text:
Gothic Bluebooks
in the Princely Library of Corvey and Beyond
devirons-nous analyser ici ces Romans
nouveaux, dont le sortilège et la fantasmagorie
composent à-peu-près tout le mérite, en
placant à leur tête le Moine, supérieur, sous tous les rapports, aux bisarres élans de
la brillante imagination de Radgliffe
[sic]; [.] ce genre [.] devenait
le fruit indispensable de secousses révolutionnaires,
dont l'Europe entière se ressentait. Pour
qui connaissait tous les malheurs dont
les méchans peuvent accabler les hommes,
le Roman devenait aussi difficile à faire,
que monotone à lire; il n'y avait point
d'individu qui n'eût plus éprouvé d'infortunes
en quatre ou cinq ans que n'en pouvait
peindre en un siècle, le plus fameux romancier
de la littérature; il fallait donc appeller
l'enfer à son secours, pour se composer
des titres à l'intérêt, et trouver dans
le pays de chimères, a qu'on savait couramment
en ne fouillant que l'histoire de l'homme
dans cet âge de fer.-Marquis
de Sade (1800) [1]
As a commonplace in literary
criticism, the political upheaval and
ensuing war experienced by this (in)famous
commentator's native country at the turn
of the eighteenth century are held responsible
for a correlative revolutionary development
in the evolution of fiction: the unprecedented
rise of the Gothic novel. Whereas earlier
critics have concentrated on direct representations
of revolution in the genre, [2]
more recent interpretations apply Freudian
categories in order to reveal the mechanisms
of Gothic: in other words, to substitute
political with imaginary terrors. [3]
Quoting from Mrs Bonhote's Bungay Castle
(1797)-'A novel was never intended as
a vehicle for politics'-and Miss Pilkington's
The Subterranean Cavern (1798)-'My
limited education, as a female, utterly
disqualifies me for forming any decided
opinion respecting the political problems
which are constantly discussed in my presence'-Maurice
Lévy, for instance, illustrates the literary
counterpart of repression in the Gothic:
the renunciation of political discussion
in an escapist genre. [4]
to the mechanisms of repression in the
Gothic, however, such vocalised concerns
as those cited above can be regarded as
rare instances of eruption from the subconscious.
In Gothic fiction in general, these anxieties
are sublimated within the narrative, and
fear of political and social chaos finds
expression in the deliberately restricted
perspective of the explained supernatural
of Ann Radcliffe and her innumerable imitators.
Not uncommonly, this perspective coincides
with an unrestrained glorification of
a vague historical past, which is itself
characterised by an idealised political
system grounded in feudalism. For descriptions
of authentic social circumstances and
their political conditions, the reader
has to refer to Radcliffe's travel journal
of 1795:
Rheinberg [.] is a
wretched place of one dirty street, and
three or four hundred mean houses, surrounded
by a decayed wall that never was grand,
and half filled by inhabitants whose indolence,
while it is probably more to be pitied
than blamed, accounts for the sullenness
and wretchedness of their appearance.
Not one symptom of labour, or comfort,
was to be perceived in the whole town.
The men seemed for the most part, to be
standing at their doors, in unbuckled
shoes and woollen caps. [5]
Such disaffected comments
illustrate the breakdown of Radcliffe's
epistemological scepticism, which typically
underlies her elaborate landscape descriptions,
as well as the introduction of Gothic
paraphernalia in her novels. Wherever
political and social terror become unbearable
and can no longer be transferred to the
level of the Sublime-reason in her novels
being insufficiently reconstituted by
the application of the explained supernatural-Radcliffe's
representations of reality inevitably
approach the Gothic mode of M. G. 'Monk'
Lewis and the 'divine Marquis', namely
in the form of horror unexplained and
unexplainable. Nevertheless, in her travel
journal Radcliffe does not refer exclusively
to France or Germany as the source of
social insecurity, but to the whole European
Wealthy and commercial countries may
be injured immensely by making war either
for Germany or against it [.]; but Germany
itself cannot be proportionately injured
with them, except when it is the scene
of actual violence. Englishmen, who feel,
as they always must, the love of their
own country much increased by the view
of others, should be induced, at every
step, to wish, that there may be as little
political intercourse as possible [.]
between the blessings of their Island
and the wretchedness of the Continent.
What reads like radical
nationalism from the perspective of the
present, shows the inevitable disturbance
in a nation that distinguished itself
from the Continent by its unprecedented
economic progress, compared to which the
continental states were still characterised
by pre-industrial structures. The war
between Britain and France, however, ultimately
revealed that despite-or even because
of-its economic backwardness, the Continent
was able to cause incomparably greater
damage to a country whose economy was
increasingly built on intact international
a result of the divergence between economic
and political conditions in Radcliffe's
England and the continental Europe, the
French Revolution and the war of 1793
provided only new fuel to an already established
atmosphere of social disturbance, the
cause of which is to be located in the
native country of the Gothic itself. The
publication rate of terror novels hinted
at by Montague Summers and Robert B. Mayo
indicates a cause-and-effect relationship
between the rapid industrial progress,
which took place in England from the 1760s
onwards, and the rise of the Gothic mode
in literature. [7]
Additionally, striking differences between
the Gothic novel and the roman noir
and the respective reception of both milieux
in France contradict the simplifying restriction
to the French Revolution as the
political factor that precipitated the
rise of the Gothic novel. [8]
to the political upheaval in France, the
English Industrial Revolution not only
supplied the technological but also the
ideological conditions for the unprecedented
rise of popular literature around 1800.
Economic progress and the destruction
of extant structures resulting from it
must have caused fear of changed conditions
of life and unsolved social problems long
before the fall of the Bastille. Horace
Walpole's Castle of Otranto, generally
regarded as the first Gothic novel in
English, was published as early as 1765,
to be followed in 1777 by Clara Reeve's
The Old English Baron. [9]
Thus, it becomes necessary to turn to
the parallels between the earlier novel
of sensibility and the Gothic to trace
escapism in the novel previous to the
French Revolution. [10]
recently, the influence of the Industrial
Revolution on the evolution of mass literature
has mainly been described in terms of
production and reception. [11]
Admittedly, some account has been taken
of the fact that the changes affecting
the social system in the wake of technological
progress also created a new readership
to consume the products of a thriving
publishing industry. As far as the Gothic
novel is concerned, however, traditional
critics rarely mention the profound social
disturbances that are hardly ever alluded
to in the works themselves, but which
ultimately led to the deluge of such escapist
fiction in the first place. [12]
On the contrary, by disproportionately
restricting the concept of the Gothic
novel to a few 'acceptable' works, effort
has been made to free the genre from the
disreputable notion of 'mass literature'.
the entire Gothic spectrum is examined
in its entirety-as is possible for the
first decades of the early nineteenth
century, owing to the extensive preservation
of early fiction in the Princely Library
of Corvey Castle near Höxter (North Rhine
Westphalia)-it becomes clear that the
innovative 'horror' Gothic found in writers
such as M. G. Lewis's The Monk
(1796) or C. R. Maturin's Melmoth the
Wanderer (1820) represents only a
tiny minority compared to the overwhelming
'terror' mode practised by the imitators
of Ann Radcliffe. The contents of innumerable
'lesser novels' on the shelves of the
Corvey Library not only illustrate that
the last aim of such Gothicism was to
meet high aesthetic expectations on the
part of a discriminating readership, but
also that the term 'Romantic' Gothic novel
is somewhat misleading. Any form of 'high'
Romanticism in these second- and third-rate
Gothics is restricted to a few standardised
landscape descriptions and the occasional
appearance of a rather down-to-earth ghost.
attempted revaluation of the Gothic in
'high' aesthetic terms not only faces
the difficulty of the widespread dissemination
of the Radcliffe 'terror' mode in the
bulk of 'lesser novels', but also must
face the fact that, in an even weaker
form, identical mechanisms of terror combined
with quasi-rational explanation are applied
in the 'bluebooks' or 'shilling shockers'.
Frederick S. Frank defines such literary
forms as:
Low quality Gothic fiction denoted
by its garish blue coverings or wrappers.
The Gothic bluebook is a primitive paperback
or ur-pulp publication, cheaply manufactured,
sometimes garishly illustrated, and meant
to be thrown away after being 'read to
pieces.' [.] The reader of the bluebook
received a single dose of Gothicism between
the blue covers. Almost all of the hundreds
of bluebooks published during the period
are pirated abridgments of full-length
Gothic novels. [14]
Compared with this depreciative
description of the small-scale Gothics,
which are occasionally to be found side
by side with their fully fledged counterparts
in public and academic libraries, a quite
different sense is given in a contemporary
comment by Thomas Medwin, as found in
the biography of his friend Percy Bysshe
Who does not know what blue books mean?
but if there should be any one ignorant
enough not to know what those dear darling
volumes, so designated from their covers,
contain, be it known, that they are or
were to be bought for sixpence, and embodied
stories of haunted castles, bandits, murderers,
and other grim personages-a most exciting
and interesting sort of food for boys'
minds. [15]
Disregarding the striking
opposition in terms of valuation-resulting
from the fact that those 'who have grown
up' with the bluebooks feel inclined to
treat them with leniency, whereas historical
distance predisposes twentieth-century
critics to adopt a rather negative view
of them as degenerate Gothic novels-both
definitions correlate the bluebook's physical
appearance with a specific mode of contents.
Around 1800, two traditions effectively
merged into a new type of cheap popular
literature: whereas the bluebook's size
of thirty-six to seventy-two pages recalls
the eighteenth century chapbook tradition,
their inevitable blue covers, copperplate
frontispieces, and above all their contents,
derive from the late-eighteenth- and early-nineteenth-century
Gothic romance. Apart from using the same
Gothic paraphernalia, such as family feud,
illicit love, and the intervention of
supernatural powers, among some 220 items
physically inspected by the author, no
more or less than sixty-three proved to
be adaptations of longer works. (A checklist
of these follows this essay.)
any case, the practise of condensing three-decker
novels into thirty-six- or seventy-two-page
duodecimos does not logically lead to
the conclusion that bluebooks are degenerate
Gothics in the sense that they represent
an epiphenomenon of the Gothic rage. If
the concept of the novel of terror is
extended from the few innovative works
that initiated the Gothic craze to the
full range of the genre as it is preserved
in the Princely Library of Corvey, Ian
Watt's statement that '[i]n the shilling
shockers we are enabled [.] to appreciate
the absurd extent to which the Gothic
vogue was carried in the declining years
of its life' proves incorrect. [16]
In fact, a close examination of output
of thirty-six- or seventy-two-page bluebooks
with Gothic novels in standard form reveals
that both forms represent virtually contemporaneous
phenomena, peaking in the early 1800s
and diminishing by the 1810s. Furthermore,
in view of evidence that-as the checklist
at the end of this paper indicates-the
contents of three-decker Gothics and bluebooks
are more or less identical, it becomes
apparent that both modes of fiction must
have aimed at similar expectations from
their readership, with the only difference
that the triple-deckers were produced
for the circulating libraries and some
well-to-do buyers (such as the owner of
the Corvey Library), whereas the bluebooks
were printed for private purchase at either
sixpence or one shilling exclusively.
course, it is not only long-term attempts
to revaluate the Gothic novel in the teeth
of its aesthetic 'defects' that have been
responsible for the general neglect of
bluebooks, but also the evanescence of
the tiny volumes themselves. Through consulting
library catalogues and bibliographies
such as Summers Gothic Bibliography
(1940) and Frank's The First Gothics
(1987), [18]
the author of this essay was able to locate
the 220 titles previously mentioned in
twenty national, academic, and public
libraries in the UK and North America,
with the twenty-first source being the
private library situated in Corvey Castle
with its astonishingly complete corpus
of romantic fiction. Due to their ephemeral
nature it is impossible to ascertain with
certainty how many bluebooks were originally
published shortly after 1800, nor in what
numbers they were produced. Summers does
not provide any contextual evidence to
substantiate his statement 'that these
little bluebooks were sold in their hundreds
upon hundreds for a tester apiece'. [19]
Admittedly, Medwin's comment quoted earlier
encourages the assumption that bluebooks
were so widely spread at the time as to
become a universally known phenomenon.
One should not forget, however, that-compared
to the Gothic novel, which retained much
of its early force far into the early
1810s-their actual publication dates with
the high-tide about 1803-05 mark the bluebooks
as a relatively short-lived phenomenon.
This challenges Summers's assumption that
the bluebook phenomenon might well have
been an experiment practised by enterprising
publishers such as Thomas Tegg or Dean
& Munday, which ultimately failed
owing to the fact that the circulating
libraries made the full-length Gothic
novel accessible to a large public.
in the past the preservation of Gothic
bluebooks in national or academic libraries
has depended largely on chance-pencil
notes in some British Library specimen
still mark them as donations from private
owners-the twenty-four titles in the Corvey
Library survived thanks to the indiscriminate
acquisition policy of the principal collectors
of Romantic fiction: Victor Amadeus, Landgrave
of Hesse-Rotenburg (1779-1835) and his
second wife Elise (1790-1830), both of
whom were connected to the British royal
family. As a bibliomaniac the Landgrave
bought almost every novel in German, English,
and French that was advertised from the
1790s onwards, thus turning the aristocratic
family library into a universal library
of contemporary fiction. Although Victor
Amadeus's preferences clearly lay with
the lengthy romance, the 2,500 English
language fictions collected between 1790
and 1834 occasionally prove collections
of tales and other forms of shorter fiction,
among these The Marvellous Magazine
and Compendium of Prodigies (1802-04).
The Marvellous Magazine consisted
of twenty-four short Gothic pieces (see
Appendix I) published by various firms,
most notably the 'publisher, re-publisher,
printer and book-buyer' Thomas Tegg of
St John's Street, later of Cheapside,
who was responsible for the bulk of bluebook
production shortly after 1800. [20]
the colourful 'house' bindings of the
fully fledged novels in Corvey, the two
leather-bound volumes of the Marvellous
Magazine with their gilded ornaments
are not particularly exceptional in terms
of their outward appearance. Such bindings
are indicative of two salient points:
firstly, the owners of the library purchased
virtually every English fiction title
they could acquire, regardless of mode;
and secondly, that they did not
read the bulk of their acquisition. [21]
As we do not exactly know about the Landgrave's
purchase policy, except that in the field
of the belles-lettres he bought
almost every item that appeared on the
literary scene, it is impossible to reconstruct
why the collection includes what Frank
describes as 'little flowers of evil planted
by rapacious publishers across the literary
scene'. [22]
There are two possible explanations, which
do not necessarily exclude each other:
either the Marvellous Magazine was
advertised and the Landgrave did not know
what he was ordering from his German bookseller,
or the small-scale novels it contains
enjoyed a much different reputation from
the prejudiced concept of popular literature
that has long prevailed in modern literary
is hard to imagine how a bibliomaniac
like the Landgrave might have responded
to titles such as Albani: Or the Murderer
of his Child. Containing the Different
Views of his Character, as a Libertine
in Palermo, an Officer in the Spanish
Service, a Planter in the Island of Cuba,
and an Independent Gentleman, on his Return
to Italy (c. 1803), an adaptation
of John Moore's famous Gothic novel Zeluco
(1789). The Marvellous Magazine's
series frontispiece that is bound with
the work suggests that Victor Amadeus
did not buy the titles in the form in
which they first appeared, namely as single
items, but that he ordered a reprinted
version of the series as a whole, and
indeed did not know about its contents
beforehand. To the scholar, the twenty-four
items included in the Marvellous Magazine
reveal that the bluebook format embraced
the whole spectrum of Gothic subgenres,
from sentimental to pseudo-historical
Gothic, from Robber Romanticism to orientalised
Gothic fantasy. As a whole, the contents
of the small incorporated volumes tend
towards a mixture of genres typical of
the Gothic: what is generally to be found
between their flimsy covers is a sentimental
love story set against the background
of a picturesque, vaguely medieval landscape,
decorated with the occasional appearance
of such memento mori as a bleeding
nun or a stately knight long-supposed
to be dead, recalled to the stage of life
by some imminent injury to be done to
a maiden orphan or a legitimate heir.
sensational titles found among bluebooks
as a whole indicates that their authors,
most of whom remain anonymous, set out
to meet the expectations of as large a
readership as possible. In 1803 Almagro
& Claude; or Monastic Murder; Exemplified
in the Dreadful Doom of an Unfortunate
Nun was published by Tegg & Castleman,
while a comparatively late example in
this mode is The Midnight Groan; or,
the Spectre of the Chapel: Involving an
Exposure of the Horrible Secrets of the
Nocturnal Assembly, published by T.
& R. Hughes in 1808. [24]
From the prolific pen of Sarah Scudgell
Wilkinson, one of the few authors whose
name has come down to the present, derives
a bluebook bearing the extensive title,
The Eve of St Mark; or, the Mysterious
Spectre: Describing the Murder of Lady
Bertha de Clifford by a Jealous and Disappointed
Suitor; and Suicide of her Father: Her
Singular Re-appearance after the Lapse
of a Whole Century-Surprising Events in
Consequence of this Marvellous Incident-Descent
of the Steward of the De Clifford Family
into the Vaults of Mowbray Church; Remarkable
Discovery there, and the Marriage of Earl
de Clifford with the Steward's Daughter,
Margaret. A Romance (London: J. Bailey,
n.d.). [25]
Corresponding to the modern blurb, the
title in this and many other instances
supplies a complete synopsis of the narrative,
catching the eye of a public searching
for sentimental at least as much as Gothic
the one hand, examples such as these indicate
the high predictability of the bluebook
plot. Apparently, readers were less interested
in the 'what?' than in the 'how?' and
'why?' of the action, as the former category
is often fully summarised on the title
page. On the other hand, the authors'
ambition to satisfy the needs of Tegg's
or Bailey's customers led to an extreme
eclecticism in terms of sensational detail.
Thus, in F. Legge's The Spectre Chief;
or, the Blood-Stained Banner (London:
J. Bailey, n.d.), two Gothic villains
with names of Romance origin attack a
Scandinavian monastery with the quasi-German
name of Risbatz. In the anonymous Banditti
of the Appennines (London: C. Sharp,
1808), the tale's lovers providentially
escape from one gang of ferocious robbers
merely to fall into the hands of another.
The full title reads: The Banditti
of the Appennines; or, the Singular Adventures
of Alphonsus and Adela (during the Civil
Wars in Italy), with an Interesting Account
of their Providential Escape from a Band
of Ferocious Robbers who Infested the
Mountains, at that Period, and also from
Another Band, still More Formidable, by
Whom They Were Confined in a Dreadful
to such apparent absurdities as these,
as already suggested, critics have come
to regard the bluebook as a degenerate
variant of the Gothic romance. The denigration
of the Gothic bluebook in favour of the
full-length novel is particularly apparent
in a number of German academic publications,
which differentiate between the 'classical'
Gothic novel and the 'popular' or 'trivial'
shilling shocker, both adjectives carrying
distinctly negative connotations in German
literary criticism. [26]
Neither does the bluebook fare much better
in America. In his primary bibliography
The First Gothics, which supplies
useful synopses of the longer novels in
contrast to relatively unreliable summaries
of bluebook contents, Frank notes:
While lengthy and elegant Gothics were
still being written and published, a study
of the Gothic types flooding the literary
marketplace during the opening decades
of the Nineteenth Century reveals the
decline of the long Gothic as it was displaced
by these shilling shockers. [.] The chapbooks
represent Gothicism in its most decadent
and rampant phase, bringing down upon
the Gothic novel widespread critical denunciation
and ridicule. [26]
Contrary to this assumption,
the material in Corvey strongly suggests
that the description of the Gothic novel
as 'lengthy and elegant' and the characterisation
of the so-called 'shilling shocker' as
degenerate result from critics' prioritisation
of the triple-decker Gothic novel on
its own.
this paper has already argued, in order
to arrive at the distinction of high-quality
novels and low-quality shilling shockers,
the majority of critical studies on the
Gothic romance restrict their subject
to a very limited set of innovative works
published in the decade before 1800 or
shortly after. Nevertheless, the vast
amount of full-length Gothic novels in
the Corvey Collection cannot live up to
the standard of Ann Radcliffe or 'Monk'
Lewis. Among the better of these novels
one finds Netley Abbey of 1795,
a Radcliffean imitation by Richard Warner,
or several triple-deckers by Sarah Wilkinson,
the bluebook authoress mentioned above.
In contrast to these, the comparatively
early work The Animated Skeleton
(1798) is already characterised by all
the properties of 'degenerate Gothicism',
whereas the similarly anonymous novel,
The Avenger; or, the Sicilian Vespers
(1810), with its sensational plot
of intrigue and revenge causes Frank to
erroneously label the three-decker as
a 'Gothic bluebook'.
a number of occasions, the titles of Gothic
novels in the Corvey Library do not differ
conspicuously from the bluebook titles
quoted above. Alongside Radcliffe's novels
one finds works such as The Mysterious
Penitent; or, the Norman Chateau (1800),
The Spirit of Turretville: Or, the Mysterious
Resemblance (1800), The Castle
of Eridan: Or, the Entertaining and Surprising
History of the Valiant Don Alvares, and
the Beautiful Eugenia, Duchess of Savoy
(1800), not to mention Labyrinth of
Corcira: Or, the Most Extraordinary and
Surprising History of the Incomparable
Don Fernando D'Avalo, Hereditary Prince
of Salerno, and the Beautiful and Virtuous
Isidora, Duchess of Catania. Together
with the Surprising Events of the Countess
of Lipary his Sister (1804). Discussing
the anonymous Valombrosa; or the Venetian
Nun (1805), the Critical Reviewnotes
that '[w]e cannot congratulate this gentleman
(for a male performance it must certainly
be) on the slightest ambition to imitate
that delicacy which is one of the many
beauties so profusely scattered over the
writings of Mrs. Radcliffe'. [28]
Although it would take years to undertake
a full survey of the Gothic material preserved
in the Corvey Library, the contents of
second- and third-rate novels like these
already corroborates the fact suggested
by the publication dates of novels and
bluebooks respectively, namely that they
are not consecutive phenomena but contemporary
facets of the Gothic craze.
devaluation, however, of the Gothic novel
in favour of the Gothic bluebook would
mean going from one extreme to another.
Despite the fact that the number of plagiarisms
among the so-called 'sixpenny shockers'
is definitely over-emphasised by Watt,
Frank, and others, the checklist appended
in Appendix II lists no less than five
versions of Lewis's Monk. All of
the four great Gothic novels by Ann Radcliffe
are present, with even two different versions
of The Mysteries of Udolpho (1794).
Furthermore, there are condensations of
Walpole's Otranto, Clara Reeve's
Old English Baron, Sophia Lee's
The Recess (1783-85), Charlotte
Smith's The Old Manor House (1793),
and Charlotte Dacre's Zofloya (1806).
Secondary literature on the Gothic novel
has long identified the first item on
the list, The Midnight Assassin: or,
Confession of the Monk Rinaldi (1802),
as an adaptation of Radcliffe's Italian
(1797). Don Algonah; or the Sorceress
of Montillo (1802), another item included
in The Marvellous Magazine,
is a seventy-two-page version of George
Walker's The Three Spaniards (1800),
whereas The Wandering Spirit (1802)
corresponds to Stephen Cullen's Haunted
Priory (1794). These adaptations show
that the bluebooks are in no way original;
however, around two-thirds of the titles
could not be traced back to original novels,
tales or plays and many of them, such
as those by Sarah Wilkinson, will never
findings encourage the conclusion that
the Gothic paraphernalia favoured in fiction
around 1800 are not the property of the
novel in the first place, but that bluebooks
and Gothic novels are variants of the
same literary tradition brought about
by the preferences of a readership under
the impress of political and economic
change. To reconstruct this readership
is difficult, if not impossible, as there
is scant empirical evidence. From the
biographies of Percy Shelley, Robert Southey,
and Sheridan LeFanu we can deduce that
in their youth they belonged to the class
of bluebook readers. As the emphasis on
the younger generation indicates, the
bluebooks were produced specifically for
those parts of the reading public who
wanted to participate in the Gothic rage,
but who could not to afford the comparatively
expensive three-decker novels. This is
most likely the reason why Varma in 1957
called the bluebooks 'poorman's gothic
novels'. [29]
This assumption presupposes, however,
that the bluebook-buyer had come into
contact with the Gothic novel tradition
before: otherwise, the striking similarities
in the outward appearance of bluebooks
and Gothic novels would have been lost
on the reader. And where else could he
or she have come into contact with these
novels other than in the circulating libraries
of the time? In fact, temporal coincidences
indicate that there was commensurate growth
in cheap, popular literature in the form
of bluebooks and in the institution of
the circulating library, both symptoms
of the exponential rise in book prices
that occurred during the Napoleonic Wars.
People who frequented the circulating
library would certainly have wished to
own the novels they could only borrow
there. Once these works had been reduced
to thirty-six or seventy-two pages, however,
readers could obtain versions at the reasonable
price of sixpence or a shilling, not only
in London but-as the title pages of the
Marvellous Magazine suggest-from
'every other bookseller in the United
this lack of empirical evidence generally
forces commentators on popular literature
to have recourse to the implied reader.
As with the prejudice that the bluebooks
belong to the aftermath of the Gothic
vogue, there is strong evidence against
another argument made by Frank et al.-namely
that the bluebooks represent what has
been termed the 'horror mode' of Gothicism.
For instance, in The First Gothics
Frank states:
the route of development taken by the
Gothic novel after 1800 was down the corridor
of an unrestrained supernatural and toward
the absolute horror of horrors. Hasty
and relentless horror became the stock-in-trade
of the Gothic chapbooks and bluebooks
after 1800 when the main path for Gothic
fiction was mapped out by Monk Lewis,
not Ann Radcliffe. These hundreds of small
Gothics were the cheap and tawdry offspring
of the Schauerromantik energies
released by Lewis' The Monk. [30]
Again, as far as the
Gothic novel is concerned, this argument
only applies to a very limited set of
works: strictly speaking, works which
derive from or are inspired by either
Radcliffe or Lewis. Tracing back the bluebook
adaptations to their respective originals
almost exclusively leads to Radcliffean
imitations. The contents of these works
(examples of which have been mentioned
already) reveal the prevalence of the
rationalised variant of the Gothic mode
typical of the early decades of the nineteenth
century, whereas novels representing the
more unsettling Romantic 'horror' variant
(for instance, Lewis's Monk) are
to be regarded as rare experiments. Wherever
works such as the latter have served as
the quarry of prolific bluebook authors,
elements of horror like torture or moral
ambivalence are eliminated, a measure
that conveniently contributed to the practice
of cutting down the original story to
the intended size of thirty-six or seventy-two
adaptations, the bluebooks belong predominantly
to the so-called 'terror' mode which follows
in the tradition of Ann Radcliffe, a tendency
that does not apply only to the sixty-three
miniature romances the originals of which
have been identified in the checklist.
The only explanation for the sensational
frontispieces and multiple titles of these
works is their need to attract potential
readers. The contents of the bluebooks,
however, quickly disillusion anybody who
expects the 'absolute horror of horrors':
quite obviously, the readership-which
was attracted by the pictorial representations
of skeletons and spectres-refrained from
the epistemological pessimism of works
like Lewis's Monk. In reading Isaac
Crookenden's The Skeleton; or,
Mysterious Discovery (London: A. Neil,
1805), for example, one recognises that
the protagonist is less terrified by a
supernatural apparition in the trembling
rays of a midnight lamp, than moved by
his discovery of the corpse of one of
his ancestors. What remains of Gothicism
in the bluebooks in general is the sentimental
love story, adorned with a restricted
set of Gothic paraphernalia, which never
traverse the boundary between terror and
horror, as defined by Radcliffe herself.
in a manner similar to most of the full-length
novels of the period, the Gothic in bluebooks
represents an attractive alternative to
the sentimental. Whereas in most cases
Gothicism is reduced to a small set of
comparatively harmless elements of terror
adorning the action, it is the love story,
handed down from the novel of sensibility,
that constitutes the main plot. In this
respect, the stories of the bluebooks
preserved in the Corvey Library differ
as little from those of the full-length
Gothics and the sentimental novels to
be found on the same shelf as the bindings
of the respective works themselves. To
the contemporary reader-whose reading
habits differed as much from ours as the
outward appearance of the early-nineteenth-century
novels does from the literary productions
of the present-they must have appeared
as one coherent tradition of entertainment
and recreation.
1. Donatien
Antoine François Marquis de Sade, Idée sur les Romans,
ed. Octave Uzanne (1800; Genf: Slatkins Reprints, 1967),
pp. 31-33.
2. See,
e.g., Michael Sadleir, 'The Northanger Novels. A Footnote
to Jane Austen', The English Association Pamphlet
68 (1927), pp. 4 and 7; André Breton, 'Limites non
frontières du surréalisme', Nouvelle Revue Française
48 (1937), 208-09.
3. Cf.
Ronald Paulson, Representations of Revolution
1789-1820 (New Haven, CT and London: Yale University
Press, 1983), pp. 8-9.
4. Maurice
Lévy, Le Roman 'gothique' Anglais 1796-1820
(Toulouse: Association des Publications de la Faculté
des Lettres et de Sciences Humaines, 1968), p. 611.
5. Ann
Radcliffe, A Journey Made in the Summer of 1794 through
Holland and the Western Frontier of Germany with a Return
down the Rhine: To Which Are Added Observations during
a Tour to the Lakes of Lancashire, Westmoreland and Cumberland
(1795; Hildesheim: Georg Olms Verlag, 1975), p. 92.
6. Ibid.,
p. 108.
7. Montague
Summers, The Gothic Quest. A History of the Gothic
Novel (1938; New York: Russell & Russell, 1964),
p. 185. Robert D. Mayo, 'How Long Was Gothic Fiction in
Vogue?', Modern Language Notes 58 (1943), 58-64.
significant example is Lewis's The Monk (1796),
which was criticised severely in England, while it was
appreciated or at least treated indulgently in France.
See Fernand Baldensperger, 'Le Moine de Lewis dans la
littérature française', in The English Gothic Novel.
A Miscellany in Four Volumes, ed. Thomas Meade Harwell
(Salzburg: Institut für Anglistik und Amerikanistik Universität
Salzburg, 1986), IV: Collateral Gothic 2, 170-88.
Clery, The Rise of Supernatural Fiction 1762-1800
(Cambridge: CUP, 1995) takes account of even earlier Gothic
On the novel of sensibility as a precursor of the
Gothic novel, see Werner Wolf, 'Schauerroman und Empfindsamkeit.
Zur Beziehung zwischen Gothic novel und empfindsamem
Roman in England', Anglia 10 (1989), 1-33. Rudolf
Schenda points out that literary structures aiming at
a recompense of social injustice have a much older history,
and it is only restriction to an 'accepted' canon of primary
material as the subject of literary criticism that has
generally led to a neglect the works in question-Volk
ohne Buch. Studien zur Sozialgeschichte der populären
Lesestoffe 1770-1910 (1970; Munich: Deutscher Taschenbuch
Verlag, 1977).
See e.g. Richard D. Altick, The English Common
Reader. A Social History of the Mass Reading Public 1800-1900
(1957; Chicago/London: University of Chicago Press,
André Parreaux, for instance, only very tentatively
hints at a possible influence of the Industrial Revolution
on the Gothic: 'And perhaps the changes due to the industrial
revolution, which tended to make the general environment
dull and drab, affected the life of ordinary people more
directly than Nelson's and Bonaparte's victories'-The
Publication of 'The Monk'. A Literary Event 1796-98 (Paris:
Librairie Marcel Didier, 1960), p. 36.
Recent exceptions to this approach include: Clery's Rise
of Supernatural Fiction; Ed Jacobs, 'Anonymous Signatures:
Circulating Libraries, Conventionality, and the Production
of Gothic Romances', ELH 62:3 (Fall 1995), 603-29;
James Watt, Contesting the Gothic: Fiction, Genre,
and Cultural Conflict, 1764–1832 (Cambridge:
Frederick S. Frank, The First Gothics. A Critical Guide
to the English Gothic Novel (New York/London: Garland
Publishing, 1987), Appendix I: 'Glossary of Gothic Terms',
p. 433. See also Frank's definitions of 'chapbook gothic'
and 'shilling shocker'.
Thomas Medwin, The Life of Percy Bysshe Shelley (1913;
St Clair Shores, MI: Scholarly Press, 1971), pp. 24-25.
William Whyte Watt, Shilling Shockers of the
Gothic School. A Study of Chapbook Gothic Romances (1932;
New York: Russell & Russell, 1967), p. 21.
One of the bluebooks consulted, Charles Giberne's The
Haunted Tower; or, the Adventures of Sir Egbert de Rothsay
(London: R. Hunter, 1822), p. 3, contains a list
of subscribers, whose family names hint at a readership
hardly less respectable than that of the Gothic novel
with the exception that aristocratic titles are to be
found only in one instance.
Montague Summers, A Gothic Bibliography ([1940];
New York: Russell & Russell, 1964).
Summers, Gothic Quest, p. 84.
Thomas Carlyle, 'Petition on the Copyright Bill', in Critical
and Miscellaneous Essays, 5 vols (London: Chapman
& Hall, n.d.), IV, 206-07.
Interestingly, the collection lacks Lewis's Monk,
one of the more notorious publications in the Gothic mode.
Taking into consideration the Prince's otherwise indiscriminate
acquisition policy, this could perhaps be taken as indicative
of the fact that the contemporary readership did not universally
accept unrestrained Gothicism in the shape of moral or
psychological ambivalence.
Frank, p. 432.
'It is probable that many of these books entered
into the collection through a German bookseller from Göttingen
specializing in English works, called Dr Möller'-Peter
Garside, 'The English Novel in the Romantic Era', in The
English Novel 1770-1829: A Bibliographical Survey of Prose
Fiction Published in the British Isles, edd. James
Raven, Peter Garside, Rainer Schöwerling, 2 vols (Oxford:
Both titles are not included in the Marvellous
Magazine, but survived as single items, the former
in the British and the Bodleian Libraries, the latter
in the British Library only.
Two examples of this title survive: one of them
in the British Library, the other in the Bodleian Library.
See e.g. Ingeborg Weber, Der englische Schauerroman.
Eine Einführung (Munich and Zurich: Artemis-Verlag,
1983), p. 135.
Frank, pp. xxvi-[xxvii].
Critical Review 3rd ser. 4 (Mar 1805), 329.
Devendra P. Varma, The Gothic Flame. Being a
History of the Gothic Novel in England: Its Origin, Efflorescence,
Disintegration, and Residuary Influences (1957; New
York: Russell & Russell, 1966), p. 80.
Frank, p. xxvi.
Ann Radcliffe, 'On the Supernatural in Poetry',
New Monthly Magazine 16 (1826), 149-50.
Titles in the Corvey Library
(from The
Marvellous Magazine)
The Marvellous Magazine and Compendium
of Prodigies, 4 vols
(London: T. Hurst/Tegg & Castleman etc., 1802-04)
Marvellous Magazine I
The Midnight Assassin: Or, Confession of the
Monk Rinaldi; Containing a Complete History of
His Diabolical Machinations and Unparalleled Ferocity
[...] (London: T. Hurst, 1802).
Don Algonah; or the Sorceress of Montillo.
A Romantic Tale (London: T. Hurst, 1802).
The Recess. A Tale of Past Times (London:
T. Hurst, 1802).
a) The Wandering Spirit: Or Memoirs of the
House of Morno: Including the History of Don Pinto
D'Antos, a Tale of the 14th Century [...];
b) Charles and Emma, or the Unfortunate
Lovers (London: Thomas Tegg & Co., 1802).
The Cavern of Horrors; or, Miseries of Miranda:
A Neapolitan Tale (London: T. Tegg &
Co., 1802).
The Secret Oath, or Blood-Stained Dagger,
a Romance (London: Tegg & Castleman,
Marvellous Magazine II
The Southern Tower; or, Conjugal Sacrifice
and Retribution (London: T. Hurst, 1802).
The Veiled Picture: Or, the Mysteries of
Gorgono, the Appennine Castle of Signor Androssi.
A Romance of the Sixteenth Century (London:
Thomas Tegg & Co., 1802).
A Tale of Mystery; or the Castle of Solitude.
Containing the Dreadful Imprisonment of Count
L. and the Countess Harmina, His Lady (London:
Thomas Tegg & Co., 1803).
a) Domestic Misery, or the Victim of Seduction,
a Pathetic Tale; Addressed to the Unprincipled
b) Highland Heroism; or the Castles of
Glencoe and Balloch. A Scottish Legend of the
Sixteenth Century (London: Tegg & Castleman,
Albani: Or the Murderer of His Child. Containing
Different Views of His Character, as a Libertine
in Palermo [...] (London: Tegg & Castleman,
Father Innocent, Abbot of the Capuchins;
or, the Crimes of Cloisters (London: Tegg
& Castleman, 1803).
Marvellous Magazine III
The Secret Tribunal; or, the Court of Winceslaus.
A Mysterious Tale (London: Tegg & Castleman,
Koenigsmark the Robber, or, the Terror of
Bohemia: In which Is Introduced, Stella, the Maniac
of the Wood, a Pathetic Tale (London: Tegg
& Castleman, 1803).
Phantasmagoria, or the Development of Magical
Deception (London: Tegg & Castleman, 1803).
Ildefonzo & Alberoni, or Tales of Horrors
(London: Tegg & Castleman, 1803).
Ulric and Gustavus, or the Unhappy Swedes;
a Finland Tale (London: Tegg & Castleman,
Blanche and Carlos; or the Constant Lovers:
Including the Adventures of Valville and Adelaide,
a Mexican Tale (London: Tegg & Castleman,
Marvellous Magazine IV
De la Mark and Constantia; or, Ancient Heroism,
A Gothic Tale (London: Tegg & Castleman,
Lermos and Rosa, or the Fortunate Gipsey:
An Interesting Adventure, which Really Happened
in Spain, about Forty Years Ago (London: Tegg
& Castleman, 1803).
Maximilian and Selina; or, the Mysterious
Abbot. A Flemish Tale (London: Tegg &
Castleman, 1804).
Lewis Tyrrell, or, the Depraved Count; Including
the Pathetic Adventures and Tragical End of Ella
Clifford and Oscar Henry Hampden; or, the Victims
of Treachery [...] (London: Tegg & Castleman,
a) Matilda; or the Adventures of an Orphan,
an Interesting Tale;
b) Fernando of Castile, or the Husband of Two
Wives (London: Tegg & Castleman, 1804).
a) The Soldier's Daughter; or the Fair Fugitive,
a Pathetic Tale;
b) The Mysterious Bride, or the Statue-Spectre
(London: Tegg & Castleman, 1804).
Aikin, Anna Laetitia.
'Sir Bertrand', in Aikin, Anna Laetitia/Aikin,
John, Miscellaneous Pieces in Prose (1773)
Musgrave, Agnes. Edmund
of the Forest (1797)
Bacon, Mr. 'Raymond Castle,
a Legendary Tale'. Cabinet Magazine
1 (1797)
'The Ruins of the Abbey of Fitz-Martin'.
New Gleaner 2 (1810)
Radcliffe, Ann. 'Provencal
Tale', in The Mysteries of Udolpho (1794)
This article is copyright ©
2002 Centre for Editorial and Intertextual Research,
and is the result of the independent labour
of the scholar or scholars credited with authorship. The
material contained in this document may be freely
distributed, as long as the origin of information
used has been properly credited in the appropriate
manner (e.g. through bibliographic citation,
This article is a revised
version of a paper originally presented at the
'Scenes of Writing, 1750–1850'
conference, held 20–23 July 1998, in Gregynog
Hall, Wales.
Figures I and
III are reproduced here with the kind permission
of The Albert and Shirley Small Special Collections
Library, University of Virginia Library.
to this Article
A. KOCH. 'Gothic Bluebooks in the Princely
Library of Corvey and Beyond', Cardiff
Corvey: Reading the Romantic Text 9 (Dec
2002). Online: Internet (date accessed): <http://www.cf.ac.uk/encap/romtext/articles/cc09_n01.html>.
Angela Koch (PhD Paderborn) is a research assistant
based in the Projekt Corvey scheme at Paderborn
University, and is currently working with colleagues
at Cardiff University on a Bibliography of British
Fiction, 1830–36.
Last modified
25 January, 2006
This document is maintained by Anthony Mandal


text:
- Filed Under
A 41-year-old Ossining woman who is suspected of driving while under the influence of heroin was arrested by New Rochelle police Wednesday, authorities said.
Donna Caladrino of 3 Brooke Club Drive was found by Officer Francesco Provenzale sitting behind the wheel of her Lincoln Navigator while it was running and parked on the side of the road on French Ridge at 12:34 p.m. Wednesday.
She was unconscious, New Rochelle Sgt. Myron Joseph said. ...

subset: commoncrawl


text:
Two Sides of the Irish Economy: Is the Celtic Tiger Purring Again?
- Commentary
- By Eamon Quinn
The Irish government Thursday announced the best economic news since the onset of Ireland's disastrous banking debt crisis in 2007.
The Irish economy had grown at a fast clip in the second quarter, the government said. Export growth helped gross domestic product increase 1.6% in the April-June period from the previous quarter. Within the 17-member euro zone, only Estonia grew more rapidly in the second quarter.
For the currency area as whole, GDP expanded by just 0.2%. Export growth was the engine that saved the Irish economy from a previous debt crisis of the late 1980s. So, was the fabled export-focused Celtic Tiger of the Nineties purring again?
More than most, Ireland's economy is export-focused and sensitive to world demand. It is home to international computer, chemical and pharmaceutical businesses exporting to the U.S., U.K., and continental Europe. Some international commentators enthusiastically greeted the GDP numbers as proof the Irish were weathering their debt storm.
Local media were much more guarded…
[Read on over the jump]
New jobless and retail spending figures out of Ireland should be a wake-up call for the country's European bailout lenders that imposing harsh austerity measures is making an already deep debt crisis even deeper.
Wednesday's data showed unemployment ticking higher to 14.2% in June from a revised 14.1% in May. However, unadjusted unemployed figures, which make no attempt to exclude workers such as part-time teachers and short-contract workers who seek welfare payments during the summer, are starker still.
They show a big rise to 457,948 out of work or in part-time work in June, up from 440,947 in May.
Occupational groups in craft, plant and machinery and sales staff–sectors worst affected by the Irish economic crisis–account for large numbers of those unemployed.
Other government figures released Wednesday showing that retail sales fell for the fourth month in a row illustrate no let up on the pressures on the austerity-prescribed economy.
The volume of sales in Irish stores fell 2.1% last month from a year earlier and dropped 4.2% in April. Only Greece, Malta and Romania have recorded sharper falls in sales in the EU, government figures show.
The figures confirm the two sides of the Irish economy: exports are booming but households facing three more years of tax rises and spending cuts–are flat on their backs.
The exporting-side of the economy does not produce enough jobs to offset the austerity battering the economy.
In short, Wednesday's data show that the Ireland's bailout is not working.
[More over the jump]
Shortly after 1530 GMT Thursday when the Irish central bank discloses the results of its stress tests on four lenders, Irish citizens should know the answers to several very vexing questions.
They will be told how many billions more the broken banks will cost to mend. They will also learn how many banks will be allowed to emerge from the wreckage of the country's worst ever financial crisis.
But the answer to a third and most troubling question of whether Ireland can afford to pay the extra banking costs will not be answered for months, and possibly for years.
After two and a half years of false starts, the Irish authorities know that they have one last chance to get to grips with the banks.
Barely checked by weak regulators and politicians, Irish banks went on a lending splurge that was little matched by other advanced economies.
Fueled by cheap international funds, the balance sheets of parts of the Irish banking system expanded at wondrous speed during 36 months up to 2006.
Some set up specialist property lending units to more easily pump more hundreds of millions of euro to a group of property developers. Cheap credit washed over home buyers too. And when the inevitable bust occurred, the debts left in the banks were of a monumental scale.
Since the onset of the financial crisis, the delinquent lenders have cost taxpayers €46.3 billion, equivalent to 28% of Irish gross domestic product. That makes bailing out its banks already among the costliest.
The escalating banking bill amid deep economic recession called into question the Irish government's ability to pay its sovereign debts in future years.
[Read more over the jump]
Even before he takes office as Ireland's new prime minister, Enda Kenny has suffered a major setback.
According to a spokesperson for German Chancellor Angela Merkel, she isn't keeping time free in her diary for a one-to-one meeting with the Fine Gael leader when they both participate in a meeting of Christian Democrat leaders in Helsinki Friday.
That news may well send a chill across Ireland, and perhaps lead more than a few who cast their vote for Kenny's party to regret it.
Rightly or wrongly, Irish voters see Merkel as the key figure in deciding whether Ireland can renegotiate the terms of the €67.5 billion bailout agreement it reached with the European Union and the International Monetary Fund late last year.
During the campaign that led to Friday's elections, there was much discussion about which of the candidates for leadership had the necessary qualities to negotiate with Merkel. In the end, Irish voters chose as their prime minister a man who comes from the same Christian Democratic tradition, and who had secured the public-relations coup of a meeting with the putative maker and breaker of nations midway through the campaign.
But having helped Kenny win the election, Merkel appears unwilling to give the impression that Irish demands will be accommodated.
Ireland's election, finally, is almost over. This will mark the start, rather than the end of a process that will say much about the country's future, as well as Europe's.
The first big step on the road to clarity will take place Friday, when Ireland's new prime minister meets his counterparts from the European Peoples Party at their meeting in Helsinki.
The EPP is the Christian Democrat grouping in the European parliament, and the leaders present in Finland will include German Chancellor Angela Merkel, French President Nicolas Sarkozy, and Italian Prime Minister Silvio Berlusconi.
Enda Kenny, who will almost certainly be Ireland's new Prime Minister, will then join leaders from the euro zone at a summit on March 11, and leaders from the entire European Union at a summit on March 24 and 25.
The goal of all those meetings is to arrive at a "grand bargain" that will increase and make permanent the resources available to deal with future fiscal crises, and make mandatory the economic reforms needed to prevent a crisis occurring in the future.
Sweden's Finance Minister recently said it is right for the country to lend Ireland a wedge of its hard-earned cash to help prop up the euro zone. Tax payers nodded in approval.
How things have moved on since the Nordic state's awkward entry into the European Union after a bitterly contested referendum fifteen years ago.
Sweden's relationship with Europe has changed beyond recognition since 1995 and its willingness to bail out Ireland to the tune of €600 million in the same way as it helped Latvia shows how integrated the country has become with its neighbors.
The dual ideas of solidarity and self-interest lie behind much of the reasoning behind the loans.
Read on here.
Let's be clear about this: Ireland's deeply unpopular Prime Minister Brian Cowen would never have agreed to a parliamentary vote this Wednesday on the country's EU-IMF €67.5 billion rescue package if he doubted that it would pass.
News of the vote may have sent chills through international financial markets last Thursday, but Cowen knows that his various budget measures are already passing through the lower house of the Irish parliament, or Dail, comfortably.
There's little reason why the vote on the so-called "Memorandum of Understanding"–which states that €17.5 billion will also be provided by Ireland, mostly through the National Pensions Reserve Fund–should be any different. The government's well-flagged four-year plan set out €15 billion in spending cuts and tax measures–€6 billion of which will be frontloaded next year.
A happy coincidence: so does the benignly and deceptively entitled Memorandum of Understanding.
However frustrated the opposition and the public are over the loss of sovereignty, there were no new dramatic cuts or nasty surprises introduced in the Memorandum to further anger people here. The government quietly and effectively saw to that.
The Fianna Fail-led coalition needs to pass the 2011 budget to receive the €67.5 billion EU-IMF loan package that has an average interest rate of 5.8%. It has a slim working majority of two seats with the support of two Independents.
But here's the good news: lawmakers last week passed the Social Welfare Bill, a key part of the government's budget cuts planned for next year, and in the hours following last Tuesday's budget they passed major tax measures.
Full post available here.
This isn't a case of goose and gander.
Higher bond yields may be good for the dollar, but they certainly aren't good for the euro.
Over the last few days, the single currency has more or less held its own as U.S. and German bond yields have risen in near tandem.
Instead of falling against the dollar, like the yen and other major currencies, the euro has remained range-bound, trading well above $1.30.
This range could well hold over the rest of the year, especially if liquidity starts to dry up and investors begin their holiday retreat from the market.
But once investors focus on the reasons for the rise in German yields and the impact they will have on an already strapped euro-zone economy, the euro will resume its recent slide.
In the U.S., yields have risen largely because of an improved outlook for U.S. growth.
In the euro zone, yields may have risen partially because of recent strong data on the German economy.
But they have also been boosted by fears that the German bond market will bear the lion's share of any future funding to bail out other euro-zone sovereign debtors.
Investor concerns were evident in the result of Wednesday's €5 billion schatz offering, which was the third German bond auction in a row not to be covered.
Read on here.
By Costas Paris and Alkman Granitsas
Now who would've thought that the solution to Greece's debt crisis was Ireland's teetering banks? Certainly no one in Greece did.
Just a week ago, hopes that its European partners would cut Greece some slack by spreading out the country's loan repayments were in full retreat. The word from European capitals (read Germany) was that Greece could expect no favors from anyone.
But all that changed over the weekend. With Ireland now the second euro-zone country to seek a bailout under a joint European Union and International Monetary Fund loan, Greece's partners decided to revisit the terms of Greece's own bailout. Already nervous about the country's ability to repay its massive debt burden, Europe decided that it would be best if Greece repaid its loan in 11 years' time, rather than just five — bringing the terms in line with the Irish loan.
A senior government official said:
"There was always the willingness from the IMF to extend the loan, but Germany was against it. There was not much hope about an extension in the short term. But Ireland's bailout changed everything with our partners adopting a level playing field for both countries."
For Greece, that matters a lot. In the past two months, the interest rate yield on Greek government bonds has been nudging higher and is now close to the levels seen back in May, when Greece cried "mercy" and asked for help.
Click here for full post.
Like a couple of drunks propping each other up while singing to the jukebox, the EU stepped in and bailed out Ireland with a €67.5 billion ($89 billion) loan package. A good, old fashioned structured default might have been cheaper and more effective in ending the sovereign crisis — crushing the credit bears in the process.
Credit default swaps have been the vehicle for the credit bears as they have hopped from one weak euro zone country to the next, attacking sovereign debt. The EU's predictable response — providing relief loans initially to Greece and now to Ireland — was supposed to give those countries time to restructure, assuming they can grow and shrink their way out of their problems. The Greek bailout, however, did little to convince the credit bears to cover their short positions, and there's little hope the Irish solution will end the sovereign crisis as well.
Macro funds are likely moving on to Portugal and Italy before setting their sights on Belgium, France and potentially Germany.
Read on here.


text:
Thank you to the
Morgan County Historical Society for pictures and history information.
With the dawning of a new age at the turn of the century, the beautiful Morgan valley experienced more rapid growth and change along with the rest of the nation. The changing times also changed the functioning of the American families, communities, and society as a whole.
As the industrial age was opening up and leading to different ways of living and surviving, there were many new beginnings and new ways of thinking. Changes to the traditional way of farming that took a lot less time, freed up the hands of children who worked on the farm every day to make it produce and meet their needs.
It had pretty much been a given that a child born to a farming family had their way of life pre-determined for them. They would follow in the footsteps of their ancestors and farming would be their way of life. The new era opened up new and different possibilities for those born and being raised on a farm, much like historical families of Morgan County. New farm equipment was able to do the work faster, more efficiently, and with less physical demands on the part of workers... both the of the human variety and of the equine team variety.
With this new found time, one could pursue other forms making a living and providing for a family, and clearly, machinery would continue to be invented, built, and sold and would replace the need for more manpower rather than less. Following that line of thinking also led one to realize that getting a formal education may become more of a necessity rather than a luxury.
This horizon was definitely a new one. Rather than learning their letters, numbers, reading, writing, and arithmetic at whatever sporadic free time (usually during the darker winter months, or in rare and sporadic free times of parents and older family members who farmed sunup to sundown, or from they would now be taught by a professional educator who had current learning and knowledge of learning institutions .... again... rather than learning from the bits and pieces their parents had been fortunate enough to glean in their own early years.
Morgan had been fortunate to have many good learned men and women living in the community who set up schools to teach students who enrolled and paid a small fee. Classes were normally held in homes or church buildings during the weekdays and all ages were taught together regardless of their different levels of education and learning abilities.
Students still had the same challenges however in that they were needed on the farms all spring to cultivate and plant, all summer to water and tend to crops, and, of course, during the busy harvest time of autumn. The farm work came first, but all outside learning was a privilege of the times.
In the early 1900's as the changes started to occur, class sizes increased and upper and lower level classes could be separated. It was after a decade of these changes after sufficient change had been made when a school board was formed by community members and a formal school system was proposed and accepted.
With the approval and hiring of teachers and curriculum ready for students, divisions were finally made possible. Upper level classes were finally created and older students could be separated from the younger ages needing their foundation of an early elementary education.
In 1911, the school board appointed 15 new teachers and shortly after, Superintendant Dickson informed board that the state superintendent's office had authorized Morgan county district authority to grant high school credit to those who completed the ninth grade course of study. Henry Frye created the curriculum, course of study, and requirements for graduation. Finally, the older students were divided off for upper level classes of higher secondary learning.
As the population of the county grew and more and more students entered the Morgan School District's educational program, all levels of education expanded in curriculum, resources, facility capacity, administrators and educators. Along with the increased quantity came continual increases in the course materials, school programs such as sports, FFA, drill teams languages and drama. Along the way, many customs and traditions have been started …. Now they have become rich traditions of pride for the alma mater of the Morgan High Trojan Warrior.
Now, it has been a century since educators of the newly established Morgan School District welcomed students of the first senior class of a Morgan High School. This small group of classmates would be the pioneer pupils given the opportunity to receive certified recognition of their learning achievements.
This would be received at the commencement of that school year. As tradition has held each year since, a ceremony would be held in their honor the following year at a springtime graduation… but these commencement exercises would be unique as this close group of peers would have the distinguished privilege of being the very first graduating class in the valley. Indeed, the faculty, administrators and students acknowledged the fact as names were called and they proudly accepted high school diplomas, certifying completion of their fundamental education.


text:
News: What should St Vincent do in Australia? Tweet and win!
Have a favourite burger joint? A cafe with a latte to die for? Well St. Vincent wants to know… and will reward you for it!
The beautiful siren will be touring Australia to celebrate the release of her new album 'Strange Mercy' and is looking for all the secret haunts and places of pride.
The favourite suggestion tweeted to her at @St_Vincent along with the hashtag #StVincentInOz will win a double-pass and signed copy of her album.
Who knows… she might even retweet the best suggestion to her 400,000 followers
Tour Dates
Perth – Thu 8th March, Rosemount w/ Oscar & Martin
Brisbane – Sat 10th March, The HiFi w/ Oscar & Martin
Sydney – Mon 12th March, Factory Theatre
Melbourne – Wed 14th March, The HiFi w/ Fire! Santa Rosa, Fire! + Minibikes
Adelaide – Fri 16th March, Adelaide Festival
'Strange Mercy' is out now on 4AD/Remote Control through Inertia


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KRVM is Listener Powered but also Volunteer Powered. The great team of folks who help support KRVM are all volunteers. This site serves the volunteer organization and provides updated news and information on volunteer activities and events.
Volunteers at KRVM have a whole lot of fun while helping to expand public awareness, build community, and promote unique Oregon culture.
KRVM was the first FM radio station in the Pacific Northwest. Since that time, our volunteers have worked in partnership with locally owned businesses and have helped to promote locally produced music and creativity.For KRVM station programming, schedules and information, go to the KRVM-FM web site (www.krvm.org). KRVM-FM radio is "listener-supported public radio" and can be heard on 91.9 KRVM in HD in Eugene, Springfield and from south of Cottage Crove to the edges of Salem. KRVM is rebroadcast on translator 90.1 K211BP in Florence, 92.1 KSYD in Reedsport-Coos Bay, 88.5 KAVE in Oakridge, and streams on the internet world-wide at KRVM.org!


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Recent Posts
- Thanksgiving Day Dinner and Events in Harlem, New York City!
- H2C2 Presents DJ-CON with 125 live DJs in Harlem
- Hi-ARTS Critical Breaks Artist-in-Residence Saul Williams Presents Excerpts from MARTYR LOSER KING
- Hendrick's Gin featured at Harlem Bars – Sunday, November 1st – 30th
- Where to celebrate Halloween in Harlem – Events and Parties
- Harlem Shake Restaurant Halloween Event to feature costume contest and "Thriller" flash mob
- National Jazz Museum in Harlem FALL 2015 BENEFIT CONCERT Ft. JON BATISTE
- 14th annual "A Great night in Harlem" at the Apollo Theater October 22
- 4th Annual East Harlem Harvest Festival at Urban Garden Center – October 24th
- 2015 Silicon Harlem Tech Conference – Friday, October 16th
- Stretch and Bobbito: Radio That Changed Lives – Screenings this week at Maysles Cinema
- 2015 Harlem Harvest Festival – Saturday, October 10 – Harlem Vendors
- Breakin' Convention Hip Hop Dance at the Apollo Friday October 16 – Sunday 18
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Harlem Resources, Maps, Guides and Attractions
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Once I get flash you'll be seeing stuff by me. My SC name is Wombat Sprite, and the pic was done by Ketchup Sprite.
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Greensboro, NC -- Fancy is an 11-month-old shepherd mix who is hoping to find a loving, forever home. She is currently at the Rockingham County Animal Shelter. Fancy is already full grown and is considered a medium sized dog.
Fancy loves to give kisses and has lots of energy. She gets along well with children.
You can contact the Rockingham County Animal Shelter at (336) 394-0075. Their address is 250 Cherokee Camp Road, Reidsville NC.


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Vase decoration ideas pinterest
Entertainment Facilities are becoming the centerfold of home living. These are essential to personalizing in addition to decorating your main lounge. Like selecting the great television the enjoyment center is equally critical. You want your amusement center to fit your tv set but also flow perfectly. Entertainment centers may change adequately to the decor and theme of your house. They are one of the first factors families and friends notice when they enter into your home. You dream about having the ideal entertainment center to come where you can everyday. Bring out the particular popcorn relax and luxuriate in a movie.
Entertainment Locations provide more than a piece of furniture. Before they would hold the television and maybe one particular electronic player. At this point they provide the storage space for major electric items in your home. With regards to the size of your amusement center they can store multiple items. These multiple items include DVDBluRay players cable cardboard boxes receivers video game methods speakers and audio systems. Vase decoration ideas pinterest You can also home your DVDBluRay movies or maybe music collection. As you can tell entertainment centers present more than just entertainment nevertheless organization and style.
This styles and variety of entertainment centers usually are endless. They come in various sizes and are affordable to suit a small or big television. There are simple and easy and plain entertainment centres that can hold the standard items and many are usually satisfied with the simplicity of the planning. Then you have others looking a custom along with intricate piece to stand out in their home. Many furniture stores offer you intricate and large entertainment centers not only store your electronic items but in addition anything from photograph frames vases periodicals books or other different items. There are also tailor made furniture companies exactly who create custom home furniture such as closets cabinets and entertainment locations. They build as outlined by your specific style coloring and size to match the theme along with dimensions perfectly for your home.
Depending on the aspects of your home home entertainment centres can be placed anywhere. There are lots of types of popular enjoyment centers such as cabinets corner units in addition to entertainment walls. Armoires have a more timeless and traditional visual appeal. They offer closed space for storing that can keep your electronic digital items out of look when not in use. This performs suitably in a proper area because they have doors that can be held shut which could be transformed into an remarkable center piece. The part units are basically area savers since the edges of your home are rarely used. These are perfect simply because they efficiently make use of the place space but at the same time provide the necessary storage space for your electronics and tv. Entertainment walls are definitely the most common types of activity centers. Entertainment wall space are made up of one substantial center piece that occupy a huge wall space commonly with the television as the focal point or in the midst of that piece. Round the television are shelf that hold varied items of decorations that make it stand out. They also present enough drawers or even shelves to store your current items for firm purposes. Entertainment centers are a benchmark regarding home decoration along with storage especially in this contemporary era.
Vase decoration ideas pinterest Gardening cant be conceived as a do the job or a duty. Its a form of art that can bring relaxation and enthusiasm in a persons life. Growing plants can be regarded as a spare time activity which rewards you with decorative flowers delicious fruits and nutritious fresh vegetables. A garden provides a satisfying and tranquil setting enabling you to forget all worries and be confident. Its a bliss for your eyes. All you need to do is water this plants regularly manage their basic requirements and provide them with added nutrient supplements.
Special Design Plan Youll have a unique and tranquil environment in your lawn if you dedicate couple of hours to it.


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Country Stars Shine at the 2015 American Music Awards [PICTURES]
The American Music Awards celebrate all genres of music, and some of country's biggest stars played big roles in the 2015 ceremony, held in Los Angeles on Sunday night (Nov. 22).
The American Music Awards celebrate all genres of music, and some of country's biggest stars played big roles in the 2015 ceremony, held in Los Angeles on Sunday night (Nov. 22).
On April 22, 1936, a country music legend was born: Glen Campbell. The small-town boy from Billstown, Ark., has gone on to be one of country music's biggest stars.
Country stars live glamorous lives -- stylists, tour buses, catering, sold-out shows and television appearances -- but it hasn't always been glitz and glory for your favorite artists. In fact, many had to work jobs that were downright awful, greasy and smelly before they got to where they are today.
If you dig into your family tree, you could find a few monumental people in it, from pilgrims to celebrities and everything in between. And there are many country music stars who have equally famous relatives, many of whom are in the music industry as well.
Although Christmas is still a few weeks away, the holidays came to Nashville on Saturday (Nov. 7) for the taping of the 2015 CMA Country Christmas special.
If the 2015 CMA Awards are any indication, it seems that the age of rhinestones and 10-gallon hats may be a thing of the past.
The 2015 CMA Awards are over, but memories of the star-filled, surprising and incredibly fun night will linger.
The stars were out in full force for the 2015 CMA Awards. With full-length gowns and elegant suits, today's biggest country artists shone brightly on the red carpet.
The 2015 CMA Awards are set for Wednesday (Nov. 4), and the anticipation is building. From the winners and the losers to the performances and the monologues, Country Music's Biggest Night is always entertaining -- including the outfits that country stars choose to wear to the big event.
On Sunday evening (Nov. 1), Dierks Bentley and some of his famous friends helped raise more than $600,000 for Nashville's Monroe Carell Jr. Children's Hospital at Vanderbilt at Bentley's 10th anniversary Miles & Music for Kids event.


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Investors take more interest in companies' data strategies weblink
45 per cent of survey respondents likely to change valuation or investment opinions as a result of data and analytics strategy.
Widespread adoption of data and analytics among businesses, yet many challenged to derive value from the data weblink
A KPMG report highlights a growing gap between how businesses currently use D&A and their ability to apply it to untapped areas of rich opportunity.
Handling tax evasion risk in Hong Kong: new guidance for 2015 weblink
The Hong Kong Monetary Authority has issued new guidance on handling tax evasion risk.
Evolving investment management regulation – navigating opposing forces weblink
This edition of 'Evolving investment management regulation' focuses on the regulatory pulls and pushes that the industry is facing.
Managing tax in the gas industry weblink
Tax amid flux in South Africa; incentives in Nigeria; investment and Japan; uncharted waters in Australia; and more.
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Organisations need to move quickly to appease investors and shareholders who were promised growth.
Demystifying the public private partnership paradigm weblink
With the insurance industry continuing to play a more active role in helping the world respond to seemingly intractable global challenges, insurers are cultivating new and innovative partnership agreements.
KPMG hosts Global Analyst Data on market trends and corporate governance challenges
KPMG has hosts Global Analyst Data focused on future growth, new solutions, market trends and corporate governance challenges.
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82 per cent of organisations expect to begin to use – or increase their use of – analytics in the people function, but doubts remain about HR's strategic value.
KPMG named top midsize provider of mobile enterprise application services
KPMG emerges as lone market leader in Forrester's midsized firm analysis.
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Report includes a useful section on '10 ways to improve the liquified natural gas supply chain'.
Unified cloud platform the goal as KPMG strengthens link with Microsoft
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KPMG Australia will acquire Asia Pacific cyber security technology solutions business, First Point Global, as part of a global strategy to expand the firm's cyber capabilities.
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Around 100 present and aspiring women board members will gather in London on 4-5 March for the second European Institute meeting of Women Corporate Directors.
Audit committees cite uncertainty, volatility and high risk environment as top challenges in 2015 weblink
Audit committees around the world said economic and political uncertainty and volatility, regulatory compliance, and operational risk pose the greatest challenges for companies in the year ahead.
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With the commencement of the Companies Act 2014 at our doorstep, companies will need to make decisions about their future.
Irish Knowledge Development Box consultation document outlines framework weblink
The proposed Irish Knowledge Development Box regime will follow a similar framework to the Modified Nexus approach.
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The Magazine
Since 1971, Comics Buyer's Guide magazine has put comics fans in touch with their hobby. In print and online, CBG is where the world goes to talk comics!
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Tag Archives: Batman
Today's Comics Guide: November 9, 2011
Well, that sorta gives away who the answer to yesterday's comics quiz is, doesn't it? Are you trying your hand at identifying whose first words were … each day? See More
Posted in Comics News and Notes Tagged Basil Karlo, Batman, Bill Mantlo, Clayface, Digital Book World, Publishing Innovation Awards 1 Comment
First impressions: The first 27 of DC's New 52 (Beautiful Balloons, CBG #1684, December 2011)
No, it's not a typo, Maggie had two distinct topics in CBG #1684's Beautiful Balloons, presented here in two parts for your enjoyment. See More
Posted in Beautiful Balloons Tagged Animal Man, Batgirl, Batman, DC, Detective Comics, new 52, Stormwatch, Superboy 4 Comments
Turning devotion into a career: Loving comics (Beautiful Balloons, CBG #1684, Dec 11)
Maggie Thompson reviews Michael Uslan's The Boy Who Loved Batman as part of her Beautiful Balloons column from CBG #1684. See More
Posted in Beautiful Balloons Tagged Batman, Boy Who Loved Batman, Maggie Thompson, Michael Uslan Leave a comment
Comic-Con comics news: Final round
While Sunday at Comic-Con International: San Diego is often looked at as the "getaway" day and most of the major announcements have already been made, this year that wasn't the case with quite a bit of news coming from Marvel, DC, and other publishers. See More
Posted in Comics News and Notes Tagged Batman, Captain America, DC, Fear Itself, First, Hulk, Interview with the Vampire, Iron Man, JLA, Marvel, Ms. Tree, Superman, Yen Leave a comment
Top 10 Favorite Comic Book Covers: Christopher Farnsworth
The full version of Christopher Farnsworth's Top 10 favorite comics covers from CBG #1681 (Sep 11). See More
The 2011 CBG Fan Awards: The favorites are …
The votes are in and you, the fans, have determined your favorite creators and projects of 2010 in our annual Fan Awards.
A nominating round earlier in the year determined the top five nominees in each category, and the resulting ballot went online and in CBG #1678. Even with a more diverse ballot of nominees this year, in all but one category, the voting was close among the top two or three nominees — and often among all five, indicating that every creator and every project was somebody's favorite. (Only projects with a 2010 copyright date and creators who had work published with a 2010 copyright date were eligible for consideration.) So, without further ado … See More
Dark Knight #3 page sets original art record in Heritage Signature Sale
An original page from Batman: The Dark Knight #3 set a record for the highest price paid for a piece of original art in Heritage Comic Auctions' May Signature Sale May 5 in Dallas, Texas, selling for $448,125.
Posted in Comics News and Notes Tagged Batman, Dark Knight, Frank Miller, Heritage Auction, Klaus Janson, original art, record price Leave a comment
Today's Comics Guide: April 3, 2011
More details on Green Lantern: Emerald Knights, DC's direct-to-DVD and download animated feature, events across the country and around the world, our daily comics quiz, birthdays, TV listings, and more, much more, in Today's Comics Guide! See More
Posted in Comics News and Notes Tagged Batman, Elisabeth Moss, Emerald Knights, Green Lantern, Mr. Fantastic, Nathan Fillion Leave a comment
Confirmed shipping: In stores as of March 30
We've received confirmation that these items have shipped and are available beginning March 30. As always, however, check with your local retailer. See More
Posted in Comics In Your Future Tagged Batman, comics, Dark Horse, DC, IDW, Image, March 30, Marvel, shipped, Spider-Man, Superman Leave a comment
Shipping March 2: What's expected in stores
A list of comics scheduled to ship March 2 from Dark Horse, DC, IDW, Image, and Marvel. See More
Posted in Comics In Your Future Tagged Avengers, Batman, comics, Conan, Dark Horse, DC, IDW, Image, March 2, Marvel, shipping, Spider-Man, Star Trek, Superman Leave a comment


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A special thanks to the man Aussloser on myspace that I bought the inspiration from, and the group of Zoms and Faceless that gave me names. Especially to the man taven is based off of, since obviously my pain pleasure cannot be reached with him normally writing is my new outlet. I hope reading this is yours.
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Zanna lifts Pitt toward double bye in Big East Tournament
ACC Videos
Credit Pitt junior forward Talib Zanna for patience during a recent scoring slump.
"I knew I had that in me," said Zanna after scoring nine of his 14 points Sunday in overtime of Pitt's 73-64 victory. "I was just waiting for the moment to come."
But don't forget the more important elements of Zanna's game, such as a powerful 6-foot-9, 230-pound frame and the ability to seize a difficult moment.
Pitt stretched its winning streak to three and moved in range of the coveted double bye in the Big East Tournament next week largely because Zanna took over a tense game.
Actually, he was an unlikely hero.
Zanna, who ran up and down mountains in his native Nigeria to increase fitness and strength before settling in the United States in 2006, had been Pitt's leading scorer through much of the nonconference schedule.
The victory against Villanova marked the 13th time he has scored at least 11 points, but only two have occurred after a 15-point effort Jan. 8 against Georgetown. Prior to Sunday, he had averaged 5.5 points over the previous 13 games after scoring at a 13.1 rate in the first 16.
"You can't play great every game," coach Jamie Dixon said, "and he had some great games earlier in the year. His numbers haven't been as good, but he hasn't stopped working. His hard work, physicality, toughness and relentlessness came out (Sunday) in numbers."
Zanna was thrust into a different role against Villanova, with 7-foot freshman center Steven Adams out with an ankle injury. He responded by controlling the space around the basket, getting nearly 30 percent of the teams' total rebounds (19 of 64).
Filling the 5-spot suited Zanna, who maintained a 5.7-per-game rebounding average through his scoring slump.
"He often has a slower guy on him, not as agile," Dixon said.
"I just keep crashing the glass," Zanna said, "and the balls keep falling into my hands."
With Dixon unwilling to commit to Adams' return Saturday at DePaul, Zanna's contributions may become even more important.
Pitt, which jumped to No. 20 Monday in the Associated Press poll, is fourth in the Big East, holding the last spot that will allow the Panthers to take off March 12-13 in next week's Big East Tournament and go directly to the quarterfinals March 14.
"We probably need that double bye, so we might play three games instead of four," Zanna said. "It's important, this (DePaul game) on Saturday."
The double bye wasn't the easiest road in recent seasons, with Pitt losing in the quarterfinals in 2009-11 to West Virginia, Notre Dame and Connecticut.
In 2008, Pitt was the No. 7 seed, but won the tournament championship by winning four in a row, including the title game against No. 1 Georgetown.
History doesn't interest Dixon.
"We have different kids, different players," he said.
"You want to win all the games you can. It's an accomplishment to be part of the double bye. We can't forget that."
Jerry DiPaola is a staff writer for Trib Total Media. Reach him at email@example.com or via Twitter @JDiPaola_Trib.
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Passers-by save Ind. officer just before car explodes
|The Associated Press
CROWN POINT, Ind. — A police officer whose patrol car caught fire after a crash was pulled to safety by passers-by about 30 seconds before his car burst into flames, police said.
"If it hadn't been for (them), we would've probably lost a good officer today."
Kraus was going to assist Lake Station police when a car apparently pulled out in front of him. He swerved to avoid it, crossed the median and clipped a minivan, said Mike Higgins, a sheriff's spokesman.
After the crash, the partially conscious patrolman was stuck inside the vehicle.
Rose Ann Colon, who saw the accident with her stepson, Walter, called 911.
For fear of doing more harm to Kraus, the bystanders decided to leave him in the car. Then, they noticed heat and smoke seeping through the air vents, and the patrol car began to burn.
Gary Lucas pried open the driver's side door, and he and the other men "grabbed a limb, supported his head" and carried Kraus about 15 feet away.
Within "30 seconds, the car was engulfed in flames," he said.
Copyright 2015 Associated Press. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
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Zoey, a Cardigan Welsh Corgi that lives in SE Portland, shows her support for the Portland Trailblazer basketball team.
Portland Dog is Trailblazer Fan
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says ... on Wednesday, Apr 21 at 7:55 AM
I agree with Sonya,You are all rude&deserve not to be classified as a human.Humans care&treat each other with respect.What mean&hateful comments you had posted.
says ... on Friday, Nov 6 at 11:49 AM
You people are rude. Is it fun for you to be so hateful?
says ... on Monday, Oct 12 at 4:07 PM
Support the jail blazers, a class group of criminals!
says ... on Monday, Oct 12 at 3:26 PM
Wow! An amazing bunch of mean comments about a cute dog and owner supporting the home team. Go Zoey and Go Blazers, the rest of you need to get a life and some manners
says ... on Monday, Oct 12 at 1:40 PM
How lame can you get kande? Cute dog, though.
says ... on Sunday, Oct 11 at 6:01 PM
P.S., your dog is ugly. P.P.S, the blazers are going to lose, and lose hard this year.
says ... on Sunday, Oct 11 at 6:00 PM
Basketball.. haa. I'd rather watch paint dry.
says ... on Sunday, Oct 11 at 5:47 PM
Anonymous- thumbs down for your comment. 0 for you now.
says ... on Sunday, Oct 11 at 5:01 PM
The trail blazey who?


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A deeper worry is that the automatic federal funding cuts known as the sequester will never be replaced, and that their finances and ability to serve the poor will be permanently diminished, housing authority officials said Thursday.
"It's appearing more and more that the sequester is the new baseline," said Daniel Farrell, the Allentown Housing Authority's executive director. "So going down the road, that's what we have to anticipate to run our programs on."
Housing authorities report that they have already been absorbing funding cuts for the past decade, before the latest cuts took effect March 1. But the latest cuts were significant for their depth and suddenness.
Initially, housing authority executives might have anticipated that the federal government would deliver the missing part of the money once Congress reconsidered the cuts. Housing authority officials estimate they are losing nearly 10 percent of their federal subsidy.
But Congress has not acted to undo the cuts, and that worries Farrell and others.
"They'll say, 'You functioned during the sequester, and therefore you'll be able to continue to function,'" he said.
Another problem is that the cuts are deepest in the money that housing authorities must use to operate the units they essentially own and the Section 8 rent-aid vouchers they give to private landlords.
The cuts leave some housing authorities without enough money to meet existing lease agreements with private landlords, although HUD has suggested that it will cover those deficits, said Joel Johnson, executive director of the Montgomery County Housing Authority, which is among those authorities facing that dilemma.
Farrell, meanwhile, said the uncertainty of the authority's revenues also makes it harder to get private developers involved in partnerships to build new housing units.
The federal government finances all or nearly all of the housing authority budgets in the state.
The Philadelphia Housing Authority, which calls itself the city's largest landlord, said it laid off 82 employees to balance a $32 million cut while avoiding putting any residents on the street.
"We're going to do whatever is necessary to make sure our residents don't become homeless," said PHA spokeswoman Nichole Tillman.
Farrell, the Allentown Housing Authority's executive director, said he's leaving about 10 percent of his staff positions unfilled and about 80 fewer families over 12 months will get rent vouchers. That means the authority's waiting list of about 10,000 families will grow longer, he said.
Erie City's housing authority is putting off renovations, eliminating rent aid for 87 families and dropping a code enforcement contract with the city. The Allegheny County Housing Authority laid off 13 employees and will be able to help 375 fewer families with rental aid while it considers employee furloughs, executive director Frank Aggazio said.
Montgomery County's housing authority is tapping reserves, leaving about 15 percent of its staff positions unfilled, reducing hours and putting off things like replacing light bulbs in the units it owns.
"We won't be responding to the low priorities as fast because our staff is already stretched thin," Johnson said.


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The GFWC North Pinellas Woman's Club is a not-for-profit organization dedicated to education and charitable purposes. The club attends to the diverse needs of the community through hand-on service, funding, education, leadership and friendship.
We were founded on July 9, 2003 by a diverse group of members of the GFWC Clearwater Junior Woman's Club. The GFWC North Pinellas Woman's Club (NPWC) is a member of the General Federation of Women's Clubs (GFWC).
We are a diverse group of women in the "40s and up" age bracket who share a dedication to the community and having fun! If you are interested in making a connection to your community, making new friends and ready to have fun, the GFWC NPWC is for you.
Young and old enjoy Federation Friendship! Look at the variety of programs we have, see the areas we're involved in.
Teens can catch the volunteer spirit too! Juniorettes are also dedicated to self improvement and have fun helping others while making life-long friendships.
We meet the 3rd Tuesday of the month January through November except July at the Safety Harbor Library. Social Time starts at 6 pm., Call-to-Order starts at 6:30 pm.
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As the United States confronts economic difficulties and growing perceptions if its gradual withdrawal from global affairs, the American people and their policymakers need to ask: "why is this happening?"
A powerful explanation rests with how we defined our defense strategy during the Cold War. In the struggle against totalitarianism, policymakers and scholars defined the nation's "defense" far too narrowly.
Facing a serious geostrategic competitor, debates about national defense were dominated by how much the U.S. spent on defense, capabilities of our military forces and those of our adversary, and wars we fought. With this threat, it was reasonable and practical for the nation to emphasize this narrower approach to "defense."
With its victory in the Cold War, the U.S. emerged as the only economic and military superpower. Sadly, all good things must come to an end.
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The PQMRA website is moving and the new official PQMRA site is now live! The new official PQMRA website address is:
Please be sure to bookmark the new address as this website will be going away soon. Go to the new official site's race results page HERE!
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