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Marshall Headphones - 'Major' Over Ear (Black)
" This is actually the first "over-head" headphone i ever bought, but compared to my philips and LG tone+ this one is a lot more for 70$, i mainly use it on my gaming rig with sound card installed. i listen to rock mostly, bass heavy stuff and some r&b, alternatives.. i just listen to anything that sounds good basically. anyways, i had some issues with the fit when i..." --Kordz
Velodyne vPulse
"These are, without a doubt, the best In Ear Monitors that I own / have owned. Let me say that I purchased the pink color because it was far less expensive, less than $40. I purchased my pair from wal-mart because they had the lowest price at the time. I'm secure enough in my masculinity to wear a pair of pink IEMs, especially when they sound like these. So, what am I comparing these Velodyne..." --spinnin
Stanton Dynaphase Sixty
"a tad muddy, but it can be easily fixed with abit of equalizing they're louder then stadium speakers with duel drivers there is a woofer and tweeter in each can, so that= loads of bass and tremble bass tons of bass to go around treble it has it, but that about all I can say sound they favor highs over mids, but 'they're still well balanced sound stage love it deep and rich Comfort fine..." --voodoo do-er
Stanton Dynaphase Fifty
" What can I say, vintage. Honestly well worth the $30 I payed for these. They have a nice sound to them in the $30 price range, not Hi-Fi by any means, but fun to wear around. " --GrandZechs
Stanton Dynaphase Sixty-A Headphones
I've been looking for someone that has these or has seen them before, I have a pair and have looked in many places but can't find these headphones ANYWHERE. No info, no pics, nothing...If anyone knows of these headphones or at least seen them in the past, please contact me ASAP. They were my dad's when he was younger. THESE ARE NOT STANTON DYNAPHASE SIXTY HEADPHONES, THEY ARE...
Aluratek Bluetooth Headphone w/Mic ABH02F
Bluetooth Headphone w/Mic
Aluratek ABH01F Bluetooth Stereo Headset with Built In Mic - Retail Packaging - Black
The Aluratek Bluetooth Wireless Stereo Headphones delivers hands-free convenience and superb hi-fidelity stereo sound wirelessly. Stream your favorite tunes and listen to audio from your Smartphone, Tablet, PC or Mac laptop. Connect with friends and colleagues thru Skype, Yahoo Messenger, Windows Live Messenger, Gmail and AIM with the integrated microphone. Easily switch between phone calls and...
Velodyne vTrue
True sound. True Style. vTrue®. vTrue® raises the bar for studio headphones, combining Velodyne's legendary audio technology and unrivaled design to bring a true sound experience to the most discerning of music lovers.
Stanton DJ Pro 60 DJ Pro 60 Headphones (Silver)
The new DJ PRO 60 compact, lightweight stereo headphones feature a comfortable self-adjusting headband and exceptional low end response. They come packaged with a free carrying pouch.
Stanton DJ Pro 2000S Swivel Cup Headphones with Carry Bag
The DJ Pro 2000 delivers high output without compromising on sound quality. It features a unique folding design with a rotating ear cup and padded shoulder rest for more comfortable monitoring. The choice of top DJs like Tiësto


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So You Think You Can Be A Social Cloud Architect
By Maggie Schneider Huston-Oracle on Jun 23, 2015
What is a Social Cloud Architect?
With so many development teams working on different parts of the Social Relationship Management (SRM) platform, it's easy to get lost amongst the technical details. My role is to find a unified vision for where the product is, where it needs to be, and keep everyone moving towards that goal.
Andy Ioannou, Social Cloud Architect, Oracle
When people hear about "architects" they often think that it's someone who has a singular vision of the product, but in reality, good architects draw from the people around them to create a long-term picture of the product. We try to balance out the immediate needs with the longer, strategic vision. In the end, your platform needs to be organized in a way that can be maintained at low cost and easily extended. Without the focus on structure that an architect can bring, you increase the risk of spending ever-increasing amounts of time dealing with the complexity that comes from incremental changes.
What skills do you need to be a Social Cloud Architect?
A good architect requires decent people skills. I'm communicating with developers, technical leads, product management, and senior management every day. Architects need to advocate for the long term path, so the ability to persuade is crucial.
Management skills can be useful, too. I have a couple of people working directly for me. But a more important skill is the ability affect change through the larger organization, without relying on hierarchy.
I'd also encourage potential architects to think about what they like to do. Of course, a technical background is essential, but beyond that, if they like thinking about the big picture and working with people to achieve larger goals, this could be a good fit. Try convincing people to make changes that go beyond immediate needs. If you enjoy seeing something become, more organized, more elegant, then this is a cool job. I believe that there's no set "path" to becoming an architect; whilst you can acquire the technical credentials, that's less than half the story.
What's the most challenging part of being a Social Cloud Architect?
I need more time! If I had an extra five hours in the day, I'd be just fine. I'm usually in the office from 8a-5p and then back at it after the kids are in bed. I'm always backed up on email. I do try to carve out "thinking" time - it doesn't happen as often as I would like, but it takes time to synthesize ideas from customer calls, technical leads, management, etc. into concepts and ideas that you can communicate to other people.
What's your favorite part of being a Social Cloud Architect?
I love seeing the results from my work. If I can look back and see something that looks more elegant or organized than it would've been… that's awesome. I also really enjoy learning about new things. Everyone I speak to knows more about something than I do. I enjoy having the support of a network of like-minded people from across the SRM platform who share similar goals. My job could never be described as dull.
Still think you have what it takes to be a Social Cloud Architect? Apply at Oracle.

subset: commoncrawl


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This section contains 5,583 words
(approx. 19 pages at 300 words per page)
Critical Essay by John Pentland Mahaffey
SOURCE: "Xenophon the Precursor of Hellenism," in The Progress of Hellenism in Alexander's Empire, The University of Chicago Press, 1905, pp. 1-27.
In the following excerpt, Mahaffey uses Xenophon as a "case study" in his discussion of the transition from "Hellendom" to Hellenism in ancient Greece; he finds Xenophon exemplary of the period in both style and content.
… [By] "Hellenism" I mean that so-called "silver age" of Greek art and literature, when they became cosmopolitan, and not parochial; and by "Hellenistic," not only what was Greek, but what desired and assumed to be Greek, from the highest and noblest imitation down to the poorest travesty. The pigeon English of the Solomon islander is as far removed from the prose of Ruskin or of Froude as is the rudest Hellenistic epitaph or letter from the music of Plato's diction...
This section contains 5,583 words
(approx. 19 pages at 300 words per page)


text: Description Suggest an Edit The White Pine Trail is Michigan's second longest rail-trail, following the former Grand Rapids and Indiana rail bed for 93.5 miles through five counties. This massive trail showcases a variety of landscapes, from swamps to forests to open farmland, plus numerous towns and cities. You will run across existing and in-development trails, too, as this corridor is the backbone of the state rail-trail system. Currently, the trail offers a mix of paved and unpaved surfaces, so a mountain bike or a hybrid bicycle is best to tackle the distance and terrain. However, by the end of 2015, the corridor's 40 miles of ballast-, gravel- or grass-surfaced trail will be cleared away and replaced with crushed limestone. The new surface will allow people to travel the entire length from Grand Rapids to Cadillac on any type of bike. The southern tip of the White Pine Trail is just north of Grand Rapids in Comstock Park. Heading north from here you'll have 21 miles of paved trail through mostly rural terrain. Several historic railroad trestles along the trail's length have been renovated for stream and river crossings. Just 8.2 miles from the trail's start, the town of Rockford has a scenic overlook of the Rogue River Dam, with plenty of picnic tables and benches from which to stop and enjoy the calming sound of the flowing, beautiful water. Heading north from Rockford you pass through small towns, such as Cedar Springs, Pierson and Morley.Big Rapids is located at mile 53.1 and has the distinction of housing the trail's longest bridge. Whites Bridge spans 319 feet over the Muskegon River. Big Rapids is also home to Ferris State University, which boasts an 880-acre campus with state-of-the-art facilities. Just north of Big Rapids is Paris; here the trail runs directly through Paris Park, which features camp-in-cabins, a canoe launch and a fishing concession along the banks of the Muskegon River. Heading north to Reed City, trail users can catch a view of the Yoplait Yogurt factory. A covered bridge is your ticket over the Hersey River in Reed City. Reed City is also on the east-west route of the Pere Marquette Rail-Trail. The tiny village of Tustin, at mile 83, has a wonderful railroad museum. Heading north another 11.2 miles takes you to the trail's ends in Cadillac but not before circling around Lake Cadillac, where you can enjoy swimming beaches and an outdoor amphitheater for concerts.Only a determined few will ride the White Pine Trail in one fell swoop. A slower approach, using the many campgrounds or bed-and-breakfast inns along the way, allows you to soak up this trail's rural natural beauty and small town charm. Another benefit to taking your time is that it increases your chances of spotting the tiny endangered Karner Blue Butterfly. Winter travelers: take note that, when there are four or more inches of snow on the trail, snowmobiles are allowed from Russell Road (north of downtown Rockford) to the trail's north endpoint in Cadillac. Click to read more Parking and Trail Access Parking and access to the trail is provided at each community along the trail. Camping is available in Belmont, Cedar Springs, Sand Lake, Morley, Paris, Reed City, Hersey, Evart and Cadillac.To reach the trailhead at Comstock Park (space for about 50 cars), take US Highway 131 to West River Drive Exit 91. Turn right onto West River Drive and go for either 0.6 mile (if from southbound ramp) or 0.9 miles (if from northbound ramp) to the traffic light at Mill Creek Avenue and 4 Mile Road. Turn slight left on Mill Creek; the parking lot is about 500 feet farther on the left. You will have to drive about 600 feet to the north to cross over the trail to the parking area.To reach the northern endpoint in Cadillac, take US Highway 131 north and exit at State Route 115; go northwest for 0.5 mile. Take North 41 Road 1 mile north to North 44 Road and go west on North 44 Road about 0.5 mile. To reach the Big Rapids trailhead, take US Highway 131 to Big Rapids Exit 139. Take State Highway 20 east to Maple Street. Proceed straight for 0.1 mile to the depot staging area and turn south.To reach the Belmont access (restrooms, drinking fountain, parking for about 100 cars), take US Highway 131 to Post Drive Exit 95; turn east onto Post Drive and go for 1 mile (from northbound US 131) or 1.2 miles (from southbound US 131). The road changes names to Jupiter Avenue where it curves to the right and heads south. Continue another 0.1 mile on Jupiter Avenue and turn left onto Belmont Center Drive. Go 0.2 mile east to Belmont Avenue and turn right. Continue a short distance south to the trail crossing (approximately 6260 Belmont Avenue). Turn left immediately upon crossing the trail; parking is about 300 feet to the northeast. Click to read more Reviews Short Family fun June, 2015 by t1bosie We parked in Belmont where there is plenty of parking with easy access to the trail. With 2 children (age 6 and 8) we wanted to test their legs with a short ride to Rockford (4 mi.). The trail was easy and scenic. We were there on a great sunny Sunday ...read more Grand Rapids to Sand Lake April, 2015 by rubleski Took my questionable and aging mountain bike from my house in NE Grand Rapids to the start of the trail near 5/3 Ballpark in Comstock Park. Then proceeded to Sand Lake and back on Sunday April 19, 2015, a touch over 50 mi round trip. Sun present throughout, ...read more Comstock Park to Belmont November, 2014 by dankram I thought the trail from Comstock park north was great especially re-routing some of under US-131 along West River dive. The railbed went though the service road now used by fifth-third ballpark. As well as the new large arch bridge over West River road ...read more


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Hysterical HistoryHysterical History (1953) - Kartune Theatrical Cartoon Series
This page has been viewed 19 times this month, and 1351 times total.
- Kartune Theatrical Cartoon SeriesTheatricalSeriesCartoon
- Traditional Animation
- Famous Studios
- Distributed by: Paramount Studios
- Cartoon Characters: Christopher Columbus, Benjamin Franklin, Pocahontas, Miners, Statue of Liberty.
- Voice Actors: Jackson Beck.
- Directed By Isadore Sparber.
- Animated By Al Eugster, George Germanetti.
- Written By Irving Spector.
- Music: Winston Sharples, Yankee Doodle Boy copyright 1904 by F.A. Mills; more Musicians ...
- Originally Released on January 23, 1953.
- Originally Released Theatrically.
- Running Time: 6:40 minutes.
- Color
Cartoon Summary:
Spot gags about various American historical events from Christopher Columbus to the California gold rush. Fun is poked at Ben Franklin flying a kite with his key,... (more)
Cartoon Production Information:
When Christopher Columbus lands, he's greeted by Native American cameramen for Paramount News! Watch for the photo of actress and pin-up girl... (more)
Watch Cartoon Video:
You can watch this cartoon today on your computer. Just click below to start viewing "Hysterical History" online now.
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Cartoon Comments:
Below are comments about this cartoon submitted by people who have seen this show. Take a look and see what others have said about Hysterical History. We want to know what you think, too!! Feel free to share your own opinion- we do want to hear from you! You can add your own comments here.
Hysterical History
franklin character as he was portrayed.


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The VX320 Video is a high performance modular router and non-blocking matrix switch for complete, end-to-end routing of video signals over multi-mode or single-mode fiber optic cable.
- Single-mode and Multi-mode Capability
- 320 x 320 Non-Blocking Fiber Matrix
- Each Connection is 6.25 Gbps
HDX router series is is fully compliant with SMPTE standards. The HDX576 supporst SMPTE blackburst and tri-level synchronization.
- 576 Fiber Ports In and Out for 576 x 576 Non-Blocking Matrix Switching
- Reference video input for synchronizing switching point is fully compliant to SMPTE "blackburst" and "tri-level" synchronization specifications (RP-168)
- Each Video Connection Supports 4 Gbps
- Route NTSC/PAL, SDI, HD-SDI, 3G, Dual link HD-SDI


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The Global FlyFisher - The Largest and Best Place to go for Online Fly Fishing and Fly Tying
First published May 1st 1995 - More than 20 years ago
More: Coastal Fishing | Denmark | Global | Comment
Proper conduct
Danish inshore fishing
By Martin Joergensen
|<<< Previous page (Tactics)
|Next page (Catch & Release) >>>
Be considerate
There are laws and written rules, but for the benefit of all of us, there are some unwritten common sense and social rules too:
- Be considerate to nature and other people
- Don't leave anything where you have been. Remove all line, trash, bottles etc.
- Put out fire and barbeques with sand or water an remove non-decomposable material
- Don't fish where everybody else fishes. There's a lot of space out there, so why stand shoulder by shoulder?
- When you arrive to a spot where other people are fishing, disturb them as little as possible. Most people come to fish and be alone, not to talk or mingle.
- Conversation is a two part process, and if a person doesn't reply, it's probably a clear signal
- Consider walking along while you fish - concentrating on certain spots, but leaving them after a while. You will cover more water, see more things and leave places undisturbed - ready to return to later.
- There's no rule that says you should walk or move while you fish, so many fishers will stand still for a long time. Let them! Pass them by stopping your casts in good time. Reel up your line and pass behind them, and fish on on the other side.
- Respect all signs; privacy, no cardriving, no parking. Some peole see a lot of rude fishers, and it ruins fishing for all of us.
|More great articles on The Global FlyFisher
|These other stories on "Denmark - The small Scandinavian country with the great sea trout fishing" might also interest you:
More about Denmark
|A couple of random articles
Richard KatzmanRichard Katzman resides in the Catskills of the US state New York and ties tube flies for his fishing
March 1st 2014
Only the River KnowsA truly different - and truly epic - fly-fishing DVD, which is very unlike most fly-fishing DVDs inasmuch as it has a story, a narrative. The story of two Scandinavian anglers fishing in New Zealand and getting lost, only to find a desolated cabin and a diary left behind. The diary possesses especially one of the anglers who relives the story in the booklet and seeks out the author.
December 19th 2012


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To the Editor: I am one very proud daughter. My mom, (mayor) Cathy VanRisseghem, ran an incredible campaign. Eight years ago, she answered the call to be a public servant and she has done it with grace and style. We live in a community that has a permanent imprint of my mother's hand. For over [.....Read More
letter to the editor
To the Editor: Last year, Democrats passed more than $2.1 billion in new taxes to pay for the largest spending increase in Minnesota's history. However, this new spending didn't include meaningful reforms or equity in education spending. The education formula still favors metro schools over the ...Read More
To the Editor: In regard to county officials requesting a salary increase, I think they should be satisfied with the salaries for a 40-hour week and benefits. There are many residents in the county that work 60-plus hours a week, trying to raise a family and meet their expenses, to pay taxes, insura...Read More
To the Editor: I'm not sure if people are not aware of how our government works, or just don't care. First for people to say that the president or Democrats are to blame for the shutdown is untrue. The president doesn't have power to spend money or make laws. His power is to sign or [...]...Read More
To the Editor: The Morrison County DFL Chairman (MCDFLC) in his Oct. 27, 2013, column said Republicans caused the shutdown by refusing to compromise. Actually, it was Obama and the Democrats who said they "would not negotiate" and the Tea Party that wanted to defund or delay Obamacare. The Rep...Read More
To the Editor: The macroeconomic advisers came out with a report on the fiscal results of spending cuts since 2010. The government cuts resulted in a 1 percent reduction in GDP every year cumulative, 3 percent this year, approximately $700 billion in lost productivity and approximately 900,000 jobs ...Read More
To the Editor: In 1933, the year Hitler began ruling Germany, a plot was hatched to install a fascist dictatorship in America. A cabal of millionaire bankers and industrialists conspired to install a fascist "secretary of general affairs" in the White House to hijack Franklin Delano Roosevelt'...Read More
To the Editor: Yes, Morrison County Salvation Army's Chapter (MCSAC) is active and working in Morrison County. The sight of the Army's Red Kettles and the sound of bells remind us to be thankful for what we have and think of others less fortunate. Sometimes we see the needs and homeless in lar...Read More


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The Giant Beastcast: Episode 06
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Her Story is a bold and largely successful experiment in interactive crime fiction.
Rocksteady's gorgeous-looking third Arkham game refines its open-world format a bit and lets you drive a whole hell of a lot of Batmobile.
It's squid kids and ink blasting abound in Nintendo's exceptionally fun new online shooter.
Game »
consists of 17 releases.
Released Nov 30, 1984
Sure, these days have almost every game sporting the newfangled 3D, but way back when, everyone had to live with plain old 2D. 2D, or two dimensions, limit the game to scrolling backgrounds, but some games even now make use of this basic concept.
Boost takes a game to a new level giving players a greater level of speed. This speed opens up new doors to sports games, driving games, and any game that can benefit from the reward of speed.
The Classic NES Series of games were re-released versions of NES games for the GBA. Also known as Famicom Mini and NES Classics in Japan and PAL regions respectively.
Digital Distribution is the concept of purchasing digital media via the internet and having it sent to the user directly via the internet. No physical representation of this content is given but the content resides on the users hard drive and is legally owned by them.
A peripheral for the Game Boy Advance that allowed players to scan in cards for extras in various games, or even to play classic NES games.
Endurance racing is racing a track for very long periods of time. An example of endurance racing in video games would be the 24 hour Le Mans in GRID.
A brand of motorbike appearing in the Excitebike francise and as an Assist in Super Smash Bros.
A line that signals the start or the end of the race. Even though it is used for racing, it could mean any type of racing game.
Map Makers or Editors are built-in tools that allow the average gamer to tweak or fully customize a map of their own, with no mod or programming skills required.
A lap is one circuit around a race track. This is featured in many, but not all racing games.
Games released coinciding with new hardware.
Jump on a motor-powered bike and race against the clock or opposing drivers. Besides pure racing games, other genres may also feature this activity.
Overheating in video games involves guns and vehicles experiencing an increase in temperature leading to reduced efficiency or accuracy, damage or even destruction.
The PlayChoice-10 was an arcade console released by Nintendo containing ten Nintendo Entertainment System games per unit.
Side-scrolling games present the world as viewed perpendicular to the direction the characters are facing on screen. With a heavy focus on lateral movement, objectives are often met by moving from one end of a stage to the other.
Temporarily makes your character or the world around you go faster, either by stepping on an object, activating a power or object, or by collecting a power up. There are many other ways in which a Speed boost can be used and it depends on the game.
Whether it be for points, speed boosts or just for aesthetic purposes, this game includes fancy tricks that the player can perform.
User Generated Content describes any content the end user produces to add onto the content given by the developer. User Generated Content has grown in popularity, with LittleBigPlanet, Forza Motorsport 3, ModNation Racers and Spore being great examples.
The Virtual Console is a platform service that first appeared on Nintendo's Wii and later on the 3DS and Wii U. Games from past consoles are emulated to run on the new hardware with the added benefits of system-level save states and other features.
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Thom Hartmann, Lily Tomlin, Jim Hightower, and John Nichols will speak on June 1st on "Why PDA Paves the Way to 2014″ at the Beverly Hills home of Linda & Syd Leibovitch. Click to RSVP.
Protest or Revolution?
Who Won the Civil War? Organizations Refuse to Defend Farley
As we celebrate the 200th anniversary of Lincoln's birth, the 100th anniversary of the founding of the National Association for the Advancement of Colored People, the inauguration of America's first black president, and Black History Month, it's worth pondering the question, "Who won the Civil War?" On November 20, 2002, I wrote in a Nashville […]


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This section contains 7,994 words
(approx. 27 pages at 300 words per page)
Interview by Thomas McGuane with Kay Bonetti
SOURCE: "Interview with Thomas McGuane," in Conversations with American Novelists, edited by Kay Bonetti, et al., University of Missouri Press, 1997, pp. 56-75.
In the following interview conducted in 1984, McGuane discusses how he integrates his lifestyle as a Montana Rancher with his writing career.
Tom McGuane's writing career began in the sixties. This interview catches him at age forty-five, looking back on a rebellious youth and forward toward the issues of middle age. He speaks of his enduring fascination with comic writing. He says that the subject of his early novels was the expression of the American dream in the wild West of the 1960s and 1970s, and the realization that acting on those ideals could not be survived. The author of ten books, McGuane writes about brooding protagonists, displaced people, characters who cannot seem to put down roots or reach out to things beyond themselves. These characters are often ironically connected and shaped by their relationships to landscape and place, Ninety-two in the Shade (1973) and Panama (1978) are set in Key West, Florida. The Bushwhacked Piano (1971) tells of an eccentric peregrination through Michigan, Montana, and Florida. Something to be Desired (1984) is set partly in Montana. In many ways his novels are harrowing contemporary novels of manners, about taking drugs, sexual peccadilloes, and chaotic mobility.
McGuane's personal journey from the drug-taking sixties to the life of a responsible citizen and parent is reflected in his novels. The western stories still retain some of the humor of the Florida novels, but the dilemmas of McGuane's protagonists become increasingly serious: divorces, multiple families, tricky business deals, the desperation to settle down. These themes can be seen especially in his novel Nothing But Blue Skies (1992). Other acclaimed works include Nobody's Angel (1981) and The Sporting Club (1968).
[Bonetti:] Can you tell us a little about your life and upbringing?
[McGuane:] I was raised in the Middle West, in Michigan, but my parents were both Boston-area Irish. Except when we were in school, we were always back there in Massachusetts in the big kind of noisy, Irish households of the forties and fifties. My parents were upward-striving, lower-middle-class people who had a facility for English. They both were English majors in college. My father was a scholarship student at Harvard; my mother went to a little school called Regis. Books and talk and language in general were a big part of growing up for me. My family was not excited about me wanting to be a writer; they thought that was very unrealistic.
It is difficult to support yourself as a serious writer.
I think any writer, even an unserious writer, has a bad time of it; a pulp writer or a sold-out writer or a hack has a hard time making a living. To understand the economics of writing is to know that writing and publishing and acquiring some kind of esteem in your community of peers is merely a key to your finances. For example, prestigious writers whose reputations are confined to the literary all live pretty well. They are getting grants and teaching jobs. I would say the people I've seen who teach writing are underworked. Other writers, like me, have been able to find work in film or journalism. There's also a way to get along. I think it's inevitable for writers to sort of feel sorry for themselves and to feel sorrier the more serious they perceive themselves to be.
In the introduction to last year's summer fiction edition of Esquire, Rust Hills claimed that the academy has become the patronage system for writers … and was defending it, moreover. What did you think of that?
I thought it was silly. I think patronage, especially homogenous patronage of the kind that academic writers receive, is exceedingly dangerous and leads to trafficking in reputations.
What do you mean by homogenous?
The colleges are, to a great degree, alike in their form of protection. I think it's good for writers to be in the world, not talking to the converted in English departments day after day—scrambling for survival, having to talk to illiterate neighbors. Obviously mine is a minority voice; this point of view is going to lose. The camp that Rust Hills describes is obviously the camp of sweeping victory.
Because the writers who teach are living pretty well … financially?
When I've been on campus I notice that everybody seems to be getting along better than ranchers in Montana are. There is great security there, the kind of security that the civil service or the post office provides and it goes hand in hand with complacency.
I take it you feel that this situation has a measurable impact on the kind of writing that is being done.
Well, you get these books like the latest Alison Lurie book that is built around sabbaticals. I think John Barth has suffered from being around colleges. To me the most interesting work that Barth did was the earliest work, before he knew what was going to happen to him—The Floating Opera and The End of the Road—books which I think he now kind of repudiates. His stuff lately has been less lifelike, less exciting.
So you disagree with Hills's notion.
I think Rust Hills needed to make a case for the situation now and I think that he felt he needed to overstate it. I think Rust and Esquire are excited about making categories, the new realism or the revival of fantasy, the kind of categories they come up with for the purposes of pigeonholing writers.
So you feel that it's the type of writing that working within the academy encourages that has the negative effect; you aren't saying that because somebody teaches he is going to end up just writing about other teachers …
No … no … I'm not saying that, but I do think that kind of life, that kind of support, is going to limit the access to information and material writers might otherwise have, obviously. I think maybe the best writer we have had in a long time is Saul Bellow and being a chronic teacher hasn't hurt him at all.
So there are obviously exceptions to the rule.
There are, yes, but there is also a kind of academic writer who meters out his publications, who measures himself and politicizes against other academic writers, and that writer is of no use to readers. I think the kind of thing Hills describes in that article represents a severing of the connection between writers and readers.
To be fair, we should think of some notable exceptions; one thinks of Stanley Elkin.
He scarcely seems like an academic writer in any way. There are writers in the outside world who are vastly more academic than Elkin. But when I think of Norman Mailer in the outside world, or of Walker Percy, I think of more adventurous spirits reporting to us from the whole world rather than one of its hyperspecific laminates. This is a purely personal reaction, but I am just more interested in people who have not gone to campuses.
Your books are full of work, aren't they? And skills? Useful information?
Little odds and ends of that sort. Jim Harrison used to needle me because I would hang around the repair bay of a gas station—it really wasn't research. I like to watch people do their thing and I don't care what it is. I like to watch ladies sew, I like to watch people cook, I like to watch people fix cars, I like to watch people commercially fish. I would have to suppress that by some fiat to keep it out of my writing.
At what point did you start thinking of yourself as a writer?
Very early. It was really all I have ever wanted to do.
Did your parents ultimately support you?
Well, my father had a nice rule—and it's the same ruling I take with my children, to the degree I can afford to do it—he basically took the position he didn't want to argue with me about what I wanted to do. He would support me educationally. I was a premed major, I was a prelaw major, I went to the Yale Drama School. I was finally an English major, but I waffled around knowing that I was free to do that. Going to school kept me writing. Then I got a grant at Stanford and that extended another year and in fact when I finished there, I was publishing.
Do you value the Stegner experience?
Not really, no. I value having had the time. I didn't get much out of the Stegner thing; I didn't think he was a good teacher. It was the middle sixties—most of the other writers were thinking that writing was dead and they wanted to march on the electrical engineering building or war contractors; they just weren't interested in literature. I remember Allen Ginsberg coming up in those years and talking to people and finding they hadn't read Ezra Pound and hadn't read Whitman, didn't care, didn't want to know the names. It was an illiterate age and Stanford was just a place to get out of the weather and work on a book.
Is there some particular break that enabled you to start supporting yourself by writing?
Well, yes. I had a book on submission to Dial for six or eight months and was working pretty closely with them. I was encouraged to think that we were close to being able to publish the book. Then, suddenly from overhead the book was killed by the then editor-in-chief, E. L. Doctorow. It was just completely out of the blue and it was the most complete devastation I ever received. I remember thinking that I was going to snap. I had been writing daily for ten years and I didn't really think I could go on. And then … and then I suddenly realized, God, I didn't know how to do anything else. I had had minor menial jobs, but I just didn't really know what else to do. So I kind of holed up and wrote The Sporting Club in about six weeks and sent it to Jim Harrison. Then I lit out for Mexico thinking that I would figure out my life down there. While I was down there a cable came to this little town where I was camped out on the beach in a sleeping bag. This Mexican came out—he had a gun strapped on his waist and he came walking down to my camp and he strode right up and I thought, My God, this guy is going to shoot me. I thought I was going to be placed under arrest or something. I was pretty paranoid. He walked up and thrust out his hand and said in bad English, "Congratulations, your book is accepted." We went hooting and drank beer and had a big celebration. So I came back up and even though the book was accepted there was still work to be done on it. I moved to Montana and worked on the book, and when it came out it did pretty well. Then it was sold to the movies and was made into the worst movie in history.
What was the name of it?
The Sporting Club.
Never saw it.
If you blinked, it was gone. But I was paid for it. I had been accustomed to living on two to four thousand dollars a year and to suddenly get a movie check, man, I was looking at a decade's writing. All of a sudden I realized that if I did nothing but fill up scraps of paper I was gonna be a writer for a while.
The only real money in fiction now seems to be movie money. I know several writers who have managed to buy their first house because of their movie options.
Well, I'm one of those writers for sure … I came out and bought a little ranch here and then it quadrupled in value. I resold it and bought another ranch out east of town and resold it. That turned into my land base and that's what my security derives from now. But when I look around I see these kind of writers—I won't name names—who published one exquisite book of short stories twenty years ago, and have had pretty remunerative academic jobs for twenty years on the basis of that one tiny volume. I would say those writers have made a lot of money off their books.
I hadn't really thought about it that way.
Look what you have to do to get a comparable teaching job on the straight and narrow road: get a doctorate, fight your way through the MLA conventions, hope to get the nod from some backwater school, fight your way for tenure. I think writers have it very easy in colleges. Don't you think so?
In a way, you could say that. And it is unfortunate, because being a good teacher is one skill, being a writer is another. They are not necessarily the same thing at all.
I spoke to that issue at a writers' conference. I said, teaching ideally requires considerable pedagogical abilities and just because you're not making a living entirely by your writing does not mean you have to become a teacher. I've had some miserable writer teachers; they thought they were purely totemic value sitting at the head of a class monosyllabically reacting to students' questions.
Yet some writers feel that it was extremely beneficial to have that community of other writers …
Oh, I give you that … and the Stanford thing was quite interesting that way, the drama school was great that way, but where that was truest for me was as an undergraduate at Michigan State. I had three or four chums there who were really driven to write. Chief among them was Jim Harrison, of course. But there were others of us there, some of whom were very good and didn't make it. We had a really passionate literary situation. It was really beyond anything that I saw thereafter.
I don't think I have ever talked to a writer who didn't agree that writing is a very lonely profession.
I don't think loneliness is the word. John Graves said writing is "anti-life." I'm forty-five years old, I've been writing full-time since I was sixteen, I've been writing almost every day for thirty years; and as I look back with a degree of resentment, I realize that I literally lifted chunks of my life out for drafts of things, some of which got published and some didn't. And there is no experience to show for it, there is nothing but sitting in front of a legal pad for what now must amount to a third of my life. It's as though that was a hole in my life.
But you have had this friendship with another writer, Jim Harrison, all these years. Has it had an impact on your work?
I'm sure we've had an impact on each other's lives and thinking. We've managed to bolster one another in a fairly high view of the mission of writing, so that in lean years and blocked times it still felt that it was kind of a religious commitment. I don't know what writing is seen to be now, but I know that I continue to believe sort of what I believed then; I'm like someone who is intensely and successfully raised as a Catholic or a Lutheran; it just didn't go away from me. And now as I look on a future of freedom from the kinds of worries I used to have, my only vision of excitement is to be able to read and write harder and do what I wanted to do in 1955 or 1956. I am sure that the fact that Harrison and I have been writing back and forth for a quarter of a century almost entirely about writing has been one of the things that keeps that thread intact. Having a handful of writers around the country whose reality is there for you, knowing they are out there, knowing they might get what you are doing, makes you independent a little bit.
Are they the people you write for in a sense of an ideal reader?
There are some writers whose opinion really matters to me—who could really hurt my feelings if they said the book was terrible, who could make me excited by liking it. The three or four people whom you respect thinking that you're not a complete fool can really keep you going.
Who else do you want your books to be accessible to? In the sense of Virginia Woolf's "common reader"?
Let me wind back a little bit by saying I think that the sort of burnt-earth successes of modernism have left prestigious writing quite inaccessible to normal readers. There used to be a perennial New Yorker cartoon where some yahoo from Iowa was standing in front of a painting at the Museum of Modern Art saying, "All I can say is I know what I like" and I think it was meant to show how stupid the average guy is. I actually think that the average guy is right in saying I know what I like. I'm a little bit dour now when it comes to books which are terribly brilliant by some sort of smart-set consensus, but which nobody I know can read.
How important is the language of a novel to you, the joy of words?
There is a thrill to be had in language viewed as music, but I think for that tail to wag the dog is a mistake. Obviously there's an infinite mix and there is no right and wrong about it. At this point in my life the writing that I really like has clarity and earned and rendered feeling as its center. Writers who have done that most successfully leave you feeling experientially enlarged, rather than awed or intimidated—those things which have been the basis of the modernist response in writing.
It seems to me that Nobody's Angel and Something to be Desired are moving towards a simpler and cleaner style than your earlier work. Do you think anything in the earlier work prepared you for this?
I think there has inevitably been some kind of an evolution for me in the rise of emotional content. It's also been a moving away from comedy. I set out to be a comic novelist and that's become not clear to me as time has gone on. Things have happened—you can't live forty-five years without things happening to jar and change you. The biggest change for me was a tremendous uproar in my life during the seventies. My mother, father, and sister died in about thirty months flat. I remember very specifically feeling that it was a watershed, that I would never be the same again after that happened. When you have attended that many funerals that fast it's very hard to go back to a typewriter and say, "What is my next comic novel?" You simply don't do that. But reviewers think you do. Reviewers say, "Why isn't he still as funny as he was before all those deaths?" Reviewers are endlessly obtuse. And that makes you shrink away from what they represent; it makes you shrink away from publication in a funny way because you realize there's this dreadful stupor that you are going to have to march through with your latest infant in your arms.
I'm gathering from what you're saying that the "word-drunk" style in your earlier work was tied in with the fact that it was comic.
Well, yes. I wanted then and will want again to write comic novels. I love comic fiction.
Do you see comic fiction as a tradition and if so, what are some of the elements of it?
Good comic writing comes from a very nearly irrational center that stays viable because it is unexplainable. It often disports itself in a kind of charged language. That is to say it is not appropriate to use exactly the same prose style for writing an all-out comedy as it is for writing a rural tragedy. Each book demands its own stylistic answers. At the same time, one has the right to expect a writer to have a style. I don't think a writer has to be as transparent as the phone book. I don't want to be that. I think, though, as you perfect your style you should hit the target on the first shot rather than on the fourth, and a good writer should get a little bit cleaner and probably a little bit plainer as life and the oeuvre go on.
But it seems to me that there is a charged plainness in your last two books. The simplicity has under it all the skills that went into the others.
Oh, I sure hope so. You want something that is drawn like a bow and a bow is a simple instrument.
There is a lot of wit in Something to be Desired. It's sad in some ways but it's also got a satirical edge. Was that intended?
It wasn't intended to be satirical, but it was intended to be comic. I wanted to take a piece of crazy venture capitalism and show how desperate a private business really is. For some people getting their backs to the walls and starting a successful business can be as desperate an action as taking drugs. The guy says, "My God, I don't know what I'm going to do, I think I'll open a pizza parlor. My life is at an end, I'm going to start a dry cleaners." That seems to be a wholly American approach to desperation.
It also is pretty funny.
It's hilarious. But once you spot it, you can go into a town and all you see is desperation. You see some sad lady with a fashion outlet in downtown Livingston, Montana. You know, the wind is blowing through the town and the town is filled with snow as she is standing behind the plate glass, with a lot of imitation French clothes. What could be more frantic?
Critics talk about you as a comic novelist but always with the implication that this is heavy social comment, social satire and that sort of thing.
Well, there was an old Broadway producer who said, "Satire is what closes on Saturday night" and I think he is exactly right. I think satire has as its fatal component an element of meanness. It more or less says, look at what those awful people are doing. I'd never do anything like that, but by pointing them out I hope that you people will change them. Comedy, on the other hand, says, look at the awful things those people are doing. I could be doing the same thing, but for this moment I'm just going to describe it.
It strikes me that you have a lot in common with Mark Twain.
I find that hugely flattering. Nothing could please me more. I see him as immersed in a well-loved American milieu, schizophrenically rural and urban, inclined to bursts of self-pity as the autobiography would suggest and also inclined …
In wild and hairy business schemes …
Wild business schemes which I have been guilty of.
That always failed.
I'm a better businessman than he was.
His always failed.
And also an element of anger and rage disguised as comedy as in "The Man Who Corrupted Hadleyburg." Some of them are more bitter than anything else and the bad side of Twain is something I identify with, too.
One subject that seems to unify all your books is what happens to people who get hung up on an untested idea.
One of the great themes of Irish-American literature, if I can pretend to be Irish-American professionally for a moment, is spoiled romance. Scott Fitzgerald was the master of this and while the elements were in balance he was marvelous. But when it became something as ugly and pusillanimous as The Crack-Up, which to me is one of the most loathsome pieces of writing in the language, you see the Irish-American stance fall apart. What frustrates me when I think about Fitzgerald is it seems, from the evidence of The Last Tycoon, that he was about to go into a thrilling middle phase; having survived drunkenness and shattered romance, he was now going on to be a grown-up writer. We never get to find out about that.
I remember one time meeting Gore Vidal and he sort of stared at me and said, "Funny thing about all you Irish writers, you're all social climbers." And I think that is kind of true, the ease with which the Irish could move in American society once they got going. True of John O'Hara and Scott Fitzgerald for sure.
In many ways, especially in their endings, your last two novels, Something to be Desired and Nobody's Angel, remind me of Henry James. They're similar in the sense of the psychological violence, the cross-currents of violence that leave people wiped out. They come to the place where they see too much, they see too clearly.
I, of course, come to it from a sort of cruder perspective. Partly from being in the horse business, I've spent a lot of time in the Oil Belt and I've gotten to know a lot of petrochemical zillionaires who breed horses and do things like that. I have also gotten to see a lot of people on what was recently the American frontier who are now living in the world of answered prayers. They go down to the 7-Eleven store in helicopters; they go to Scotland and buy the winner of the dog trials to bring back to keep around the house; they jet around the world and things get very, very accelerated for them. All of a sudden they are up against the accumulated values of the civilization to that point, but they have to deal with them because money, drugs, speed, and airplanes have brought them to a point of exhaustion. Sooner than it even did before. They are up against the American dream as it's expressed in western American in a way that makes it something that can't really be survived.
But, when you think of the material James dealt with—nouveau riche Americans. The pattern of Something to be Desired reminded me so much of the pattern of John Marcher in The Beast in the Jungle, who at the end replaces obsession with obsession on top of obsession.
It really is a case of a man discovering that a narcissistic crisis is going to bear penalties which are permanent. I think that the nature of the age, say the sixties, the seventies, and the eighties, has been the indulgence of the "me" figure without suitable precautions. People should understand that, yes, it might be marvelous for you to go on a mission of self-discovery, but understand that people will not necessarily be here when you get back. I don't think Timothy Leary ever told anybody that; I don't even think Ken Kesey told anybody that. I think they more or less said that you paint your bus psychedelic colors and you take off, and when you come back the things that you wanted to be there will still be there. That turns out not to be the case. My book is about that. Its implications are not tragic because the narcissist is not a good tragic figure.
You've said a couple of interesting things about your earlier books; I wonder if you would care to comment about them.
I see the progress of those first three books as technological jumps from each other. The first, The Sporting Club, was meant to be a really controlled acid comic novel of the kind that I was then appreciating. Henry Green and Evelyn Waugh … Your first two or three books represent all that you wanted to do during the previous twenty-eight years … you come out and want to write Hamlet, and then you want to write Don Quixote and then you want to write The Divine Comedy. Then you begin to simmer down a little bit. My second, The Bushwacked Piano, reflected my fascination with picaresque novels. The third book really derives from my interest in surrealism, juxtaposition. Ninety-Two in the Shade has more jagged layering of voices and situations than any book I wrote before or since. When I was writing it I was trying to not write a protagonist-centered novel. I was trying to take a different whack from a different angle and not write a Jamesian novel and not confine the information to what could be seen from a single point of view. And when I look back I realize that I must have gotten so aloft in this project I wonder how I could find the bathroom at the end of the day's work.
That book has been called a giant pun on Hemingway, and your earlier books were compared to Faulkner. Were you in any sense conscious of that element?
That is just absurd. Hemingway is a figure that casts a tremendous shadow for better or for worse. In the United States, it's a cottage industry to produce books about how terrible Ernest Hemingway was. So when Harry Crews or Jim Harrison or I are called Hemingwayesque, it's merely a way of saying, "We don't like this writer."
The criticism that I've read implied that you were writing the anti-Hemingway novel, turning the Hemingway mystique or code of behavior upside down.
I would say that the gist of the Hemingway comparison over the years has been by way of belittling my work. But I don't feel singled out. When I talked with Gore Vidal, he said, "I've been rereading Ernest Hemingway, and he is so scriptural and dull," and I said, "Well, I don't know what it is, Gore, but the people of the world go on wanting to read Ernest Hemingway." He said, "Not this people of the world." I think that is a kind of stance. There is a deep, deep hatred of Ernest Hemingway in the American literary community. And they should just admit it.
But you do admire his work?
I don't like all of his work. Actually, in fact, I don't like maybe more than half of it. But, the thing that is obviously interesting is that Hemingway can acquit himself in prose. Nothing needs to be said in defense of him; his influence will continue to erode his enemies' bastions.
How does a novel come together for you?
There are two ways a novel can come together for anybody. One is answering to a plan. I've found over the years that that doesn't work very well for me. I'll outline everything and then the outline becomes irrelevant. The writing I like the best is when I don't know what I'm doing. This is another way of saying, if I can foresee the shape of a book and if I can foresee the outcome of things I've set in motion, then that is almost a guarantee of its being too limited. I would rather be a sort of privileged reader in that I get to write what I get to read, and chance having to write six or seven hundred pages to produce a two-hundred-page book. Then there is an element of real, deep-down excitement about the process. It is the harder way to write a book, the wilder way. It's the Indian way to write a book.
Can you identify the place where an identifiable voice, a narrator or protagonist, takes over?
Yeah, but that comes up from within. It's like metal. You heat it and you heat it and then light comes out of the metal. You can't just go right up to the thing and say, "Happen." It has to arise from some level of your self that you don't control.
I'm thinking of what Stanley Elkin has often said, that the first thing he hears is a voice and then the next thing that comes to him is an occupation.
Sherwood Anderson, who is by way of being my favorite writer these days, always used to try to get the pitch right. He would keep writing and writing on his first sentence until the pitch was right and then he could write it. That sounds very familiar to me. On the other hand, Peter Taylor, who is a superb writer, said one of the wiliest things that I've heard in a long time. He said that when he begins to hear the voices in a story and the story begins to write itself, he tears it up and throws it away. So there you have it. These things are highly personal. I know lots of fine horse trainers who use systems that are diametrically opposite to one another; they would seem to cancel each other, but they all end up making really fine horses.
Do you think people reading your books tend to confuse you with your characters?
Oh, yes, I'm sure they do, and I'm sure that's partly my doing. I don't think I would have much luck writing a book from a stance or a point of view which I didn't share at all. But you want to separate yourself from your narrow focus in order to broaden the geometry of the book. I used to think in terms of these utterly perverse plans for books. I was once going to write a detective novel in the form of a cookbook. I was hellbent just to shake up the kaleidoscope. I don't feel that way anymore. I find it hard enough to write interestingly and to write well, giving myself all the tools I can handle. I no longer think it is necessary to make it crazy or write a six-hundred-page novel that takes place in two minutes.
A lot of critics and a lot of readers seemed to think Panama was autobiographical. When the narrator says, "I'm working without a net, for the first time," is that you giving away yourself?
First of all, that's a strategy to draw the reader into my web. There is nothing more handy to an author's purposes than to have a reader say, "Aha, now I'm going to find out." Then you can take him anywhere. In fact, it was tonally very much autobiographical; in specific incident, it was partly autobiographical. At the same time I wanted the reader to believe what I was saying, because sometimes one could make up something that would better illustrate an emotional point than the actual thing that happened. All of us have gone into a store and looked at a plastic doll or something that doesn't mean a thing and suddenly been overwhelmingly depressed by it. I can remember when the McDonald people brought out Egg McMuffins and there were Egg McMuffin signs all over Key West. I looked at it and I thought life was not worthwhile anymore if I had to share the planet with Egg McMuffin. Well, that doesn't translate, it's not usable.
But does the experience described in Panama, this narrator who's been in the fast lane and gotten totally burned out, at all reflect what happened to you after Ninety-Two in the Shade and the film?
Yes, I think I got pretty burned out …
You got in big trouble?
Yes, I did. It was big trouble, but it was good trouble, in some ways, because I often revert to being a control freak, as they say. And you know, I really had been such a little monk trying to be a writer for so long that I was sick of that. I saw all of these wonderful social revolutions going on around me and I wasn't part of them. Everybody was having such a wonderful time and I was always in the damn library and I was getting tired of it. And so, in 1973 when suddenly I was on the front page of the New York Times and movie producers wanted to give me money and people wanted me, I just said, "Yes." I said, "I'm going to go do this for a while," and I did and at the end of it, I was pretty played out. It was a bad time to be at the end of it because that was when my family started dying off. That was not a happy time. At the same time, I could hardly repudiate it; you know I wanted, as the girls used to say in the romantic dramas, to live a little. I wanted to go out and do a lot of things and I certainly did. I got out and I saw just about everything that was going on.
And did a little of it, too?
I did all of it.
And you did it in the seventies instead of the sixties. You were a late bloomer.
I still am.
You seem to be a person for whom a rich family life and your work out here on the ranch is very important.
Yes. I'll stick to my guns on that one. You'll find me doing this twenty-five years from now if I'm lucky enough to be alive. I have eliminated a lot of things now, and I really like my family life. I'm married to a wonderful, though girl who knows what she wants to do. I don't have to prop her up, she's just fine, she fights back. It's great. My kids like me.
How many times have you been married?
I've been married three times really, but I was married very, very briefly the second time. I was married for fourteen or fifteen years in my first marriage. Then I was married for eight months or something like that. I've been married for eight or nine years now.
Did the burnout you went through in the seventies have anything to do with the breakup of your first marriage?
I think so … I think so. But it also had sort of run its course. It was not an acrimonious conclusion to a first marriage. I very much admire my first wife. She and I continue to be friends. In fact, she and my present wife are great friends.
Your second wife was an actress, wasn't she?
Margot Kidder. It was just an arbitrary event, has nothing to do with any … The record speaks otherwise so I can't say this, but I'm really kind of a monogamist.
What do you do here on the ranch? Can you tell us a little bit about the cutting horses?
Well, we have a band of broodmares, twenty or twenty-five mares that we use for breeding purposes. Then we run anywhere from 75 to 125 yearling cattle. We raise and sell and break and train cutting horses. Which is actually a bit of a monster; it takes up more time than I want it to.
What is a cutting horse?
In the West, cattle are sorted horseback, at least they always were. Horses are getting replaced by motorcycles and feedlots and weird things, but still a cutting horse has always been a valuable tool to a cowman for sorting cattle. They take diseased cattle out, or nonproductive cows or injured cattle. To go into a herd and bring a single individual out requires an incredibly smart, skillful, highly trained horse and a very knowledgeable rider. That situation has produced a contest animal, just as range roping has produced rodeo roping, and horse breaking has produced bronco riding. That's what we raise here. We have probably one of the better small breeding programs in the nation. We work hard at it. It's not a hobby. We raised the reserve champion of the Pacific Coast in the cutting-horse futurity, we raised the national futurity reserve champion, and I've been Montana champion three years in a row, and we've had the open champion up here.
What relationship does it bear to your writing life?
It keeps me thrown among nonliterary people a big part of my life. I spend a lot of time with cattle feeders and horse trainers and breeders and ranchers, and I like that. It also has made me sort of the village freak in their world. When I rode at the national finals at the Astrodome, it was horrifying. As I rode toward the herd. I could hear these blaring loud-speakers: "Novelist, screenwriter," quack, quack, quack. It is as through this geek has come in to ride, you know. That is kind of disturbing. I'm really not one of the boys in that sense. On the other hand, I can compete against them and beat them and they respect our breeding program.
Does it keep you sane?
Well, it's the outer world. You know you can't go out there and mope around and be narcissistic and artistic in a band of broodmares with colts on their sides who all need shots and worming and trimming and vaccinating.
How do you schedule the two different things?
It goes up and down seasonally. For example there's not a lot to do in the winter. All we can do is feed. And then about now, as soon as things really get going in the spring, it gets to be too much and sometimes I kind of resent it, because I'm working on a book, and I don't want to be out there doing that all day long.
One thing we haven't talked about is the father-son and son-father element in your work.
Yes, I would like to say something about that. It seems funny. My father's been dead for almost a decade and I'm forty-five; it seems I should stop thinking about that. But it has never really seemed to quite go away. When I was a little boy, my father and I were very close and as I got older and he got more obsessed with his business and became more of an alcoholic, he kind of drifted away from me. I think I've been inconsolable about that for a big part of my life. Inconsolable. I mean when I look at a blank piece of paper, all of a sudden Dad comes out. It's there and all I've been able to do is write about it. Try to get it down. I think maybe I got it clear in Panama and I'm not obsessed with it anymore. I'm more obsessed with my relationship to my children and trying to feel that I've made some progress. If I could write as long as I want to, and I can think of maybe ten books that I want to write right now, I think it will be seen that this is sort of the end of that father-son era in my writing.
What about the business of games people play as an organizing principle in your work?
Once you leave subsistence, you enter the world of games, whether you move from subsistence to warfare or you move from subsistence to art. They can all be viewed as a situation where people say, "I'll tell you what, you take that position and I'll take this one …"
And we'll see what happens …
And we'll see how it turns out. For some reason it is quite automatic for me to see that interpretation of what's going on. I don't mean it in a reductive way. When I see games in life I don't say that life is just a game, that's not what I mean at all.
You do tend to write about people who aren't necessarily against the wall economically. They have the means by which to enter the realm of games.
In fact, even ranchers, like the people next door here who just barely make it financially every year, have time to do anything they want to do. You talk to people in Livingston, which is kind of a blue-collar town, and they'll often say, "You've got time to ride horses and do all the things you want to; we're really up against it." Yet they'll pay five thousand dollars for a snowmobile and they'll go buy these campers, but they see that as their necessity material. As opposed to silly stuff like horses, they've got serious stuff like campers and snowmobiles.
It's not a valid point, but one of Reagan's henchmen said, "How can we as a government address the problem of poverty when the number one nutritional problem in the United States is overeating?" And it was a real snarky remark, but at the same time I see a lot of people who say "I have a dishwashing job, and you get to be a writer." They don't have to have that job. And it makes it boring for me to write about dishwashers, because I don't see why they do it or why they want to do it.
I take it at some point you've got a character and you say, let's see what happens to him if we put him in this situation. That's in a sense sort of …
… a game. In fact it seems to me that life is like that. I mean, that makes the Lewis and Clark expedition a game.
That makes democracy a game. Maybe even first-strike capability is a game. I don't know, I mean I think this game idea gradually moves into meaning nothing. It just means life, charged life versus passive life.
But you do see it as an organizing principle and it certainly shows up in your work.
I love play. Playfulness is probably the thing that marks our household.
You said something earlier about this Irish family you came from.
My grandmother was orphaned at thirteen. She was the oldest of the family and she raised all these children, her brothers and sisters. My father came from a small town, and had very little means. He was so astonished he went to Harvard that, to him, life became "before" and "after" Harvard, so we never revisited his origins. But I looked into the stuff. My grandfather's mother died of tuberculosis and malnutrition at twenty-nine with five children. They really didn't have much of a chance. All the girls in the family listed occupation: weaver, address: boardinghouse. You know, all the way down through these records. I just realize how terribly hard they really had it. And then, by the time I knew any of those people, I realized that's why life seemed so exciting to them. They were very optimistic people, and they had it as tough and as mean as you can have it.
You remember the thing that Galbraith said years ago, "There is a vast difference between not having enough and having enough, but there is very little difference between having enough and having too much"? I think that there are a few sectors of this country that really have too much. Certainly the country has too much. That makes me believe that our burning our candle at both ends, while much of the world has no candle, must represent at least the prospects for decline. I sometimes think I see signs of that, though my view of life is not entirely that dour.
Why not? How do you accommodate the discrepancies?
Well, for example, I have a five-year-old daughter who is very excited about the orchard and the horses, the new colts. I don't really think I need to beleaguer her with information right now about Biafra, nor do I think that the activities of a Bernard Goetz underline the reality of her pleasure in new colts. All those things aren't necessarily connected. Some people feel they are, and maybe they're right, you know. It's a sort of religious loftiness that I don't have. I think, though, that the people who do have that sensibility don't seem to ever see anything in the foreground.
Do your books stand, in and of themselves, as a defense against what you see around you that's subject for despair?
Everybody has a responsibility to develop some sort of island theory. I think that life kind of hurtles forward in a massive way for the world, but within it, people invent islands—islands of sanity, is lands of family continuity, islands of professional skills and powers, islands of craft, art, and knowledge. Those islands basically are contributors toward a cure for despair, in ways that we probably cannot quite understand.
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Do you think children should learn how to use hammers and nails? Power tools? Glue guns? And how do you feel about open-ended exploration of art materials? This week's roundup brings you some big ideas on tinkering, creating opportunities for child-directed art, and free exploration at the art table. And as a bonus, I found an inspiring journaling idea that I think you'll … [Read more...]
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"The California critical thinking instruments for benchmarking, program assessment, and directing curricular change"
Phillips, Charles R.
Chesnut, Renae J.
Rospond, Raylene M.
MetadataShow full item record
SubjectCritical thinking.; Assessment.; California Critical Thinking Skills Test (CCTST); California Critical Thinking Skills Test Disposition Index (CCTDI); Pharmacy--Study and teaching.; Critical thinking--Study and teaching (Higher)
Objectives. To assess pharmacy students' critical thinking (CT) measures and identify areas for curricular reform. Methods. Pharmacy students were given the California Critical Thinking Skills Test and Disposition Index at various points in the PharmD program. Scores were compared with a national referent group and evaluated for changes across the curriculum and between classes. Results. Students were comparable to national norms. Pretest and posttest scores for total disposition showed improvement. Scores in all subcategories except for truth-seeking were consistently above 40. The CT skills of the pharmacy students varied compared with those of referent students, but the pharmacy students' overall score of 18 was in the 73rd percentile. Pre- and post-skills scores showed improvement. Students scoring low on the pretest improved more than those scoring high. Conclusions. Students had a consistent disposition towards CT and compared favorably to national norms. Both disposition and skills improved across the curriculum. Dimensions of critical thinking on which students score low should be areas for curricular and other program changes.
Charles R. Phillips is an Associate Professor of Pharmacy Administration/Dept. Chair of Pharmacy Practice, Renae J. Chesnut is Associate Dean for Academic and Student Affairs. Raylene M. Rospond is Dean, Pharmacy and Health Sciences. All three are in the College of Pharmacy and Health Sciences at Drake University. They can be contacted at: email@example.com, firstname.lastname@example.com, and firstname.lastname@example.com
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Defining, Teaching, and Evaluation Critical Thinking Skills in Adult Education Vaske, Joann M. (Drake University, 1998-06)One of the goals of adult education is to develop students' abilities to think critically, yet there is a paucity of research to guide adult educators in their pursuit of this goal. This exploratory study was designed to ...
The Direct Teaching of Thinking Skills for Improvement of Reading Test Results Aegler, Carl A. (Drake University, 1990-12)The problem: The purpose of this study was to address the direct teaching of critical thinking and problem solving skills, and to determine if the process benefited fourth grade students by increasing scores on a reading ...
The Direct Teaching of Thinking Skills for Improvement of Reading Comprehension Skills Aegler, Carl A. (Drake University, 1993-03)The problem: The purpose of this study was to determine whether a difference existed in reading comprehension test scores between groups receiving traditional reading instruction and traditional reading instruction ...


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An online education provider is expanding its partnerships with more universities and schools around the U.S., including the University of Kentucky. Coursera is known for offering what's being called Massive Open Online Courses, or MOOCs. It has previously only partnered with a handful of established universities and schools. The courses are often accessible to anyone around the world for free, but only until recently were some courses allowed to be offered for college credit. Read more...


text: To the Editor: The Motley Food Shelf Board wants to thank past supporters and remind all that March is FoodShare Month. We hope the community will consider supporting the needs of Motley neighbors. Minnesota FoodShare Month is an opportunity to stretch dollars to feed more people. The Minneapolis ...Read More


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Thinking of becoming a referee?
If you are 14 or older...
New referees, and returning 1st year referees who began refereeing in August 2014 will need to attend a Grade 8 course, become USSF certified and pay the USSF registration fee in order to referee in the 2015 Spring-Summer season.
The training program includes: 1) an online component, (which includes viewing a required concussion training video); 2) 8 hrs of classroom instruction; and 3) participation in our local pre-season on-field training. Students must finish all components and pass a 100-question test to complete certification. There are four classroom date options for persons wanting to become USSF Grade 8 referees.
Referees must register with the USSF and pay their registration fees online BEFORE they can start online instruction and sign up for their classroom session.
Classroom sessions for persons planning to certify as USSF Grade 8 for 2015:SATURDAY, FEBRUARY 7 8:00AM - 4:30PM @ CSSOR...Sunday, March 29 8:30AM – 5:00PMOR... Tuesday, April 7 8:30AM – 5:00PM(during school Spring Break)OR... Saturday, April 18 8:30AM – 5:00PM
Students will receive clinic location information by email after completing pre-clinic requirements.
** On-field training dates and options will be sent to referees who are officially registered.
NEW referee candidates need to email their name, address, phone, email address and birth date to: email@example.com Once we receive your information, we will email detailed instructions how to access the web site, complete your online registration and clinic sign-up. Registrations and fees can not be accepted at clinics.
Please register early because clinic space is limited. When maximum room capacity is reached, registrations must be closed. Clinic locations and final class details will be sent to new referees by email after online registration and clinic sign-ups are completed.
Our fall training program requires new referees to complete one or two 3 hr classroom sessions, depending on the age level they plan to officiate. The first 3-hr class, (also known as Part A), includes all the training and information a referee needs to be certified to referee U8 and U10 games. The 2nd 3-hour session, (Part B), covers additional topics and instruction that will qualify a person to Center referee and Assistant Referee for U12-U13 Fall games
Our 2015 Classroom sessions for new referees are listed below. New referees must attend a U8-U10/PartA training session on either June 28 or July 7. Completing one of these classroom trainings and the other components will qualify referees to officiate U8 and U10 games. If you would like to officiate U12 and U13 games, you also need to attend a U12-U13/PartB training session on either July 21 or July 26.
Officiating U8-U10 Games: Sunday, June 28 6:00 p.m. - 9:00 p.m.
Officiating U8-U10 Games: Tuesday, July 7 12:30 p.m. - 3:30 p.m.
Officiating U12-U13 Games: Tuesday, July 21 12:30 p.m. - 3:30 p.m.
Officiating U12-U13 Games: Sunday, July 26 6:00 p.m. - 9:00 p.m.
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Field training sessions will be arranged and scheduled during late July & early August. There will be two field dates scheduled before the fall season begins, and several others offered during the first two weeks of August. Remember, registrations will NOT be accepted the day of a class.
If you wish to begin refereeing in our August Lower Division & Fall Seasons, please send an email to Dave DeWitt at email@example.com , (if you have not already done so). That way we can make sure you are added to the correct clinic roster. BUT...please make sure you have sent us which clinic date(s) you plan to attend.
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Once you've selected your clinic date, you will need to email the date of the class you have decided on along with your personal details above. After we receive your information we will send an email packet that confirms your classroom times and clinic location, plus full instructions on how to complete your online sign-up and start your online training. The email will also contain links to our AYSA referee web site where you will learn how to create your own referee account, and how to submit your referee availability for the season.


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Wed April 17, 2013
Resignation Letter Is Good Enough To Eat
By editor
Originally published on Wed April 17, 2013 2:46 pm
Good morning, I'm David Greene.
Chris Holmes worked at a London airport, but his true love was always making cakes. So Holmes decided to quit his job to run his own bake shop, which brings us to his resignation letter. He wrote it on a cake with icing. He said he wanted more time with his family. He wished his colleagues well. It took two hours, more time than he had ever spent on a birthday message or anniversary wish. A photo of his work went viral, publicity that he really felt was icing on the cake.
You're listening to MORNING EDITION. Transcript provided by NPR, Copyright NPR.


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Jack Lew
Married same-sex couples can file taxes jointly in any state, Treasury says
Same-sex couples will get the same tax benefits as married couples regardless of whether or not the state they live in recognizes their marriage as legal, the U.S. Treasury announced Thursday.
Jack Lew confirmed by senate to be Treasury secretaryComment
The Senate confirmed Jacob Lew to be Treasury secretary, affirming President Barack Obama's choice of a budget expert at a time when Congress and the White House are at odds over sharp government spending cuts.
That was the week that wasComment
Burkman and Fowler interview January 11, 2013
Jack Lew nominated for Treasury SecretaryComment
President Obama announced Jack Lew as his choice for Treasury secretary and hailed past work balancing US budgets .
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Jack Lew's nomination for treasury secretary means a new signature could soon be coming to the dollar bill. Not that you'll be able to read it.
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Between now and Aug. 26, Florida Democrats need to decide if they'll go with their hearts or their minds in the race for their party's nomination for governor.
Tugging at their heartstrings is Nan Rich, a lifelong Democrat and champion of just about every issue important to party members — even when it wasn't politically advantageous or popular.
Aiming at their minds is Charlie Crist, who's transitioned from former Republican governor to advocate of all things Democratic — and is the candidate seen by virtually all political insiders and party financial backers as the one who has a shot at defeating Republican Gov. Rick Scott. Democrats last won a governor's race in 1994, making them hungry for a winner.
WATCH VIDEO: Charlie Crist interview with Sun Sentinel Editorial Board | WATCH VIDEO: Nan Rich interview with Sun Sentinel Editorial Board
Marc Hansen started out supporting Rich, the former Senate Democratic leader from Weston. "I love Nan. I think she's done incredible things."
But Hansen, a member of the Dolphin Democrats gay and lesbian political club, has changed his mind and is voting for Crist. "I want to be behind a winner."
With early voting beginning this week — on Monday in Palm Beach and Miami-Dade counties and Friday in Broward — the conventional wisdom is that Crist will win the Aug. 26 primary to become his new party's standard-bearer against Scott.
Rich's supporters object to the notion that Crist has the nomination locked up.
"I think it's very close. Anybody who thinks they can predict it is either a fool or they're being paid to make a prediction." said Joe Kreps, one of the "Nan fans" — the label they apply to themselves. He said the "big story is Nan surging and Charlie fading."
There's little evidence to support that assertion. Rich began running for governor more than two years ago, but never gained much traction. But the moment Crist entered in November, his candidacy turned the Sunshine State's governor's contest the No. 1 race in the country in the 2014 midterm elections.
Since then:
•Crist has raised almost 200 times the amount of money Rich has managed to scrape together. His backers include the donors who write the biggest checks and can raise money from others. The Democratic Governor's Association, the national party entity responsible for aiding its governor candidates nationwide, has already given Crist $1 million.
•Crist often attracts a large news media contingent for his events; few reporters cover Rich.
•Crist has been embraced by the Democratic political establishment. Even Rich concedes that many leaders of the state Democratic Party, and her home-county Democratic Party in Broward, are tacitly behind Crist.
•Public opinion polls show a neck-and-neck race between Crist and Scott, but show Scott would defeat Rich. After running five statewide general election campaigns in the past 16 years, Crist is well known to voters. Surveys show the vast majority of voters don't know anything about Rich.
Once a candidate gets in Rich's position, it becomes difficult to break out of the spiral. Bad showing in public opinion polls because she's unknown. Poor poll numbers make it hard to raise money. With little money it's tough to look credible to the news media or pay for advertising. With little news coverage and advertising, people don't know about the candidate when pollsters call.
Even the Scott campaign operates as if the fight for the Democratic nomination for governor is over and it's a Crist-Scott contest. The governor's campaign and the state Republican Party aim all their television ads at Crist, and send out a constant stream of critical emails about Crist. They rarely mention Rich.
On Wednesday, the Scott campaign dispatched Lt. Gov. Carlos Lopez-Cantera to offer up a dose of Republican counter-programming across the street from a Crist event in Fort Lauderdale, a strategy used previously in Palm Beach County. The Scott campaign has never dispatched Lopez-Cantera to offer Republican perspective at a Rich event.
Crist ignores Rich except when he's pressed by reporters, arguing he needs to devote all his time to the campaign against Scott. He asserts he's the better choice because he has the ability "to communicate effectively, being a known entity to the whole state, having the resources to communicate against somebody [Scott] who's got limitless resources."
And, he said, he agrees with Democrats' values. "I care about and love this state. I really do. If you give me a chance to be your servant again as your governor, I will not let you down," he said. "I was the people's governor. I think that title tells you a lot about my heart and what I care about."
Rich complains often about Crist, lumping him in with Scott as a "failed Republican governor." She emphasizes her standing as a lifelong "true" Democrat — Crist has been a Democrat for 20 months — who hasn't flip-flopped on myriad positions the way Crist has. Today they agree on virtually every issue important to Democratic primary voters.


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Toledo Rockets at Ball State Cardinals Basketball
Wed, Jan 30, 2013 7:00 pm
John E Worthen Arena, Muncie, IN
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30 year old woman | Farmingdale, NY, USA | Seeking men 30-38 within 15 miles
An easy going girl just looking for her special someone!
I decided to try this online dating thing since I have had some friends who have been very successful on here, so why not try. I am a normal girl looking for a nice, normal guy. Basically, I am a complete Leo…."Leo's are confident, loyal, sincere, outgoing, and affectionate." In addition to those traits, I am young at heart (how couldn't I be, I spend all day with children and love kids :-) ). I like to go out, but at the same time, I don't mind cuddling and watching a movie. No matter what I am doing I have a good time, as long as I am with good company. I enjoy the company of great friends and family. I am definitely a family type of girl, so I am looking for a guy who believes family is important. I see my family a couple times of week, so I'm looking for someone who enjoys family. I don't know where I would be without them. As for what I am looking for in a guy, I believe that honesty is extremely important. I believe that if you can't be honest with someone than what's the point of having a relationship with them. I am looking for someone that is fun and enjoys doing things (whether we're going out for dinner, walking on the beach, going to the wineries it doesn't really matter to me). I like spontaneity and surprises are always a plus ;-). I also believe that relationships are built on friendships, so it is important to start there. I might sound shallow in my next statement, but I hope you can see where I am coming from. I am also looking for someone that has their feet on the ground with a job and life in general (sorry but part time at the supermarket is not an adult career to me). I have a great job and working towards my doctorate, so I'm looking for someone who is at the same place as I am. Hopefully I didn't scare you away and I'll hear from you soon :-)
Coffee and conversation , Cooking , Dining out , Movies/Videos , Music and concerts , Exploring new areas , Nightclubs/Dancing , Travel/Sightseeing , Watching sports , Wine tasting
Baseball, Billiards / Pool, Bowling, Dancing, Football, Other types of exercise, Swimming, Walking / Hiking
I have Dogs
Middle of the Road
In the summers you can probably find me near the water. I enjoy traveling anywhere. I have been to the most of the Caribbean and a good amount of Europe, but I would love to do it all again and visit new places.
Pace University, New York, NY
A bar, traveling, going to dinner, movies, comedy clubs, wine tasting, etc. as long as I am with good company it really doesn't matter. During football season you may not be able to pull me away from my fantasy league or the JETS!!
It has to be a children's book (I am a teacher so I read kids books ALL day long). When I do get time to myself to read I enjoy People or romance novels.
Z{{Cta}} {{#if HasMoreInfo}} ?{{CtaSecondary}} {{/if}}
|What she is looking for
|5'0" (152cms)
|5'5" (165cms) to 6'2" (187cms)
|Body type:
|About average
|About average, Athletic and toned, Stocky
|No preference
|Light brown
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|No Way
|No Way, Occasionally, Yes, but trying to quit
|Social Drinker
|Social Drinker, Moderately
|Education / Teacher / Professor
|No preference
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|Never Married
|Never Married, Widow / Widower, Divorced
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|White / Caucasian
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I'm a Catholic school good girl.
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I graduated with my Bachelors from Pace University in Westchester and a Masters from Hofstra University.


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"Telecom has also boosted mobile coverage" at the arse end of the story? Why is it when telecom does anything good its barely news and yet vodafone can sneeze and its a national news item? this media bias is frankly a bit sickening and really shows the shoddy state of media in this country
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Following Friday's explosion at Pike River mine, Vodafone has been working with The New Zealand Red Cross to provide essential communications support to those affected, the company said in a statement.
The Vodafone Network Operations Team has deployed extra mobile cellsites to the region to best manage capacity while there is significantly increased demand in the area.
All services in the region are working, and additional 3G capacity was scheduled to be available by the end of Monday.
Vodafone,s rural partner, Farmside, is currently working to deploy a self-aligning satellite dish, which will be used to connect a free wi-fi hotspot to the internet.
"We want to ensure that the people most intimately involved don't have to worry about telecommunications during this very difficult time," the company said in a statement.
"For that reason we have offered free local, national and mobile calls to the families of those affected as well as the volunteers. This support can be accessed either through the Red Cross or from 100% Ellery's in Greymouth."
Telecom has also boosted mobile coverage in the area, and provided free calling for those affected by the tragedy.
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Our old Wahanda Gift Vouchers can still be redeemed at over 3,000 locations. Use them to pay as you would with cash. Please note, the Wahanda Gift Voucher's successor – the Wahanda Gift Card – can only be used for online purchases.
As time goes by, the world of nails still keeps evolving at global proportions, to the point it is difficult to imagine how important nail treatments have become to both men and women.
Nails 4 U was started seven years ago by its current owners Mr Andrew Tran and Lord Tony Teano (also responsible for Lord of the Nails), their inspiration in the main coming from Andrew having initially trained in America. With the UK introduction of the American nail process and support from salons in both California and North Carolina, their new exciting and creative brand was created.
The growth in Nails 4 U salons has reflected the increasing interest being shown in Nail treatments throughout the UK, resulting in Andrew gaining further professional qualifications, enabling Nails 4 U to also offer training courses to individuals wishing to become Nail Technicians.
The chain of Nails 4 U Salons was thus born, providing an opportunity for the recently trained nail technicians to instantly trade within the industry with all the support and experience of Nails 4 U. This has been so successful, to date there are 21 salons enabling those technicians the opportunity to enjoy the fruits of their training straight away.


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HotTubWorks Spa Repair Forums
Welcome to the HotTubWorks Spa Repair Forums.
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Thread: Balboa controller
05-06-2012, 03:48 PM #1Junior Member
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Have 8 yr. old spa, appears one the transformers has gone out on Balboa model 52279-03. Curious if I rebuild, find the part or have to buy a new unit?
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