text:
I've always wanted to venture up to Edinburgh for its world renowned comedy festival, the Fringe. So when I was asked to test out a bit of tech and catch some live comedy, I jumped at the chance! I headed up from London late on Friday afternoon to … [Read more]
The Jakobskreuz on the Pilgrim Trail – Tirol, Austria
One thing you'll certainly find yourself doing in Tirol, Austria is climbing mountains. The region has some of the finest alpine scenery you could imagine with Grossglockner, Austrian highest peak measuring at 3797m. On this occasion we opted for … [Read more]
Say "Hello Europe" To My Favourite European Shopping Cities
When you've got a limited number of holidays to take from work each year you soon realise that it's super important to make use of as many extended weekends as you can to travel. Thankfully Europe is more accessible than ever and there are plenty of … [Read more]
Summer Festival Survival Kit & Competition
Glastonbury may have already been and gone with the final murmurs of Kanye West murdering a Queen classic and riding around in a cherry picker, but there are a shedload of funky, fashionable and even hipster festival gatherings still to happen this … [Read more]
Lisi-Osl-Trail – Mountain Biking Tirol, Austria
Mountain biking? That sounds like a bit of fun, I thought reading the activities that I could choose from in Tirol, Austria. How difficult can it be? Some muddy trails, a few bumps, humps and jumps, should be a laugh... maybe a bit of a … [Read more]
#Wingit In Brighton Day 2
Day two of winging it in Brighton (thanks to Booking.com) started in the extremely early hours. I'd been recommended a new night of Latin & Balearic House at the Green Door Store near Brighton's train station. The challenge was to go to see … [Read more]
#Wingit In Brighton Day 1
After being told on Friday morning that I'd be exploring Brighton for the weekend I rushed out from work and headed for the train station. Phone in hand and first nights accomodation booked at The Square, a boutique hotel sat facing one of Brighton's … [Read more]
Weekend Winging It In Brighton!
Surprise! It's Friday morning, I've just been sipping a strong black coffee in an attempt to wake myself up when I got the news that I'm off exploring sunny (hopefully!) Brighton this weekend! I'm leaving work this evening (Friday 3rd July) and … [Read more]
Taking To The Sea – Sailing Menorca
A huge gust of wind hit the sails throwing us off course dramatically, the captain battled with wheel as the boat dipped into a wave. We clung on to anything that would keep us on board the boat. There were no signs of major panic from the … [Read more]


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Concert Reviews
The Haunted Windchimes Review from the ARISE Music Festival
The following is from our KCSU DJs Alex Gumber and Michael Wells: At a festival like Arise, a four-piece acoustic bluegrass band seems to stand out. The Haunted Windchimes are a band from Pueblo, Colorado, and stand out is exactly what they did. With a combination of guitar,
Vincent DiTirro
August 18th, 2015
ARISE Music Festival: Dragondeer
Dragondeer is a local Colorado psych-blues band that has been growing in popularity. After having recently played the Grolsch festival in Europe they were at the Arise music festival. Their music is a combination of a jam blues band with psychedelic touches. On top of a ...
Tyler Stup
August 11th, 2015
Local Band Widow's Bane In-Studio Friday
Boulder's very own self-proclaimed "zombie death polka" group Widow's Bane isn't your typical band. The Widow's Bane released their first self-titled album in 2009. Their latest release, Don't Be Afraid, It's Only Death ...
Rebekah Romberg
February 23rd, 2015
Post Paradise In-Studio Performance and Interview
Local band, Post Paradise, visited KCSU after their performance at the Lory Student Center grand opening at Colorado State University. DJ Nova and DJ Atlas got the chance to catch up with the CSU alums before the release of their third album. Check out their in-studio ...
Kalyn Bessert
February 4th, 2015
Interview: Watsky
I walked into the Aggie not knowing what to expect from a poetry show at a concert venue. I was greeted by George Watsky, sitting on his own surrounded by fifty fold out chairs in the bar area. Soon, the rest of the forty or so fans streamed into the venue to sit in a ...
Sam Bulkley
January 6th, 2015
Wire Faces Interview
On the 24th of April Wire Faces bassist Menyus came in to chat with DJ Jordan about the band and their show at Hodi's for Fort Collins Music Experiment (FOCOMX). Listen to the interview here! Photo from Wire Face's facebook page.
Arthur Stephens
May 16th, 2014
Lindsey Saunders In-Studio Performance/Interview
On February 2nd, Colorado singer-songwriter Lindsey Saunders dropped by our station on DJ Luna's show for an interview and to serenade the airwaves with a few songs. Listen here! Photo from Lindsey Saunders website.
Arthur Stephens
February 27th, 2014
Levi Bronson In-Studio Performance/Interview
Local singer/songwriter Levi Bronson stopped by on DJ Jordan's show to grace the airwaves with live performances of his songs and talk about his background as a musician and songwriter in Fort Collins. Listen to the performance here! Image from Levi Bronson facebook page.
Arthur Stephens
December 5th, 2013
Those Darlins Interview
DJ Nick Nack talked to Nicki on the phone from rock and roll band Those Darlins on November 18th about their upcoming show in Denver at the Hi Dive on the 19th. Conversations got enlightening, shedding some information on the bands creative processes and their influences ...
Arthur Stephens
November 19th, 2013
Blockhead Interview
DJ Nicole talked to the hip-hop/electronic act Blockhead last week, listen to the interview here! Photo from Blockhead facebook page.
Arthur Stephens
October 22nd, 2013

subset: commoncrawl


text:
27 June 2011
KABUL –The United Nations World Food Programme (WFP) is reducing food assistance to millions of Afghans and focusing remaining resources on helping the most vulnerable in areas with the highest levels of food insecurity due to a shortage of funds.
15 April 2011
ROME – The United Nations World Food Programme (WFP) urgently requires US$257 million to continue providing food and assistance to the 7.3 million vulnerable and food-insecure Afghans it aims to support this year, mainly women and children.
12 April 2011
JALALABAD – The United Nations World Food Programme (WFP) has launched a groundbreaking food voucher project in eastern Afghanistan, helping thousands of hungry people get the food they need to live healthy lives.
19 January 2011
KABUL – High-level officials from the Government of Afghanistan and the United Nations World Food Programme (WFP) met Tuesday to map out a common strategy for the provision of WFP food assistance to millions of vulnerable Afghans over the next three years.
11 January 2011
YOKOHAMA – The United Nations World Food Programme (WFP) has welcomed the largest ever, one-off donation from the Government of Japan, amounting to US$ 196.6 million. The donation will be used to provide urgently needed food and nutritional assistance to millions of the most vulnerable people in 20 countries in Asia and Africa and will also support logistics operations in eight countries where WFP is working.
22 December 2010
KABUL – The United Nations World Food Programme (WFP) will be able to stave off a potentially critical shortage of wheat by buying wheat locally in Afghanistan in the largest quantity ever, the organisation announced.
28 December 2009
KANDAHAR - The World Food Programme said it was deeply distressed to learn that one of its staff members was amongst the innocent victims of the suicide bombing in the southern city of Kandahar on Thursday 24 December.
28 October 2009
I am deeply saddened by the murderous assault on humanitarian staff in Kabul and the lives that have been lost today following the brutal bomb blast in Peshawar.
16 September 2008
A year after his death, Luciano Pavarotti's legacy of generosity lives on in a tribute charity concert and memorial ceremony to be held in Petra, Jordan on 11 and 12 October.
3 June 2008
WFP has begun providing emergency food assistance to millions of Afghans who can no longer afford to buy wheat and wheat flour, staples of the Afghan diet. WFP distributions in rural, urban and semi-urban areas were due to start this week.
- Harsh winter takes toll on Afghan war displaced Source: Reuters Alertnet
- UN environmental agency to help Afghanistan combat effects of climate change Source: UN News Centre
- More than Lego: WFP's Factory-in-a-box Source: Devex
- The challenge of getting food to Afghan schoolchildren Source: The Examiner
- What It Means To Be A Mother In Afghanistan Source: Care2.com
- 23 January 2015 WFP Ships 'Biscuit Factory In A Box' From Italy To Afghanistan


text:
Click any word in a definition or example to find the entry for that word
90% of the time, speakers of English use just 7,500 words in speech and writing. These words appear in red, and are graded with stars. One-star words are frequent, two-star words are more frequent, and three-star words are the most frequent.
Climate change denialism soon spread beyond the US, especially to the countries of the English-speaking world.
in an online conversation, repeatedly asking a person questions which suggest that you are interested in what they are talking about, but are actually intended to annoy themBuzzWord Article
Open Dictionary
an electric skateboardadd a word
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A must for anyone with an interest in the changing face of language. The Macmillan Dictionary blog explores English as it is spoken around the world today.global English and language change from our blog


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Important delivery notice
The products on this site are only delivered to UK addresses. If you require delivery to another country please visit one of our other sites below.
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Trees - ever fancied growing one in your garden, but worried about it getting too big? They're not all giants and our range features deciduous and evergreen trees for all sizes of garden. Some can even be grown in large containers on the patio.
added to your basket.
Katsura Tree
Cercidiphyllum japonicum
Tulip Tree
Liriodendron tulipifera, Tulip PoplarGrown for its magnificent large, glossy foliage, Liriodendron tulipifera makes a remarkably eye catching tree for the larger garden. The distinctly shaped leaves turn from green to a buttery shade of gold in a spectacular autumn display. With maturity, the Tulip Tree becomes decorated with large, individual tulip shaped, green-white summer flowers that are followed by cone-like fruits - although flowering may not occur for 10 years or more. This RHS AGM species forms a vigorous, large columnar tree that requires plenty of space to be appreciated at its best. Height: 20m (65'). Spread: 10m (32'). More info
Acer palmatum 'Butterfly'
Japanese MapleExquisitely variegated mid green leaves with delicate cream and pink margins. Acer palmatum 'Butterfly' has a dense, upright habit that forms an attractive small tree or patio container specimen. Height: 3m (10'). Spread: 1.5m (5'). More info
Korean Fir
Abies koreana
Of all the conifers, the Korean Fir tree is perhaps the most enchanting. Extraordinary violet-blue cones nestle upright among the dark green foliage from an early age, at a size of just 60cm (2ft). Developing during the summer months, the cones remain a constant fascination right through to late winter. The needles of Abies koreana are wider, more rounded and softer than our native spruces, giving a full conical appearance as the branches twirl around its central stem. This captivating evergreen makes a stunning specimen tree for providing plenty of year round interest. Although this RHS AGM variety can achieve a significant size with maturity, its slow growth habit ensures that it will remain a manageable size for many years. Supplied as a single stem bareroot 20/30cm. Ultimate height: Up to 10m (32'). Spread: 6m (19').More info
Cherry 'Amanogawa'
Prunus, Ornamental Cherry, Flagpole Cherry TreeMore info
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The Gower Hotel and Orangery Restaurant
No prices found through our partners. Please contact the business directly or check some of our recommended alternatives.
How has this hotel rated in the past?
- Room service
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TripAdvisor Reviews The Gower Hotel and Orangery Restaurant Saundersfoot
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Carew Castle
... the age of chivalry was drawing quickly to a close. The last great Welsh tournament of knights was staged by Thomas at Carew in 1507. Spread over five days, the tournament drew over six hundred knights and retainers, with Rhys presiding over and judging the various contests. The sight was a marvel to behold. Chroniclers of the time wrote how the tournament was still the topic of conversation years after its conclusion.
Tenby is a very popular seaside town that has the nickname "Welsh Riviera" it is very popular with families and many have been coming here for many years booking the same rooms in the same hotels on the same dates. It still has the feel of a Victorian era resort, with the narrow windy streets and ...
St. David's
... to go down 39 steps to get to the path that leads to the front door. The floor of the church is actually sloped towards doors of the church. They have a massive pipe organ and has many of the bishops buried in the cathedral. The oldest that I found was from the 1200's. In the fields outside the church are graves for important people from the area. Interesting ...
Kiln Park, Tenby 5/6 & 7 July
... Got back to camper for dinner and then Nigel fished but fishies didn't want to play. Monday (after a lie-in)we walked into Tenby again and looked around the shops was a bit wet and windy. Nigel made use of his NT membership and looked around house in Tenby, had dinner (Pembrokeshire pasty and hog in a duvet sausage roll) nigel settled in and read a book, me as an alcoholic went to the bar wrote postcards and had a pint !!!! (Better ...
Exploring Wales
... frustrating. Today we travelled along the coastline to Pembroke Dock our destination for today. Although the countryside is lovely the little seaside towns are rather drab and not very tourist friendly. Steve has been trying to find a Wales shirt as a souvenir, no magnets, shirts no souvenirs at all except postcards. Even finding a coffee shop for lunch and a coffee proved difficult. Both a little disappointed in Wales, hoping the trip to Cardiff tomorrow will be more ...


text:
|Publication number
|Publication type
|Publication date
|15 Aug 1967
|Filing date
|15 Jan 1964
|Priority date
|15 Jan 1964
|Also published as
|Publication number
|Englebert L Rowe
|Original Assignee
|Ncr Co
|Export Citation
|BiBTeX, EndNote, RefMan
|Patent Citations (3), Referenced by (59), Classifications (37), Legal Events (1)
|External Links: USPTO, USPTO Assignment, Espacenet
United States Patent 3,336,155 PRGCESS 0F COATING PARTICLE WITH A POLYMER Englebert L. Rowe, Portage Township, Kalamazoo County, Mich, assignor to The National Cash Register Company, Dayton, Ohio, a corporation of Maryland No Drawing. Filed Jan. 15, 1964, Ser. No. 337,710 2 Claims. (Cl. 117-100) This invention relates to an improved coating process, more particularly an improvement in processes of coating particles with a liquid phase of a polymer in nonaqueous solvent systems.
Liquid and solid particles are susceptible to coating with polymers separated from an organic solvent solution thereof. An organic solvent solution of the polymer is prepared, the particles are uniformly dispersed therein, and an organic nonsolvent for the polymer and particles is added to the dispersion. A polymer-rich liquid phase separates during addition of the nonsolvent and coats the dispersed particles. Difficulties have been encountered in successfully carrying out the process in that complete recovery of the coated particles in discrete forms is often impossible because of their adhesion and coalescence. Failing complete recovery, costs are increased. Moreover, adhesion and coalescence result in a lack of uniformity in coated particles that are recovered. Such lack of uniformity hinders successful utilization of the coated particles, for example, in preparation of the coated particles into unitary dosage forms of therapeutic ingredients and into paper or film coatings for pressure release.
It has noW been found that incorporation of a mineral silicate into the phase separation system during the addition of the nonsolvent minimizes the deleterious adhesion and coalescence. Hence, the present invention provides an improved process of coating particles with a polymer by liquid phase separation in an organic solvent system wherein the addition of a mineral silicate minimizes adhesion and coalescence of the coated particles and enhances recovery thereof.
In the specification and claims hereof the term liquid phase-forming polymer means polymers and mixtures thereof which form polymer-rich and polymer-poor phases upon addition of an organic nonsolvent for the polymer to an organic solvent solution of the polymer. Formation of the phases is manifested by the appearance of a persistent turbidity during the addition of the nonsolvent. The concentrations of the various polymers in the solvents and the required amounts of the nonsolvents to separate the liquid phase are thus readily determined in the absence of the particles to be coated. The appropriate concentrations are thereafter used in the presence of the liquid or solid particles. The phase-forming polymers are homopolymers and copolymers such as natural and synthetic rubber; cellulose derivatives, for example, ethyl cellulose, cellulose nitrate, benzyl cellulose, cellulose acetate, and cellulose acetate butyrate; styrene-type polymers, for example, polystyrene and styrene-maleic acid copolymer; polyethylene; polypropylene; polybutylene; ethylene types, for example, polyvinyl acetate, polyvinyl chloride, polyvinyl fluoride; and the like.
Liquid organic solvents operable in the inventive process are chlorinated hydrocarbons, for example, methylene chloride and trichloroethylene; aromatic solvents, for example, benzene, xylene, and toluene; ketones, for example, methyl ethyl ketone; alcohols, for example, ethanol.
Operable liquid organic nonsolvents are petroleum distillates, for example, petroleum ether and n-hexane; aliphatic solvents, for example, cyclohexane; alcohols, for example, ethanol and propanol; liquid polymers, for example, liquid polybutadiene; isopropyl ether; and the like.
The solvents and nonsolvents must be miscible with each other and inert to the liquid and solid particles to be coated.
Illustrative polymers and solvent-nonsolvent systems are:
Polymer Solvent Nonsolvent Polyvinyl acetate Methyl ethyl ketone... n-Hexane. Polyvinyl acetatedo Isopropyl ether.
Cellulose acetobutyrate. Styrene-maleic acid Ethanol D0.
copolymer. Benzyl cellulose Trichloroethylene Propanol. Styrene-maleie acid Ethanol Ethyl acetate.
copolyiner. Ethyl cellulose Xylene-ethanol n-Hexane. Polycthylene Xyl Ethanol. Natural Rubber l\lethanol. Polyvinyl acetate Chloroform Isopropauol. Ethyl cellulose Toluene-ethanol- Polybutadiene.
Do Xylene-Carbon Petroleum ether.
tetrachloride. Polystyrene Xylene. Do. Ethyl cellulose. Toluene. Do. Polystyrene Xylene. Oyclohexane.
As aforesaid, both solid and liquid particles are susceptible of coating in the miscible solvent systems. The solid particles, preferably micronized, include pharmaceutical compounds, for example, methylprednisoloue, tolbutamide sodium, thiamine mononitrate, and methscopolamine bromide; dyes, for example, amaranth, alizarine cyanine dye; fertilizers, for example, dibasic calcium phosphate and ammonium nitrate; weed toxicants, for example, sodium (2,4-dichlorophenoxy)acetate. The solid particles are substantially insoluble in the miscible solvents and nonsolvents. The liquid particles or droplets include solutions and dispersions in a polar solvent such as water, dilute acid or alkali, and the like. The liquid particles or droplets are also substantially insoluble in the miscible mixture of the solvents and nonsolvents. Such particles and droplets include water, dilute acid and dilute alkali solutions and dispersions of dyes, reagents, pharmaceutical compounds, fertilizers, adhesives, and developers, for example, amaranth, alizarine-cyanine, trisodium phosphate, phloroglucinol dihydrate, urea, zinc chloride, pdiazodimethylaniline-zinc chloride double salt, ammonium nitrate, sodium (2,4-dichlorophenoxy)acetate, thiamine mononitrate, and the like.
The mineral silicate has a particle size of less than about 50 microns. The silicates are those known as bentonite, kaolin, pumice, purified siliceous earth, talc, and the like. Of these silicates talc is preferred.
The preferred weight ratio of mineral silicate to prevent coalescence of the coated particles varies from about 2 /2 to about 5 parts of mineral silicate to each part of the phase forming polymer. The Weight ratio of the polymer to the particles is not critical and can be varied in accordance with the desired thickness of the coating. It has been found that the mineral silicate must be added intermittently as the liquid phase separation occurs, and in this respect the manner of addition is critical. For best results the temperature of the system, although not critical, should be maintained Within the range of about 0 to about 25 C. Higher temperatures are less eflicient, although operable. It is preferred to induce the phase separation rather quickly once the particles have been dispersed uniformly in the polymer solution. Likewise, it is preferred to recover the coated particles quickly by separation and washing thereof. The particles to be coated must be kept uniformly dispersed during the coating process, and it has been found that a stirring rate of from about to about 300 rpm. provides satisfactory results.
The process of the present invention possesses utility in providing coatings that (1) protect the coated liquid or solid particles from oxidative degeneration, (2) prevent contact between incompatible substances in a mixture of ingredients, (3) mask undesirable odors and tastes, (4) provide a barrier to release of the coated liquid or solid particles until the desired pressure is applied to rupture the coat, (5) provide controlled release of the coated material in various media such as the stomach and intestine, (6) provide increased stability of the coated material and (7) permit handling of corrosive and/or irritating materials.
The following examples set forth how to perform the improved process and the best mode contemplated of carrying out the invention but are not to be construed as limiting.
Example 1 An ethanol solution of styrene-maleic acid copolymer is prepared to contain 10% by weight of the copolymer.
Copolymer solution mls 22 Isopropyl ether mls 40 Methylprednisolone gm 0.5 Talc gm- 1 1 The copolymer solution is stirred, and the isopropyl ether is added dropwise until the first persistent turbidity appears. The methylprednisolone is added. The tale is added intermittently during addition of the remainder of the isopropyl ether. The coated particles do not coalesce and are recovered easily by filtration and washed with isopropyl ether. When dried at room temperature the product is a fine white powder. It demonstrates sustained release of the methylprednisolone in pH 7.5 buffer solution.
Example 2 5% solution of polyvinylacetate in methylethyl ketone ml 40 n-Hexane ml 28 Methylprednisolone gm 0.5 Talc gm 6.1
The polymer solution is stirred at ambient temperature and n-hexane is added dropwise to a total of 4.5 ml. The methylprednisolone is then stirred in and n-hexane addition continued to a total of 28 ml., while tale is added intermittently. The coated product is filtered and washed with n-hexane then dried at ambient temperature and pressure. The dried product is ground in a mortar to a white granular powder. The product demonstrates sustained release in buifered fluids.
Example 3 A solution of 5 grams of cellulose acetobutyrate is prepared in 100 milliliters of methylethyl ketone at about 65 C. 1.25 grams of dibasic calcium phosphate is dispersed in this solution with adequate stirring to maintain the phosphate compound uniformly mixed. With stirring and with the temperature maintained at about 25 C. isopropyl ether is added. 12.5 gms. of micronized bentonite is added intermittently during addition of the isopropyl ether. When the concentration of the ether reaches about 40%, v./v., a cellulose acetobutyrate-rich phase separates and coats the phosphate compound. Thereafter, the phase coated particles are separated by centrifuging, thoroughly washed with isopropyl ether and allowed to dry. A powder, phase-coated phosphate product is thereby obtained which is suitable for use as a slow release fertilizer;
Example 4 A solution of 10 grams of benzyl cellulose is prepared at about 40 C. in 300 milliliters of trichloroethylene and cooled to about 10 C. Eighty grams of sodium (2,4-dichlorophenoxy) acetate is added to this system with adequate stirring. With stirring and with the temperature maintained at about 10 C., propanol is added. 25 gms. of finely powdered kaolin is added intermittently. When the concentration of propanol reaches about 50%, v./v.,
a benzylcellulose-rich phase separation occurs and the sodium (2,4-dichlorophenoxy)acetate is coated by the separating phase. Thereafter, the phase coated material is separated by centrifuging, thoroughly washed with propanol, and allowed to dry. A powdery henzylcellulose coated substance is obtained which is suitable for use in slow release weed control.
Example 5 An ethylcellulose-coated water soluble dye is prepared and liquid phase coated in the following manner:
5 grams of ethylcellulose is dissolved in a mixture of milliliters of xylene and 20 milliliters of ethanol. Onehalf gm. of alizarine cyanine dye is dispersed in the solution. milliliters of n-hexane (Skellysolve B) is added dropwise to separate an ethylcellulose-rich phase which coats the green dye. Fifteen gms. of purified siliceous earth is added intermittently. The coated dye particles are separated by filtration, washed with n-hexane and vacuum dried.
Example 6 A solution of 5 gms. of cellulose acetobutyrate is prepared in 100 milliliters of methylethyl ketone. The coated dye particles of Example 5 are dispersed in this solution at about 20 C. Isopropyl ether is added to a concentration of about 40% causing the separation of a cellulose acetobutyrate-rich phase. Twenty gms. of talc is added intermittently. Said phase forms an additional coat on the ethylcellulose-precoated dye particles. The doubly coated particles are recovered by centrifugation, washed with isopropyl ether, and sprayed onto a paper substrate. Application of pressure to the substrate allows visual indication of dye release.
In lieu of the 5 gms. of cellulose acetobutyrate, a mixture of 2.5 gms. of cellulose acetobutyrate and 2 .5 gms. of polyvinyl acetate is used with similiar results.
Example 7 Fifteen milliliters of 0.5%, w./v., aqueous solution of amaranth (F. D. and C. No. 2) is added with vigorous agitation to 90 milliliters of a 5.0%, w./v., solution of cellulose acetate butyrate in methylethyl ketone. This mixture is then passed through a hand homogenizer three times. Enough additional butyrate solution is added through the homogenizer to make milliliters of emulsion. An additional 15 milliliters of amaranth solution is added at this time.
To the emulsion system isopropyl ether at about 25 C. is added in small portions with agitation. An increased cloudiness is noted when 100 milliliters have been added. The presence of liquid phase-coated water droplets can be confirmed by microscopic examination.
Therefore, an additional 10 milliliters of isopropyl ether is added with stirring to produce more liquid phase separation. 10 gms. of kaolin is added intermittently. The mixture is allowed to cool slowly without agitation. The coated particles are separated by centrifugation, washed with isopropyl ether and dried in vacuo.
Example 8 Part I.Aqueous solution:
Phloroglucinol dihydrate gm 0.5 Sodium acetate dihydrate gm 3.0 Urea gm 3.0 Polyethylene glycol 400 gm 20.0 Purified water U.S.P ml 23.6 Part 2.Polymer solution:
Ethyl cellulose gm 1.25 Xylene ml 12.5 Carbon tetrachloride ml 12.5
The aqueous solution is dispersed in the polymer solution. Slow addition of petroleum ether and intermittent addition of 6.25 gms. of pumice produce minute ethylcellulose coated capsules of the aqueous solution. The
capsules are Washed with petroleum ether by decantation and sprayed ona film stratum to provide pressurerupturable coated film.
Example 9 Part ].-Aqueous solution:
4-dimethyl-aminobenzene diazonium chloridezinc chloride double salt gm 7.5 Zinc chloride gm 5.0 Citric acid gm 10.0 Thiourea gm 10.0 Purified water gm 467.5
Part 2.-Polymer solution:
Ethyl cellulose "gm-.. 5 Toluene ml 100 The aqueous solution is dispersed in the polymer solution. Slow addition of petroleum ether accompanied by intermittent addition of 12.5 gms. of kaolin causes the polymer to separate as a rich liquid phase which coats the dispersed aqueous particles. The coated particles are Washed with more petroleum ether, separated and dried.
What is claimed is:
1. In a process for coating uniformly dispersed particles in an organic solvent solution of a polymer by addition of an organic liquid which is miscible with the solvent and which is a nonsolvent for said particles and said polymer, the improvement comprising intermittent addition, during the addition of said nonsolvent of a mineral silicate having a particle-size of less than 50 microns.
2. The improved process of claim 1 wherein the Weight ratio of silicate of polymer ranges from about 2.5 to about 5 partszl part.
References Cited UNITED STATES PATENTS 2,171,765 9/1939 Rohm et al. 26089.1 2,729,598 1/1956 Garbo 11710O 3,242,051 3/1966 Hiestand et al. l678l WILLIAM D. MARTIN, Primary Examiner. E. J. CABIC, Assistant Examiner.
UNITED STATES PATENT OFFICE CERTIFICATE CORRECTION Patent No. 3,336,155 August 15, 1967 Englebert L. Rowe It is hereby certified that error appears in the above numbered patent requiring correction and that the said Letters Patent should read as corrected 'below.
Column 6, line 8, for "nonsolvent" read nonsolvent, line 10, for "of" second occurrence, read to Signed and sealed this 13th day of August 1968;
(SEAL) Attest:
EDWARD J. BRENNER Edward M. Fletcher, Jr. a
Commissioner of Patents Attesting Officer
|Cited Patent
|Filing date
|Publication date
|27 Dec 1935
|5 Sep 1939
|Rohm & Haas
|Process for the polymerization of methyl methacrylate
|13 May 1949
|3 Jan 1956
|Hydrocarbon Research Inc
|Fluidized bed coating of coal with nonagglomerative material
|22 Dec 1958
|22 Mar 1966
|Ncr Co
|Coating by phase separation
|Citing Patent
|Filing date
|Publication date
|7 May 1968
|10 Nov 1970
|Us Army
|Method for coating oxidizer particles with a polymer
|1 Apr 1971
|18 Dec 1973
|Eastman Kodak Co
|Process for preparing electrophotographic liquid developing compositions
|22 Feb 1972
|3 Dec 1974
|Ryan J
|Aqueous method of microencapsulation and capsules
|5 Jun 1972
|3 Dec 1974
|J Patterson
|Thermally responsive elastic membrane
|17 Apr 1972
|18 Mar 1975
|Basf Ag
|Microcapsules having walls made of copolymer of methylmethacrylate and acetylacetates of mono(meth) acrylates of aliphatic diols
|30 Apr 1973
|6 Apr 1976
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|Noncaking, readily soluble dyestuff granulates of anionic dyestuffs
|25 Jun 1973
|21 Sep 1976
|Lyophilized dyes and the use thereof to color keratinic fibers
|13 May 1975
|15 Mar 1977
|International Copper Research Association Inc.
|Slow release copper toxicant compositions
|2 Jun 1975
|20 Dec 1977
|Ppg Industries, Inc.
|In-situ production of microcapsules on a substrate
|12 Jan 1976
|16 May 1978
|Battelle Memorial Institute
|Process for the preparation of liposomes
|28 May 1976
|30 May 1978
|Rhone-Poulenc Industries
|Compositions intended for the flameproofing of plastics
|28 Apr 1977
|15 Aug 1978
|Celanese Corporation
|Sintered herbicide-filled cellulose ester particles having improved resistance to water leaching
|28 Apr 1977
|5 Sep 1978
|Celanese Corporation
|Herbicide-filled cellulose ester particles having controlled release properties
|5 May 1976
|12 Sep 1978
|Dai Nippon Toryo Co., Ltd.
|Powdery coating composition and process for preparing the same
|16 Jun 1977
|24 Jul 1979
|The Mead Corporation
|Process for the production of microcapsular coating compositions containing pigment particles and compositions produced thereby
|23 Jun 1978
|21 Aug 1979
|Dai Nippon Toyo Co. Ltd.
|Powdery coating composition and process for preparing the same
|19 Sep 1977
|11 Sep 1979
|Asahi Glass Company, Ltd.
|Thermosettable resin molding compound
|20 Aug 1975
|15 Apr 1980
|Sandoz Ltd.
|Process for producing colored paper using granulated dye compositions
|23 Mar 1978
|17 Jun 1980
|Rhone-Poulenc Industries
|Flameproofed plastic compositions
|26 Jun 1979
|30 Sep 1980
|Canadian Department of National Defence
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|25 Nov 1980
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|31 Jan 1979
|27 Jan 1981
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|Prolonged release microparticle preparation and production of the same
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|Encapsulated additives
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|Macromolecular microparticles and methods of production and use
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|19 Jan 2006
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|Central Science Lab Csl Repres
|19 Jan 2006
|27 Jul 2006
|Ural Affairs The Sec Dep For E
|19 Jan 2006
|23 Nov 2006
|Central Science Lab Csl Repres
|U.S. Classification
|427/212, 428/402.22, 428/402.24, 514/167, 427/2.21, 424/495, 424/497, 514/951, 428/407, 264/4.3, 428/402.2, 427/2.14
|International Classification
|Cooperative Classification
|European Classification
|16 Jan 1982
Owner name: EURAND AMERICA, INCORPORATED, 1464-A, MIAMISBURG-C
Free format text: ASSIGNMENT OF ASSIGNORS INTEREST.;ASSIGNOR:APPLETON PAPERS INC.;REEL/FRAME:003961/0292
Effective date: 19811130


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Fictionaut brings the social web to literary fiction, connecting readers and writers through a community network that doubles as selfselecting magazine highlighting the most exciting short stories, poetry, flash fiction, and novel excerpts.
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We are pleased to welcome Ravi Mangla to Fictionaut's Writers on Craft. Ravi Mangla is the author of the novel Understudies (Outpost19). His stories have appeared in Mid-American Review, The Collagist, American Short Fiction, Barrelhouse, and Corium Magazine. He lives in Rochester, NY and keeps a blog at ravimangla.com.
What do you read when you despair at the state of either your work or a particularly difficult manuscript in progress—any "go to" texts?
When the sentences aren't coming out quite right, there are a handful of texts I use as tuning forks: Ray by Barry Hannah, Florida by Christine Schutt, End Zone by Don DeLillo, Wittgenstein's Mistress by David Markson. Lately I've been reading a lot of Mary Ruefle. I'd like to start a campaign to get her elected U.S. Poet Laureate. Or, better yet, president.
If you could give just one piece of advice to emerging authors about editing that has served you well, what would it be?
Let the work breathe. Putting aside a piece of writing for a day, a week, a month, allows you to see it in a whole new light. Young writers are constantly in a hurry. Wait, let me try that again: Most writers are in a hurry. It helps to slow down, take a deep breath, step away from the work for a while. Time isn't always such a bad guy.
How has your perception of what you "do" with your work changed as you have continued to write?
Recently I've started to think of writing as a collective endeavor as opposed to an individual one. For a while I was dealing with this crisis of faith, wondering if the work I did was selfish, and whether I had anything to truly contribute to the literary arts. I probably quit writing half a dozen times (as close—and infinitely patient—friends can attest). Then I asked myself two questions that helped to clarify the situation: Do you believe the writing you create has value? And my natural response was no. The follow-up question: Do you believe that literature as a whole has value? That I answered with a resounding yes. Literature can initiate social and political change, foster deeper feelings of compassion, and open the mind to new channels of thought and inquiry. Once I stopped thinking of myself as an individual entity, fighting for recognition in an overcrowded field, and imagined myself instead as part of a larger constellation of writers, all aiming to put beautiful things into the world, I was able to relax and get back to work.
What do you feel is the purpose of literature?
To make us more empathetic creatures, by providing us with a mousehole into different lives.
As a human being, what is the best advice you have to offer?
There's this part in The Night of the Hunter when Lillian Gish's character (after witnessing an owl swoop down and snatch a rabbit) remarks, "It's a hard world for little things." So I'll use that as my advice: Show compassion toward the small and helpless among us.
Also, invest in quality bed linens. You can't put a price on comfort.
Your short novel Understudies has a style that's quite wonderful in its biting humor, an insouciant tone. What made you decide to partition the novel into tiny chapters like you did?
The fragmented structure allows for a more interpretive reading of the text. Certain sequences will resonate differently for each reader. The interstices between sections offer a brief (very brief) moment of reflection before beginning on the next one. Plus, I can play with tones, switching between comic moments and more solemn ones, without startling the reader.
Do you feel like social commentary is the obligation of the modern writer?
No. I think the beauty of contemporary literature is the plurality of forms. The only obligation of a writer is to do right by their characters.
What's recently released or in the pipeline for your readers? And what are you working on now? Give us a sneak peek.
God, I wish I had some large, important tome in the works, but unfortunately that isn't the case. Mostly I've been tinkering with little pieces—short stories, essays, tweets, missed connections, and so on.
Writers on Craft is hosted by Heather Fowler, who cares about writing. She does a lot of it. Visit her profile on Fictionaut or see here for more: www.heatherfowler.com .
What a nightmare this has been. A luxurious nightmare, to be sure, but one of impossible satisfaction. To be sweet of tooth and set free in Willy Wonka's chocolate factory with strict orders to select only one treat, why, it would induce madness or crime, or both. As for this place, literarily dripping with delicious, exquisitely burgeoning uncompensated talent, it could easily leave the restricted taster strangling in a duel between tortured aesthetic appetites and solemn duty.
I am sworn to highlight a mere handful of new diamonds after two weeks of staring at the glistening gem case. Had I Goliath's hand this task should be none the easier. As such, my own scant hand is forced to rely on the eeny meeny miny moe selection method, which, as it may satisfy the law of the land, leaves a giant hole in my heart—not to mention in a mind already riddled with the wounds of too much living with too little armor (altho I think I did wear a helmet in high school playing that game, you know, the one with the turd-shaped ball?).
Anyway, I am also hamstrung by a noticeably deficient articulation in the critical arts. As previously confessed of himself by Chris Okum, when he was in the barrel, I am all thumbs in the language of why something works for me. Not so much why something may not, although I am rarely up to taking the time or, more likely, risking the hurt to publicly point out shortcomings as I see them or even privately to the responsible party. Cowardly, I suppose, but…as I said, anyway.
Okum, by the way. I welcome him back with glad thunder despite my resentment of having prepared to laud one James Parker Jr. as the new Voice With Buster Keaton's Face. As Parker's departure coincided neatly with Okum's return from somewhere, I, and I'm sure many other Fictionauts, let out huge volumes of bated breath in relief at the vanished prospect of a titanic deadpan battle for the Buster Keaton title. And now, my ado duly exhausted, let's give it up for the winners!
Gary Moshimer lured me off the street with his first paragraph in the story, Summer-1966, and sold me a ticket to his show with the second. With these five short sentences, using words none of which I had to Google, he foreshadowed a story I knew would pluck at my heartstrings and titillate the adolescent residing within me—and it did. I even touched my fingers to my lips afterward. I daresay you will, too.
Loren A. Moreno, a relative newcomer here, I believe (it's sometimes hard to tell, of course, with the constant dynamics of name shifting and comings and goings and all of that) boldly posted a looong story. Now we all know the best way to win comments and garner faves here is to post short stuff—good stuff, of course, but short). So Loren wins his first * from me for daring to swim upstream with his 1,539-word "rough draft" story, Consequences of Waiting. Even I, who've alienated Fictionauts for years violating this custom, almost walked on by. But being in the barrel this term I knew I had to stop and check this thing out. Then I saw that our two most recent returning exemplars of excellence (besides Okum, who rarely appears in comment boxes—with which I sympathize whilst officially withholding applause) already had visited Loren's piece and left laudatory remarks. I'm speaking of Kathy and Jane, obviously. So, with a huge sigh, I plunged in and…and found a true gem—and not as rough, either, as Loren modestly says he fears it is in his author's note. As I noted vernacularly in my comment, the kid has chops. Check him out. You will be tested.
Come we now to Katrina Trepsa, whose very name I find so intriguing I would look at anything she posted whether I was in the barrel or not. And she does good titles. This one, Washed Up, prompts so many connotations my fingers could go crazy on the keyboard trying to list even half of them. And how's this for an opening sentence: "At noon on a weekday in the off season, when the trickle of tourists who wandered into the Mermaid Curio Shoppe had died out completely, she walked in with wet hair, leaving tiny puddles on the floorboards." Don't you want to know who she is? Huh? Don't you think you'd like to sit on a bench overlooking the beach and sip piña coladas with her? If she's paying? Read the piece. It's short, has great dialogue, an easy swinging pace…hell, you can dance to it. If I didn't give it five faves I should have.
Peter Cherches. I didn't pick him. He just popped up, again. And why not? He's terrific!
Strikhedonia! (That's the title, not the poet, whose name is Samuel Derrick Rosen) But what a title, huh. Maybe it's not so cool to regular poetry readers, of which I'm not, but to me it…it sent me straight to Google. Which is where you will have to go if you want to know what it means. My comment in response to Strikhedonia!, the poem, was "A most eloquent "bah humbug". And I meant it.
Trying to get a fix on something Tara Isabel Zambrano posts is like fighting with a kitten over a ball of mercury. Now you see it, now you don't. Her writing never fails to awe and stun with its insights and exotic perspectives. I get the impression she takes forever to pick just the right word, and then, after another forever, switches it for something even better. But being in the barrel and trying to find an example of one of these perfect jewels is…well, the kitten analogy again. She takes them down and stashes them somewhere out of reach (I hope at least she can still reach them) and then puts up something new. Despite her sleight of hand with her work, she's prolific. To give you an example of her excellence, I was forced to go to her page and select one of my all time favorites. You've likely read it, too, but it gets better with every reading. I suspect it will continue to do so, forever.
Oops, I believe I've about fulfilled my quota and filled my space, but..but I have two more! Honorable mentions? Can I award honorable mentions? (No answer, but I will. Here they are):
Strannikov. What a name. It's Russian, my major in college. I have no frigging idea what it means. But the sound of it! It just might be the name of a general: "Comrade Lenin, we've sent Strannikov and the Cossacks to the Western front!" "Хорошо!"
Anyway, here's the general's piece that won from me the comment: "Delightfully bizarre".
And now…AND NOW…Brace yourselves for Joseph E. Lerner's report from amongst the organgutans.
Mr. Lerner's superb reportage won from me, this: "Bwahahahahaha… Fooled me right up to the reveal. My advice, eat more of whatever you had that night before going to bed. Artists are supposed to suffer for their fans, you know." I no longer can explain what I meant by that, but here is what inspired it.
Mathew Paust is a man of a virtually autistic personality spread. A forcibly retired newspaper reporter, he now writes novels, short stories and the occasional embarrassingly derivative poem. He appears under various guises on Facebook and Twitter, but is too exasperated by the proliferation of unnecessary technology to venture into other social media or even to want to buy the kind of hand-held device that is sucking modern youth into its black hole of merchandising. He resides in Gloucester, Virginia, and is considering raising a tankful of triops to study perhaps as characters for a future novel.
We are pleased to welcome Lauren Becker to Fictionaut's Writers on Craft. Lauren Becker is editor of Corium Magazine. Her work has appeared in numerous print and online venues, including Tin House, The Rumpus, The Los Angeles Review, and Wigleaf. Her collection of short fiction, If I Would Leave Myself Behind, was released by Curbside Splendor Publishing in June of 2014.
What do you read when you despair at the state of either your work or a particularly difficult manuscript in progress—any "go to" texts?
I don't have any formal training in writing, which is sort of an explanation rather than an excuse for my lack of knowledge with regard to instructive texts about writing. Honestly, when I despair at the state of my work, which occurs often, I tend to walk away from reading much. Reading great work sometimes feels accusatory to me. At times I get down on myself for not being as productive or talented as the writers I otherwise take great joy in reading. That said, when I push past that completely unconstructive way of thinking, I am inspired by authors including Alice Munro, A.M. Homes, Miranda July, and George Saunders, as well as writers better known in the independent literary community, including Andrea Kneeland, Ravi Mangla, Amber Sparks, Scott Garson, and Alan Rossi.
If you could give just one piece of advice to emerging authors about editing that has served you well, what would it be?
Believe in what you write before putting it out in the world. Whether you feel your work is "done" without edits, or whatever you're writing takes years to finish.
If it doesn't fit, cut it. If it doesn't lend itself to inference by a reader, cut it. I'm a big fan of cutting. I respond best to incisive writing that assumes an intelligent reader.
How has your perception of what you "do" with your work changed as you have continued to write?
I think this goes back to my answer to the previous question. When I first started writing, I was greedy for publication. As a result, I look at older work that was published that feels unfinished or just bad. My standards are much higher. If I don't stand behind it absolutely, I don't submit it. I reverted to my old habit with a piece recently and am embarrassed that I sent out work I didn't fully support. I'll work on that piece again, but it's tucked away until I love it.
What do you feel is the purpose of literature?
I have no idea how to answer this question. I guess I would say that the purpose of literature to me is nourishment, sustenance, hope. Putting words together is creation, almost in the sense of giving birth. I know this sounds extreme, but I feel like literature saves my life over and over. Reading and writing have provided me with an identity. I cannot define myself without the role that literature has played in my life.
As a human being, what is the best advice you have to offer?
If you view life as competition, you will lose. Giving love and support doesn't mean you have less. We each have an endless supply.
Your work features incredibly intimate moments with narrators who seem to visualize themselves disappearing at times. It explores themes of loneliness and friendships between women quite a bit—as well as romantic relationships. Can you speak to your thoughts about writing women, or writing women well?
I write from experience or imagined or desired experience, and I'm fascinated with friendships between women – the negotiation involved. Expectations of the role one will play in the other's life. What happens when those expectations are or aren't fulfilled. It goes back to my life advice about competition. Too often, I have found women compete with one another rather than providing support and encouragement. I am fascinated by the precariousness of love relationships, whether between friends or in the romantic sense. I don't mean to write only about the bleak aspects of these relationships: I have many supportive, healthy relationships. I write about loss and loneliness to make sense of it, to mourn ended relationships, to connect with people. We've all experienced loneliness. I suppose it makes me feel less lonely (and more visible, in the sense of the wording of your question) to know this.
The shape of some of your prose is quite poetic. I notice this in both the cadences of some of the sentences and the inversion of phrases. What relationship does poetry have to your fiction? Is this a conscious choice since many of the stories in the new collection are flash fiction, which lends itself to density?
I love when people tell me things about myself I don't know. The more I hear interpretations of my work, the more I learn about recurrent themes or devices I use. Do I write with poetic leanings intentionally? No. It's what comes out.
What's recently released or in the pipeline for your readers? And what are you working on now? Give us a sneak peek.
I'm still writing flash and have a few things set for publication in the new year. I am writing a longer story with a favorite writer/friend. I have an idea for a collaborative book that's rolling around in my head. Mostly, I am attempting to work on a novel that is continually confounding and satisfying. I'm excited to push myself to write longer, to work against my comfort with conciseness, to let characters exist for more than a few hundred words. I can't wait to find out what these characters will do and become.
Writers on Craft is hosted by Heather Fowler, who cares about writing. She does a lot of it. Visit her profile on Fictionaut or see here for more: www.heatherfowlerwrites.com.
I haven't spent much time on Fictionaut this year. 2014 has more been a year of the novel for me. I've tried much harder to keep up with books from the indie lit scene, as well as the increasing number of books written by friends. Between managing Bartleby Snopes Lit Mag and Press and my own writing, something had to give. Unfortunately, that thing was Fictionaut.
When I was invited to do "Editor's Eye," I thought it would be a great way to catch up on what I've been missing. During my reading period, I also had a major life event. On November 29th, my second daughter was born. This might sound like an obstacle to keeping up with the latest on Fictionaut, but it really hasn't been. What it has meant is that most of my reading has been done with my new baby girl in my arms. I think this means my selections here are from both of us, not just me. At times, I've used her mood as a cue. This has left me skimming through a fair number of stories and even abandoning some completely. Interestingly enough, she didn't cry at all when I encountered prose that really struck a chord. These are the stories that have moved us the most.
At first glance, we might roll our eyes at yet another story about Ferguson. We might be even more apt to engage in such eye-rolling at a Ferguson story posted on Fictionaut. However, to do so would be to miss a truly insightful and moving piece. Goldberg skillfully uses the fierce combination of fact and satire to remind us about the utter humanity of these tragedies. Even if you've come to Fictionaut to get away from political ranting, this is still a must-read.
In "Your Novel Approach," Peter Cherches proves himself a master of language. In this epistolary tale, Cherches explores the origin of recipes, novels, the creative process, and even thought itself. It's a letter filled with humorous spins on language and twists on logic that will leave the reader more than just amused. This story is a very unconventional way of approaching something that's become cliché in the writing world.
In the author's note, Brenda Bishop Blakey informs us that this piece came from a prompt. Not just a prompt, but one of those "create a story from a big list of words" prompts. For most of us, this is just a writing exercise that doesn't go anywhere. This is not at all the case for Brenda Bishop Blakey. Her story is a marvelous motorcycle adventure that will leave you grinning along with the characters.
"The Havisham Complex" begins with two people meeting at a botanical garden. Doesn't sound very riveting, but don't dismiss it. From there, it dives into a delightful and engaging conversation that could serve as a crash course in dialogue usage. There isn't a wasted word as the characters reveal themselves and tell their stories. This is a relationship we can really feel.
Dog stories are tough to write. They generally are overly sentimental or just plain cliché. "Vera's Nemesis" is neither of those things. Through Vera and Zoey, Magda Sullivan creates a story with both bark and bite. There's plenty of doggie action here, but there's something much deeper going on. As Magda tells us in her author's note, this is a story written to draw attention to her novel, Delilah, My Woman. Magda, you have my attention.
"Cricket Box" is a gorgeous piece of writing that demonstrates nearly everything a piece of flash fiction can do. The prose is captivating and breathtaking, and Katrina Trepsa somehow creates an engaging and fully developed story in just 300 words. The opening description is the type of scene-setting that most writers only wish they could accomplish: "There is no frost to compare to moonbeams; no wind carries lotus fragrance or rustles maple leaves; no rain transforms pine trees into parasols; the moon is too ripe to call a sliver, too thin to call full; and the wild geese have yet to start their southbound flight."
Nathaniel Tower is the author of the absurd short story collection Nagging Wives, Foolish Husbands and the satirical novella Use, Remove, Repeat. His short fiction has appeared in over 200 publications and has been included on the storySouth Million Writers notable stories list. He is the founding and managing editor of Bartleby Snopes Literary Magazine and Press. Nathaniel currently resides in Minnesota with his wife and two daughters.
We are pleased to welcome Michael Czyzniejewski to this month's Writers on Craft. Michael Czyzniejewski is the author of three fiction collections: I Will Love You for the Rest of My Life: Breakup Stories (Curbside Splendor, 2015), Chicago Stories: 40 Dramatic Fictions (Curbside Splendor, 2012), and Elephants in Our Bedroom (Dzanc, 2009). In 2010, he received a fellowship from the National Endowment for the Arts. He now serves now as Editor of Moon City Review and Moon City Press and teaches at Missouri State University.
What do you read when you despair at the state of either your work or modern literature—any "go to" texts?
I despair about my work, quite a bit actually, as I think any writer does, always second-guessing, always wondering where this or that is going, if it's going to fly. I'm good, though, on the state of modern literature, and never, ever think that it's in trouble, it's going in the wrong direction, or ain't what it used to be. But back to me and my own crises, I still go to the stories and writers that made me want to write, that formed me, just to remind myself how great stories are and how much I love them. I've said this in other interviews, but my crush on A Good Man Is Hard to Find is never-ending, so that's always at hand. Barthelme's 40 Stories—that fits in my bag better than 60 Stories—and I carry it around a lot, my Catcher in the Rye, sans assassination plans. I've been living in and around the new and selected Milhauser that came out recently. The two books that most specifically formed my voice and style, too, The Girl in the Flammable Skirt and CivilWarLand in Bad Decline. Those are both pretty perfect books.
If you could give just one piece of advice to emerging authors about editing that has served you well, what would it be?
Editors really want to like your work. I think most submitters, the newer writers, think the opposite, that editors sit in a room with piles and piles of manila envelopes, looking for one poorly placed adverb or one bad simile so they can move on to the next story. Now it's the queue in Submittable or one of the other programs, their finger on the DECLINE button, a hair trigger. In my experience, it's the opposite: I'm hoping that every time I open a file, it's a great story and I can show it to my staff, talk them into it because I read it, ate it up, and can't wait for others to read it, too. And I think a lot of my colleagues in editing think the same way. It's why I, and a lot of editors, got into this, just to be able to read great stories.
How has your perception of what you "do" with your work changed as you have continued to write?
Interestingly, I think it's more cyclical than a change, especially with this new book, the breakup stories, because those are similar to the stories I wrote in my first book, Elephants, and some of those stories are fifteen years old. My stories are leaner now, more attention paid to style and differentiating style, but a lot of the themes are similar. My second book, in between, was a project, those Chicago monologues, written from famous POVs. But this new book, it attacks the same themes that I was writing about when I started writing and publishing.
Since I turned this new book over to the publisher on September 1, I've made a concerted effort to redesign myself, to do something else. I like this new book and I like my first book, but I've done that now, a couple of times, stories about relationships, very domestic stories, what love and sex make you do, how those things change you. I've made a pact with myself to not write another story that focuses on relationships, or one that takes place in anyone's living space. Been there, done that.
The problem is, where do I go from there? I haven't finished anything since them, partly because I've been busy with Moon City Press, but mostly because I've been trying to figure out where to go next. I'd like to work on longer, more developed stories, for one. I teach from Pushcart, BASS, and O. Henry and I like a lot of those stories, but most of them would be twenty pages or more in manuscript form. The longest story in my new book was nine. I'd like to take a shot at some extended narratives. Oh, and write a novel. I'm well into one and should probably finish it.
What do you feel is the purpose of literature?
My answer might not be popular, but I think the main purpose of literature is to entertain us, for a reader to find what they like to read, whether it's Donna Tartt or some manga thing that has a million exclamation points. That's what I get out of it, a challenging diversion, like a crossword puzzle or watching Jeopardy!, something I like to do to pass the time, intellectual, but fun, in between reading students' stories/submissions and watching sports/mindless TV.
But it's not that easy, to just be entertained, as I'm also a writer, so I'm never only being entertained. I'm picking up on techniques, watching the arc of the story take form, predicting what will happens, seeing how characters are introduced, how people talk to each other. So as much as it's entertainment, it's also research. I try to get one thing from everything I read, something that's memorable, something I can steal.
But that's for me. I know literature does a lot of other things for other people. Just one example: It teaches people about places and events, and that's great. But I'm not going to pick up a novel about Tegucigalpa because I want to learn about Tegucigalpa. That might happen as a peripheral benefit, but I'm not setting out to find that. I watch the news and surf the Internet when I want to know things.
As a human being, what is the best advice you have to offer?
Don't lie. It hurts people and makes you into someone else. It makes you a liar, for one, but also posits you as someone you're not, someone you don't deserve to be or someone you don't want to be. I used to lie to people, like half my life ago, to make myself seem more important or impressive, and that's so pathetic and betraying. Plus, if you're honest all the time, it helps you aspire to be the person that you thought you had to lie to be. I made it a practice to not lie twenty years ago and couldn't be happier with who I am. It's a burden to lie, and I'm happy to be free of that burden.
Besides, I write fiction, and that's enough lying right there.
I notice you use first-person narrators quite a bit in your stories, though you also alternate with other POVS at whim. What's the allure with first person POV for you—since this seems one of your favorite modes to write from? Is there any difference between how you feel writing a story in third person and first, for example? Different elements you might bring to the more confessional narratives first person use sometimes implies?
I think it has to do with unreliability, more than anything else. I do believe in the close third-person limited unreliable narrator, the third person who takes on the characteristics of the unreliable person they're chronicling, but for the most part, these stories in this new book are all about betrayals and dishonesty and naiveté, and the best way to demonstrate that, I think, is to put the reader in the mindset of that character, that person making the mistake as they're making it, but never realizing it. I guess that's my gateway into story.
That's not to say I don't take notice of this overabundance, that I didn't write third-person stories just to offset all the first. I like that voice, too, and as I grow as a writer, referring back to your previous question, I think I'm understanding what that voice can do for a narrative, the perspective, the neutrality. The novel I'm working on, for example, is in third, because I just didn't want to inflict first person on a reader for 250 pages. Unreliability can only be taken so far before the person moves beyond unreliable and is just bad. Or dumb. Most of the power of using an unreliable narrator is how the reader doesn't know they're reading an unreliable narrator, maybe not until the story's over.
I love how freely you experiment with form and humor in some of your work. I'm thinking, in particular, of "The Braxton-Carter-Vandamme-Myers-Braxton-Carter Divorce: An Outline" and "The Plum Tree" pieces in your new book, which are both so structurally playful and funny in their own ways. Do you often experiment with unusual structure? Do you tend to do this more often with flash fiction than full-length stories?
I was really inspired by a couple of other books of short shorts, The Museum of the Weird by Amelia Gray and Don't Kiss Me by Lindsay Hunter, books that are so remarkable, not just for their story-telling, but for how they form the genre, hold nothing back. When I started putting together this book, I saw what they did and remembered something, that one of the great things about short shorts is that you can do/try anything, mainly because writers should do that, but with short shorts, if you experiment, try something like a voice or a form or a syntactical experiment, the reader only has to endure it for a couple of pages. Short shorts are made for outline stories and lists and overwritten prose and crazy voices and whathaveyou; If it doesn't work, it's not like the reader invests too much time into it. Some of that stuff works better in small doses, like the outline story, because I don't give the reader time to get tired of it or see it as gimmick. Could you imagine a novel, or even a fifteen-page short story, written like that? So, my purpose when I head into a short is to try something new, pull it off one time, then move on, like how a band will try a weird cover, or let the drummer sing, during the encore, because, why not?
What's recently released or in the pipeline for your readers? Give us a sneak peek.
From me? Well, the book's coming out on March 15, and that can be preordered at places like Amazon, or even better, the Curbside Splendor page. Some of the stories are coming out in journals beforehand. I'm so happy to have working coming in places like Pleiades and River Styx, as they're magazines that I've read for a long time, have sent to for a long time, and I've finally caught their eye.
But there are so many books by so many great writers. Just glad to be in the mix.
Writers on Craft is hosted by Heather Fowler, who cares about writing. She does a lot of it. Visit her profile on Fictionaut or see here for more: www.heatherfowlerwrites.com.
For this edition of "Editor's Eye," I read virtually everything posted on Fictionaut from November 1st through the 15th, not an especially difficult task as it turns out, and in a way pretty rewarding. I found, at a certain point, it was hard to say why some pieces got more or less attention than others, besides, maybe, name recognition. Not to diminish the importance of that factor as guarantee of quality. Everybody follows some writers, I assume, and part of that comes from the belief, probably reliable, that the ones you follow are likely to produce on a regular basis work that appeals to you. I think the only problem is in the assumed corollary, that all the others you don't read are any the less reliable. The best reward from the exercise of reading everything has been that discovery, that there's a lot of good stuff here that can be found under any number of signatures, and that it's well worth looking under those unfamiliar names, from a Fictionaut reader's viewpoint, the unworked ground where gems can frequently be found.
Since most Fictionaut pieces are comfortable ignoring the strictures that make something "fraught," in the outer world, I doubt anyone will be outraged by Angela Kubenic's take on abortion, her depiction of a might-have-been family that exists happily, and comfortably in companionable squalor, copious ingestion of Xanax by the putative mother, and an "anything goes," attitude toward responsible parenting. Figuring out at whom the irony is directed, society or the narrator, is part of the slippery appeal of this piece. In any event, one cannot help be delighted by a portrait of a family in which all the rules are happily ignored without dire consequences.
If you step back a little from this piece, what comes through strongly is a sense of Smith's authority over his material, in a laconic piece, dialogue driven in part, that manages to layer comedy over tragedy, without sentiment or bathos. A lot of people try humor, but the number of writers who can bring it off without violating the context of the work, can make you laugh without losing track of where you are is quite small. E.g.: "The EMT's were drinking in the bar underneath my room. Town like this, of course the EMT's were trashed." In a piece of a couple hundred words, there are at least five places where you'll be laughing. Funny thing, it doesn't at all mitigate the pain. Read carefully, and don't let laughs distract you, even as you enjoy them. There's a lot here.
Okay, Veterans' Day, and kindred experience may play into my bias. But not enough to occlude judgment, I think. This was a good meaty poem, that uses the immediate experience of a G.I. and barracks life to key into larger points, one where the writer successfully links the particular and general truths, without censure or preaching. You don't have to have been there to feel the heart in this work.
There's a particular tone to Mercado's work, almost an attitude, of belief in love combined with a deep skepticism of its durability, which is reflected in poems that are romantic but never sentimental. Lust and love vie, intertwine, face-off, each dubious of the other, each knowing their deep interdependence. Assignations are by the hour, and eternal. The poems, like this one, are often quite beautiful.
This—admittedly a WIP—is one of those pieces which you can see just developing from a single, simple idea, a question: What would happen if people kept showing up at your door, in costume, on the day after Halloween, the day after that, and on and on? What indeed? In this case, its an elegantly simple question, which leads to complicated and amusing possibilities. I wish I'd thought of it.
These are by no means the end of my choices, and I wanted to mention in addition these others that are well worth your attention before they slide into Fictionaut history: "Eulogy," by Jowell Tan, "Beelzebub," by J.A. Pak; "Eulogy is a Night Crawler," by Dennis Mahagin and "Sock," by John Olson.
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David Ackley lives and writes in the White Mountains of New Hampshire.
I do a lot of reading here at Fictionaut these days. Occasionally I'll share a story of my own, but mostly I just read. I've even taken to commenting less, which is sort of neglectful, I know, but it's true.
I'm not sure when I made this change, but I do remember seeing the tagline "For adventurous readers & writers" and something just sort clicking for me. I needed to be a better reader.
So, here I am, trying to do that. Over the course of time I read for this series I bookmarked several stories – probably twenty or so, all told – but eventually, and by requirement, pared that down to the five you'll find here in my list. I made no effort to vary things in any way. I chose the stories and poems and essays (yes, there's all three in this list) based solely on my own tastes.
That said, I hope you find some you'll enjoy among these. Okay, here goes, in no particular order:
The breakdown of language through phrases in this is miraculous. It's one of those stories I can see the writer just absolutely knowing he had a great idea on his hands and went with it. And Peter pulled it off in spades. My favorite: "'I perceive faces as religions.' This is a phrase I say to tighten your shoulders." And it all comes to together to create a narrative full of heart and mind and craft. Read this. You won't be sorry.
This is another with some experimenting going on. Like I said, these is my taste. As with Erich's story, Whyte does the same, but takes building a narrative from her listing a step further. Whyte explains in her notes that this is a personal essay. A personal essay built from footnotes about foxes, all of which are included at the end of the story. Built from footnotes! Excellence! One of many favorite moments: "Your red mouth is a great cave laughing into the sky that is open and begs for your songs."
I've read several of Simons's pieces on here, but this one is now my favorite. Compact and economical, this poem makes every word work perfectly. It hums along with language that just rolls, you know? For example, this beginning: "Suddenly at desks in abattoirs/Where slicing the culture/Leaves answers between cuts of prime truth." On and on. Two stanzas, with a final image that just kills it.
This immensely sad story covers a lot of ground quickly, but despite that, it is fueled with great courage that a reader cannot help but pick up on. This one's not about the language (it's pretty straight forward with not many frills) or the structure (ditto) it's about writing something that likely tore at the heart and took bravery that some of us will never know. And, like with Simons's piece, that last, stand-alone, italicized paragraph just melts the world.
This, the third experimental piece in this list, is possibly the most bold. It has, as of this writing, still only garnered a single "fav" and a mere two comments (one of which is mine, as is the single "fav", and the other Cherches's thank you in response). From the author's note: "I was attempting to use the slowly unfolding, repetitive techniques of minimalist composers like Terry Riley, Steve Reich and Philip Glass as a basis for prose." This was accomplished. Task completed. Bravo. A taste of the way Cherches pulls you into this story? Sure thing. Here's the first five sentences: "Morning now. It is morning now. Is morning now. Now. Morning." And it just gets better from there.
Sheldon Lee Compton is the author of the collections The Same Terrible Storm and Where Alligators Sleep, both from Foxhead Books, as well as the forthcoming novella Brown Bottle, due out from Artistically Declined Press in the summer of 2015. The founding editor of Revolution John, he does now and has always survived in Kentucky.
It was exciting and intense to go back to reading just about every piece offered here in the past couple of weeks. It once was part of my daily ritual and for years, I started off every dawn making rounds: email, newsfeed, Facebook, Fictionaut. And I was writing as well as reading, putting together well over a thousand flash fictions in both traditional and hypertext style in the past five years.
I overdosed. Flying too high on literature for too long. Fell back hard to the reality of work, meals, redecorating, gardening, and the keeping up with friends. It's been a real treat to have done this stint for the Editor's Eye because it made me spend time with something I love.
New people and old friends here at Fictionaut. Hard to narrow it down to just a few and yet there were certain works that just got me, just reached out and pulled me into a different world. After all, that's what it's all about, isn't it?
My Selections for "go-back-and-reads":
The opening paragraph says a lot. It hits the reader with the prejudice of fifty years ago and if we cringe at the words, that's a good thing. Time seems to be the theme, from the changes (and some changes that for some people, didn't take) in society to the changes of the generation between the protagonist and his father. You can change your name, you can change the words, but as the last line says, "Yes, so it goes." There's much more to this story than what it seems, and that's what I particularly like about it.
The mask comes to each of us at different points in our lives. The nice guy who's tired of getting stepped on. The bad dude that finds Jesus. The worker passed by over and over for promotions. The prostitute who realizes she never had a baby. And for a while, we make ourselves over, more than bleaching our hair blonde but sometimes that's all it takes. A visual that we think will be sink into the skin, into the soul, change who we're just not happy with. What we should have been–whether it's our own disappointment in ourselves or what we think we see when others look at us. It's life and sometimes, we don't fit inside the change. I loved that this read almost like a fable, the style of mixing a fascinating story with a moral that hits close to home.
Con is one of the most prolific writers at Fictionaut and I was glad to see him still producing at the same pace (though it did make me feel guilty!). This story appealed to me because I do like realism as well as the oddly creative magical realism and such. Human nature is one of the most interesting subjects, to me, and all you need is a character or two and a situation to see how many different ways it can go. Con is a master at getting it down clearly, as if he were witnessing the story unfold and retelling it to a friend later on. He has the conflict of someone's relationship as the impetus that drives the narrator's spiral of reactions. It's interesting to watch it all happen.
Amazingly metaphorical with language that surprises and delights. Some of the references are true dark humor and yet fanciful and spot on. I felt I was reading something from Voltaire, his odd characters and the story world being looked upon from the outside with a sardonic eye. Not an easy thing to do and James has done it well. Most enjoyable read–and I'm not usually a liker of the structure used here, but that's a personal preference and the form simply won me over.
This story is part of a series but not having read most of the other sections I was still taken in by the easy way I was brought into the story. Focusing on this current event, the characters interact in such a revealing manner that that is what tells the story and that's what Mathew does so well. He takes the scene, the conflict, and lets his characters reflect it to establish the environment and their own humanness. It's easy reading because it's real, with well-chosen dialogue and just the right amount of information distributed throughout to give us a clear image of the people we're watching.
Susan Gibb, recipient of the 8th and the 14th Glass Woman Prize, two Pushcart nominations and on the storySouth Million Writers Award long list of notable short stories 2010, writes one blog on literature analysis and another on hypermedia writing and reading. She is listed in the Electronic Literature Directory, the ELMCIP Knowledge Base, and her hypertext has been included in college syllabi and translated into other languages. Her fiction, poetry, and digital art have been published in many fine publications.
We are pleased to welcome Sara Lippmann to Fictionaut's Writers on Craft. Sara is the recipient of a 2012 Fellowship in Fiction from the New York Foundation for the Arts. Her work has appeared in Tupelo Quarterly, Joyland, Mr. Beller's Neighborhood, PANK, The Potomac Review, Fourth Genre, Slice Magazine, and many other print and online publications. Raised outside of Philadelphia, she lives with her husband and children in Brooklyn.
What do you read when you despair at the state of either your work or a particularly difficult manuscript in progress—any "go to" texts?
When I'm feeling down on my work – which is often – I don't usually drop, stop, and read. I do have lots of papers taped on my wall, smart things smart writers have said, advice from Vonnegut to Keret to Elissa Schappell, but when the despair hits, all the affirmations in the world won't alleviate it. It's time to shift things up. Take a walk. Go for a run. Bake. Be utterly radical and shower! Whatever clears the mind. For me, this is not the time to pick up a brilliant novel effortlessly written by a wildly successful author. That would only feed the voices already calling me an idiot, demanding Who do you think you are? This is the time for me to get out of my headspace. I'm my own worst block.
If you could give just one piece of advice to emerging authors about editing that has served you well, what would it be?
Julie Regan, a professor of mine in college, cribbed from Miles Davis and told us to look for/make sure we could answer the question of "So what?" It may sound flip, but I've found it indispensable as editing advice. Can your story hold up to the Four Questions of the Seder table: Why this night as opposed to all others? Why this story? This moment? These characters? Meg Wolitzer talks about the imperative, which is another way of putting it. Locate the imperative; chase it down. Stay with that critical pulse. That's what will lend your work urgency; that's what's yours alone; that's what will make it ring true.
How has your perception of what you "do" with your work changed as you have continued to write?
When my kids were little, it was hard for me to give myself permission to write. To carve out any time at all. Diapers, potty-training – every waking moment seemed spoken for. What did I think I was doing? But no one is going to give you the time unless you take it. A few minutes a day. And no, it doesn't happen every day. But even on non-writing days I try to engage the senses, and stay open in case something comes. Justify it all as the space around the actual work. Book or no book, I still can't call myself a writer without feeling absurd. But the truth is, other than a handful of stints spent teaching, editing, breast-feeding, I have no other skill set. (If only I'd majored in something else!) Although I can sleep. Even on the nights I stay up late working, I'm out the second I shut the light. If I may boast, I'm an expert sleeper.
What do you feel is the purpose of literature?
Who said anything about purpose?
If you read something and it resonates and you enjoy it or laugh and are moved to share it with another and maybe feel a little less alone in the world, then that's something, however fleeting it may be, that's all I could hope for.
As a human being, what is the best advice you have to offer?
I think George Saunders' commencement speech on kindness pretty much covers it.
It seems that an awakening sense of self is a feature that many of your short stories exhibit and that you enjoy working with young narrators and or sexual coming of age stories. Has this always been a fascination for you? How do you think your use of sexuality informs your narrative themes?
I was probably in 7th grade, life science, when my teacher divided all living things in the world by their reproductive style: sexual or asexual. Because I was a preteen the classification came with an outburst of classroom laughter. There it was, laid out for us: Sex as a fundamental defining aspect of animal behavior. Each one of us was a sexual being – by nature. We were not jellyfish.
Thank god for that.
So, yes. It's that straightforward. Sex/sexuality as a driving force of human motivation. Sex not just as procreation but pleasure, power, politics, want/need, consumerism, escapism, selfishness and selflessness, an act of love, an attempt at connection, something to withhold, a desperate grasping in the dark, a hollow transaction, that which can both fulfill and leave us even lonelier.
Like many writers, it pervades my writing. But what I'm drawn to most is the push/pull of desire, the magnetic forces at work, mysteries and rules of attraction and how they are subverted – than the actual play by play. The sex act in and of itself – like eating and shitting – like any basic function, is not that interesting. Everyone does it. What is interesting to me is what sex – like chewing an apple – reveals about character. How a character's sexual impulse or restraint in a given moment services the story, how it affects the person, brings the narrative to life. A character may get naked in his/her body but still remain cloaked/clothed, and then what – what light does it shed? Where is the fall-out? How does it brush against cultural norms and societal expectations?
My "sexiest" stories are less about sex and more about the tension and ache around it, the energy between people. What transpires in a gesture. The physical exchange often takes place in the margins, off page, if at all. Although I won't shy away from writing a sex act when I think it is warranted, I have little patience for coyness, for the stilted artificiality of the veil as erotic code, the candle-lit packages fed to us in movies, dripping with sincerity, all the overreaching and overwriting. Sex is not precious nor should it be treated as such. Even if the characters themselves are being dishonest in the moment, it's the writer's job to keep the action honest. You can usually tell when sex scenes have been tacked on and have not risen from a novel organically – when they are there to provoke or to sate the marketplace and not because the narrative demands it – because you feel all sorts of ick reading them. The bad kind of dirty.
And that's a rant.
So many of the stories in Doll Palace have what I would call the "quiet disintegrations" at their hearts and a strong sense of place. How do you think setting works to connect to readers to a narrative?
Heather, I love that phrase "quiet disintegration." The characters may be falling apart inside, but you are right, they aren't being loud and dramatic about it. They are trying to hold it together even as their façades are crumbling. A lot of the settings reflect that sense of decay: Atlantic City in winter, a Jewish tchotchke shop on the outskirts of town, a decrepit prewar apartment building.
What's recently released or in the pipeline for your readers? And what are you working on now? Give us a sneak peek.
I'm working on a novel set in Sullivan County, NY. It takes place over the course of a summer. Lots of pent up sexual energy. I have a ways to go and it feels overwhelming. Denial runs deep. So I'm doing this interview. Tying up a few freelance pieces and reviews. And I'm making soup. Last week's was butternut squash. I'm currently boiling a chicken in a pot – like a nice Jewish girl.
Writers on Craft is hosted by Heather Fowler, who cares about writing. She does a lot of it. Visit her profile on Fictionaut or see here for more: www.heatherfowlerwrites.com.
Yesterday was an awful day, a punch to the gut sort of day. And today has also been kind of sucky. I had a lunch meeting with an artist I want to work with on a graphic novel. I tried to start my car and the battery was dead. I managed to jump it in time, and began to back out of my garage, when I noticed that one of my relatively new tires is flat. I had to text the artist and ask him to pick me up. (And it turns out that he's got a new full-time job and is not sure he'll have the time to take on my project.)
So now I'm lying on my couch, wondering if it's too early for me to have a glass of wine (it is). I have the movie Mystery Men on in the background. I love this movie, but it's not managing to cheer me up. Oh screw it, I'm getting the wine. Be right back.
I've actively sought out quirky, funny sorts of posts from Fictionaut because that's what I need right now. And I hope they'll provide a bit of an escape for both of us.
I love how Kerik has picked an enticing word and run with it, giving us a story. I could read a bunch of these at once, someone ought to write a collection of flash pieces based on provocative words. And since I'm a big time sapiosexual, and potentially also a sapiosexual by proxy at the same time, oh whatever. It's fun, read it.
Sifre's piece is similar to Sapiosexual in that he pondered a word, "rainmaker" and a story sprang forth. It can also go in the collection of one-word-spawned flash stories. And it's quirky, and sad. I like that.
When I was choosing these, I didn't notice how most of them could fit in to WORD: A collection of flash pieces, each inspired by a single word. (You like that name for the collection, WORD? I'm not sure.) Gowin's clever piece might be a poem, I'm not sure. It's not exactly a story, or is it? Anyway, I hope it's a lie.
Sad, and yet strangely funny, at least to me. And I want to know more about the woman, and the man, and what's behind her being able to ask such a question at such a time. I mean wow. (This wine is really nice, too. I'm feeling better.)
I like this piece because I am a techie geeky sort of person. And if I had a 3-D printer, you better believe I'd print a dog, because I love dogs. (I'm not a big fan of the title, but maybe if he renamed it Bitch it could go in WORD.)
Lynn Beighley is the author of dozens of tech books and even more articles. She's gotten lots of her short stories publishes in lots of places. She's currently working on a YA novel that she hopes will encourage teens to try a bit of computer programming. She got an MFA a few years back. She's on twitter as @lynnbeighley and her Amazon author page is here.


text:
Emilie Friedlander's FADER 91 cover story on FKA Twigs follows the shape-shifting pop singer through London.
Listen to "Two Weeks," a track from FKA Twigs' debut LP on Young Turks and peep the official video.
Smith's ballad gets roughed up by Twigs' distorted electronics.
U.K. hip-hop and grime lead the charge in this year's nominations, with Krept & Konan and JME gaining four nods each.
The hit writer spoke with Zane Lowe on Beats 1 today.
Twigs doesn't do anything by halves.
Kanye West, FKA Twigs, Mac Demarco, and a gorgeous L.A. crowd.
Tracks we love right now. In no particular order.
Twigs returns with new music and visuals.
Zane Lowe premiered the new track today.
From Mad Men to FKA Twigs, Alex Frank unpacks the week that counterculture went up in coke.
The experimental artist gathered a legendary crew of bone-breakers, krumpers, and voguers for her RBMA show, Congregata.
Her Christopher Kane was ballsy, beautiful, and not boring.
T-Pain accidentally spills the beans on FKA Twigs and Robert Pattinson's engagement.