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Critical Essay by Rita Barnard
SOURCE: "Dream Topographies: J. M. Coetzee and the South African Pastoral," in South Atlantic Quarterly, Vol. 93, No. 1, Winter, 1994, pp. 33-58.
In the following essay, Barnard examines the significance of place in Coetzee's novels and critical essays, arguing that his settings are not dystopian, as has been suggested by some critics, but rather "atopian," embodying a feeling of constant displacement.
In his recent edition of essays by and interviews with J. M. Coetzee, David Attwell notes that Coetzee's return to South Africa in 1976, and his second novel, In the Heart of the Country, marked the emergence of a new concern with place in his work. This concern has, in fact, been an enduring one for Coetzee: his criticism and fiction have been profoundly affected by an interest in such geographically or topographically defined genres as the exploration narrative and the pastoral, as well as in such politically significant spaces as the imperial border, the labor camp, and the torture chamber. Even the titles of his first two novels, Dusklands and In the Heart of the Country, suggest this fascination, referring as they do to strangely elusive and yet symbolically resonant places. It is possible that the structuralist and therefore synchronic orientation of Coetzee's academic training as a linguist might have something to do with his interest in spatial organization; but, as Attwell's observation suggests, this interest also seems to have the experiential and personal dimension of a skeptically and rigorously examined attachment to the South African landscape: Coetzee once remarked, after all, that people can be in love with only one landscape in their lifetime.
Coetzee's increasing discomfort in recent years with the dominance of the discourse of history (or, more exactly, a Marxian historicism) in South African academic circles may also, in part, be connected to a concern with the spatial. I say "in part" since, in a polemical essay like "The Novel Today," it is clear that Coetzee's impatience with the all-"swallowing" tendency of historical master-narratives comes from his sense of himself specifically as a novelist: a sense that in times of political pressure the novel becomes reduced to a mere supplement to or illustration of the discourse of the historical "real." Even so, it seems worth noting that there have been other contemporary social theorists interested in the critical analysis of space who, like Coetzee, have challenged the explanatory privilege of historicism. The geographer Edward Soja, for one, has polemicized vigorously against the marginalization of the spatial by the historical discourse of Western Marxism and has posited that, in contemporary forms of capitalism, spatial relations have become as mystified as the commodity form once seemed to Marx—and thus require renewed attention. This argument urges us to consider, for instance, the degree to which the erasure of the conditions of labor in today's world depends on the geography of late capitalism: the fact that the impoverished workers who produce our glossy commodities live far out of sight, in Mexico, in the Philippines, or in a South African township, and that their invisibility perpetuates the illusion of historical progress in the economic centers. I think that we can say, without falling into a new trap of "swallowing up" Coetzee's novels in the discourse of a critical geography, that this line of thought resonates with certain moments in his writing, both academic and fictional: he is concerned with how people inhabit, how they imagine, and how they represent the physical terrain that surrounds them.
The literary possibilities of a critical geography are suggested in an intriguing passage by John Berger (which Soja cites in his opening chapter):
Prophecy now involves a geographical rather than historical projection; it is space and not time that hides consequences from us. To prophesy today it is only necessary to know men [and women] as they are throughout the whole world in all their inequality. Any contemporary narrative which ignores the urgency of this dimension is incomplete and acquires the oversimplified character of a fable.
The notion that it is space that hides inequalities from us, in particular, calls to mind Coetzee's comments on the political geography of South Africa:
If people are starving, let them starve far away in the bush, where their thin bodies will not be a reproach. If they have no work, if they migrate to the cities, let there be roadblocks, let there be curfews, let there be laws against vagrancy, begging, and squatting, and let offenders be locked away so that no one has to hear or see them. If the black townships are in flames, let cameras be banned from them…. Certainly there are many lands where prisons are used as dumping-places for people who smell wrong and look unsightly and do not have the decency to hide themselves away. In South Africa the law sees to it as far as it can that not only such people but also the prisons in which they are held become invisible.
These ideas have significant implications for those who strive to understand (and change) the inequality of South African men and women. Apartheid, as Coetzee so clearly understands, operates from day to day as a means of distributing people in space and, in the process, of controlling the way they see the world. The system perpetuates itself by decreeing that certain spaces be invisible: homelands, prisons, torture chambers, and black cities are deliberately hidden, removed from view. The beneficiaries of apartheid are, after all, not particularly sadistic; they (we) would simply rather not see the "consequences" of which Berger speaks. The ideal—and in some sense actual—social topography for those in power would be the one described by a vagrant in Coetzee's Life & Times of Michael K: a workers' camp placed hundreds of miles away, "in the middle of the Koup" or some such arid waste, from which they could "come on tiptoe in the middle of the night like fairies and do their work, dig their gardens, wash their pots, and be gone in the morning leaving everything nice and clean."
I would suggest that in moments like these his writing offers us something of that demystifying "geographical projection" or even "prophecy" (though Coetzee would certainly balk at this term) of which Berger speaks. In such instances, Coetzee renders visible the places that the system would rather keep out of sight and mind. Elsewhere, his examination of the spatial seems more literary, as in his implicit critique of the reiterative codes that have shaped descriptions of South African landscapes: the descriptive catalogue, for instance, in which "the Karoo has been done to death in a century of writing and overwriting (drab bushes, stunted trees, heat-stunned flats, shrilling of cicadas, and so forth)." Perhaps most importantly, he forces us to examine our automatic responses to "place" (for example, white South Africans' passionate and often proclaimed love of the country's vast landscapes): to ask what political and imaginative failure such a passion might conceal.
The notion of place has not been completely ignored by South African literary critics: Stephen Gray, for one, has suggested that the notion of a "sense of place" could be used as a crude but serviceable means of mapping the successive phases of a South African (and a more generally postcolonial) literary historiography. In the first phase, the colony offers what Richard Rive has called a "Scenic Special": the exotic appeal of a distant place. Its landscape is presented to readers in the centers of power as different, a novel entertainment for the armchair traveler back "home." It offers a kind of verbal safari, entirely Eurocentric in its assumptions. Although its historical origins (as Gray points out) lie in the Renaissance, this kind of literature remains enormously influential: it is still evident in writers like Lawrence Durrell, in TV documentaries, and, I would add, in such profitable exports as Jamie Uys's film The Gods Must Be Crazy. (The Disney film A Far-Off Place, based on the work of Laurens van der Post, is perhaps the genre's most recent avatar.)
The second phase is more distinctively and assertively "colonial" and emerges with such exceptional figures as Olive Schreiner. (Miles Franklin, the author of My Brilliant Career, would be her Australian counterpart.) In such isolated and singular texts as Schreiner's Story of an African Farm, "phase two" literature reacts to the cultural tourism of the first phase by asserting an inescapable rootedness in the landscape and the emotional horizon of the colony; in Schreiner's case that setting is, of course, the vast and stony desert of the Great Karoo, which has become (perhaps because of her novel) the archetypal South African landscape. It is ironic, as Gray points out, that this literature was received in the metropolitan center (where Schreiner had to find her readers) as indistinct from "phase one" writing: The Story of an African Farm was largely seen as bringing an entertainingly novel and fresh "sense of place" to English literature, and Schreiner's critique, from her forbidding marginal vantage point in the South African desert, of the aridity of European ideas and values was readily overlooked.
In its third phase South African writing becomes, for Gray, much less vulnerable to such Eurocentric misreading, since it is associated not only with a full-fledged sense of national identity, but with the emergence of a cultural nexus that supports a national literature: a publishing industry, a community of local readers and critics, and a self-referring use of language, norms, and values. Place remains, or so the argument goes, a defining feature, but it is no longer—as it was with "phase two" writers—a cultural battlefield on which the rights to an indigenous identity must be fought. It becomes, in Gray's view, more of a shared and felt milieu, a familiar backdrop from which writers as different as Athol Fugard, for instance, writing from his home in the Eastern Cape, or Sipho Sepamla, writing from the vantage point of the explosive Soweto scene, can stage their distinct literary projects.
There are clearly a number of theoretical problems with this outline. It is, for instance, open to the objection that it defines place as the "single variable" that generates the distinctiveness of South African writing: "The elements of plot, character, action, use of dialogue, rhythm, and all the other techniques of making literature, remain the same" as in the great tradition of the British canon. This pre-supposition surely minimizes the thematic and stylistic inventiveness of postcolonial writing and ignores the effects of political determinants on literary forms and genres. But the most important weakness vexing Gray's schema is the fact that he relies on an all too empirically conceived notion of "place" (which is used interchangeably with "setting"); the implicit notion of artistic representation, consequently, is straightforwardly mimetic and bears the implication that South African literature must represent the South African land. It is no accident, then, that Gray makes no reference to the work of J. M. Coetzee: the first part of Dusklands and Waiting for the Barbarians (Foe had not yet appeared by then) are not set in South Africa at all. But the exclusion is also symptomatic: Gray's historiographic schema could not accommodate Coetzee's treatment of place, which in effect swallows up and explodes all of its categories. Coetzee's work, as Stephen Watson has observed, seems to "float free of time and place, even in the act of alluding to a time and place which is specifically South African." What is at stake for him is not place or landscape as an object of mimesis, but the discursive and generic and political codes that inform our understanding and knowledge of place. There is a deliberate analytical unsettledness in Coetzee, which deconstructs, rather than assimilates to, any South African literary tradition, or any South African "sense of place."
This tendency is emphasized by Teresa Dovey (the author of the first full-length study of Coetzee's novels) when she deftly selects, as one of the keywords of her study, Roland Barthes's notion of "atopia": drifting habitation. The word evokes, in appropriately spatial (or perhaps antispatial) terms, the deconstructive and "writerly" quality of Coetzee's texts: his formal shiftiness, the fact that his novels, like hermit crabs, inhabit, but only to abandon, the shells of various fictional genres, such as the narrative of exploration, the pastoral, and so forth. "Atopia," in short, identifies Coetzee's project as one of displacement. It is a refusal to settle in a space that is conventionally and ideologically given, a critical gesture which Dovey explains (in the Lacanian terminology she privileges) as "a constant deferral of the position available to the subject in language." While I shall eventually take issue with Dovey's readings, the idea of "atopia" provides a useful rubric under which we may briefly consider one way that Coetzee problematizes the notion of a "sense of place": the metafictional aspects of his novelistic topographies.
The idea of "drifting habitation" is perhaps most applicable to In the Heart of the Country and is most readily illustrated in those instances where the text seems to offer a scenic description. This is, of course, a novel whose problematic temporality strikes us immediately: we are never allowed to be certain about when the events take place (the narrator is never sure if she is in a time of donkey carts or bicycles or airplanes), nor are we sure what "really happens"—the sequence and effects of events are always in doubt. The same is true about the novel's ostensible setting—despite the realistic details of stone, the whitewashed homestead, the gravelly yard, the chickens, the dust, and the gleaming copperware. The title itself initiates a kind of ironic instability: it appears to allude to a symbolically resonant location, but the narrative, with its rapid succession of often self-cancelling segments, seems really to have nothing at its "heart." The text continually reminds us that the farm is entirely fictive, that there is, properly speaking, no "setting," no "stone desert," but only "stony monologue." Magda, the narrator of this monologue, repeatedly, and regretfully, insists that the panorama before her depends entirely upon her consciousness, her words:
Seated here I hold the goats and stones, the entire farm and even its environs, as far as I know them, suspended in this cool, alienating medium of mine, exchanging them item by item for my word-counters. A hot gust lifts and drops a flap of ochre dust. The landscape recomposes itself and settles.
Yet it would also be incorrect—and too safe—to think of this consciousness as in any way settled or "central"; Magda thinks of herself as a void, a hole, and frequently seems on the verge of dissolving into a complete insubstantiality: "a ghost or a vapour," she muses, "floating at the intersection of a certain latitude and a certain longitude," an intersection that remains a purely hypothetical location. The farm is not just set in the proverbial "middle of nowhere" (such remoteness would accord with the realist notion of the vastness of the Karoo range): it is nowhere, "on the road from no A to no B in the world, if such a fate is topologically possible"; it is configured almost as a kind of antispace: "a turbulence, a vortex, a black hole," a swallowing up of any presence.
Considering all this, what seems curious is the extent to which the novel remains so visual in its effect, how much it remains concerned with description. Even the highly self-reflexive passage cited above seems just for a moment, when a gust of wind raising the dust appears to disturb the "suspended" verbal landscape, to flirt with a more conventional realism. And there are certainly moments when the narrative offers, albeit ironically, a conventional South African "sense of place"—a rural "scenic special" of sorts. We might think, for instance, of the evocation of the impoverished settlement, Armoede, where the servant, Hendrik, goes to fetch his bride. The description is offered in the form of a list, the slightly weary tone of which emphasizes the familiarity and typicality of the details (once again the reader who knows the code, or so the very form suggests, can extend the catalogue): "the bleak windswept hill, the iron shanties with hessian in the doorways, the chickens, doomed, scratching in the dust, the cold snot-nosed children toiling back from the dam with buckets of water, the same chickens scattering now before the donkey-cart." But despite the vividness of detail, the context does not permit this scene of "local color" to attain a lasting mimetic effect. The narrator merely imagines this scene, admitting that she has never been to Armoede. (Indeed, she "seem[s] never to have been anywhere": a confession that explains the curiously improvisational quality of even her descriptions of her own home—her ignorance, for instance, of whether or not she happens to have any neighbors.) The place name "Armoede" also seems to work in a complicated and contradictory way, debunking, as it were, its own suggestion of referentiality, its own South Africanness. To anyone familiar with the country, the name Armoede (Poverty) could seem "realistically" typical, calling to mind any number of those curiously morbid place names that dot the South African map: Weenen (Weeping), Lydenburg (Town of Suffering), Put-Sonder-Water (Waterless Well), or Misgund (Begrudged). But this reality effect is undercut, one feels, by the all too perfect, too allegorical, match between the name and the scene; the appellation seems to bear the mark of the literary, or at least to draw attention to the linguistic label: it is all, as Magda laments, a matter of "names, names, names."
In the absence of any resistance to this process of naming, and of the linguistic reciprocity of which Magda dreams, all becomes solipsistic, improvisational: the landscape is a figment of Magda's narratorial consciousness, her "speculative … geography," one might say; but her consciousness seems equally determined by this fictive, composed land. Her "speculative bias," her radical, though somehow insubstantial freedom, has its origin, Magda tells us, in the vast distances of the land into which she must stare. "I make it all up in order that it shall make me up": such are the unstable, shifting operations, the "lapidary paradoxes," that make up this fiction.
It is easy to see why this novel in particular has provided grounds for the Lacanian reading offered by Dovey: her association of the narrating self with the hermit crab, scuttling from shell to shell, or code to code, or signifier to signifier, is in many ways compelling and accurate. But it seems to me that in the matter of genre, which is central to Dovey's understanding of Coetzee's "fiction-as-criticism," the purely deconstructive reading reveals certain limitations. It is true, of course, that a generic instability and self-consciousness is perhaps the most telling characteristic of self-reflexive fiction. Coetzee himself notes that what clearly distinguishes the postmodern text from the realist novels of, say, Defoe or Hardy, is that Moll Flanders and Jude never pause to ponder what kind of text they seem to be inhabiting. And In the Heart of the Country is no exception: Magda is constantly questioning what kind of action or event might justify her insubstantial presence in the elusive heart of that country: not Greek tragedy, despite the imagined axe-murder and the surrounding "theatre of stone"; nor gothic romance, despite her brief fantasy of waiting for "a castle [to] crumble into a tarn"; nor even the colonial idyll, with its dreary possibilities of marriage to a neighbor's second son or dalliance with an itinerant schoolmaster. Yet the seductions of the more lyric aspects of the pastoral are ever present in the novel and are, I think, not so easily dismissed. When Magda asserts that she would not be herself if she did not "feel the seductions of the cool stone house, the comfortable old ways, the antique feudal language," it is still possible to take the remark as just another momentary, self-cancelling speculation. But by the end of the novel, the tone seems to have shifted. The monologue concludes on a note which suggests that Coetzee's fictional strategies are perhaps not fully explained by an "atopian" reading. This lyrical finale, however self-consciously announced as "closing plangencies," expresses a desire that seems rather more specific, rather more local than the universal linguistic condition of desire and deferral that is figured for Dovey by the hermit crab:
There are poems, I am sure, about the heart that aches for Verlore Vlakte, about the melancholy of the sunset over the koppies, the sheep beginning to huddle against the first evening chill, the faraway boom of the windmill, the first chirrup of the first cricket, the last twitterings of the birds in the thorn-trees, the stones of the farmhouse wall still holding the sun's warmth, the kitchen lamp glowing steady. They are poems I could write myself. It takes generations of life in the cities to drive that nostalgia for country ways from the heart. I will never live it down, nor do I want to. I am corrupted to the bone with the beauty of this forsaken world…. I have chosen at every moment my own destiny, which is to die here in the petrified garden, behind locked gates, near my father's bones, in a space echoing with hymns I could have written but did not because (I thought) it was too easy.
As Peter Strauss has argued, those nostalgic poems on Verlore Vlakte (Lost Valley), which are remembered but not parodied in these lyrical lines, preserve a certain pastoral possibility, which the reader is allowed—barely—to discern, but in which the narrative voice never fully indulges. While it would be reductive to ascribe the passion of these lines to the author, there is surely in the passage a kind of unison—or at least a kind of homology—between narrator and author. (And I shall resist speculating on an intriguing comment in the final interview of Doubling the Point, where Coetzee notes, in describing the person he was as an adolescent, that "for a variety of reasons" he ceased visiting the family farm, "the place on earth he has defined, imagined, constructed, as his place of origin") In the same way that Magda has up to this point scrupulously resisted, and still resists, the pastoral possibility, Coetzee's work resists the easy option of creating a fictional dwelling place, a fictional utopia—"thatheady expansion into the as-if," as Magda calls it. Coetzee's work in general suggests a reluctant abnegation of certain artistic forms, a gesture that is also evident in his uncharacteristically revealing comments (again, in Doubling the Point) on the situation of the contemporary author. He speaks of "the pathos—in a humdrum sense of the word—of our position: like children shut in the playroom, the room of textual play, looking out wistfully through the bars at the enticing world of the grownups, one that we have been instructed to think of as the mere phantasmal world of realism but that we stubbornly can't help thinking of as the real." Coetzee is, in short, anything but enamored of the antimimetic and deconstructive techniques that he himself deploys: he speaks of the "impasse" of "anti-illusionism" while recognizing—almost regretfully—the necessity for such techniques. In the history of the novel, he argues, metafiction is a "marking of time." It is surely no coincidence that this condition of marking time, of waiting, is the same morbid condition so often associated with white South Africans, living in the uncertain age of what Nadine Gordimer (following Gramsci) has called the "interregnum." It seems to me, therefore, that we must, while acknowledging the paradoxical nature of such a move, situate and localize his atopian strategies; we must also recognize not only a historical but an ethical impulse behind Coetzee's anti-illusionism. For it is specifically as a white South African that Coetzee feels he must refrain from the pastoral, and it is as a novelist writing within a certain troubling historical configuration that he must avoid producing what he calls, in an essay on Beckett, "the daydream gratification of fiction."
The problem with Teresa Dovey's determinedly deconstructive reading of Coetzee's work is that it is not balanced by a consciousness of the contingency and historicity of cultural forms. Most notably, there is no sense that the Western psychoanalytic and deconstructive theories she deploys may themselves be destabilized, slipping into different nuances and creating different meanings and allegiances when they are invoked in different contexts, deployed at some remove from their original source. This critique has been suggested in general terms by David Attwell, who notes that in Dovey's discussion of In the Heart of the Country the Hegelian master/slave dialectic is entirely stripped of its historical-political aspect, that is, of the implication that such goals as freedom and self-realization are attainable only in a just society. The problem becomes even clearer if one looks closely at some of Dovey's curiously reductive readings of passages from Coetzee's work. A characteristic instance occurs when she glosses a key moment in Life & Times of Michael K, a passage in which the starving Michael K meditates on the minimal and ahistorical way he would like to live on the land—refusing to be a settler:
I am not building a house out here by the dam to pass on to other generations. What I make ought to be careless, makeshift, a shelter to be abandoned without a tugging at the heartstrings…. The worst mistake, he told himself, would be to try to found a new house, a rival line, on his small beginnings out at the dam.
Dovey's reading of this rather touching passage renders it almost mechanically self-referential. Michael K's improvised dwelling place becomes nothing but an allegory for the operations of this novel: "This text in particular [i.e., Life & Times of Michael K] must not be too closely bound to Coetzee's own meanings; he must be able to abandon it, without a tugging at the heartstrings, to the successive meanings which each new reading will generate." For all its apparent openness, this is precisely the kind of comment that makes one hesitate to offer a more specific interpretation. But even if we take K's invisible, traceless, self-erasing mode of living on the land as a figure for a mode of writing, we must remember that K himself (not the quickest mind around) sadly recognizes that it is the context of war, the times of Michael K, if you will, that demands this strategy:
What a pity that to live in times like these a man must be ready to live like a beast. A man who wants to live cannot live in a house with lights in the window. He must live in a hole and hide by day. A man must live so that he leaves no trace of his living. That is what it has come to.
"Drifting habitation" as a literary strategy must likewise be seen as a historical condition.
A similar point can be made in relation to Dovey's reading of another important meditation in Michael K, when, after a vicious assault on the Jakkalsdrif labor camp, K ponders the relationship between parasite and host:
Parasite was the word the police captain had used: the camp at Jakkalsdrif, a nest of parasites hanging from the neat sunlit town, eating its substance, giving no nourishment back. Yet to K lying idle in his bed, thinking without passion (What is it to me, after all? he thought), it was no longer obvious which was host and which parasite, camp or town…. What if the hosts were far out-numbered by the parasites, the parasites of idleness and the other secret parasites in the army and the police force and the schools and factories and offices, the parasites of the heart? Could the parasites then still be called parasites? Parasites too had flesh and substance; parasites too could be preyed upon. Perhaps in truth whether the camp was declared a parasite on the town or the town a parasite on the camp depended on no more than on who made his voice heard loudest.
Dovey relates this passage, as we could surely have predicted, to J. Hillis Miller's argument in "The Critic as Host": "[T]he term 'parasite,'" she ventures, "comes to signify as a locus of substitution, and refers to the way in which Coetzee's novel, which is parasitic in relation to the previous texts which it deconstructs, will in turn become the host to successive parasitic readings." While it is certainly possible to understand the relationship of host and parasite in terms of acts of reading and interpretation (acts that are thematized in section 2 of the novel, where the medical officer creates rather than "reads" the story of Michael K), I find myself wanting to insist that the atopian reading, the punning etymology which turns the "parasite" into a (dare I say mere?) "locus of substitution," misses something. It universalizes, and in so doing flattens out the operations of a text that seems to ask questions with urgent ethical implications for South Africa in particular: Who eats whom? Who lives off whom? Who lives in the town and who in the camp? Who lives in the city and who in Soweto? In other words, the host/parasite opposition carries a certain local potency: the atopian slippage, the "endlessness of textuality," as Attwell puts it, is halted by "the brute facticity of power." And that power manifests itself in a certain socially and materially constructed topography.
I would like, then, to move from the keyword "atopia" to the phrase "dream topography": an idea that can enable us to give the ethical and political dimensions of Coetzee's novels their due, without recourse to any kind of naive empiricism. The term emerges from Coetzee's discussion of the South African pastoral in White Writing, where the notion of genre becomes not so much a metafictional strategy—a temporary home for the writerly hermit crab—but a kind of social dreamwork, expressing desires and maintaining silences that are profoundly political in origin. The idea of the generic and ideological topography offers us a spatial concept that is more stable and historical than "drifting habitation": not a "sense of place," but a sense of discursive and cultural maps.
The essays in White Writing are mainly concerned with two rival "dream topographies," both of which are aspects of the pastoral: they are the maps and the ideological blueprints that this genre has projected on the land. Both of these projections are sketched out in Coetzee's 1977 review of Ross Devenish and Athol Fugard's film, The Guest (the plot of which is based on an incident in the life of the Afrikaans poet Eugène Marais—an almost life-long morphine addict—who is sent to go cold turkey on a Transvaal farm). To the dismay of the well-meaning director, Coetzee observed that the film's representations of the white man's relation to the land were patched together from flattering myths designed—however unconsciously—to keep certain unresolvable inconsistencies from view. The Afrikaner family is presented via a visually seductive mise-en-scène of "whitewashed walls,… dark verticals of doors and windowframes," a dinner table in the glow of lamplight: interiors reminiscent, or so Coetzee claims, "of the classic Dutch painters," settings that gleam "with Rembrandt browns and golds." The compelling visual image, he points out, suggests that the Meyers are "not rootless colonials" but, simultaneously, "rude children of the African earth and heirs to a venerable European tradition." The limited contexts in which we see the family also make it difficult to raise certain troubling questions about the running of this African farm. Coetzee spells out some of these: "If the Meyers run a cattle farm, why do they never talk about cattle?… Where do the African farm laborers who materialize out of nowhere for a single fifteen-second sequence live? How do the Meyer men spend their time when they are not eating?" The film confines itself to the terrain permitted by the ideological horSizons of the South African pastoral, within which the Meyers and their farm, Steenkampskraal, stand as emblems of simplicity and permanence. As far as the film's presentation of the poet goes, Coetzee argues, another myth applies: that of the Genius in Africa, the man for whom consciousness is pain, and for whom the African landscape is "a murderous mother-goddess," silently rejecting the alienated poet-supplicant who tragically adores her stony bosom. This glamorously dystopian relationship with the land is no less ideologically fraught than the rough-hewn arcadia of the (non-genius) Boers. The essay raises for the first time an idea that will become a major theme of White Writing: that is, to the majority in South Africa, for whom "Africa is a mother who has nourished them and their forebears for millions of years," this stoic lyricism would make no sense at all. "South Africa, mother of pain, can have meaning only to people who can find it meaningful to ascribe their 'pain' ('alienation' is here a better word) to the failure of Africa to love them enough." An apparently aesthetic preoccupation with the land can mask a resistance to thinking about South Africa in social terms.
In White Writing, the two ideological positions discovered earlier, in The Guest, are described in more elaborate and more generally (generically) applicable terms. Coetzee maps out the first "dream topography" as follows: "[A] network of boundaries crisscrossing the surface of the land, marking off thousands of farms, each a separate kingdom ruled over by a benign patriarch with, beneath him, a pyramid of contented and industrious children, grandchildren, and serfs," In this map of the land, the farm—the soil—characteristically becomes a kind of wife to the father and sons who all merge into a single mythic husband/man. With the notable exception of the English writer Pauline Smith, it is fair to identify this "dream topography" with the more nostalgic and romantic aspects of the Afrikaner volkskultuur. It is the mythic space not only of novelists like Van Bruggen or Van den Heever (whom Coetzee discusses), but also of countless movies, stories from popular magazines like Huisgenoot, and old soaps from Springbok Radio. I can recall such titles as Uit Juffrou se Dagboek (From the Schoolmistress's Diary), Die Du Ploois van Soetmelksvlei (The Du Ploois of Sweetmilk Valley), or Die Geheim van Nantes (The Secret of Nantes)—"Nantes" and "Soetmelksvlei" are, to an Afrikaans speaker, immediately recognizable toponyms: the names of family farms. While Coetzee does not mention these subliterary examples of the genre in White Writing, they confirm its thoroughly ideological status. Key to Coetzee's approach, however, is the understanding that this topography is a mode of writing, that it is not only of a literary or a mass-cultural sort, but also of a material one: the furrows of the plow, in this social text, assume the character of a signature, a deed of ownership, a title to the land. The pastoral activities of digging, building, fence-making—even the construction of those Cape Dutch houses in the classic shape of the letter H—are acts of ideological inscription.
The second and rival "dream topography" is South Africa
as a vast, empty, silent space, older than man, older than the dinosaurs whose bones lie bedded in its rocks, and destined to be vast, empty, and unchanged long after man has passed from its face. Under such a conception of Africa—"Africa, oldest of the continents"—the task of the human imagination is to conceive not a social order capable of domesticating the landscape, but any kind of relation at all that consciousness can have with it.
This stoic and defeatist lyricism—this poetry of empty space—originates with the antipastoral of Schreiner's Story of an African Farm and is continued by a succession of English-language poets (Sidney Clouts stands, for Coetzee, at the end of this line). Although the key trope here is absence, silence, the failure of language, it is again imperative that this naturalistic topography of desolation should also be apprehended as writing: it does not inscribe the land, as in the Afrikaans pastoral, with the obvious signatures of culture and cultivation, but rather projects a kind of blankness onto the land. In that blankness—the same blankness that Marlow discovers on the map of Africa in Heart of Darkness, that imposed emptiness which so fascinated him as a boy—Coetzee reads a certain "historical will to see as silent and empty, a land that has been, if not full of human figures, not empty of them either; that is arid and inflexible, perhaps, but not inhospitable to human life, and certainly not uninhabited." Erasure is also an act of writing—and not simply its binary opposite. Indeed, the message of silence that the lone poet encounters in the empty landscape bears an uncomfortable resemblance, or so Coetzee concludes, to the "writing" of those official historiographers who claimed that the land settled by the Voortrekker pioneers in the nineteenth century was open, empty, and unpeopled.
The critical point is that in both dream topographies the black man, whether as the farmer of an earlier age, or the agricultural worker, or even just as human presence, is obscured. As in his review of The Guest, Coetzee's analysis in White Writing leads to a series of profoundly uncomfortable questions—questions that strike at the heart of the South African political system and that these apparently pacific ideological landscapes are designed to avoid. Does the poet's inevitable failure to hear the language of the stones "stand for, or stand in the place of, another failure, by no means inevitable: a failure to imagine a peopled landscape,… to conceive a society in South Africa in which there is a place for the self?" Or even more pointedly: "Was there no time before the time of the forefathers, and whose was the land then? Do white hands truly pick the fruit, reap the grain, milk the cows, shear the sheep in these bucolic retreats? Who truly creates wealth?" White Writing illuminates the crucial, embarrassing blindness implicit in the white man's dream about the land: its necessary "blindness to the colour black." It also reveals a characteristic and consistent critical procedure: an effort on Coetzee's part not to read the "writing," but to ask what it occludes, and to find the truth not in the utterance, but in the evasions and omissions. It is a method of demystification, of revealing the textual and cultural unconscious.
The themes and methods of White Writing are also evident in Coetzee's fiction. Life & Times of Michael K, for instance, is at least in part a meditation on the ideological function of the pastoral and an example of the critical strategy of subverting the dominant—of listening to silences. That there should be connections between these two texts is hardly surprising since the novel was written concurrently with some of the essays in White Writing. Even the lines from Ovid's Metamorphoses that serve as the epigraph to White Writing indicate certain overlapping concerns. They symbolically capture the conditions that beset the life of Michael K, the gardener, and that have historically beset South Africa, the troubled garden colony. (The settlement at the Cape of Good Hope was originally intended as a garden and a supply station for the ships of the Dutch East India Company.)
Pressing his lips to foreign soil, greeting the unfamiliar mountains and plains, Cadmus gave thanks…. Descending from above, Pallas told him to plow and sow the earth with the serpent's teeth, which would grow into a future nation.
From the beginning, the epigraph suggests, the settler's pastoral efforts have been productive of, and indeed synonymous with, war and strife. The context in which K finds himself likewise conflates the ideas of gardening and war, or at least forces them into an uncomfortable oxymoronic embrace: in the novel people dig to plant mines, or march in prison camps with spades over their shoulders.
Michael K sets out with a desire to escape the war and capture a pastoral dream: "a whitewashed cottage in the broad veld with smoke curling from its chimney." But his experience soon teaches him that the land is mapped and gridlocked in such a way that the pastoral fantasy, let alone an idyllic rural life, is proscribed for a person who is officially classed as "coloured": "CM-40-NFA-UnempIoyed." He can live freely in this terrain only by being simultaneously a trespasser and an escapee. Coetzee's use of a black protagonist is essential to the novel's demystificatory operations. The perspective of one like K allows Coetzee to reveal the dystopian dimensions of the Afrikaner's dream topography of beloved farms and fences—those enclosures by which the Visagies of the novel (like the real-life Van der Merwes, Bothas, Coetzees, Malherbes, and Bamards) have staked out their "miles and miles of silence … to bequeath … to their children and grandchildren in perpetuity." The novel's allegorical strategies represent this landscape in a photographic negative, showing its exact homology with the Foucauldian "carceral archipelago." K's South Africa is a place where one can only dream of "forgotten comers and angles and corridors between the fences, land that belonged to no one yet." What one actually experiences, however, is a proliferation of "camps":
camps for children whose parents run away, camps for people who kick and foam at the mouth, camps for people with big heads and people with little heads, camps for people with no visible means of support, camps for people chased off the land, camps for people they find living in storm-water drains.
For those outside, and, indeed, for those inside the landed clans, the map of the Afrikaner's pastoral merges with the map of a vast prison comprising innumerable cells—a society in which everybody is either fenced in or guarding a gate. The scandalous force of this image can be grasped only if one recalls the repeated and utterly conventional association of the vast South African landscape with notions of freedom, a commonplace of innumerable patriotic songs, such as "Die Lied van Jong Suid-Afrika" (The Song of Young South Africa):
Die hoogland is ons woning, die land van son en veld,
Waar woeste vryheidswinde waai oor graf van menig held,
Die ruimtes het ons siel gevoed, ons kan geen slawe wees,
Want vryer as die arendsvlug is die vlugte van ons gees.
(The highland is our dwelling place, the land of sun and veld,
Where wild winds of freedom blow over the graves of many heroes.
The open space has fed our souls, we cannot ever be slaves,
For freer than the eagle's flight are the flights of our spirit.)
One of Magda's more profound insights from In the Heart of the Country comes to mind here: one can be imprisoned just as readily in a large place "as in a small." And, as Coetzee points out in his Jerusalem Prize acceptance speech, liberty "comes in a package" with equality and fraternity; and in a land without that fraternity, it is therefore inevitable that a "literature of vastness" should carry undertones—the undertones that Coetzee turns into the dominant tones of this novel—of "feelings of entrapment, entrapment in infinitudes."
In the light of this discussion, it seems all the more significant that we should discover in Coetzee's fictional meditations on the South African pastoral the one scene which must, above all, remain hidden if the Afrikaner's dream topography is to be sustained (sustained, that is, in its mythical virtue). This scene appears in Magda's "speculative history"—or "speculative geography":
Hendrik's [the servant's] forebears in the olden days crisscrossed the desert with their flocks and their chattels, heading from A to B or from X to Y, sniffing for water, abandoning stragglers, making forced marches. Then one day fences began to go up … men on horseback rode up and from shadowed faces issued invitations to stop and settle that might also have been orders and might have been threats, one does not know, and so one became a herdsman, and one's children after one, and one's women took in washing.
The erased presence of those earlier nomads represents a challenge to the birthright of the "Boer." The lines remind us vividly that the history of agricultural enclosure, as Raymond Williams demonstrates so well in The Country and the City, is not just a history of settlement, but one of displacement: the first herder-farmers became temporary sojourners, or, like Robert in Life & Times of Michael K, persons of "no fixed abode." This displacement is the secret historical precondition of the Afrikaner's idyllic map of rural homesteading: the old tracings "from A to B" are the submerged and erased text that challenges the settlers' elaborately inscribed title to the land.
The logic of the pastoral topography imposed on this originary scene requires that the black man's inscriptive acts of digging and plowing should leave no trace—should be legally and culturally invisible. This idea is, I would argue, played upon throughout Life & Times of Michael K, It is perhaps most powerfully and frighteningly expressed in a passage where K imagines that all the dispossessed might be sent off to dig precisely in order to erase themselves: to scoop out a mass grave into which they can then be thrown, by means of which their presence becomes not just obscured, but permanently deleted.
The brilliance of Michael K's own strategy is that he finds a way to reclaim displacement, invisibility, tracklessness as a form of freedom. He turns the social condition prescribed for him—to work the land without owning it, without having a story—into something else, something to be desired. The significance of his solution is prefigured in a memory he retains from his school days:
One of the teachers used to make the class sit with their hands on their heads, their lips pressed tightly together and their eyes closed, while he patrolled the rows with his long ruler. In time, to K, the posture grew to lose its meaning as punishment and became an avenue of reverie.
K's mode of fanning rewrites (despite and because of its invisibility) the rules of the game of the South African pastoral. He keeps alive "the idea of gardening" almost by its negation: the idea of plenty through starvation, the idea of self-affirmation in self-erasure, the idea of rural dwelling and settlement in "drifting habitation."
The same can be said of Coetzee's artistic practice. The capacity for changing the rules of the game is precisely what he values most in a work of art. One might say, moreover, that he too proceeds by negation and, if need be, invisibly. This connection with K is delicately suggested, I think, in one of the interviews from Doubling the Point, where Attwell and Coetzee discuss a quotation from Rilke which Coetzee had cited in a 1974 essay on Nabokov: "It is our task to imprint this provisional, perishable earth so deeply. so patiently and passionately in ourselves that its reality shall arise in us again invisibly. We are the bees of the invisible." The impulse here is strikingly lyrical; but Coetzee responds to it cautiously, commenting on the nostalgic qualities of Nabokov's desire for the past, and observing that one must look at the past with a cruel enough eye to see what made that joy and that innocence possible. The observation clearly applies not just to the past, but also to the pastoral, and to the poetry of empty space that celebrates South Africa's vast landscapes. Coetzee's position in this regard is, one might say, dialectical. As he has indicated both in White Writing and in his Jerusalem Prize acceptance speech, it is no longer possible to love the land in unreflective "sincerity": white South Africans have claimed all too often that they love the mountains, the earth, the trees and flowers—all those things that cannot return love. This kind of poetry can no longer be written. And yet it seems that one must, secretly and invisibly, continue to "imprint" the "provisional, perishable earth" in oneself, in the manner suggested by Rilke, so that, as Michael K says in one of his naively wise meditations, the thread that binds man to the earth should not be entirely broken.
It is appropriate, then, that such critics as Neil Lazarus and (at times) David Attwell should have associated Coetzee's work not so much with that of other postmodern fabulists as with the modernist critical theory of Theodor Adorno; Coetzee's works, in the words of Adorno's essay on commitment, "point to a practice from which they abstain: the creation of a just life." This connection raises the following question: If Coetzee's fiction is in the main antipastoral and dystopian, then isn't our task as critics (following his own example) to read dialectically, to subvert the dominant, to discover in his work the Utopian possibility, the pastoral impulse which cannot be written directly? One of the most remarkable and virtuosic passages in White Writing suggests that this approach is exactly what is called for. Here, Coetzee seems to address his fellow critics directly: "Our craft," he says, "is all in reading the other: gaps, inverses, undersides; the veiled; the dark, the buried, the feminine; alterities." But then he poses the following question: "Is it a version of utopianism (or pastoralism) to look forward (or backward) to the day when the truth will be (or was) what is said, not what is not said, when we will hear (or heard) music as sound upon silence, not silence between sounds?" These surprisingly wistful lines in many ways resemble the lyrical conclusion to In the Heart of the Country; one detects, in both instances, a regretful, minimalist lyricism, a yearning to come right out and sing "the beauty of this forsaken world." But we should not underestimate the cautiousness of Coetzee's language—a language that is, as Strauss puts it, "forever on guard against itself." The White Writing passage admits only in the form of a rhetorical question to a desire for the pastoral (utopian) possibility and indicates a strong awareness of the untimeliness, indeed the scandalousness, of this desire. It asserts, in a way that certainly does recall Adorno, the necessarily negative stance of the contemporary work of art, the refusal of easy "daydream gratification," so that the Utopian impulse may be preserved for a later, less bleak time.
It is therefore not only possible, but necessary, to read the outlines of this Utopian desire in Coetzee's fiction and in his criticism. Like the Magistrate of Waiting for the Barbarians, who in a dream urges the barbarian girl to put people in the empty city she builds out of snow, Coetzee's texts ask, especially in their silences, for a landscape full of people, a society of reciprocity and fraternity. A more explicit moment can be found in the essay "Into the Dark Chamber," where Coetzee notes that Rosa Burger (in Gordimer's novel Burger's Daughter) "suffers and waits for … a time when humanity will be restored across the face of society, and therefore when all human acts, including the flogging of an animal, will be returned to the ambit of moral judgment." In such a space and in such a time, Coetzee notes, the novel would once again be able to "take as its province the whole of life," and only under such circumstances could the ultimately dystopian, the ultimately secretive space of the torture chamber, "be accorded a place in the design." We could easily extend this logic and say that at such a place and in such a time the novel could again invoke, not ironically but lyrically, the "country ways" of the pastoral: the "whole of life," which, after all, includes digging, includes planting, includes the cultivation of one's garden.
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LOUISVILLE, Ky. — When Art Sherman reached the barn at 5 a.m. Sunday, the day after the Kentucky Derby, he found his star pupil still slumbering.
"I didn't want to wake him up," he said of California Chrome, the newly garlanded champion of Churchill Downs. "I know he'd had a hard day."
The 77-year-old trainer looked wide awake, walking crisply around Barn 20, though he professed to be "numb" to the previous day's triumph. He said the enormity probably won't hit him until he finds a few moments alone in his lounge chair, outside the family home in Rancho Bernardo, Calif.
- Preakness 2014 going there guide
- California Chrome races to Kentucky Derby win
- Peter Schmuck: Win raises the stakes for Preakness
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Neither Sherman nor his horse will be allowed to relax for long. Such is the nature of the Triple Crown, which will have them headed to Pimlico Race Course next week in preparation for the Preakness on May 17.
Within minutes of California Chrome's victory Saturday evening, speculation began that he might be the horse to achieve what no 3-year-old has since Affirmed in 1978.
His brash co-owner, Steve Coburn, didn't hesitate to predict a Triple Crown, but Sherman didn't make any similar statements Sunday.
"I don't know," Sherman said. "I just know that when we lead him over there, he'll be the horse to beat. He don't give up."
Though he went off as a 5-2 favorite in the Derby, California Chrome was no sure thing to the trainers who saddled horses against him. They questioned his pedigree and how he'd run away from home.
The doubts vanished as they watched him execute a near-perfect race.
"He looked like a winner every step of the race," said trainer Steve Asmussen, who started Tapiture in the Derby. "You watch the replay, and everybody had trouble but him."
Asmussen didn't quite predict a Triple Crown, but he grinned as he said: "He's definitely my pick for the Preakness."
The Preakness field is already taking shape, with California Chrome likely to face several threats he did not encounter in Kentucky.
Social Inclusion won his first two races in blinding fashion after not running as a 2-year-old, but his third-place finish at the Wood Memorial left him short of qualifying for the Kentucky Derby. His talent is tantalizing, his resume thin.
Social Inclusion scratched from a Saturday race at Florida's Gulfstream Park because of a bruised right hoof, but he is still expected at Pimlico in less than two weeks.
Bayern, trained by Bob Baffert, is another intriguing possibility. He was considered a top Kentucky Derby contender until a poor showing in the Arkansas Derby on April 12.
Pablo Del Monte is pointed toward Baltimore after his connections turned down a Kentucky Derby spot opened by Hoppertunity's injury. The Kentucky colt would have been a 50-1 morning-line long shot, and his owners did not relish the prospect of starting from the No. 20 post.
Ride on Curlin also is likely to run in the Preakness after a seventh-place finish at Churchill Downs. Other possibilities include Kid Cruz, winner of his last two stakes races in Maryland; Strong Mandate, trained by D. Wayne Lukas; and Dynamic Impact, winner of the Illinois Derby.
Among the horses considered 50-50 possibilities for the Preakness are trainer Dallas Stewart's Commanding Curve, second in the Derby as a 38-1 long shot, and trainer Graham Motion's Ring Weekend, who qualified for the Derby but never traveled to Kentucky from Fair Hill Training Center in Elkton because he ran a fever last weekend.
Several stars of Derby week are unlikely to appear at the Preakness.
Fourth-place finisher Wicked Strong probably won't make the trip, said trainer Jimmy Jerkens. The colt was a popular favorite in Kentucky, with his Boston-based ownership group pledging 5 percent of his Triple Crown winnings to support victims of the 2013 Boston Marathon bombings.


text:
Potsdam Brass Holiday Concert
- When: Saturday, December 22, 2012, 7:30 p.m.
- Where: Tannery Pond Community Center, North Creek
- Cost: Not available
- Age limit: Not available
- Categories: Holiday Music
NORTH CREEK — Potsdam Brass Holiday Concert beginning at 7:30 p.m. at Tannery Pond Community Center 228 Main St, North Creek, NY 12853. Quintet in Residence, The Crane School of Music State University of New York at Potsdam. Presented by Upper Hudson Musical Arts; providing professional music performances, accessibility of classical, chamber, and jazz music to the Adirondack Park community. Call 681-1715 or visit http://www.upperhudsonmusicalarts.org for more information.
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Symantec 12 removal tool
From where i can download symantec endpoint protection removal tool
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are you talking about the cleanwipe?
you should open a support ticket to get the tool.
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I would suggest you to follow the Manual uninstall Procedure.
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Associate Security Architect
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- Filed Under
Madison County authorities have dropped a murder charge against a Camden woman accused of poisoning her 11-month-old son with alcohol.
Hattie Douglas, 32, had been in jail for a year after authorities concluded that her son, Kaddarius, died of alcohol poisoning in 2006.
She was released on bond last fall after an independent pathologist's report questioned the infant's cause of death. ...


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Finally convinced to go HD DVD.. for now (good article linked inside)
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L4D & DoW2 ftw!
Join Date: Jul 2004
Location: Denmark
Posts: 3,143
Re: Finally convinced to go HD DVD.. for now (good article linked inside)
Originally Posted by
wtf? you changed your mind? i just bought an HD-DVD player because you said so, now you changed your mind? damnit.
wtf I feel kinda guilty now
But don't worry I'm still largely neutral and if you bought the X360 extension or 99$ player that is still very cheap, especially if you also take advantage of many of the many BOGO sales that's out there currently and will give you lots of good HD experiences and I can hardly see that as wasted money AT ALL
Besides several experts actually predicts that both formats will survive and live side by side and that people in the future will go with the combo players as both camps have a somewhat esablished base of early adopters now. That would reduce the whole BD vs. HD question to a matter of what you adopt first for the sake of the exclusive libraries. And I could in fact be wrong after all. And depending on which way it all develops and which way the studios go in the next year or so it could all change to either Blu-ray or HD DVD's favor quite fast,
so I could just as well end up with HD DVD as my favorite again
. This is a certaincy you have to live with as an early adopter of an HDM format. But I'd just prefer Blu-ray to win the format war after having read through more hours of material on this matter. But hell even many of the editors on the biggest and most respected magazined out there disagree and have each their favorite formats, so don't let this get to you
Sorry I was just a bit too quick on making this thread, I thought I had read all there was to know and all opinions and arguments there was to consider. You could also just choose to buy into both formats. Just let the exclusive titles lead you! If you want to dive deeper into the issue with the formats themselfs just ask if you have any questions
Oh and if it's any consolation, most users over at the excellent place for HDM, hifidigest.com, seem to own slightly more and prefer slightly more of HD DVD:
HD DVD or Blu-ray. What do you OWN?!!
Which format do you own the most movies of? Poll - Blue, Red, or Equal
You have Both HD and BluRay what do you like better and Why
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ETS Enterprise is an OISC-regulated company based in the City of London. Our office is conveniently located near Whitechapel and Aldgate East Underground stations, close to Liverpool Street and London Bridge.
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We can offer communications in English and Bengali/ Sylheti languages.


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- Sociological Abstracts
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Sociological Abstracts Database is a primary resource for accessing the latest research sponsored in sociology and related disciplines in the social and behavioral sciences. The database draws information from an international selection of over 2,600 journals and other serials publications, plus conference papers, books, and dissertations. Records added after 1974 contain in-depth and nonevaluative abstracts of journal articles.
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Originally written on Patriots Life | Last updated 11/1/12
The Buccaneers have traded CB Aqib Talib to the New England Patriots. More details to follow.— Tampa Bay Buccaneers (@TBBuccaneers) November 1, 2012Wooooooow. I did NOT see this coming. This is by far the biggest in-season pickup of Belichick's career. I assume they must have had this in mind when they cut Sterling Moore yesterday. I mean, wow, just wow. This is shocking. Talib is much maligned, and is currently serving a 4 game suspension for Aderall use (sounds like he and Brandon Spikes will get along). He is due to be back this Sunday, but obviously will not play till next weekend. Obviously, Bill hasn't been too happy with the secondary, and he just made another one of his calculated low risk-high reward type move. We don't know what they gave up, but my guess is a 4th or 5th rounder. Something around that area. This bye week couldn't have came at a better time for the Pats as it allows them to integrate Talib into the mix for the stretch run and playoffs. Maybe we will finally...
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Pathfinder Society Scenario #40: Hall of Drunken Heroes (PFRPG) PDF
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Four new RPG supplements release!
This week brings us four new RPG releases for your gaming pleasure! Catalyst Games brings us new Shadowrun and BattleTech books, Posthuman Studios brings us the most recent Eclipse Phase supplement, and Cubicle 7 rounds out the list with their new Keltia RPG.
The Shadowrun: Data Trails Hardcover is the Matrix sourcebook for Shadowrun, Fifth Edition, offering more options for decker and technomancer characters, including qualities, programs, gear and more.
With detailed examinations of hacker culture, information on diving deep into immersive hosts, and briefings on the strange sites hidden in dark corners of the Matrix, Data Trails is a vital resource for any Shadowrun players involved in the omnipresent flow of information. Non-Matrix specialists have chances to get in on the adventures as well, with game details explaining how their skills and expertise translate into the wild virtual world.
Updating one of the most powerful states in the history of BattleTech, from its foundations to the beginning of the Jihad, the BattleTech: House Kurita Handbook completes the faction-based Handbook series that updates the political, economic, and historical details of the major realms in the BattleTech universe.
The Eclipse Phase: Firewall RPG is a secret organization sourcebook for both players and gamemasters. It includes details on Firewall's history, organization, and ongoing operations, firewall's notable people, locations, internal factions, rival organizations (including the argonauts, Jovians, Titanians, and ultimates), as well as new traits and gear (along with 16 sample characters for reference or quick-play).
And rounding out these four new offerings, our good friends at Cubicle 7 bring us the Keltia Core Rulebook, a brand new RPG.
In Keltia, you are one of the heroes of the Dark Ages in the time of Arthur, when Britain was still a land of legends. Take part in the great battles sung of by the bards. Travel from the court of kings to the boundaries of the Island of Beli the Great, perhaps even enter the mists of the Otherworld. Maybe you will witness the end of the time of legends and the arrival in history of the greatest hero of Britain that will ever be: Arthur Pendraeg.
You might be a clan warrior, a druid, a bard or a mage. Myrddin the Elder may guide you to search for the forgotten gods, hidden treasures and conspiracies to foil, taking you to the darkest forests, the mists of enchanted isles and haunted cairns. The bards will sing of your feats for centuries to come. Companions of the Dragon King, children of Ynys Prydein, prepare to become legends!
Take a look at the rest of what the Shadowrun, BattleTech, Eclipse Phase, and Keltia RPG systems have to offer!
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Linear vs Quadratic,
Impression of the Warlock Talents,
What would you like to see in Pathfinder 2nd Edition, When / If it is make?,
Upgrading Belt of Giant's Strength into Belt of Physical Might,
Changing the location of the last encounter in a scenario,
Using Weapon Finesse to hit, and Power Attack for Damage on an Estoc,
Baldur's Gate 3?,
Scenarios with no blessings deck question,
Combating nostalgia (Grognards needed),
Paizo Blog: Faction Journal Cards,
Demonmoose's Iron Gods AP Discussion,
For the Glory of Icathia Gameplay,
Song of Ice and Fire: Dragons at War,
Dragon's Demand,
Jade Regent,
Crypt of the Everflame (PFS),
The Fires of Creation,
Low Magic, Alternate History, Historical Fantasy Game (Romans vs Vikings, 890 AD, British Isles),
[PFS] 06-14 Scions of the Sky Key part 2 - Kaava Quarry (high tier),
GM Endless Forms' PFS 06-23 The Darkest Abduction,
Worldwide Playtest for New Pathfinder RPG Book, Ultimate Intrigue, Now Open,
Beastly Terrors, Intrigue, and Evil Adventures Announced for the Pathfinder Roleplaying Game,
Pathfinder RPG Designers Unleash Their Wildest Ideas to Play the Game Like Never Before,
Pathfinder Society and Syrinscape Join Forces for Epic Gaming Events at UK Games Expo,
New Strategy Guide for the Pathfinder Roleplaying Game Available Now!,


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You can now invite anyone to meet at your favorite Starbucks.
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35 year old woman | Missouri City, TX, USA | Seeking men 28-45 within 250 miles
Active within 24 hours
Superman? Is That You?
Watch out! I'm different, never dull. You can take me anywhere....I will try not to embarrass you, (no guarantees). No, I haven't been institutionalised yet. I am a very easy-going and fun person. I am extremely hardworking and a dedicated mother to my nine-year-old son. I love to have fun and be active. I am young, sensual patient and kind, considerate, loyal. Passionate, compassionate...a true giver. Fun and funny (sometimes), I need to feel alive. They say that I am beautiful (in a certain light), but I believe beauty is only skin deep. I enjoy swimming, dancing and working out. I play an occasional game of basketball. Are you interested? The man I'm looking for must be self-sufficient and interesting (although I think all species of human beings are interesting), could have hobbies, be passionate, compassionate....give me chocolate for this is what I'm substituting for love these days (along with something else). Someone loyal, spontaneous (for I get bored easily). Someone with morals who knows lies don't last. He could have a sense of humor, not expect perfection, be deep and real. Not a couch potato all the time. He must be able to leap tall buildings in a single bound. No, that's a comic strip. O.K., I will take Superman because that's just me dreamin.........
Movies/Videos , Museums and art , Music and concerts , Exploring new areas , Nightclubs/Dancing , Performing arts , Playing sports , Religion/Spiritual , Volunteering , Watching sports
Aerobics, Basketball, Cycling, Dancing, Running, Soccer, Swimming, Tennis / Racquet sports, Weights / Machines, Yoga
I exercise 3-4 times per week.
I like Dogs
Middle of the Road
Texas State University–San Marcos, San Marcos, TX
Z{{Cta}} {{#if HasMoreInfo}} ?{{CtaSecondary}} {{/if}}
|What she is looking for
|5'3" (160cms)
|5'7" (170cms) to 6'3" (190cms)
|Body type:
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what would go good with hamburgers besides fries that makes a complete meal?
what else goes with hamburgers besides fries
cole slaw, mac. salad, pasta salad, potato salad, mac. & cheese, scalloped potatoes
I was going to say sweet potato fries also. Yes- they are fries, but a lot different than regular white potato fries. You could also do chips.
We like salad with our burgers.
any of those^^^ and I love a good garden salad. With ranch of course =)
John and Kerry married 10-23-2000
Michael and Kaeden became big brothers to Reece Gideon on Sept 3, 2011.
The people that are trying to make the world worse never take a day off. Why should I? Light up the darkness. -Bob Marley
I love baked beans with ours, any flavor of the Bush's baked beans work well and for added zip we add banana pepperocinis. YUM!
You are only venting if you do nothing to solve the problem. -dkjay279
tater tots or potato salad
(o)(o) Made it to Platinum!!!
my beautiful gabriel born/MC @ 17 weeks 05-08-10
Cindy, Mom to Preemie Ashlynn born 8/26/06,�3lbs 6oz due to IUGR, HELLP Syndrome/Pre-eclampsia.


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Article | May 3, 2010
SICK, Inc: Wire draw encoders
Sick's BCG EcoLine wire draw encoders provide an economical yet precise distance measurement solution with a scalable analog output (4-20mA or 0-10V) that easily interfaces with control systems.
Features include a pushbutton teach that allows users to configure the unit for different lengths, simplifying setup and saving time. This BCG is enclosed in a thin, compact housing, making it useful for applications with limited installation space. The BCG offers two versions of standalone MRA-F wire draw mechanisms.
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Some people are complaining because they can no longer share music to their iOS devices, while others say the iCloud Music Library is making a mess of their local iTunes library.
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After recently deactivating the profiles of several well-known San Francisco drag queens, Facebook met with members of the lesbian, gay, bisexual and transgender (LGBT) community to discuss its requirement that users provide legal names. CNET's Sumi Das has details on the agreement reached between the two groups.
Commentary: Congress may pass antitrolling legislation this year. But that's only the first step toward fixing a broken patent system
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Jack Friou is senior vice president and director of Governmental Relations for Aflac Incorporated, where he is responsible for state legislative and regulatory relations.
After serving in the Army for two years, Friou joined Aflac in 1973. Since then, he has served in various capacities in administration and marketing, including Agency Administration, Policyholder Services and Compliance. He also served as president of Aflac New York from 1990 through 1994 and as senior vice president, Marketing and Agency Development, from 1995 through 1997. He has been in his current position since 1997.
Friou is active with America's Health Insurance Plans (AHIP), the American council of Life Insurers (ACLI), the National Association of Insurance Commissioners, the National Conference of Insurance Legislators, the Republican Governors Association and the Democratic Governors Association. In addition, he is a current board member of the National Alliance of Insurance Companies (NALC) and past chairman of the board of the Life Insurance Council of New York.
Friou earned a Bachelor of Arts in political science from the University of Georgia.


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Cornmeal Bread
8 Mar 2011
|Lean bacon slices
|Dry yeast
|1⁄2 Ounce (2 Packages)
|Warm water
|2 Cup (32 tbs)
|2 Teaspoon
|Yellow cornmeal
|1 Cup (16 tbs)
|Boiling water
|1 Cup (16 tbs)
|6 Cup (96 tbs)
|2 Tablespoon
|Chopped green pepper
|1⁄4 Cup (4 tbs)
|Chopped pimento
|2 Tablespoon
Fry the bacon in a skillet until crisp, then drain on paper towels.
Crumble the bacon.
Reserve bacon drippings.
Dissolve the yeast in warm water.
Mix the salt, reserved drippings and 1/2 cup cornmeal in a bowl.
Add the boiling water and mix well.
Cool to lukewarm.
Add the yeast mixture and stir well.
Add half the flour and beat until smooth.
Stir in the bacon, remaining cornmeal, flour and remaining ingredients.
Cover and let rise in warm place until doubled in bulk.
Sprinkle sides and bottom of a greased 2-quart casserole with additional cornmeal.
Stir down dough and beat for 30 seconds.
Spoon into the casserole and sprinkle with additional cornmeal.
Bake in a 350-degree oven for 1 hour or until brown.
Cool on a rack.
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Cornmeal Bread Recipe


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Sight-Seeing Tours Jamestown, United States - Family orientated annual covered wagon train, usually held in late June. Incorporated and held since 1969. Fort Seward, Inc. is probably one of North Dakota's best kept secerts. Nightly campfires, hands on experience, singing, skits, family camping.
Sight-Seeing Tours Dana Point, United States - Dana Wharf has the BEST Sportfishing and Whale Watching tours in Orange County, Ca. We have been serving the public since 1971 from Dana Point. We also have FREE PARKING for our customers!
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Sight-Seeing Tours Newport Beach, United States - Providing year round whale watching cruises multiple times daily. View giant blue whales, finback whales, gray whales, humpback whales, huge pods of common dolphin, and many more.
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Sight-Seeing Tours United States
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Obituaries for Friday, May 23, 2013
Dorothy Rose Konn King
Dorothy Rose Konn King, 92, Henderson, died at 4:05 a.m. Wednesday, May 22, 2013, at her home surrounded by her loving family.
She was a member of Holy Name of Jesus Catholic Church in Henderson. She was a loving wife, mother, grandmother, great-grandmother, sister and aunt. Dorothy was a devoted sun worshipper and loved playing the piano and dancing. She was the queen of practical jokes and her granddaughter, Kelsey, was the light of her life.
She was preceded in death by her husband of 58 years, William Warren King, who died in 2001; two grandchildren, Robin Hiatt and Benjamin Hiatt; and seven siblings, including her beloved sister, Beatrice Wiesemann.
Survivors include two daughters, Karen King Hiatt of LaGrange, Ohio, and Kelly King Steinwachs and her husband, Bill, of Henderson; one son, Kenneth Warren King and his wife, Sandy, of Lakewood, Ohio; one brother, Edward Konn of Rocky River, Ohio; nine grandchildren, Colleen King, Jason King and his wife, Michelle, Ryan King, Kristi Ringer and her husband, Chris, Deloe Mathatas and his wife, Marta, Barton Hiatt, Bret Hiatt, Leah Hiatt and Kelsey Steinwachs; four great-grandchildren; 40 nieces and nephews; and her devoted friend, Patsy.
There will be a private funeral in Ohio at a later date.
Friends may call from 5 to 7 p.m. today at Rudy-Rowland Funeral Home, where a prayer service will be held at 6 p.m. today.
Expressions of sympathy may take the form of contributions to St. Anthony's Hospice.
Alvin Joseph Kruse Jr.
OWENSBORO — Alvin Joseph Kruse Jr., 86, Owensboro, died Sunday, May 19, 2013.
He was preceded in death by his parents, Alvin Kruse Sr. and Marie Kruse of Henderson.
Survivors include seven children, Toni M. Kruse, Helen Kruse and A.J. Kruse III, all of Lexington, Linda Hillard of Owensboro and Todd Kruse, Robert Kruse and Sidney Kruse, all of Hawesville; and two sisters, Evelyn Coleman of Brentwood, Mo., and JoAnne Ochsner of Evansville.
Services will be at 11 a.m. Saturday at Fairmont Cemetery Chapel.


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Sunday, December 31, 2006
© Copyright 2015 Gwinnett Daily Post
SUGAR HILL - City officials propose annexing about 700 acres through a legislative annexation that will affect more than 200 property owners, according to City Manager Bob Hail.The annexation is designed to clean up Sugar Hill's ragged city limit boundaries, Hail said. None of the proposed annexations are land islands. "We are trying to straighten up our boundaries and align our city limits along roadways," Hail said. "We want to do away with this going in and out of the city. We surround these properties on three sides, almost four, but it is not an island because the lines don't meet completely." Most of the acreage lies near the intersection of Ga. Highway 20 and Suwanee Dam Road. "That is the ugliest corner and it is not in the city," Hail said. "If it were, we would have control of the litter, signage, and everything else there to the satisfaction of the people driving by." Property owners are being notified of the proposed annexation by mail, Hail said. Dirk Bender, who lives on a targeted property, said he is OK with becoming a Sugar Hill resident. "I prefer to be part of a city than of an unincorporated county," Bender said. "I do want to know if we will get the services for the additional fees we will be paying." Thomas Hennessy, another affected property owner, said he will sign a petition opposing the annexation. "Why should I pay more taxes for things I don't need?" Hennessy asked. "I have all the representation I need with the county." Hail stressed the proposal is still in the planning stages and encouraged property owners to voice their concerns. "This has not been finalized yet. It is still just a proposal" Hail said. "If it goes through, it will be before the Legislature in this session." Rep. Bobby Reese, R-Sugar Hill, was unavailable for comment at press time. Recent mass annexations in Auburn and Norcross have caused controversy between property owners and the municipalities. n What: Public informational meeting regarding legislative annexations•When: 6:15 p.m. Jan 8•Where: City Hall Annex
More like this story
- Sugar Hill holds annexation meeting ( January 9, 2007 )
- Sugar Hill to consider down-zoning 15 acres ( June 14, 2006 )
- Sugar Hill votes to move forward on annexations ( February 13, 2007 )
- Sugar Hill prepares for annexation vote ( April 10, 2007 )
- Cities grab land at steady rate ( December 29, 2005 )


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@UltimateHero0406: The second video is stylish, though the first is outside the game canon. I'm not saying that Sonic and Shadow do not have some measure of durability and strength, it just is nowhere near X and Zero's level and not close enough to make a difference here. Heck, by feats, Mega Man and Bass outclass Sonic and Shadow in durability, firepower, and strength (surviving 12,000 degree C heat, temps near Absolute Zero, lifting giant robots and fortresses, and so forth).
One of the reasons Sonic can dodge Eggman's robots and his projectiles is because they do not have sufficient speed and reaction time to track him. X and Zero do not share this problem. I've outlined their speed and reflexes and the supersonic threats they've conquered earlier in the thread and will do so again if necessary. Sonic is not going to be able to evade threats that can react and target him at his level of speed. That's a problem, because speed is the source of his primary defense and offense.
Not to mention one of X's base forms is capable of launching hails of large plasma blasts that track their targets regardless of evasion and strike with 100% accuracy (Mega Man X:Command Mission).


text:
Book Search
Varieties of Economic Inequality
Series: Routledge Advances in Heterodox Economics
To Be Published January 1st 2016 by Routledge
Financial Crisis, Labour Markets and Institutions
Series: Routledge Frontiers of Political Economy
This book seeks to explain the global financial crisis and its wider economic, political, and social repercussions, arguing that the 2007-9 meltdown was in fact a systemic crisis of the capitalist system. The volume makes these points through the exploration of several key questions: What kind...
Published March 4th 2015 by Routledge
The Economic Crisis in Social and Institutional Context
Theories, Policies and Exit Strategies
Series: Routledge Advances in Heterodox Economics
This book explores the foundations of the current economic crisis. Offering a heterodox approach to interpretation it examines the policies implemented before and during the crisis, and the main institutions that shaped the model of advanced economies, particularly in the last two decades. The...
Published February 23rd 2015 by Routledge
Economic Policy and the Financial Crisis
Series: Routledge Frontiers of Political Economy
The consequences of the global economic crisis which started in the United States in 2007-08 are still being felt in most of the advanced economies, and the mainstream tools of recovery are not having the required results. It seems that many of the after-effects of the crisis, including the...
Published March 6th 2014 by Routledge
Institutions and Development After the Financial Crisis
Series: Routledge Frontiers of Political Economy
The financial crash of 2007-2008 and the subsequent global economic crisis have raised questions about the viability of capitalism and the desirability of alternative types of economic system. In this context, Keynesian and Marxist ideas in particular have become more popular. These two approaches,...
Published October 16th 2013 by Routledge


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Economic Value Creation in Mobile Applications
Timothy F. Bresnahan, Jason P. Davis, Pai-Ling Yin
This chapter is a preliminary draft unless otherwise noted. It may not have been subjected to the formal review process of the NBER. This page will be updated as the chapter is revised.
Chapter in forthcoming NBER book The Changing Frontier: Rethinking Science and Innovation Policy, Adam Jaffe and Benjamin Jones, editors
New mobile development platforms are a 21st-century growth pole. By successfully recombining existing information technologies with new innovations, they have spurred a positive feedback loop of consumer adoption of mobile devices and firm entry into a wide variety of applications, or "apps." Despite its tremendous size, the industry is still at an early stage, with rapid growth and a wide variety of economic experiments exploring how this new industry will create economic value. Because there are numerous and growing app markets, the industry needs economic institutions to support market experimentation. However, the volume and diversity of app product entry has created problems for marketing and commercialization, especially matching consumers to products.
This early pattern is like many earlier information and communications technology industries in that it shows a pattern of technical success but commercialization struggles. However, several important new issues arise, including a bias against entrepreneurial commercialization, and the importance of end-user demand in determining market evolution. We consider how this situation has impacted the industry's task of discovering economic value and choosing among different app and platform features to make its ultimate contribution to economic growth. We also consider the likely market and institutional responses to the current bottleneck.
This paper is available as PDF (569 K) or via email.
This paper was revised on July 23, 2014
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