on my Sim City article and figured out that, yes, I was truly paranoid. You guys are a bunch of respectful people and wonderful to hang with. Maybe I'll pick up blog writing again, sometime soon. Thank you for all your support, Destructoid Community. Never stop being classy.
It's going to be hard to press the submit button, but when I do, please go easy on me?


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|No preference
|Have kids:
|Yes, and they sometimes live at home, Yes, and they live away from home, Yes, and they live at home
|Wants kids:
|Probably not
|Not sure, Probably not, No, No, but it's OK if my partner has kids
|White / Caucasian
|Asian, Black / African descent, Latino / Hispanic, Native American, White / Caucasian, Other
Paternal-Irish/Maternal-Native American Indian
|Spiritual but not religious
|Buddhist / Taoist, Jewish, Spiritual but not religious, Christian / Other
|Associates degree
|High school, Some college, Associates degree, Bachelors degree, Graduate degree, PhD / Post Doctoral


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Forum Post: Boston vs Habs series thread.
Posted 05/01/2014 10:12:15 EDT
Is the puck being dropped at 7:30 or is that the time for pregame ceremonies. Where can I get details. I am supposed to be driving my wife home tonight, but I am debating having her walk! ********** more »
Forum Post: Is Sobotka really that good?
Posted 03/16/2014 05:37:22 EDT
I loved Sobotka as a player and was dissappointed to see him go. I saw above that he was called inconsistent and or unproven. That is not true, in his final season he had established himself as a ve more »
Forum Post: Game 55 - Canknuckleheads at Bruins GDT
Posted 02/04/2014 10:09:49 EST
In response to zamboni24's comment: With or without the assist -- Boychuk -- #1 star. I would agree. I thought the team played great tonight. I love the way the third unit is coming together. Chem more »
Forum Post: Loui and the third line ?
Posted 01/23/2014 11:42:36 EST
I like Loui on this line. The guy can play fewer minutes on this line. Those should be softer minutes on his body then matching up against the top line as often as possible. With the concussions th more »
Forum Post: Miller extension
Posted 01/23/2014 11:09:23 EST
I like Miller. I like Bartkowski alot, although he is having a tough season. He needs to be stronger and smarter. I like the other young options too. One or more of them will be dealt if we bring more »
Forum Post: So Who Are You
Posted 01/16/2014 11:00:39 EST
I was born and raised on the South Shore. I played Hockey, Soccer and Baseball growing up, but hated Baseball. I wasn't allowed to quit in season because my parents weren't stupid and each offseason more »
Forum Post: GDT - Bruins at Stars 1/16/14
Posted 01/16/2014 10:37:54 EST
Nice to see Krejci get that goal. I have been really impressed by Campbell's play tonight. That line seems to be very active. Also enjoying Soderberg and Smith's game tonight. Smith's move in the f more »
Forum Post: Soderberg
Posted 01/05/2014 10:29:07 EST
I forgot to mention how much I liked him on the power play. I have been surprised by the speeed with which he acclimated. I like his chemistry with Spooner, and I love that Bergeron skates with them more »
Posted 01/04/2014 09:56:55 EST
I like Soderberg a ton. He seems to always be igniting offense. I like the way he plays on the boards. He seems to have a natural sense of where to be in the offensive zone, with the ability to mak more »
Forum Post: Predators @ Bruins 1-2-14 GDT
Posted 01/02/2014 10:54:39 EST
In response to dezaruchi's comment: In response to kelvana33's comment: Caron looks good tonight, his best game so far. I missed the game because I flew coast to coast but I'm glad to hear this Kel. I more »
Forum Post: Defensemen
Posted 01/02/2014 10:52:33 EST
I have noticed Krug's mistakes more then I have noticed Bartkowski's although I have missed a couple of games recently.
Posted 01/02/2014 09:44:50 EST
In response to zamboni24's comment: In response to RickyHussle's comment: Beautiful Goal by Marchand there. When the kid sticks to hockey and stays out of the box with the wacky penalties -- he's got more »
Posted 01/02/2014 09:43:11 EST
In response to 50belowzero's comment: In response to NeelyOrrBourque's comment: ******************************************** In response to 50belowzero's comment: ************************************* more »
Posted 01/02/2014 09:38:30 EST
Beautiful Goal by Marchand there.
Forum Post: Svedberg expected to make NHL debut ....
Posted 01/02/2014 09:36:58 EST
In response to KMCI's comment: But why is he playing I think eventually you have to give the kid a chance to play. I don't think you take minutes from Rask to do so, but by all means give him as many more »
Forum Post: Olympic roster projected lineups
Posted 01/02/2014 09:26:04 EST
I imagine Wheeler has matured alot since he left the B's. Is he now considered a strong two way player?
Forum Post: Thornton Gone For 15
Posted 12/14/2013 07:00:12 EST
I feel 15 is fine. Even at 20 I don't think I would have complained. I agree with much of NAS's explanation. I hope after 15 games ST apologizes one more time, accepts that he deserved it and then more »
Forum Post: Lines Tonight
Posted 12/12/2013 04:32:14 EST
I like keeping the 2nd line in tact as well. I am not excited about the new lines. I do feel I will have a better grasp of what Fraser brings to the table and that will be good.
Forum Post: Next Man Up
Posted 12/09/2013 12:31:46 EST
In response to Fletcher1's comment: I think Mooore is in the picture too as he has some NHL experience under his belt. At least point, I think we should be less concerned by offensive talents and tak more »
Posted 12/09/2013 10:01:14 EST
It looks like we will need to bring up another D-man. Haggerty is predicting Trotman. I would love to hear what you guys think we will see. Is Trotman the right guy? http://www.csnne.com/blog/brui more »
Forum Post: Eriksson, Smith, Morrow, and Fraser
Posted 11/21/2013 04:53:23 EST
I love Smith. I imagine over the course of the season Eriksson will prove the more valuable player for this team. I know nothing about Morrow or Fraser except that knowledgeable users like them as pr more »
Forum Post: Game 22: Blues at Bruins GDT
Posted 11/21/2013 01:40:54 EST
In response to kelvana33's comment: I can't wait for this game, should be a good one. To this day I still think of Oates to Hull when watching the Blues...Anyone else remember after the Oates to Bosto more »
Forum Post: Michael J. Krug and Seidenberg
Posted 11/21/2013 01:07:50 EST
Hey guys, Thank You. I could not find his 2013-2014 stats and got mislead. I am surprised he is not at least in the conversation. I wonder if he would be valued over Miller had Hamilton and Krug be more »
Posted 11/21/2013 12:38:40 EST
What did we bring back in exchange for Warsofsky; I see he is with the Blues? Would he have been the top choice if he were here?
Forum Post: Attention Tonight
Posted 10/30/2013 02:03:42 EDT
The NBA is terible and as a sports fan I have been hearing rumors that half the NBA may be intentionally tanking this season anyways. It seems the Celtics are one of the teams whose motives are being more »
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Volunteer HERE!!
Student Veteran Alliance named the 2014 Chapter of the Year by Student Veterans of America!!!
We Have Moved!!!!!
The Veterans Resource Center, formally Bethany Hall, is the new location of the Office of Military and Veteran Services, and provides a gathering place for the Student Veteran Alliance. Student Veterans are welcome to use the center's community lounge, quiet study space and kitchen.
*Located behind the Sette LaVerghetta Center for Performing Arts and across the street (N. Washington Ave) from St. Clare Church.
*Please utilize the glass door entrance in the rear of the building*
Check Out The Video Below!
Marywood Welcomes Veterans!
The Office of Military and Veteran Services is pleased to assist you in making a smooth transition from military life to that of a student. We are dedicated to providing you with the tools and services you need to succeed at Marywood University and prepare you to Lead On. The site is created to help you, the veteran, with your college career in the most convenient way possible. From navigating the GI Bill to enrolling in classes created specifically for veterans to participating in events around campus. This website provides the information you need to get the most out of you unique experience as a service member, veteran or family member on our campus!
Recent News
Student Veteran Alliance shared Marywood University Office of Military and Veteran Services's photo.
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Thank you to Cody, Anthony, Joel, and Deanna for representing the SVA in today's parade. We received a lot of cheers and the only college in the area that participated.
View on Facebook
Come on out to Scranton for the Armed Forces Day Parade starting at 11am!!!!
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The Second Annual Minnesota Pottery Festival was hosted this past weekend by Clay Coyote of Hutchinson and our President, Tim Ulrich, was on board to help as one of the board members. The festival, hosted outdoors, included events such as the Potter's Olympics and a Kids Tent. They featured demonstrations of Raku, Handbuilding, and Throwing. Over 20 Potters were in attedance including featured potter Mary Jo Schmith. To learn more about their festival, visit MN Pottery Festival.
MN Pottery Festival
Where is "Spaulding"?
Have you met Spaulding? "Spaulding" is the cute, new, little puppy that lives in Library Square! He is a durable sculpture that can withstand any type of weather conditions. He loves attention, especially if it involves children petting him and riding on his back! Spaulding, made of bronze and limestone, was created by artist Heidi Hoy of St. Bonifacius, MN. Spaulding is part of the 2013 Sculpture Stroll presented by the City of Hutchinson Public Arts Commission.
There are six sculptures currently on display:
Percussion II – West River Park
Spaulding – Library Square
Slow Dancing – NE corner of Main and 1st Ave
The Plunge – North end of pedestrial bridge west of Adams St
Cosmic Story – Riverside Park
Observance- Hassan St SE near City Hall
These original world-class sculptures by regional artists will be on display for one year. The sculptures are owned by the artist and loaned to the exhibit. Stop by our main bank lobby to pick up a brochure prepared by Hutchinson Public Arts Commission.
Also, Check out the Hutchinson Sculpture Stroll on Facebook!
Shannon Celebrates 15 Years at Citizens Bank
Thank-you to Shannon Kieser for your fifteen years of service to Citizens Bank and Trust, and for sharing your thoughts about your time with us!
"I have enjoyed working 15 years at Citizens Bank & Trust Co.; 14 years has been part time. As a Personal Banking Officer, I enjoy working and meeting with many different people. I receive satisfaction in helping my customers reach their financial goals, and providing services that assist them in whatever pursuit they may follow. I have a degree in Business Management from the University of Minnesota, Carlson School of Management, with an emphasis in Banking/Finance. The best part of my job, simply is the interesting conversations I have with the many different people I meet.
Working part time for the Burich family has allowed me to enjoy raising my three children, while at the same time utilizing my education and experience in banking. I appreciate the Burich's dedication to family and our community. My husband Tom and I have lived in Hutchinson for 20 years and love raising our family here. I cannot imagine moving back to the Minneapolis area, we enjoy the community and all it offers.
In my "spare" time I attend my children's football, basketball, baseball games and gymnastic meets. As a family, we enjoy spending time at my parent's lake cabin by St. Cloud. We also enjoy traveling to all parts of the U.S. and Caribbean cruising with our extended family. Health and fitness are a passion of mine. Unfortunately, so is baking."
RiverSong…sit back and enjoy!
Chad Greenway "Day to REACH"
We recently sponsored the Chad Greenway "Day to REACH" 2-day camp which hosted close to 300 kids in Hutchinson. The HS campus was completely occupied by a sea of purple with the theme of this year's camp "One HEARTBEAT"!
Chad Harlander, Director of the REACH program at HHS lists the following sessions that were offered to the kids:
• in the HS auditorium sessions on Nutrition and Character
• in the Multi-purpose room sessions on speed and agility
• in the HS weight room sessions on Team building and Strength
• Tennis courts sessions led by the National Guard
• SR Knutson field offensive and defensive football fundamentals
• 2 practice fields- razzle dazzle
Chad further stated, "Thank you to all of those who help to sponsor the event, believing in our mission of providing a positive learning experience for young people to become better athletes but more importantly become the best person they can be!"
Use Your Debit Card to Win a Summer Getaway
If you could getaway somewhere this summer, where would you go?
Use your debit card now through September 30, 2013 to make purchases, and you'll automatically be entered for a chance to win a $500 cash card! This special Summer Getaway promotion is giving you a chance to win great monthly prizes of $50 too. If you don't already have a debit card, you still have time to get in on all the excitement. Stop in and apply today!
Joyce Laing Celebrates 35 Years with Citizens Bank and Trust
Please help us congratulate Joyce Laing, as she is celebrating 35 years with Citizens Bank. Joyce has worked in the installment loan department and the IRA department during her tenure here.
She has accumulated many memories throughout the years. Some of her memories include technological advances starting with a courier system and manually typing loan documents. Next came the first computer, followed by computer-generated documents. Joyce has been with us through several remodeling projects and two generations of bank customers; Joyce loves meeting the children of the customers she has worked with in the past.
Joyce and her husband enjoy cheering on their two teenage grandchildren at their many sporting events. They enjoy watching hockey, soccer, baseball, and tennis as often as possible.
It's with sincere appreciation that we want to thank Joyce for her 35 years with Citizens Bank and Trust.
Thank you Vern!
One of the things we are so very thankful for is our committed, long-term, loyal employees. In June, one of them decided it was time to give it a rest. Vern Hagen has been with Citizens Bank for 32 years serving in full and part-time custodial and maintenance roles. We are honored to formally send Vern Hagen off to enjoy his retirement years. Here are a few pictures from the celebration we held this week to honor him. Thank you VERN!
Carol Stark is Celebrating Her 35th Anniversary at Citizens Bank and Trust!
Carol is Vice President of the Real Estate department of Citizens Bank. Carol values the opportunity to meet new people and help them through the process of what may be one of the biggest purchases of their lifetime. She also enjoys seeing familiar faces. "I appreciate when people come back for their next purchase or refinance," says Carol.
Carol and her husband Brian have two adult children, Arlen and Jackie. Jackie is married to their son-in-law Scott Mackenthun. "Our new love of our life is our granddaughter, Quinn." In her free time, Carol enjoys being a grandmother to Quinn and riding her Harley Davidson motorcycle.
Please join us in thanking Carol for her 35 years of service to Citizens Bank and Trust on July 3rd!
$10 Culver's Gift Card


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Rant on SMGs Tangentally Related to Video Games
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Join Date: Sep 2004
Posts: 1
Re: Rant on SMGs Tangentally Related to Video Games
Well there are subguns and there are subguns. Cheap and crude weapons such as MAC-10 and Uzi are quite different compared to weapons like MP5 in all categories.
MP5 is very accurate. Unlike most submachineguns, it fires form a closed bolt. MP5 is capable of sub 2 MOA groups, which is accurate enough for military and police use. That means that in real situation accuracy is dependant on skills of shooter, not the capabilities of the weapon.
Yeah, assault rifle calibers are superior when possible target is wearing body armor. On the other hand, pistol round is less likely to overpenetrate and go thru walls and cause collateral damage. Thats pretty important factor in police operations. Submachinegun in also easier to silence.
I have seen some army lethality tables and 9mm round is lethal to suprisingly long distances. IIRC 9mm subgun round I shot when I was in the army had v0 of ~420 m/s, thats quite a lot more than any commercial 9mm round sold in the US has. BTW, In Europe 9mm x 19 caliber has higher pressure limits, so 9mm rounds sold in Europe are considerably hotter.
9mm x 19 round is also designed for selfloading weapons and is quite reliable because of that. i.e. 9 x 19 has tapered wall case, .223 has straight wall case and is thus less suitable for reliable automatic operation.
So, in police operation in confined space, I'd propably rather have an MP5 than an assault rifle. IMHO, of course.
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Critical Essay by Shyamal Bagchee
SOURCE: "'Prufrock': An Absurdist View of the Poem," in English Studies in Canada, Vol. VI, No. 4, Winter, 1980, pp. 430-43.
In the following essay, Bagchee argues that "Prufrock" should be reinterpreted in terms of post-modern theories.
The aim of this article is to reclaim one of T. S. Eliot's most celebrated poems as a truly modern poem: as poetry that is as significant in our post-Modernist times as it was in 1915 when it was published at the beginning of the Modernist movement in Anglo-American literature. For much too long it has been admired and interpreted mainly from narrowly Modernist or Eliotic perspectives. Most existing readings of the "Love Song of J. Alfred Prufrock" ridicule the poem's main character for his timidity and self-deception. He is blamed for surrendering too easily to the petty vanities encouraged by a shallow and self-conscious society. The poem is admired mainly for its supposedly Modernist irony and its stylistic innovations. It seems to me that this "standard" approach fails to explain the poem's strange and powerful hold on the imagination of twentieth-century readers. There is an inexplicable gap between the critics' high-minded rejection of Prufrock and his world, and the incontrovertible appeal of the poem itself. The important concerns of the poem are those of the central character, yet critics have continually berated that character.
The view that Prufrock is a damned soul or a morally flawed character is popular also because it ties in well with the moral and religious concerns of Eliot's later writings. But this acceptance of the "integrity" of Eliot's oeuvre, though attractive in its neatness, tends to make us overlook significant differences between the poems. Today Eliot scholarship has advanced far enough for us to demand an analytical rather than a synthesized view. By making the right distinctions between the various kinds of creative impulses which inform the different poems we will better understand the poet.
In view of the continued appeal of "Prufrock" and The Waste Land at a time when Modernist poetic ideals have fallen in general disfavour, one may perhaps rightly conclude that in spite of certain superficial affinities with the deliberately iconoclastic and abrasive poetry of the early Modernist period, these poems never really belonged to that literary school or period. I think it can be profitable to examine Eliot's poetry from such post-Modernistic positions as the Existentialist and Absurdist. The poems indicate the inadequacy of reason and morality to make sense of our experience. "Prufrock," in particular, depicts a rational, sensitive, and sensual individual's exasperatingly pointless encounter with reality. The poet seems unable to suggest a path that will lead to sense and will impose some meaning upon experience.
Given Eliot's natural inclinations (which were towards order, some system of belief whether literary or religious) it is difficult to believe that he would ever have accepted this absurdist stance as the final view of life. Therefore, it is not surprising that Eliot did not write about an absurdist view in his prose criticism. For him the ideal was always a system of order, but his poetry was not merely the versification of what he thought; it embodied his experience of reality. On the one hand, Eliot was far too sensitive to be able to ignore the pervasive and painful irrationality of the world around him; on the other hand, he was not one who could, like Yeats and Lawrence, fight that reality passionately and imaginatively. Eliot must be seen apart from other writers who underwent the modern experience. He did not have Joyce's fine sense of proportion about the absurd which gave Ulysses its moral-comedic vitality. Neither was he temperamentally equipped to persist indefinitely in a view of amoral-irrationality; therefore, he did not develop into a writer like Kafka. Eventually Eliot had to discover tradition and religion as his symbols for order, but in these early poems he was mainly free from religious predilections and was close to the world of the absurd. It cannot be said that he was ever quite convinced about the inevitability of the absurd world (though he was surely, for the time being, painfully aware of its inexorability); for this reason he never became a co-medic-nihilist like Samuel Beckett.
"Prufrock" is more an inconclusive question (both for the protagonist and the poet) than it is a solution effected through social or moral satire. The poem does not invite us to force an absolute distinction between the poet and the protagonist; rather it invites us to regard Prufrock as a likely mask for the poet and for many of the poem's readers—the deliberately conflated "us" in the opening line.
What I would like to suggest is that Prufrock should be regarded as Eliot's Everyman. Of course, Everyman is never really every man and Eliot's is no exception. What makes Prufrock an Everyman is that in him acceptable notions of the self, of both the poet and the reader, find expression. Needless to say Everyman is not a heroic character; but this Everyman, being the Everyman of a particularly sensitive, learned, literary-minded, intelligent poet, is at least a special person. So is, in a way, the ideal reader of Eliot's poetry.
Far from being a damned soul, or a social nincompoop, Prufrock is actually quite admirable, especially when we contrast him against his social milieu. Moreover, Prufrock proves himself capable of describing and interpreting astutely the moral pointlessness of the world in which he lives.
It has often been pointed out that the poem highlights lack of communication between individuals, and that Prufrock's main guilt is his refusal or inability to sing his "love song." However, throughout the poem it is Prufrock who worries most about the impossibility of such communication. Prufrock's most urgent wish is to convey his feelings. He is the most humane of Eliot's early protagonists and is flanked on one side by the silent and solipsistic Narcissus ("stifled and soothed by his own rhythm"), and on the other by the pathetic and gregarious lady of "Portrait of a Lady." Prufrock does not sing his "love song." But this is not because he wants to remain aloof from people who surround him. Rather, unlike the lady, he is acutely conscious of the insensitivity and callousness of his society and can see the futility of expressing his true feelings. Whatever else the unuttered "love song" may be, the bit of it that is actually verbalized by Prufrock is neither solipsistic nor lofty in any philosophical sense. In fact these are words that try to reach out to other people, words that are pregnant with great sympathy for fellow human beings:
Shall I say, I have gone at dusk through narrow streets
And watched the smoke that rises from the pipes
Of lonely men in shirt-sleeves, leaning out of windows?
We should pay particular attention to these lines. Within the poem's fragmented narrative framework, they represent Prufrock's first tentative formulation of the song. For most readers these lines are overshadowed by the more transparently rhetorical hyperbole of Prufrock's rehearsing of his "speech" a few lines later:
"I am Lazarus, come from the dead,
Come back to tell you all, I shall tell you all"—
That this is really a "speech," or the beginning of one, is indicated by the inverted commas used to emphasize its theatricality. This "speech" has no thematic substance at all; it gives no indication of what it is that is bothering Prufrock; it is merely a pose, deliberate histrionics.
By contrast, in the earlier quotation Prufrock attempts to bring to the attention of a gregarious but uncaring society the real sense of isolation, of loneliness, that exists under the surface. It is not necessary to assume that this loneliness affects only the protagonist who loves to luxuriate in imagined suffering and eventually becomes an enervated solip-sist through sentimental overindulgence. What makes the poem relevant to our age is our recognition of both the validity of what Prufrock wants to say and of the fact that the women in the room will never really understand what he means. In fact what Prufrock wants to say in these lines is echoed by Eliot in "Morning at the Window" and "Preludes," two of the most compassionate of his early poems. In "Preludes IV" an "I" voice, who is probably the poet himself, confesses:
I am moved by fancies that are curled
Around these images, and cling:
The notion of some infinitely gentle
Infinitely suffering thing.
Critics often point to these lines when they seek to defend Eliot from charges of indiscriminate irony and lack of human sympathy. I think Prufrock's lines belong with these. But Prufrock is not a poet, he is merely the poet's Everyman. The poet is in a special sense a hero, a creator; he can live through the images he creates. To Prufrock such life is not available. In spite of these differences between the "I" of "Preludes" and Prufrock, the similarity of the message strengthens my view that Prufrock is actually quite close to the poet, for even the poet admits that in the face of our unthinking, heartless reality his images are, perhaps, no more than "fancies" to which he "clings." This is the most that is available to sensitive individuals—to hope for a more tangible solution to one's anxiety is to deceive oneself.
Eliot does not depict Prufrock as a prophet or even a prophet manqué. Prufrock's prophetic voice in the Lazarus speech is really a joke, and Prufrock intends it to be seen as a joke. It is not correct to imagine that Prufrock unrealistically or obtusely thinks of himself as one who has come back from the dead. As a matter of fact, Prufrock knows himself quite well. When he pictures himself making the speech, he does not see himself as being tense or overly serious, rather as being amused at the incongruous image of "squeezing the universe into a ball." He thinks of himself as casually "biting off the matter with a smile" (italics mine). This is one of Prufrock's private jokes: private because he cannot share it with anyone who is around him. Only he can see it as a comic invention, and he alone is capable of imagining such an improbable scheme with which to provoke his stupid audience. It is worthwhile to remember that Prufrock is not seeking to ask the overwhelming question but merely "some" overwhelming question—any that would be suitably highfalutin, outrageous, and improbable. In the opening stanza of the poem we are told that the overwhelming question is to be asked of Prufrock, not by Prufrock.
Prufrock already knows that his humane appeal to his listener's conscience will inevitably fail: "I have seen the moments of my greatness flicker." He fully understands that he must not expect from either the woman or anyone else in his world sympathetic imagination and genuine concern. In fact, his lines about "lonely men in shirt-sleeves" are not obtuse enough to attract his listeners' attention or to interest them. His words may contain truth but they sound too simple, too low-key. What should he do instead? Use a special style, even if a false one? Speak in an artificial, theatrical rhetoric? Assume the tone and diction of a prophet? He is not convinced that doing any of these things would help him in any way: "Would it have been worth it after all?" he asks. The answer, obviously, is "no." Nevertheless, he tries to imagine what he would sound like if he did; he may even be able to startle his audience with this improbable form of speech. It is Prufrock himself, with his definite sense of irony, who tells how incongruous any show of human concern will be
After the cups, the marmalade, the tea,
Among the porcelain, among some talk of you and me.
In pointing out the irony Prufrock makes it quite clear that he has the ability to judge the true worth of the norms of social behaviour expected of him, the behaviour he regretfully conforms to. His sensitivity makes him vulnerable. He is an outsider and is treated as such by the women who discuss him as they would anyone similar to him—"some talk of you and me." The "you" here, as in the first line of the poem, includes the reader and the poet, both of whom are outsiders in that society.
Mainly, Prufrock wishes to tell his listeners that "No man is an island, entire to itself." But Prufrock is not a hero; he does not have a prophet's power to convince others, nor does he have the self-assurance needed to convince himself that he should at least try. Instead, he despairs and gives up. Numerous critics have dwelt upon Prufrock's "failure," his inability to "force the moment to its crisis." But this inability has been unjustly seen as moral failure, even more turpitude. Such a view of morality may be appropriate in the context of traditional ethical expectations, particularly to the conventional notion of a hero, but it is out of place in the amoral world of this poem. Ideally, Prufrock should have persisted in making his point; but to insist on such positive action from an unheroic character is to force a heroic concept on a world where notions of heroism have become inoperable. Prufrock is not a leader of men, but in not being one he does not automatically become insignificant to the reader. The disapproval of Prufrock's failure is quite simplistic and indicates our inability to enter imaginatively the existential and kinetic (rather than ideal and absolute) world of the poem.
The important question to ask is, "What could Prufrock have done being who he is?" To say that he should have been a different kind of person is to overlook the essential existential problem outlined in the poem. Prufrock comes at the head of the long list of non-heroes in recent literature. As a non-hero Prufrock is not better or worse than we are; therefore, we understand what he has to say while his listeners in the poem do not. This is one of the major indications of the poem's absurdity, its absurd world, and its absurd process of communication. Like many post-Modernist works of literature, "Prufrock" arranges its communicative pattern in a non-static, spatial way. What Prufrock fails to say to the lady in the poem, the very act of his failure makes most meaningful to the reader. I am not talking about dramatic irony, allegory, or any such referential rhetorical device that makes us understand a created literary piece—an object stable in time—from the outside of it. "Prufrock" is not to be understood merely by reference to stable intellectual and moral notions outside the poem. In fact "Prufrock" should not be approached referentially at all. Its dimension is that of space and it grows spatially into our, the readers', world. The creation of the relationship between the protagonist and the reader, in the "us" of the opening line, is vital to the poem's intended significance. It is not Prufrock's failure that we are shown in the poem; rather we are given an unmistakable sense of deja vu. The poem's world and its agony, despair, and uncertainty reach our world by extending a number of tentacles—various and complex patterns of images, emotional vibrations, and voices. Among these must be mentioned strange and compelling imagistic features like the "street" that follows like a "tedious argument," the fearful and mechanistic shadow of nerve patterns on the wall, and the silently scuttling crab that Prufrock wishes he was.
The special feeling of the absurd in the poem arises from Prufrock's, and our, apprehension that although the world is amoral and illogical, we are not yet prepared to accept it as such. This makes for a peculiar dilemma: is one what one thinks one ought to be, or is one someone one has never been taught to recognize? These critics who suggest that the "overwhelming question" is not really an "insidious" one but a profoundly moral one fail to understand the way in which the poem works. The questions about what Prufrock did, what he should have done, and what he should not to have done are quite out of place and deserve Sweeney's firm but impatient disapproval:
What did he do! what did he do?
That don't apply.
When Prufrock admits with much agony, "it is impossible to say just what I mean!"—lines that can be placed next to Sweeney's words, "Well here again that don't apply/But I've gotta use words when I talk to you" we should not assume that this is merely because Prufrock cannot articulate recondite ideas.
The tragedy of Prufrock, if the word tragedy is not inappropriate here, is that he, like most of the poem's readers, has been brought up on the idea of a hero ("Prince Hamlet") and therefore cannot now reconcile himself to the notion of a non-hero. In other words, Prufrock is quite unlike Murphy, the protagonist of Samuel Beckett's novel Murphy. Caught between two worlds, the reasonable and the moral, and the irrational and the amoral, Prufrock epitomizes one of the most central and most perplexing of modern dilemmas. And it is my view that the communication of this dilemma accounts for the continued appeal of "Prufrock." In the poem and in its portrayal of the protagonist we recognize the "divorce between man and his life, the actor and his setting," which according to Albert Camus constitute the feeling of Absurdity.
To understand the absurdist intentions of the poem we must consider the character of Prufrock in the context of the world in which he lives. We should not approach the poem from preconceived moral or satirical premises. The poem is about a man who is neither so naive as to overlook the irrationality of the world around him, nor so pessimistic as to accept the failure of reason as final and absolute. This hesitation makes Prufrock a special person. Prufrock is not like the others in the poem who appear to be utterly ignorant of what it is that is happening to their world. Some degree of sympathetic and intellectual understanding of life is necessary before questions about reason and irrationality, meaning and absurdity become important to an individual. Such questions do not trouble obtuse minds. It is an indication of the special nature of Prufrock's character that these questions bother him; his predicament is of half knowing and half not knowing the issues involved. When one is not thus bothered one can afford to be dogmatic, smug, and self-assured as the woman in the poem is when she says so emphatically, "That is not it, at all" (italics mine). By contrast Prufrock hesitates, vacillates, and is diffident. He is not one of the "low"
on whom assurance sits
As a silk hat on a Bradford millionaire.
(The Waste Land)
It is instructive to contrast Prufrock with the house-agent's clerk in The Waste Land. Prufrock, middle-aged and neat of appearance, is an antithesis of the "young man carbuncular" even though both are shown visiting their ladies. Eliot's early poetry demonstrates the several levels at which individuals encounter reality. Among the various characters who populate the early poems Prufrock is alone in believing that no individual, however competent and intelligent he may be, can truly have his whole meaning by himself. Yet having a meaning, or at least believing that meaning is important, is one of major concerns. The young man in The Waste Land is not in the least bothered by the fact that his overtures to his mistress have no effect on her. His assurance and self-sufficiency are disgusting:
The time is now propitious, as he guesses,
The meal is ended, she is bored and tired,
Endeavours to engage her in caresses
Which still are unreproved, if undesired.
Flushed and decided, he assaults at once. (Lines 235-39)
For Prufrock, polite and sceptical, time is never "propitious" in the world in which he has to live.
Although Prufrock never sings his "love song," neither does he reduce his love to an "assault." Prufrock is diffident not because he believes that his song is unworthy of being sung; his main fear is that it will be ridiculed and defiled by an uncaring world. In the world of the poem, the emotional, lyrical quality of his sensitive mind makes Prufrock an exceptional person, but it also makes him especially lonely. However, the inexorable fact about both love and song is that they need at least two people to give them meaning.
What can a person like Prufrock do? The poem's stark answer is "nothing." That is precisely what Prufrock does. One cannot, as the protagonist of The Waste Land foolishly imagines possible, set one's own lands in order. It is an intellectual self-deception to presume that there are "my lands" which can be separated from lands that belong to others, and it is equally self-deceiving to believe that one can, by oneself, set any land in order. The only things one can truly have by oneself are one's dilemma and anxiety. Eliot's personal, and it would appear inevitable answer to this dilemma in later life was the rejection of the world itself. But such a drastic metaphysical position is not maintained in the early poems, where the concerns of the absurd world are unmitigated by any ascetic desire for withdrawal into a spiritual world. In the world of the early poems such withdrawal can merely "confirm a prison." Many of Eliot's early protagonists are solipsistic and ego-bound: Narcissus, the young man in "Portrait of a Lady," Gerontion, and several characters in The Waste Land. Only Prufrock, even in his faltering ways, desires to break open the prison of the complacent self. In a vague way he is similar to the woman in "Portrait of a Lady" who also believes in friendship: "Without these friendships—life, what cauchemar!" What makes this woman pathetic is that she foolishly declares her love to a world that cares little for such an emotion. She sings her love song and confirms the validity of Prufrock's fears. In spite of the strong erotic attraction of the woman in the shawl Prufrock does not sing his song to her; in doing what Prufrock does not do, the woman in "Portrait" acquires a lover who trifles with her affection.
What is, in effect, absurd about the world of Prufrock is that even the most apparently right gestures and efforts lead only to wrong solutions—or to no solutions at all. No easy reconciliation with this irrational world is possible for the person who expects reasonable and humane solutions. The unthinking woman whom Prufrock loves, or the cruel young man of "Portrait of a Lady," are least bothered by this absurdity. But Prufrock and many of the poem's readers are not such people. Unlike the protagonist of Thom Gunn's poem "Innocence," Prufrock is not
ignorant of the past:
Culture of guilt and guilt's vague heritage,
Self-pity and the soul.
Rather, he is an heir to all these, especially "soul"; perhaps "self-pity" is a more human manifestation of soul's "vague heritage" than the arrogant, upstanding qualities our world loudly proclaims in public and expresses in clichés. In Gunn's ironic poem the "hero" has forged, out of such "finitude of virtues" (line 13) as "Courage, endurance, loyalty and skill" (line 10), a conscience that "No doubt can penetrate, no act can harm." Prufrock's soul is not composed of such innocent and sturdy ingredients. On the other hand, Prufrock's recent literary inheritors include many of Philip Larkin's sensitive but non-heroic protagonists. This comparison goes against the generally held view of the works of these two poets. For instance, C. B. Cox has recently written that "there is a compassion which sharply differentiates Larkin's democratic sympathies from T. S. Eliot's assumptions of superiority." The misunderstanding is due mainly to the Modernist readers' fastidious cultivation of a taste for ironic and abrasive literature. "Prufrock" has often been admired for wrong reasons—reasons which are, to some extent, based on pre-conceived assumptions about Modernist literature. Today we recognize the humanity of Joyce's Ulysses, although for a long time Joyce was regarded primarily as an iconoclastic writer. Such change of attitude towards Eliot's works is not yet evident. At least partly, "Prufrock" is a humane poem.
Our understanding of Prufrock's character has been influenced also by our notion of Eliot's poetic techniques. For example, critics often quote approvingly Eliot's statement, made several years after he wrote "Prufrock," that a modern poet must become more and more "allusive, more indirect, in order to force, to dislocate if necessary, language into his meaning." But this is not the only way poetry can be written. Obliqueness in poetry, as the context of Eliot's statement makes quite clear, is the result of cultural contingency and is not in itself a special poetic virtue. Although the modern world has cultivated to a high degree its habit of not paying attention to simply expressed words, this is not necessarily because such words are inevitably inadequate. In a kind of two-tiered logic "Prufrock" seems to make this very point. The protagonist's words about lonely men in shirt-sleeves are quite direct and make no attempt to "dislocate" language. But they fail to satisfy the fastidious listener, who demands something rich, strange, and obviously different from normal speech; this expectation leads Prufrock to contemplate half mockingly his speech about Lazarus. In Pound's words, "The age demanded an image/Of its accelerated grimace." In "Prufrock", a highly innovative poem, the complex, disjointed structure and indirect mode of expression are undercut by a deeper, persistent belief that it is the condition of the world itself that has banished from it both natural feelings and a natural kind of poetic expression. It is impossible to make sense in this world unless one joins hands with it. This is the contingency the poet faces and he adjusts his expression accordingly. The form of the poem is a living, spatial symbol of that reality.
I wish now to examine a specific aspect of the poem's spatial nature—the central method of its depiction and embodiment of the absurd. In "Prufrock" a number of inanimate, or at least non-human, objects acquire a living quality. The most important of these is the "street" of the opening paragraph. Both the descriptive words used to signify it, and the effect it supposedly has on the protagonist, give the street a sinister character. The street forms not merely a part of the landscape—the celebrated opening "scene" of the poem—it assumes an active role in the poem. The street is described as a "muttering retreat." This phrase stands in ambiguous syntactical relationship with the cheap hotels as well as the street. The street not only "mutters" but it also "follows" while at the same time that it, paradoxically, "leads." The street is not stationary, nor is it merely a long, curving line drawn in a painting; it chases the speaker from behind, while it is also ahead of him, beckoning him toward "an over-whelming question." Apparently, its intentions are far from benevolent; they are "insidious": lying in wait somewhere along the street, in ambush, is the question one cannot foresee or formulate, the question that one suspects exists, that one knows one will never be prepared for. The anxiety that propels the protagonist, who from time to time glances fearfully backwards over his shoulder (how else would he know that the street was following him?), makes him step cautiously (the insidious question lying in wait for him, ahead of him) but hastily (for he is also being pursued) into a future which seems to continue unendingly…. The point I am trying to make is that the "street" is not a symbol or a metaphor. Eliot's "multifoliate rose" is a symbol—a complex one, but still only a referential signpost. So are the "rock" and the "rose garden." But this sinister, slithering, and self-willed street is an active agent of the anxiety that haunts the protagonist. For the individual, who exist between birth and death—Eliot does not appear to be concerned with Christian salvation in this poem—the anxiety has no beginning which he can manipulate, nor can he know where its end lies. The street is a continually self-regenerating image. Unlike the "rock" in The Waste Land it is not stable and finite. The "rock" is stable and solid, both semantically and in the range of its traditional symbolical meanings.
As the spatial vehicle of Prufrock's anxiety about not knowing what it is that he should do, the street extends into the reader's world and adds a concrete dimension to the poem. From the beginning Prufrock and the reader are walking, escaping, and following the same street. If the street is to be taken as a metaphor, then it must be seen as a deliberately misapplied one: it suggests a meaning—the journey, the path, the anxiety—and yet it remains itself—concrete, menacing, advancing. The word "street" suggests a range of possible meanings, then it proves all those meanings (what it stands for) highly inadequate and becomes real itself. In a way, it is a catachresis rather than a metaphor. In another sense, the "street" is what phenomenological critics call an essential "experiential pattern" which embodies an author's experiential world, or his Lebenswelt.
The street recedes backward into the remote distance, but it never actually ends; beyond every curve on the way it is still there. Ahead, it lies on and on; even when out of view it is unmistakably there. This creates a mise en abîme effect. It recedes but does not disappear; its validity is both continuous and continually revived. The street engulfs both Prufrock and the right reader. To cover it, to travel to its end, to reach some meaning, to hope to have the overwhelming question asked is to engage in the labour of Sisyphus, the most absurd and nerve-wracking of all endeavours. Sisyphus is an appropriate symbol for Prufrock and we may, in viewing them together, see why Prufrock fails to ask his question although he tries repeatedly and almost achieves success. Prufrock is doomed continually to try to sing his love song, to waver between a desire to sing his song and a desire to conform to the trivial wishes of the world, to hear "human voices" telling him to roll his trousers and forbidding him to eat peaches, and to expect to hear the "mermaids singing"—who sing "each to each" but never to him.
The street runs out of the page and into the reader's world; at the same time it runs through the poem from the half deserted streets, to the strand at the end of the poem where Prufrock contemplates walking in white flannel trousers. The street is always there, even when we are indoors, insidiously lying in wait for us just outside or watching us through the "window-panes." While Prufrock attempts to ask his question—which is not the "overwhelming question"—he is also mindful that the insidious, inexorable "overwhelming question" may be asked of him at any time. These two ironically juxtaposed "questions" make the protagonist's double-edged dilemma visible to the reader. In fact, when he first formulates his question he mentions his walks "at dusk through narrow streets" where he was expecting to have the over-whelming question" asked of him.
Prufrock does not know the exact nature of the "overwhelming question." However, in his absurd and pointless life the encounter with this question is likely to be the only significant thing to happen to Prufrock. We may call it a "spot of time" or the point of the intersection between time and eternity although it is likely that the high experience suggested by the two phrases may be entirely out of place in the life of a non-hero. But that absurdity is in itself an indication of the overriding absurdist view presented in the poem. A more positive character, a hero, a saint, or a poet, may be able to create such special moments, or may know how to make his life an appropriate context for such moments. But Prufrock does not know anything about the nature of that special hour. He merely hopes that his life, too, will have such a moment and his worst fear is that it might come upon him when he is least prepared for it. Therefore, he is afraid of the street by the side of which the overwhelming question lies in wait to spring before him at any random moment. Unlike others in the poem, Prufrock cares very much for such a moment of illumination. So far his life has been far from remarkable and he knows that. He is not so cynical as to imagine that such moments are of no worth, nor is he so much enlightened as to have any prior notion of what it can mean. He is both afraid and hopeful. The important thing is that Prufrock can, even at his humdrum level of existence, contemplate the existence of an "overwhelming" question. His impatient "Oh, do not ask, 'What is it?'" is quite understandable. To ask for its definition is to limit its awesome dimensions, whereas Prufrock needs something that is infinite. In his finite world everything he knows is frustratingly insignificant. If the poem was meant to work within an idealistic framework—moralistic, aesthetic, or religious—the question would have been more definite and its significance more fathomable, although it still may not have been within the power of the individual to will it. In Murder in the Cathedral Becket does not, cannot, take the "decision" but can, as Prufrock cannot, with his "whole being give entire consent." But we cannot compare Becket with Prufrock for their worlds are seen from very different points of view. "Prufrock" is a more revealing picture of the reader's world than are the later works. This is not a world where empty pools in the rose garden suddenly get "filled with water out of sunlight" ("Burnt Norton"); it is a world where "eyes … fix you in a formulated phrase" not only because you are painfully conscious of what people think of you but also because the "eyes" themselves get metamorphosed, abstracted from the rest of the body and dominate the scene as in a surrealistic painting. It is a world where "hands" drop questions "on your plate," and "arms" acquire separate identities. Prufrock has not lost his senses; it is merely that he alone seems to be aware of the strange but real landscape. In a way he is no more insane than Salvador Dali. We misread Prufrock's thoughts when we say that he prefers to withdraw into a hard shell and wants to become a crab "scuttling across the floors of silent seas." He is merely saying that in the society in which he lives there is as little communication and reaching out towards others as there is between crabs. It is not he who is a crab or wants to be a crab, it is the woman—synedochically expressed as "Arms that are braceleted," therefore comparable to "a pair of ragged claws"—who behaves as a crab. A much-distressed Prufrock wonders why he too could not have been such a silent hardshelled crustacean; had he been one he would not have felt so out of tune with his world.
This poem is spoken by Prufrock, and much of what we know about the world around him is reported to us by him. It is not necessary to blame him for every action he reports. It is unfair to imagine that only Prufrock has measured out his life with coffee spoons. Of course he has done so, as have others, but only he seems to recognize that there should have been more to life. Similarly, Prufrock is bothered by the women's opinion of his appearance, but they themselves are not above such petty concerns. His reaction to the women's trivial behaviour is not exemplary, but it is real and not idealized. It is unlikely that even if Prufrock was made of worthier stuff, if he had been a real hero, he would have had a different reception from the women.
Again, when Prufrock says:
I shall wear the bottoms of my trousers rolled.
Shall I part my hair behind? Do I dare to eat a peach?
I shall wear white flannel trousers, and walk upon the beach
we may not assume that he is expressing his most cherished desires. It is much more likely that he is merely hoping that by conforming to the standards expected by society he may be able to keep the backbiting women ("some talk of you and me") at bay. Like Kafka's K he, too, cannot understand what crime he has committed, and is unable to find an explanation for society's irrational displeasure with him. These lines show Prufrock's defeat at the hand of "human voices." Yet it is not a final defeat, for end of the poem is a great lyrical outpouring, with Prufrock on the beach within earshot of the women and the mermaids. One imagines that Prufrock's vision of sea-girls will not allow him to be irredeemably drowned by "human voices."
In the religious phase of his career Eliot said "in our beginning is our end" and the "end is where we start from" ("Little Gidding," v). By that time the road itself had become manageable, comprehensible, and even dispensable. But in "Prufrock" neither the beginning nor the end is known, and the road is not inconsequential. The path is not cyclical; it is lateral, infinite, and insidious. Most of Eliot's early poems show only arbitrary beginnings and arbitrary ends; the beginnings mock each other as the ends do themselves. The poems themselves become icons for the "insidious" and "cunning" streets and corridors, as well as for movements along them. The final existential anxiety that perplexes a Prufrock is a convincing representation of the Absurd—not knowing where the road started, not knowing if it leads to any place, and waiting in fear and hope for the "overwhelming" question, "Pressing lidless eyes and waiting for a knock upon the door."
This section contains 6,289 words
(approx. 21 pages at 300 words per page)


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Join Date: Feb 2004
Location: Hamburg, Germany
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Hello to Aberystwyth! I once came through that place whist being on holiday in Pembrokeshire.
Anyway, I think this is where I unmask myself and show my being a bleeding newbie to Linux (albeit not to PC's, which I use since 15 years).
I did not edit my XFree config file, as I didn't know that this is actually necessary, and if so, what I should edit.
The new dirver is loaded though - when booting the system, I now get greeted by a Nvidia splash screen. Also, 3D proggies such as racer will now start which was not previously the case. However, the resulting graphics runs very much like a tree orgasms - v e r y s l o w l y .
The corrupted log file I don't know about - I just looked into it with KWrite and it looked o.k, if cryptic.
thanks, tv
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Thread: Scanners
June 12th, 2005 #1
Hi, I've been living off of my roommate's scanner for the last school year and I now have to purchase my own.
I would just like to ask anybody out there for any suggestions as to what quality of a scanner I should get.
I will basically be using it to scan in sketches from my sketchbook, and certain tightened up sketches for CG.
Any suggestions would help.
Thanks."Any dream worth having is a dream worth fighting for"
Hide this ad by registering as a memberJune 12th, 2005 #2
If you don't need mad quality print res perfection I'd suggest one of the cheap Canon Lide jobs. If it's just for scanning sketches that you'll be colouring you can't really go wrong for 30/40 quid.
If you do need utter perfection at crazy resolution ignore that and wait for pros to comment.