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Before you squish consider the next generation of beneficial insects that you may be eliminating from your garden.
We have come to look at all insects as bad, which is far from the truth. We delight over butterflies, but likely kill many while in the caterpillar stage; we love lady beetles, but the nymph stage looks a little scary; and we swat and spray every fly, wasp and bee in ear-shot.
One of the challenges we face when it comes to beneficial insects is that we have a hard time distinguishing between the good guys and the true pests.
4-H Calendar of Events
Monday-Friday: 4-H Sewing Projects as scheduled
Tuesdays: 4-H Crocheting Projects; 3:30-4:30 p.m., Extension Office
Tuesdays: 4-H Quilting Projects; 3:30-5 p.m., Extension Office
2nd Tuesdays: 4-H Shooting Sports Club, Harrison County Extension Office
Wednesdays: 4-H Knitting Projects; 3:30-4:30 p.m., Extension Office
2nd Wednesdays: 4-H Saddle N Spur Club, 6:30 p.m., Extension Office
2nd Mondays: 4-H Rabbit Club, 4:30-5:30 p.m Extension Office
Individuals who have been issued drivers licenses this week are: Brady Prows, Shadon Valouch, Jordan Stubbs, Joseph Puckett, William Grose, Molly Dixon, Haley Morris, Abigail Hehr, Andrew Hively and Stephen Kiskaden.
Traffic Cases
The following information from the Harrison County Sheriff's Office indicates drivers and/or owners whose vehicles were involved in accidents.
June 1 – At 5:20 p.m., a non-injury accident was reported on Ky 982 west. Leeann Finch was traveling up a hill when she was forced off the road at the crest of the hill, resulting in her losing control and spining off the side of the road and into a plank fence.
When I started to write for The Cynthiana Democrat the second time I remembered the long Tuesday nights at the newspaper office and the traveling to games and getting info from the coaches when I couldn't be there.
I drove poor Randy Green crazy with my opinions and my way of interjecting them into the stories in some cases. He was concerned that my tendency to speak my mind or opinion would get everyone into hot water.
Arrests, citations, warnings
May 27 -- Angie L. Rose, 20, was cited on U.S. 27 South for person 18-20 in possession/purchase/have another purchase alcohol and possession of open alcoholic beverage container in motor vehicle.
May 27 -- John M. Palmer, 66, was cited on Walnut Street for failure to wear seat belts.
May 27 -- Alan P. McMahon, 51, was cited on Walnut Street for failure to wear seat belts.
May 27 -- Viola C. Ritchie, 84, was cited on Bridge Street for failure to wear seat belts.
Judge Charles W. Kuster Jr.
presiding June 6, 2011
Estate of Stanford Fain, probate hearing; will admitted, order entered, bond approved.
Estate of Harlo Henson, probate hearing; will admitted to probate, order entered, bond approved.
Estate of Samuel Boyd Kelley, probate hearing; order entered.
Estate of Mary Anderson Kuhl, probate hearing; will admitted, order entered, bond approved.
Estate of Charlotte Perkins Lail, probate hearing; order entered, bond approved.
The Cynthiana Country Club is a buzz with activity as the preparations are ongoing for two of the big golf tournaments held there each year.
The annual Joe Mooney Invitational is June 26 and 27 featuring many of the better male golfers from the central Kentucky area. The Burley Belles Tournament is one of the premier golfing events in the state for ladies and will be held on June 30 and July 1 at the country club.
Judge Jay Delaney
presiding June 7, 2011
Michael Williams vs. Steven Ward, status hearing; motion to withdraw granted.
Central Bank and Trust Co. vs. Morgan A. James, motion hour; motion granted, order entered.
Americredit Financial Services vs. James Pike, motion hour; motion granted, order entered.
Americredit Financial Services vs. Joey Travis, motion granted, order entered.
The Huntington National Bank vs. Roy Parks, motion hour; motion to dismiss granted, order entered.
Harrison County athletes compete in state Soccer Cup
Harrison County High School was well represented in the State Soccer Open Cup held in Bowling Green last weekend. Seven Harrison County soccer players played on three different teams with each team advancing to the final four in Bowling Green.
On the weekend of May 27, 28, the preliminary competition was held in Owensboro with the four best teams from each age group moving on to the following week.
Copyright © 2017
The Cynthiana Democrat is your source for local news, sports, events, and information in Cynthiana, KY and the surrounding area.


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Jean and Lew Turco in an Oswego Opera production of Carmen, 1980s
Shaking the Family Tree, A Remembrance, by Lewis Turco, West Lafayette, IN: www.BordigheraPress.org, VIA Folio 15, 1998, ISBN 188441916X, trade paperback.
June 16, 2016 in Americana, Announcements, Current Affairs, Family, Literature, Memoirs, Music, Photos, Poems, Poetry, Reminiscences, sonnets, Verse forms | Permalink
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Jean and Lewis Turco 60th Wedding Anniversary, Pretty Girl, Sonnet
Listen to Lewis Turco read his poem, "Richard Wilbur on his Birthday."
Oh, if your name were only "Wilver,"
With a v instead of b,
There would be a lot less silver
On this head of mine. You'd see
Brown again — some gray, at least.
For sure, perhaps, I'd be well fleeced
The way I was when we were younger...,
But you seem not to have grown old.
What's going on, you ballad-monger?
Who is this fellow I behold
Now and again and here and there,
This tall, good-looking guy with hair?
If my old cat saw Richard Wilbur
I know exactly what she'd do
If she were young, too, and could still purr:
She'd climb up in your lap and mew,
And then she'd settle down and choose
To await the arrival of your Muse
(Although she'd probably spell it "Mews").
-- Lewis Turco
from The Formalist, viii:1, 1997, p. 37.
March 02, 2016 in Announcements, Current Affairs, Humor & Satire, Literature, News, Poems, Poetry, sonnets, Verse forms | Permalink
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95th Birthday, A Bard Owl, A Barred Owl, Lewis Turco, Richard Wilbur
Rhina Espaillat and her husband Alfred Moskowitz
NEWBURYPORT, MA: On the evening of February 27, 2016, in Newburyport, Mass., Alfred Moskowitz passed away in his home on Charron Drive, where he had lived since late 1990.
Born in the Bronx, N.Y., to Rumanian immigrants David and Mary Moskowitz, Alfred was educated in New York public schools, served as an infantryman on the European front during WW II, returned home in 1945 to attend NYU on the G.I. Bill, and went on to teach Industrial Arts in the NYC public schools for 30 years.
In 1952, he married Rhina P. Moskowitz, with whom he had two sons, and brought up a third. He took a highly active part in the formation of the United Federation of Teachers, and in demonstrations for civil rights, desegregation of the schools, and other liberal social causes. In 1990, the couple moved to Newburyport, Mass., from New York City. For many years Alfred Moskowitz was an active member of the Newburyport Art Association, and of the News & Views Club of Newburyport, among other organizations.
He is survived by his wife, son and daughter-in-law, Philip and Lauren of Georgetown; son and daughter-in-law, Warren and Lori of Ipswich; foster-son, Gaston and daughter-in-law, Colleen of New York; as well as grandchildren, Evan, Ilana, Ambrose, and Perry; brothers, Marvin and Howard; sister-in-law, Gayle; nephews, Gregg, Brad and Keith; and nieces, Janine and Diana.
FOR ALFRED MOSKOWITZ When last I visited Alfred and his wife We spent the evening talking about his art. Sculpture was his passion, the largest part Of his endeavor, his creative life. Rhina is a writer. She and I Became the best of friends. Her poetry Shows readers how the heart and mind can fly Through the Muses' ever-greening tree. Now Alfred's mind and heart have taken wing And she is left alone to write her songs -- She feeds them to the wind: it, too, can sing Even when her heart breaks and belongs To breezes in the needles and the limbs Of brooding woodlands that can echo hymns.
March 01, 2016 in Announcements, Art, Current Affairs, Eulogies, Obituaries, Poems, Reminiscences, sonnets, Verse forms | Permalink
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Alfred Moskowitz
The Hero Enkidu: An Epic by Lewis Turco, New York: Bordighera Press (www.BordigheraPress.org ), VIA Folios 107, 2015, 101 pp. ISBN 978-1-59954-098-6, trade paperback.
February 25, 2016 in Announcements, Books, Current Affairs, Epics, Italian-Americana, Legends, Literature, Photos, Poetry, Tales, Translations | Permalink
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The Hero Enkidu: An Epic
With an Introduction
By Lewis Turco
This is a book about neighbors written by a neighbor. John T. Sullivan, Jr., was born in 1947 in Oswego, New York. He graduated in 1964 from Bishop Cunningham high school; one year later my family and I moved to town where I began to teach at the State University of New York College at Oswego.
John went on growing into his shoes while I began settling in at the College. After receiving his degrees at Syracuse University John married his wonderful wife, Charlotte, and began his family. When two of his three daughters were in high school our son, Christopher, dated the youngest, Julie, and John was elected Mayor of Oswego in 1988.
This introduction is not the first time John has asked me to write something – the first time he did he asked me to write an inauguration poem, which I was happy to do. I recited it at his ceremony. The One-hundred signed copies printed on parchment paper were distributed as keepsakes of the Inaugural, "…which," John wrote me, "still hopefully adorn the walls of many Oswegonians to this day (which at least mine is, and it is numbered 1)!" The poem was also published on paper in a broadside that was circulated widely:
It lies in the curves of the lakeshore.
Across Ontario the last of the sun breathes light
out of the horizon, turning the clouds shades
of red to the west. The water darkens,
splits over the stones where the spiders live,
where the gulls alight to conceive of evening.
Hardwoods rise on country roads, their limbs
casting tall shadows into the silence deepening
among the tumescent milkweed and the cattails.
A twist of goldenrod runs into fields,
to the apple orchard fence where ravens
give voice to the dark quality of waiting.
The cries of geese are incipient
out of the north, over the great water, the turning
of another season. The thrust of wings, the high
call of flight before the changing wind, will
fall soon to Oswego's waters, send frog
and salmon deep, beyond ranges of color
that fades now as the light falls onto Ontario,
and a dream of summer settles along
the stone coast road like a fleet of waterbirds.
Subsequently, Mayor Sullivan proclaimed me honorary Poet Laureate of the City of Oswego. Needless to say, I was deeply honored to be asked to contribute in this way, but John soon followed up by asking me to do a harder job: correct and revise the City of Oswego Charter as Secretary of the city Charter Revision Commission. I won't go into the particulars of all the grammatical, punctuational, and typographical errors one had to address, but they were legion.
John Sullivan was by far the best and most active mayor the City of Oswego has had while I have been a resident. He was instrumental in cleaning up the Lake Ontario waterfront which was a shambles when my family moved into town. Wright's Landing, the River Walk, the Town Hall center all were spruced up and turned into beautiful and livable environmental attractions.
Not least of these innovations was Harborfest, one of Charlotte's pet projects. It was not many seasons before this festival was attracting enormous crowds to town during the summer, and it is still doing so. But all great mayoralties must come to an end.
John went on to become Executive Chairman of the State Democratic Party from 1995 to 1998; he was one of the founders of the Democratic Rural Conference. He served as Assistant Attorney General in charge of the Watertown office from 2003 to 2007, and then he accepted a position as Deputy Inspector General and counsel for legislative matters with the state Medicaid Inspector General's office, relocating to the Albany area where he lived in Saratoga Springs.
During all this time John Sullivan never lost touch with his Oswego roots. He visited town often, gave programs frequently (my wife Jean and I attended one at the town library in the spring of 2015). Just after the mayoral election in the fall of the same year John's picture appeared in The Palladium Times with the new Republican mayor, twenty-five- year-old Billy Barlowe! (Sometimes one suspects that John might carry this being a good neighbor a bit too far.) (Just kidding.)
John kept in touch also by writing essays and articles, including the profiles in this book for various and sundry periodicals in the Albany area and elsewhere, but particularly for Oswego's daily newspaper, The Palladium-Times. I don't need to say more because those who enter these pages, even if they are strangers, will soon feel as though they know the City of Oswego down to its roots and have themselves become neighbors of my dear friend, John T. Sullivan, Jr.
December 19, 2015 in American History, Americana, Announcements, Books, Commentary, Current Affairs, Essays, Eulogies, History, Introduction, Memoirs, Memorials, Nonfiction, Poems, Quantitative syllabic verse, Reminiscences | Permalink
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John T. Sullivan, Jr., Lewis Turco, nonfiction, Oswego NY, The Forks in the Road
A young man walked into a prayer meeting last evening in a black South Carolina church. He sat down next to the preacher for an hour then rose, pulled out a gun, shot the pastor and eight other people dead, and walked out. How much more proof does anyone need that this is the only "god" there is? --
...he is a rammy, fulsome fellow, a goblin-faced fellow, he smells, he stinks, he belches onion and garlic, how like a dizzard, a fool, an ass he looks, how like a clown he behaves himself! — Burton.
His feet point inward at
90º angles. The world spins
between His big toes. He squats
above it all so that the tallest peaks
just barely miss His ass-
hole. He waits. That's His job,
partly — waiting. And while He waits, things
get better between His thick
toenails, perhaps. The President goes to
China; Muhammad goes
to the mountain, conquers
the ultimate crag, never even
glimpses a hemorrhoid; Dick
puts it to Jane: His wife doesn't suspect
a thing. But at last it's
time. Deep in His bowels,
Melanchole senses the thin movement
of gas. There is a small cramp
beneath His duodenum. A tremor
passes along the San
Andreas Fault. Pressures
build. It is time: There is Agony
in the Cosmic Expression.
Slowly, our nostrils in the blithe air, we
begin to understand
the essence of sulphur,
the quintessence of hopes digested.
Along our valleys, brown fog
seeps out of the hills. China gags, believes
it is the President's
western odor. Boulders
dump Muhamnmad, and Dick's wife finds out.
Were we not blinded, we would
understand Joy; were we without noses,
we would serve no Purpose;
could we but see beyond
our noses, we would relish delight
between the toes, under His
cheek — for our Keeper is smiling; nay, He
is laughing in Relief!
From Fearful Pleasures: The Complete Poems of Lewis Turco 1959-2007, Scottsdale, AZ: www.StarCloudPress.com, 2007. ISBN 978-1-932842-19-7, cloth; ISBN 978-1-932842-20-3, paper. Also available in a Kindle edition.
June 18, 2015 in American History, Announcements, Commentary, Current Affairs, History, Poems | Permalink
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black church murders, God of Melancholy, South Carolina
Bordighera has published four of my books over the years:
The Hero Enkidu: An Epic by Lewis Turco, New York: Bordighera Press (www.BordigheraPress.org ), VIA Folios 107, 2015, 101 pp. ISBN 978-1-59954-098-6. trade paperback.
La Famiglia: The Family, Memoirs, by Lewis Turco, New York, NY: www.BordigheraPress.org, VIA Folios 57, 2009, 196 pp., ISBN 978-1-59954-006-1, trade paperback.
Shaking the Family Tree, A Remembrance, by Lewis Turco, West Lafayette, IN: www.BordigheraPress.org, VIA Folio 15, 1998. Trade paperback, ISBN 188441916X, trade paperback.
A Book of Fears / Un Libro di Fobie, by Lewis Turco, Italian translations by Joseph Alessia, Winner, First Annual Bordighera Bilingual Poetry Prize of the Sonia Raiziss-Giop Foundation. West Lafayette, IN: www.BordigheraPress.org, 1998, 58 pp., ISBN 1884419194, cloth. (O-P); ISBN 1884419208, paper. (All poems are collected in Fearful Pleasures: The Complete Poems of Lewis Turco 1959-2007, Scottsdale, AZ: www.StarCloudPress.com, 2007. 978-1-932842-19-7, cloth; ISBN 978-1-932842-20-3, paper. Also available in a Kindle edition.
May 18, 2015 in Announcements, Books, Italian-Americana, Literature, Memoirs, Poems, Poetry | Permalink
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Bordighera Press publications, Lewis Turco, quotation of the day.
My dear friend and "artner," the printmaker George O'Connell, Emeritus Professor of Art at SUNY Oswego, passed from the scene on Sunday, May 10, 2015 at the age of 88. George was born in Madison, Wisconsin in 1926. He and I collaborated for more than three decades on books, exhibits, poemprints, memorials and Xmas cards -- our collection of these is in the Archives of American Art at the Smithsonian Institution (www.aaa.si.edu/collections/lewis-turco-and-george-oconnell-christmas-card-collection-13428), By age 86 he had navigated so many health problems and accidents that I had begun to call him "Super George." In his last days he wanted nothing more than to be relieved of pain, and although those who knew him well are sad not to have him with us, we are relieved that he hurts no more.
I had more than one reason to admire and honor George. Everyone who served in the armed forces of the US during World War II was my hero or heroine. Tom Brokaw called them "the Greatest Generation," and they were. George O'Connell was a veteran of the War in the Pacific, and it is one of my strongest sources of pride that he and I were collaborators for so long a time. I was deeply privileged and honored to work side-by side with one of my heroes. To me, he truly was Super George.
We began collaborating in 1976. Our first project was an Xmas card, "The House," the poem by me with "Owl," a silk-screen print by George O'Connell, published by George's Grey Heron Press in a Limited edition of 130 cards signed by both of us.
Thereafter we began issuing more and more elaborate cards almost every year. The next. a broadside titled "A Winter Song," was rather large for a "card." The poem was a modern version of an ancient Welsh poem by "Wesli Court," (my anagram nom de plume) with a lithograph by George published by Grey Heron in 1977 in a limited edition of 200 numbered copies, of which 84 are signed by "Wesli Court." For some reason we skipped 1978 and '79, but in 1980 we issued two cards to make up for it, I guess -- "Fading Things" and "First Snow," both poems from a series I was working on at the time titled A Sampler of Hours: Poems and Centos from Lines in Emily Dickinson's Letters, published in book form by SUNY Press in 1993. We did more of Emily in 1987:
Our first book publication was arranged by Charlie Davis, the leader of the early Indiana jazz band called "The Joy Gang" and composer of the jazz classic "Copenhagen." When he retired during the Depression Charlie opened a furniture store in Oswego, NY, and when he retired from that he took some poetry composition courses at the College from from Roger Dickinson-Brown (who also died this year) and me. In the last class he took Charlie wrote a long poem inspired by William Carlos Williams' "Patterson," which I had ordered him to read, and when he'd finished that he published it himself and then wanted to start the Mathom Publishing Company.
George had in common with Charlie that he was a jazz aficionado and musician; George had begun as a drummer in high school, and he played the vibes in local bands and orchestras. Charlie decided he wanted to publish a book of my poems from Mathom, American Still Lifes, so he asked George to do the cover and several illustrations. The book was published in 1981, the same year as the first exhibition was mounted in which George and I were partners.
The Albany exhibit was titled, The New York Landscape, Poems by twenty State University of New York poets, with visual responses by twenty State University of New York artists. Our contribution consisted of "Millpond," a broadside poem I had written in Saratoga Springs at Yaddo in 1959. It was printed in handset type on handmade paper by Buffalo Papers, together with "Dusk Light," an intaglio by O'Connell. The exhibit was held at The Plaza Gallery, from 16 October through 30 November, 1981, and at the Pratt Manhattan Center Gallery, New York City, from 18 December, 1982, through 15 January, 1983, with a subsequent tour of New York State. The Catalog was edited by Peter Gordon for the Plaza Gallery.
This original pairing led to establishment of the Jeffrey Sisson Permanent Memorial Exhibit: "Millpond," in calligraphy by Jean Garvey, together with four prints by George O'Connell, at the Aurelia Osburn Fox Memorial Hospital in Oneonta, New York, in 1982. Subsequently there was a Chancellor's Reprise Exhibition of the original show in the South Tower of S.U.N.Y. Plaza during the Fall semester of 1994.
One of George's favorite themes in his prints was, of course, jazz in all its glory and manifestations. The poem of mine that he liked best was titled "Lorrie" which I'd written at Yaddo in Saratoga Springs in 1959. This was the poem we used in the 1984 "Xmas card" paired with his print "The Girls Who Sing in the Band" in a limited edition from Mathom of 200 copies signed by both poet & artist.
Several years later, in 1989, George did an entire Artist Book on Lorrie, one of my prize possessions; one copy only exists.
It would take too much time and space to list the rest of our Xmas cards here, but readers may see our 1996 "The Falcon Carol" on-line at
We had the opportunity in the spring of 1996 to mount a full-fledged gallery exhibition at the Rathbone Gallery of Sage Junior College in Albany — with the assistance of an S.O.S. grant from the New York State Council on the Arts — of my sequence of poems titled Bordello, issued during the exhibition in a five-copy limited edition portfolio of poem-prints and images, printed on paper hand-made by both printmaker and poet – we had a fine time making the paper in the basement of his home on Baylis Street in Oswego.
Four years later George O'Connell and I collaborated on a series of black and white monoprints with poetry titled "The Jazz Joint" which was included in a four-person show, Some Kind of Narrative, at the Kirkland Art Gallery in Clinton, New York, from March 4 — April 11, 2001.
A retrospective exhibition of our work, "Collaboration: Prints and Text," took place at the Tyler Art Gallery on the campus of the State University of New York College at Oswego from November 9 — December 9, 2001.
In 2009 I wrote a limerick for George's 83rd birthday which we always celebrated at a dinner in an area restaurant, and I used his print of my poem titled "Jasper Olson":
October 16, 2009
The printmaking artist named George
O'Connell was apt to disgorge
Jazz pictures of ladies
Erupting from Hades
And Satan's most blistering forge.
and farewell, old friend.
May 12, 2015 in Announcements, Art, Memorials, Poems, Poetry, Prints, Prose poems | Permalink
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George O'Connell, printmaker
Miller Williams
It is only the second day of January, and 2015 is already one of the worst years I have ever experienced, for one of my political idols of yesteryear, former Governor of New York Mario Cuomo, strolled off this mortal coil yesterday, and today my dear old friend, editor, publisher, and Bread Loaf partner Miller Williams has died as well.
Miller Williams, born in Hoxie, Arkansas, in 1930, came out of a peculiar educational background for an academic poet, for he took a B. S. in biology from Arkansas State College, Conway, in 1951 and an M. S. in zoology from the University of Arkansas, Fayetteville, in 1952:
April 8, 1930-January 2, 2015
As odd or strange as it may seem to be,
Biology turned into poesy,
But he enjoyed his verses more than plums —
Now here lies our friend Miller Williams.
In 1961 both Miller and I applied for and were awarded poetry fellowships at the Bread Loaf Writers' Conference at Middlebury College (other poetry fellows of one kind or another that year were A. R. Ammons, Robert Huff, and Richard Frost). Subsequently the director, the late John Ciardi, saw to it that Miller was awarded the Amy Lowell Traveling Scholarship. Williams began his career teaching biology at McNeese State College, but he asked me to provide him with a letter of reference when he applied for his first teaching position in English. I couldn't believe he'd want it as I was only in my early years of teaching myself, but he insisted that as the founding director of the Cleveland Poetry Center I had some pull, so i acceded to his request, and he never forgot it. He went to Loyola University in 1966, and after some wandering about returned to Fayetteville in 1971 where he taught in the Fayetteville English department and writing program until eventually he became a University Professor of English and, at last, director of the University of Arkansas Press, a position he used to build the Press into one of the foremost publishers of poetry and poetry criticism among the smaller university presses. In 1983 Bill Clinton, former governor of Arkansas, invited Miller to read the inaugural poem for Clinton's second term as President of the United States of America.
Williams has also contributed to the literature of his time two important anthologies which have been widely used as textbooks, Contemporary Poetry in America (1973) and Patterns of Poetry: An Encyclopedia of Forms (1986). He was worried that I would object to his book which would compete with my own Book of Forms, published 18 years earlier, but I encouraged him instead and collaborated with him on it through contributing poems by "Wesli Court" and proofreading the ms.
One of the earlier books Arkansas published was my first collection of critical essays, Visions and Revisions of American Poetry. Without telling me, Miller entered it for an award by the Poetry Society of America. I was notified by the Society that it had won the 1986 Melville Cane Award for 1iterary criticism. When I called Miller to ask if he'd done what he had, indeed, done, Miller was as amazed and delighted as I was, for it was I who broke the news to him. Three years later, in 1989, Arkansas published my The Shifting Web: New and Selected Poems.
In 1963 Williams had participated in a writers' conference held at the Cleveland Poetry Center of Fenn College (now Cleveland State University) which I had founded founded just the year before. There he made a number of cogent comments, but in the course of a panel discussion on "The Poet's Masks" he said one thing in particular that is relevant to a discussion of his work: "The poet lies to tell the truth." As an illustration of this thesis the poet used an incident that involved his son. One day the boy ran into the house and said, "A lion's chasing me!" Of course, there was no lion in the yard, but out of courtesy to childhood Williams looked, and there was a lion in the yard...in the form of a fair sized dog. The point Williams made was that to an adult the animal was a dog, but the quality of the boy's experience was that he had been threatened by something as large and menacing to him as a lion would be to an adult, so the child had "lied" in order to convey the magnitude of the experience to an older person. Williams' poems in his first book A Circle of Stone (1964) were, in these terms, a pack of lies. Each of them was an exaggeration, an attempt to get a mode of seeing and thinking down on paper in such a way as to help the reader to achieve the poet's original experience, or at least its essence.
Williams was equipped to find the right words with which to lie well, for he knew how to compose his work, not merely invent images or murk about for the sake of darkening although he was, perhaps, a "Southern Gothic" poet in the sense that he had a real feeling for the strange in mankind. He put words down in an order that gets them into the reader's mind and makes them stay there.
Williams' second book published in the United States (Recital, in a bilingual edition, appeared in Chile, also in 1964) was So Long at the Fair (1968). The Only World There Is followed (1971), and then Halfway from Hoxie in 1973. Why God Permits Evil appeared four years later, in 1977, and another four years passed before Distractions was published in 1981. The Boys on their Bony Mules was published in 1983, and Imperfect Love in 1986. Reading through his Living on the Surface: New and Selected Poems (1990) is not merely a pleasurable tour through the best work of these volumes, it is a fascinating introduction to a strong personality, an interesting revelation of the development of a fine and individual literary style, and an educational experience.
One of the features of Williams' style is the tone of the Baptist preacher, a down home diction combined with a pulpit rhetoric harnessed to serve an elevated purpose as in the elegy which is also a prayer, "For Clement Long, Dead," subtitled "lines written in the dark":
Lord listen, or heaven is undone.
He will not spell your name or take your hand,
will hee haw at the gate with a held breath,
will run away to the end where death is real.
Lord if you chase him like a wheatfield fire
till hallelujahs and a choir of angels
sing him coming and the grand gates open,
still he will stand against your house
where no sin ever is and no flesh fails.
If even he has treasures, let the mouse
discover the grain, take the worm to the tree.
Give his potential pleasures to the poor,
or watch him. And watch him well. And watching see
how he subverts the angels, whispering this:
ninety and nine returned and deserve attending;
surely the faithful one, the unoffending
son should have the calf; God, it's a small grace
to be a counter of coins in the first place.
The images are organic to the poem; although they would be unusual in the mouth of a real preacher, in the lines of Williams they are unobtrusive. The contexts of his poems allow the overtones one associates with the pulpit, but literary associations are not blocked out either, and the poems can be read on two levels -- the literal and the allegorical. Williams walks this fine line between rhetoric and symbolism as well as anyone has done during the past quarter century.
If we examine the first poem in Living on the Surface, "The Associate Professor Delivers an Exhortation to His Failing Students," we can isolate many of these elements and subsequently follow their development in the body of Williams' work. This piece combines something of the poet's characteristic oratorical quality with what is the major concern of the book, survival. At a glance, the poem appears to be "free verse" that is, line phrased prose: each line a phrase or a clause of some kind. The typographical level also tells us that the poem is strophic rather than stanzaic; there are twenty nine irregular sections, some as small as a line in length. Here are the first two strophes clearly, the professor is a biologist:
Now when the frogs
that gave their lives for nothing
are washed from the brains and pans
we laid them in
I leave to you
who most excusably misunderstand
the margins of my talks
which because I am wise
and am a coward
were not appended to the syllabus
but I will fail to tell you
what I tell you
even before you fail to understand
so we might in a manner of speaking
go down together.
An examination of the poem on the sonic level, however, quickly discovers that this is no kind of prose but variable accentual syllabic prosody. The meter is variable iambics, each line ranging in length from monometer to hexameter:
I should have told you something of importance
to give at least a meaning
to the letter:
how, after hope, it sometimes happens
a girl, anonymous as beer,
telling forgotten things in a cheap bar
how she could have taught here as well as I.
The first line of strophe three is iambic pentameter verse (see the scansion above), though it has some variations: a promotion of the central unstressed syllable, in a series of three, in the fourth foot and the substitution of an amphibrach in the fifth foot. The next line seems to consist of two iambs and an amphibrach, in that order, and the third line of strophe three would then look like two trochees. However, if one were to put lines two and three together, it would look like this:
to give at least a meaning to the letter.
In other words, lines two and three of strophe three, taken together, are metrically a duplicate of line one. What we have here, really, is two lines of iambic pentameter verse with falling endings or, to be descriptively more accurate, iambic hendecasyllabic(eleven syllable) verse.
Taking a hint from this discovery, we may look back at the beginning of the poem and see that "lines" 1 2 are also equal to one line of iambic pentameter verse, as are "lines" 3 4. The next two combined "lines," however, equal one hexameter, so not everything is going to boil down to pentameter, but it becomes fairly clear that the line phrasing of the poem is not a strong component of the prosody; rather, it is a disguise of the fact that Williams is writing verse. Perhaps this practice was itself a poetic survival mechanism during "The Great Hiatus" of twenty years and more in American formalist poetry during the 1960s, 1970s and early 1980s when versewriting was proscribed and only "free verse composition" was allowed.
Taken at face, however, we may call Williams' prosody in this poem line phrased, variable accentual syllabics, and the meter is variable iambics, the range for the lines being from monometer to hexameter. There are great numbers of other sorts of variations in the meters; we can see some of them if we look at strophe 7. Williams substitutes other sorts of verse feet, including anapests,
The day I talked about the conduction of currents
I meant to say;
an occasional double iamb:
be careful about gettinghung up in the brain's things.
(This line may very well be the thesis of the poem, but more about that a bit later.)
In the beginning of the poem Williams did not do much with outright rhyme, but there are some line ending repetitions linking strophes one and two: you/you/you and misunderstand / under stand; consonances between strophes two, three, and six: together/letter/Better, and within strophe (couplet) five: beer/bar. True rhyme shows up in strophe seven: town/clown. This rhyme continues in strophe eight:
The day I lectured on adrenalin
I meant to tell you
as you were coming down
slowly out of the hills of certainty
empty your mind of the hopes that held you there.
Make a catechism of all your fears
and say it over:
this is the most of you...who knows...the best
where God was born
and heaven and confession
and half of love
from the fear of falling
and being flushed away
to the gulp of the suckhole and that rusting gut
from which no Jonah comes
that there is no Jesus and no hell
This passage is the thesis of the poem stated overtly. The lecturer is delivering a sermon on the subject of religion or the lack thereof in the existential modern world -- the associate professor, like Williams, is a biologist and, also like Williams, one of the lapsed and disillusioned faithful. The "failure" here is the failure of both students and teacher, each in the same and different ways. The ideational level of the poem is as important as the sonic.
Returning to a consideration of the latter, we note that from this point in the poem rhyme becomes an important consideration, and it grows as close as couplet rhyme, though more often it is still random (as usual, the emphases are added):
that God
square root of something equal to all
will not feel the imbalance when you fall
that rotting you will lie unbelievably alone
to be sucked up by some insignificant oak
as a child draws milk through straws
to be his bone.
These are the gravity that holds us together
toward our common sun
every hope getting out of hand
slings us hopelessly outward one by one
till all that kept us common is undone.
Rhyme (sun/one/undone) links strophes fifteen and sixteen; the latter ends, in fact, in a heroic couplet. As the poem progresses it is pulling together, becoming more and more formal, although Williams has maintained his disguises.
The sensory level of the poem is not complex. The basic tropes are descriptions rather than similes and metaphors. There are more rhetorical tropes than images allusion in particular:
The day you took the test
I would have told you this:
that you had no time to listen for questions
hunting out the answers in your files
is surely the kind of irony
poems are made of
that all the answers at best are less than half
and you would have remembered
who hung around with God or the devil for days
and nobody asked him
The primary schemas are constructional, grammatic parallels mostly, but Williams also avoids punctuation throughout the poem: there are few marks of terminal punctuation, not many internally, either. Williams generally indicates a new sentence or paragraph, as he does in the next strophe, twenty one, simply with an initial capital letter:
if one Sunday morning they should ask you
the only thing that matters after all
tell them the only thing you know is true
tell them failing is an act of love
like sin
it is the commonality within
Now rhyming has progressed to such an extent that the next strophe, number twenty three, becomes a heroic quatrain consisting of two couplets; Williams says to tell them that is, the students,
how failing together we shall finally pass
how to pomp and circumstance all of a class
noble of eye, blind mares between our knees,
lances ready, we ride to Hercules.
With the puns on "pass" and "class" Williams works his way into the subdued metaphor that has lain dormant throughout the poem till now. This strophe also contains the only overt metaphor of the poem we are all knights, Don Quixotes de la Mancha, riding out to do battle with Death; we will simultaneously fail and pass on.
Another heroic couplet begins the penultimate strophe twenty four which then returns to a semblance of prose:
The day I said this had I meant to hope
some impossible punk on a cold slope
stupidly alone
would build himself a fire
to make of me an idiot
and a liar
But the last two lines are now obviously yet another disguised heroic couplet; indeed, if the word himself were not present, the last two "strophes" would be another heroic quatrain and might be written out like this:
stupidly alone would build...a fire
to make of me an idiot and a liar
The poem ends without punctuation, but Williams has asked a question, not made a statement. The mood of the poem is of disillusion; there is a touch of bitterness in it gall brought on by a loss of faith, and perhaps of despair staved off at a great cost of will. The viewpoint is dramatic, for, though Williams clearly draws on his own background, he has created a persona who speaks a monologue to an assumed audience of his students. The level of diction is intelligent but not overly intellectual, and the style is mean, not high. If the subject itself is the human intellect, then Williams' thesis is that, though the mind may be an untrustworthy guide through life, intellect is the only guide that mankind has.
The major genre of the poem, then, is dramatics; the specific form is the monologue, though if this were written subjectively it would be a sermon with a strong didactic element. The levels emphasized are the sonic and the ideational, though the typographical is important to Williams' disguise of his prosody, and toward the end of the poem there is heavier emphasis on the sensory.
The poem balances the conflict of intellect with mystery extremely well, especially, it seems to me, for an early poem. All, or nearly all of the elements of Williams' mature style arehere, and the poem is a good one for that reason as well as for intrinsic considerations.
"Voice of America," from The Only World There Is, finally gives up all technical disguises and announces itself typographically as a verse mode poem written in quatrain stanzas. Sonically, it is written in normative accentual syllabics the running foot is iambic and the line length is tetrameter, but as in the earlier poem there are many variations. The rhyme scheme is abcb; thus, the specific form is long measure, from the family of common measure stanzas. It is a cautionary speech in the form of a lyric utilizing the devices we have already noted including repetition and parallelism ("Do not imagine..." begins many stanzas and lines), alliteration, consonance, echo, and assonance.
The sensory level contains, again, primarily descriptions, but there is irony too, and the main image is a simile, "like a bullet hitting a head" the sperm "crashes in" upon the egg to begin the process of reproduction. It appears to be a garish image until, reading closely, we understand that the real comparison is with a rifle bullet entering the head of its victim to finish a life in the same way that life began. The mood of the poem is tense and ominous.
Eventually it will occur to the reader that the subject ofthe poem is not reproduction but assassination. The schemas Williams uses here are repetitional primarily, the repetitions conjuring up an obsession. The viewpoint is narrative and the syntax is objective a cautionary tale is being told with illustrations. The level of diction is that of a parent or a teacher (or even a preacher) warning an older child by means of illustrations. The poem, then, is a didactic lyric with a strong narrative element. The levels are in balance there is even a typographical hiatus in the penultimate line of the eleventh and last stanza to suggest the hole the bullet is making in the head of its victim. This is a poem about the death of John F. Kennedy, or Martin Luther King, or Robert Kennedy...or anyone in this world who meets a violent end.
Williams' most ambitious and longest poem, "Notes from the Agent on Earth: How to be Human," appeared in Why God PermitsEvil. It appears at first glance to be a verse mode poem built in both long sections and short cantos and strophes; none of the cantos are titled. Scansion shows that, indeed, it is verse, normative accentual syllabic prosody, in fact: the meters are iambic pentameter, but it is not quite blank verse as in many of his other poems, there is random end rhyme which at times becomes couplet rhyme, and there are other sorts of sonic devices often taking the place of rhyme, such as consonance and repetition. Williams' jazzy variations haven't changed, either. The general form of the poem is that of the elegy, and the Southern preacher inhabits the voice of this poem, as it does in other Williams works, so that at times it partakes of the sermon.
There are seven cantos here and, though there are no titles, each of the middle five begin with a parallel: "This is about..."; the first canto is an introduction the scene is Rome, St. Peter's Basilica. The speaker is looking at statuary: St. Gregory sits on a slab under which "the devil, winged and dog faced, cat pawed and crooked / turns in his agony and bares his teeth, / bares his broken claws, turns his nostrils / almost inside out."
The last canto is the summation, a coda. It begins, "There is much that matters. What matters most is survival." Williams' lifelong theme is thus stated in so many words. In between the prologue and the epilogue the cantos announce themselves: "This is about Love and how to tell it." "This is about Faith and how to tell it." "This is about the Will to Power, Envy, Covetousness, Ambition...." "This is about Death and how to tell it." "This is also something about Ambition. Also Love. And Faith also. And Death."
The sensory level contains, like the earlier poems, primarily descriptions that sometimes ascend to metaphor, but far outnumbering these are the rhetorical tropes; in particular, Williams here displays a real talent for coining aphorisms: "Love is Fear and Loneliness fed and sleeping; / Faith is Fear and Loneliness explained, / denied and dealt in; Ambition which is envy / is Fear and Loneliness coming up to get you; / Death is Fear and Loneliness fading out." The emotional thrust of the poem is thoughtful tranquility shot through with neurotic disillusion.
The ideation of the poem revolves around the subject of existence. As we can see, the schemas used are repetitional and constructional, in particular the long parallels of the cantos. The voice here is only partly narrative, for Williams steps out from behind all his masks in this poem to assume the subjective viewpoint and the egopoetic stance. The syntax follows the form of his thought and only now and again the form of an action. The level of diction is slightly elevated, but the style is mean, not at all florid, though there are some gothic scenes, especially in the prologue. One might be tempted to call the form of the poem georgics, for it is a handbook on how to get through life.
Fusionally, the poem is lyrical and didactic and the levels are balanced, though clearly the ideational is most heavily weighted. For all its preacherly qualities, the poem is most readable, for Williams is ever the musician of language.
In The Boys on Their Bony Mules Williams wrote with a greater sense of story. His rhythms and tropes were so well grounded in meter and in the particular that the reader hardly noticed the large issue, the thought rising from its base. Williams, despite his scientific background, is one of those poets who were trained, or who trained themselves, in the basics of verse composition and built from that foundation a style of writing and an angle of vision that enabled them to range widely and plunge deeply into the world and the self.
As always in his work, the poems in Imperfect Love formal lyrics and short narratives considered the human condition in its myriad formations and transformations in such a way as to provide the reader with both insight and delight, as in "A Little Poem":
for Jack Marr
We say that some are mad. In fact
if we have all the words and we
make madness mean the way they act
then they as all of us can see
are surely mad. And then again
if they have all the words and call
madness something else, well then
well then, they are not mad at all.
Also in 1986 Williams took a role to the forefront of the blossoming Neoformalist movement with the publication of his text/anthology, Patterns of poetry: An Encyclopedia of Forms, of which the late John Ciardi said, "Miller Williams has performed a brilliant service in this book.... I recommend it to everyone who dares to think he can teach anyone to be a poet." Through this volume's pages the new generation of poets are beginning again to understand that when a poet writes formally the burden of tradition need not inhibit him in the treatment of the particular subject in hand. This is the true reason that many of the poets of the past two decades have shuddered at the thought of traditional forms: they feel smothered, and indeed they are, but when someone comes along, like Williams, who can understand and release the power of the old constructs in an individual and imaginative manner, the form helps the poet to say the necessary thing.
Miller Williams, then, has done contemporary poetry a singular service in that, during the indulgent decades, he maintained a level of artistry committed both to tradition and to a personal vision. This poetry of balance, of intelligence as well as feeling, will serve as a benchmark to the new generation of poets who are feeling their way back to a sense of writing as literature, not merely self expression. But his commitment to the craft of poetry took more forms than just the maintenance of high personal standards. Williams remains the teacher or, if you will, the preacher who exhorts his audience by precept and example. He used his pulpit to spread the word and the book until the day he retired.
For Miller Williams, on his retirement
It's time to start to think of growing old.
We've put it off as long as is feasible,
Perhaps. When one is young, the impossible
Is what one sings of: love and death, the bold
Clasp of the ideal mistress and the cold
Grasp of the grave: romantic cock-and-bull.
One seldom writes of the Unspeakable
Although its avatars are manifold.
So now it's time to think of what we see
Staring at us over the bathroom sink
Each morning. Here's the fellow we've defied
All our lifetime long. We perfectly
Discern the Shadowman beyond the wink
Of hours in the glass. We cannot hide.*
Of late years Miller had been suffering from Alzheimer's Disease, but I continued to stay in touch with him by email, and I sent him copies of my books as they came out. I was always relieved to hear back from him and to realize that he continued to recall who I was. Last year I wrote an epic, a new realization, really, of the Epic of Gilgamesh, called The Hero Enkidu. It will be published this year by Bordighera, but I couldn't be sure Miller would be available till then, so I sent him a PDF file of the manuscript a few months ago. This is what he wrote back:
"Well, Lew, I've read your epic, and I can remember enjoying it very much. There's a problem, though--not with what you created but with me. I don't know if I've told you that I'm living now with Alzheimer's disease, which flushes one's memory away. I can recall enjoying the story but don't remember what the story was. I'm sorry, my friend, especially because you're one of my friends that I remember well. I know that you understand and will forgive me. Be happy and healthy and know that this comes with love.
* From The Gathering of the Elders and Other Poems by "Wesli Court," a.k.a. Lewis Turco, Scottsdale, AZ: www.StarCloudPress.com, 2010, ISBN 978-1-932842-43-2, trade paperback, 115 pp.
Thank you Lew --
He went very quickly with little suffering. It's a sad time here, I appreciate your thoughts. There will be a memorial service sometime in the spring. I've been laid up with a broken leg (happened last Sunday when I fell on the basement stairs). It was a bad enough break to require surgery so I won't be doing much but recovering for a few months. I will still check his email and will let people know when and where the celebration is.
Thanks so much,
Thank you so much for sending this to me. As a grad student at the U of A in 1971, I took a class in contemporary poetry with Miller Williams and really enjoyed it. With a preacher's passion, Miller introduced us to many of the poets I've read and revered over the years since, including Richard Wilbur, Anthony Hecht, Howard Nemerov, Elizabeth Bishop, Donald Justice and Theodore Roethke. On the occasion of my first marriage, Big Jim Whitehead gifted me a hardbound copy of Miller's A Circle of Stone. I still have the battered paperback of his Southern Writers of the Sixties as well as 6 or 7 of his poetry collections, which I like to go back and reread some of my favorite poems of his. I was proud when Miller read at Bill Clinton's inauguration.
Don K.
The Miller Williams essay is first-rate, thoughtful, informed (as always), and filled with perceptive analysis and feeling. Find a place where it can reach as wide an audience as possible.
David H.
RE. your Miller Williams epitaph and the piece following it--terrific. Meant to say so in previous message but hit "send" by accident. Thanks for sharing this.
Clarinda H.
This is a wonderful tribute and a shared, warm appreciation of poetics and the love of poetry. And done so quickly. I admire this tremendously.
Chris W.
Yes. I read it at the blog yesterday, and words failed me. I am so sorry. You did a fine and fitting tribute. But it is a hard losd.
Ruth F. H.
Yet another poet dies of that dreadful disease. Remember three years ago my friend Jack Gilbert, with whom I taught two summers in Kentucky, died of the same. Another of my friends, the great jazz guitarist Herb Ellis also died of the disease. Sorry for your loss of the friendship, but we all still have his fine lines.
I read most of your analysis of his work, and that beautiful letter that ends the piece. Good thinking, Lew. At least that part of your world has not been taken from you by age.
John H.
January 02, 2015 in Announcements, Books, Commentary, Criticism, Current Affairs, Epitaphs, Literature, Memoirs, Poems, Poetry | Permalink
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Miller Williams
Michael Webster wrote to say that Norman Friedman, my friend and professor at UConn in the late '90s, had passed away. Webster said, "On Thursday Zelda called with the sad news that Norman died at 2:00 a.m. that morning (November 6). Zelda said that he had Alzheimer's. There will be a memorial service on Monday, Nov. 10 at Sinai Chapels in Forest Meadows, New York, near their home… Sad news, but as we know, Norman lives on in so many ways.
"beauty is more now than dying's when" (Cummings)
My wife Jean and I have known Norman Friedman and his wife Zelda for over fifty years, as long as I've been married to Jean. During the spring and summer of 1956 Jean graduated from the University of Connecticut, we were married just before the U. S. Navy released me from active duty, and in the fall I entered UConn myself as a sophomore where I took a modern poetry class with Norman. I was a bit younger than he, but less than a decade, and I had been publishing poetry in the little magazines for three years by that time, so it seems to me looking back that our relationship was rather more friendly and neighborly than academic, for Jean began working for the university administration as an information specialist and we truly were neighbors in Storrs.
I finished the requirements for my B. A. in January of 1959 and enrolled as a graduate student instructor at UConn for the spring semester, and then Jean and I traveled out to the Writers' Workshop of the University of Iowa in the fall. We stayed in touch with the Friedmans ever after, and in 1984 I was doing the second of four annual poetry roundups titled "The Year in Poetry" for the Dictionary of Literary Biography Yearbook 1984, (edited by Jean W. Ross for Gale Research, Detroit, 1985, pp. 132-144). Here is a bit of what I wrote:
Those who know Norman Friedman's work will be astonished to discover, perhaps, that The Magic Badge: Poems 1953-1984 (1984) is his first collection of poetry. Those who do not know his work have some fine reading in store. I have quoted Emily Dickinson on how one recognizes a true poem. That shock of recognition occurs again and again as one turns these pages. For Friedman life is a dream, often a bad one. He writes a controlled verse-mode line, and his forms are loosely traditional, but within these structures hallucination occurs, the likeness of reality. Here is
"The Salmon-Falls, The Mackerel-Crowded Seas"
Patrolling the breakers with the insistent
intensity of gulls, all these people jamming
the beaches seem younger than I, having
been reproduced at a greater rate, millions
of assembly-line dolls coarsely made,
cheaply put together and as quickly falling
apart, in their shocking clothes and flashy
talk, swarming over the world, chattering,
they skim the coastline in flocks, flooding
the shore, foraging for food, rummaging,
raging for love, each with a frantic heart
as dangerous as mine, genitals as hungry,
genetic package as obsessed, each feeling
as much emptiness, as much right to ravage
the planet, they dive for clams or crabs
to snatch in talon and beak, lift up in
shocks of air, and let flash on rocks to
crack and be torn to glut the glutinous
meat within, scolding and clawing each other,
then jamming once again to swarm the seas
on their frenzied search, muttering nearly
intelligible cries, guttural and mournful in
my tireless throat, toys against the harsh
and unheeding scrutiny of the spoiling skies.
Friedman somehow turns people into birds, birds into the planet made flesh and blood, the planet and its hungers into himself. This is some of the best writing of the year, and of the years during which Friedman has been writing.
We all know what a fine scholar of E. E. Cummings Norman Friedman was, and that he was the editor for many years of Spring: The Journal of the E. E. Cummings Society, but twenty-four years later I still think that's a great poem, as fine as another Friedman poem I will never forget, "An End to No Encounter."
I spoke with Zelda on the phone today, November 9th, 2014, and she sounded fine. She told me that Norman had suffered from dementia for the past seventeen years, since he was 72 years of age. Although she was his primary care-giver all that time, she said she wouldn't hear of him living anywhere but at home with her, and she is very grateful that they were still together at the end. He continued to recognize his family until the last. What a wonderful person she is, a wonderful woman living with a loving husband till death did them part.
November 09, 2014 in Announcements, Books, Commentary, Current Affairs, Essays, Literature, Memoirs, Memorials, Poems, Poetry | Permalink
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Cummings, death, Norman Friedman, Zelda


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In an article in the April 2013 issue of the Journal of Trauma and Acute Care Surgery, a unit of measurement was misreported. Specifically, the units of measurement for lactate values should read "mmol/mL" instead of "mg/dL". The authors note that while the units were mistaken, the reported absolute values are correct.
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- Aids understanding by combining with the mathematical and statistical methods to scaled composites of global succession of events
- Meets the needs of a range of users at various points in the workflow (researchers extracting linear time from rock records, students recognizing the geologic stage by their content)
Professionals in industry (oil/gas/petrochemical industry), academic libraries, faculty chairs, graduate students/researchers. All geoscientists, more specifically biochronologists, evolutionary biologists, geo-engineers, space geo engineers, astronomers. Geoscience students, university teachers; all stratigraphic and paleontologic, quaternary geoscientists; individuals
Table of Contents
Editors' Biographies
Abbreviations and acronyms
Time Scale Publications (see References for Details)
Geoscientific Concepts
Chapter 1. Introduction
1.1 A Geologic Time Scale
1.2 A Geologic Time Scale GTS2012
1.3 How this Book is Arranged
1.4 Conventions and Standards
1.5 Historical Overview of Geologic Time Scales
1.6 Stratigraphic Charts and Tables
Chapter 2. The Chronostratigraphic Scale
2.1 History of Geologic Stratigraphic Standardization
2.2 Stage Unit Stratotypes
2.3 Global Boundary Stratotype Section and Point (GSSP)
2.3 Global Standard Stratigraphic Age (GSSA)
2.4 Other Considerations for Choosing a GSSP
2.5 Subdividing Long Stages
2.6 Do GSSP Boundary Stratotypes Simplify Stratigraphic Classification?
Chapter 3. Biochronology
3.1 Introduction
3.2 Paleontologic Events
3.3 Quantitative Stratigraphy and Biochronology
3.4 Qualitative Biostratigraphy and Biochronology
Chapter 4. Cyclostratigraphy and Astrochronology
4.1 Introduction
4.2 Earth's Astronomical Parameters
4.3 The 405-kyr Metronome
4.4 Astronomically Forced Insolation
4.5 Cyclostratigraphy through Geologic Time
4.6 Constructing Astrochronologies and the ATS
4.7 Precision and Accuracy of the ATS
4.8 Astrochronology-Geochronology Intercalibration
4.9 A New Astronomical Solution
Chapter 5. Geomagnetic Polarity Time Scale
5.1 Principles
5.2 Late Cretaceous through Cenozoic Geomagnetic Polarity Time Scale
5.3 Middle Jurassic through Early Cretaceous Geomagnetic Polarity Time
- No. of pages:
- 1176
- Language:
- English
- Copyright:
- © Elsevier 2012
- Published:
- 31st July 2012
- Imprint:
- Elsevier
- eBook ISBN:
- 9780444594488
- Paperback ISBN:
- 9780444594259
About the Editor
F M Gradstein
Felix M. Gradstein (Professor at Geology Museum, Oslo University, Norway; and visiting professor at University of Rio Grande do Sul, Sao Leopoldo, Brazil, the University of Nebraska, USA and the University of Portsmouth, UK) and was Chair of the International Commission on Stratigraphy from 2000 to 2008, and under his tenure major progress was made with the formal definition of chronostratigraphic units from Precambrian through Quaternary. For his fundamental work with regards to the Geologic Time Scale and stratigraphy, micropaleontology and geochronology in general, the European Geosciences Union awarded him in 2010 the Jean Baptiste Lamarck Medal. He teaches applied biostratigraphy and paleoenvironment courses and is the current Chair of the Geologic TimeScale Foundation (http://stratigraphy.science.purdue.edu). Gradstein has authored over 140 scientific publications in the fields of geological time scales, quantitative stratigraphic methods, stratigraphy and sedimentology of petroleum basins, plate tectonics, palaeoceanography, and deep-water micropalaeontology. He has a career that spans the divides between industry, government and academia, with periods working for Esso and Saga Petroleum, the Geological Survey of Canada, and Dalhousie University. Gradstein recently won the 2012 PROSE Honorable Mention Award for a multi-volume scientific reference.
Affiliations and Expertise
University of Oslo, Norway
J G Ogg
James G. Ogg (Professor at Purdue University, Indiana, USA; and visiting professor at China University of Geosciences, Wuhan, China) served as Secretary General of the International Commission on Stratigraphy (2000-2008) and coordinated the ICS stratigraphy information service (2008-2012). His Mesozoic Stratigraphy Lab group works on aspects of climate cycles, magnetic polarity correlations and integration of stratigraphic information. Their TimeScale Creator array of visualization tools for extensive databases in global and regional Earth history (www.tscreator.org) was used to generate many of the diagrams in this book. Ogg has published over 100 articles and coordinated 2 books as first or co- author on aspects of stratigraphy in refereed journals since 1986, and has contributed to over 70 chapters in Deep Sea Drilling Project and Ocean Drilling Program volumes. He has also won numerous awards, including the Geological Society of America: Mary B. Ansari Best Reference Work Award for The Geologic Time Scale 2004 and most recently the 2012 PROSE Honorable Mention Award for a multi-volume scientific reference.
Affiliations and Expertise
Purdue University, West Lafayette, Indiana, USA
Mark Schmitz
Affiliations and Expertise
Boise State University, Idaho, USA
Gabi Ogg
Gabi M. Ogg applied micropaleontology to Jurassic-Cretaceous correlations before concentrating on public outreach in geosciences. In addition to co-authoring the Concise Geologic TimeScale (GTS2008) book, she was a coordinator of GTS2012 and produced most of its the extensive array of graphics. She is the webmaster for the Geologic TimeScale Foundation (http://stratigraphy.science.purdue.edu) and for the TimeScale Creator visualization and database suites (www.tscreator.org), and has produced numerous posters and time scale cards for public audiences.
Affiliations and Expertise
West Lafayette, Indiana, USA
PROSE Award 2012, Reference Work: Honorable Mention for Multivolume Reference/Science, American Association of Publishers
"…one of the main distinctions of the new version is the more detailed subdivision of the preceding Precambrian interval. As before, the earlier chapters of the book summarize the approaches used; they review the main methods of obtaining chronometric dates and calibrating them with geomagnetic polarity and orbital fluctuations, as well as the use of various stable isotopes in chronological and paleoenvironmental analysis…Required for specialist libraries and a valuable acquisition for other libraries lacking the 2004 edition." --CHOICE, April 2013


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Carter's, Inc.
Carter's, Inc., is proud to partner with The Leukemia & Lymphoma Society help find cures for blood cancers. Since joining the first Light The Night Walk in 2000, Carter's and their employees have raised nearly $3.7 million in support of this important research.
Carter's Inc., (CRI) is the largest branded marketer in the United States and Canada of apparel exclusively for babies and young children. Carter's and OshKosh B'gosh are two of the most well-known and trusted brands in young children's apparel, known for quality and value by generations of customers.
Carter's, Inc., cares about the health and well-being of children and is committed to making a difference in the lives of children with cancer. As a Light The Night national team, Carter's has helped The Leukemia & Lymphoma Society make great progress in finding a cure for childhood cancers. For example, in 1964, the five-year survival rate for children with the most commonly diagnosed pediatric leukemia was 3%. Today it's approximately 90%.
Carter's is honored to once again be a national team at the Light The Night Walk. Our employees, families and friends, are proud to join with The Leukemia & Lymphoma Society to help find a cure for childhood cancers.


text: Back to the Future, the Broadway Musical?Meredith Woerner2/02/12 2:47pmFiled to: Back to the FutureMoviesMusicalsAlan silvestrirobert zemeckis16EditPromoteShare to KinjaToggle Conversation toolsGo to permalink A Back To The Future musical? We don't know how to feel about this. Advertisement Deadline is reporting that director Robert Zemeckis is in early talks with BTTF writer Bob Gale and film composer Alan Silvestri about translating their time traveling masterpiece to the stage. This movie is packed with the wacky gags and hijinks that just might work really well on stage. Plus "Power of Love" is an anthem and I want to see it performed by an entire CHOIR of Broadway singers. But then again, it's hard to imagine anyone but Michael J. Fox in the role of Marty McFly — it just feels dirty.We'll patiently wait for more information before passing judgement — but for now, we throw down this law. No ZZ Top country western jamboree, NO DICE.Gear from Kinja DealsDoes Your Gaming Mouse Need a Bungee?The Best Gaming Chair For Your DeskToday's Best Deals: Anker PowerCore, Fitness Gear, Travel Router, and MoreReply16 repliesLeave a reply


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The Washington Ballet Presents Chilling Dance Experience Dracula at the Kennedy Center
* Additional fees apply. No coupon or promo codes necessary to enjoy the displayed discount price.
The last date listed for Dracula was Saturday November 3, 2012 / 1:30pm.
Currently at The Kennedy Center - Eisenhower Theater
Chekhov's Family Drama Three Sisters
- Full Price:
- $29
- Our Price:
- $20
One of Anton Chekhov's masterworks, Three Sisters is a humorous and affecting tale centering around… More
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Reviews & Ratings
Featured review from SassysusseRed Velvet
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This is like no ballet you've ever seen! Even the boys will enjoy it. Incredible rich sets and fantastic dancing and acting. Beyond our expectations by far. They should take this on the road.
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The tickets provided by Goldstar were great. The performance was more theatrics than ballet. The dancing that was included in the production was ok at best. All the group numbers were way off sync and frankly distracting. However when a dancer...continued
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Dracula was definitely the star of the show. He was dark, disturbing, and deeply enchanting.
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This was a spectacular ballet. The costumes and stage sets were standouts. The entire ballet was engaging, eery, other worldly.
The dancers were entrancing and their movements sensual.
Highly recommend this event!
Quotes & Highlights
"A bravura work of theatre — a taut, dark tale that happens to speak in the language of dance." —The Rocky Mountain News
Music: Philip Feeney
Choreography: Michael Pink
Sets and Costumes: Lez Brotherston
*Lighting: *Paul Bryant
Original Director: Christopher Gable
_Performed at the John F. Kennedy Center for the Performing Arts
One of the entertainment events of the year, The Washington Ballet presents Michael Pink's chilling blockbuster Dracula. This wildly theatrical and voluptuous ballet is a breathtaking story of passion, yearning, cruelty and sacrifice. Dracula stakes its claim as this Halloween's most thrilling adventure. Pink's Count is a mesmerizing seducer of the darkest order, providing a fresh interpretation of one of Western culture's most haunting stories.


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Castro Street will be closed off this Saturday and Sunday as 200,000 people pour into downtown Mountain View for the 38th annual Art & Wine Festival.
Read the full story here Web Link posted Thursday, September 10, 2009, 10:17 AM
This story contains 171 words.
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Wow, my mom was only 11 when she joined Catster. I was her first cat. Today, she now turned 15. About 6 years on Catster. She was in elementary when we joined and now in high school! Time flies! My mom can't believe it either!
Hi Everyone! Today my grandpa (mom's dad) went to get my ashes, a paw print, and a certificate! There's a picture of them all on my page!
I would like to thank everyone who has supported me and my mom the past two weeks. My loss was very hard on my mom and I also miss her so much! My family on Earth still believe I was taken too soon at only 8 years old. I would like to thank everyone who has sent me gifts, stars, and rosettes, and even the cats and dogs who couldn't afford to but still felt grief for me. Thank you so much to everyone who has support me and my family through this tragic event.
Twister & Jina
Copyright © I-5 Publishing, LLC. All rights reserved.
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August 02, 2014
The star-system was pronounced dead by almost everyone, but as of the moment of writing everyone is talking about Liza Minnelli in Cabaret and she made the covers of Time and Newsweek simultaneously. Contrast the unfortunate Julie Ege, a British.....
Movie Sex In The 60's
August 02, 2014
The rapidity with which the legitimate cinema in America, in a decade and a half, shrugged off the shackles of censorship and tested public inhibition to the hilt was, to say the least, spectacular. At the beginning of the 'sixties, in spite of .....
Movies Opening May 2 2014
May 01, 2014
This week features some great movies that will be opening. The Amazing Spiderman 2 - perfect for any fan of the superhero genre. Belle - A coming of age piece set in 19th century England Beneath The Harvest Sky - A drama about two y.....
The Making Of Close Encounters Of T...
January 07, 2014
A few years ago, director Steve Spielberg and producers Julia and Michael Phillips met with the top executives of Columbia Pictures to outline the project that $19 million dollars and countless man-hours later would be the enormously success.....
Winter 2013 Movies We Love
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We cannot tell you what the weather forecast will be, but we think the movie business will see some pretty hot results for the end of the year. Some of the great movies we are looking forward to include: The Wolf of Wall Street Anchor M.....


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adidas Originals Confirms Release Date Of Yeezy Boost 350 "Oxford Tan" by John Kim
Everything You Need To Know About The Yeezy Boost 750 "Black" Release
December 18, 2015 BY Patrick Johnson / 3.34 / 5
Tomorrow marks one of the most important release dates of the year; it's your last chance to pick up a pair before Christmas, and the release slate is absolutely loaded with must...Read More
Store List For adidas Yeezy Boost 750 "Black"
December 15, 2015 BY Sneaker News / 3.86 / 5
Updated: December 16th, 2015 The adidas Yeezy 750 Boost "Black" will release on December 19th. Below is a list of confirmed stores releasing the shoes based on official inf...Read More
Did Barneys New York In Chicago Sell The Yeezy Boost 750 Early?
December 15, 2015 BY Sneaker News / 2.83 / 5
The Yeezy Boost 750 "Black" is releasing this Saturday, December 19th, but retailer Barneys New York in Chicago might've let their pairs out of the stock room days in...Read More
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adidas Is Holding Raffles For Black Yeezy Boost 750s In Dubai
December 14, 2015 BY Patrick Johnson / 3.86 / 5
The adidas Yeezy 750 Boost is expanding its territory, as pairs of the upcoming all-black colorway will be releasing in limited quantities in Dubai. In order to secure your pair, you m...Read More
Tracy McGrady Chats With Kobe Bryant Courtside While Wearing Yeezy Boost 750
December 14, 2015 BY Patrick Johnson / 4.9 / 5
Fresh off Nick Young recording his first ever assist to Kobe Bryant while wearing the adidas Yeezy 750 Boost, another Kobe comrade was spotted courtside wearing the same exact pair: Tr...Read More
The adidas Yeezy Boost 750 "Black" Releases On December 19th
December 13, 2015 BY John Kim / 3.78 / 5
This Saturday, December 19th, adidas will officially release the all-black colorway of the Yeezy Boost 750, the first adidas Yeezy model that debuted as part of the Kanye West x adidas...Read More
Nick Young Wears Yeezy Boost 750 After Signing With adidas
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Ever wonder what Questlove's sneaker collection looks like? The Coveteur had the privilege to photograph The Roots founding member's apartment and all of his carefully cura...Read More
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Next Saturday, December 19th, adidas will officially release the second colorway of the Yeezy Boost 750 in a tonal black colorway. There was some drama surrounding the release at the h...Read More
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St Annes Old Links Golf Club
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St Annes Old Links Golf Club
Since 1926, when the Open Championship was first staged at Royal Lytham & St Annes, the Old Links has served as a final qualifying venue, and has seen some famous names pound its fairways.
The great Bobby Jones is one such illustrious visitor, and he was reportedly so impressed with the unorthodox 9th hole that he made detailed sketches and measurements of the par 3, in order that he could reproduce it in his native United States.
St Annes Old Links is an enchanting golfing destination, where the only thing that seems to matter is the golf course and the elements; there is little fuss, and nothing pretentious about the club, but the course itself is a true gem, and one that should be experienced on a really memorable golf tour in Lancashire.
- Pro Shop
- Putting Greens
- Club House
- Championship Standard Course


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Vicky Sperino, daughter of the late Alonzo Hammers and Brizelle Crawford King, was born on Dec. 24, 1940 at St. Louis and died in the residence of her son near Puxico, Mo. on Wednesday, Dec. 8, 2010, at the age of 69.
Mrs. Sperino attended the Walker General Baptist Church near Bloomfield, Mo., a home-maker, former nurse and resident of Bloomfield.
She was united in marriage to Tony Sperino on December 10, 1963 at Collinsville, Illinois. Mr. Sperino preceded her in death on April 3, 1977.
She is survived by three sons, John Sperino of Bloomfield, and Steve Sperino and Doug Sperino, both of Puxico; two daughters, Debbie Griffin and Grace Pry, both of Bloomfield, Mo.; three brothers, Ray Hammers of Imperial, Mo., James King of Farmington, Mo., and Lew Schbert; two sisters, Phyllis Wilcox of Fenton, Mo., and Sandy Wills of Bloomfield; 15 grandchildren; and 14 great-grandchildren.
Besides her husband and parents, she was preceded in death by one sister, Geneva Barber.
Visitation will be held at the Rainey-Mathis Funeral Home in Dexter, Mo. from 5-8 p.m. on Friday, Dec. 10, 2010.
Funeral services will be conducted at 10 a.m. on Saturday, Dec. 11, 2010, in the Rainey-Mathis Funeral Chapel with Rev. Jerry Pennington and Rev. Bob Holland officiating.


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Grateful Dead
It is hot, and then it rain, and then there are rainbows. In an endless pattern as old as the earth itself and now being changed by global warming.
Namste, all!
Strange trip it's been!
The Tibetans are tense at their main place in the Kathmandu Valley (Never mind being tense in Tibet). It seems as if there is a plan afoot to wipe them out of Nepal, though they still throw some weight because of capital infusion from Westerners (Buddhists, tourists mostly) who visit them.
There are now surveillance cameras at the Boudhanath Stupa. They don't want anymore self-immolations by Tibetans.
We should thank Snowden for cluing us in. Besides the Utah NSA facility there is one in Britain, 5 in Australia and 1 in New Zealand. This is the corporate Anglos getting ready to "contain" China, along with the rest of us.
You know me, I'll give a bit of travelogue to anybody who cares to read a serial.
In this here concrete jungle called Kathmandu the Hindus rule the Mongolians. The Mongolians have been making a revolution since around 1990. They got rid of the King and monarchy in 2006 and Maoists (Maoists! Can you believe it?) came to power a few years after. The mainline democrat and republican establishment Hindu parties and the government bureaucracy (composed of 90% Hindus) went into total noncooperation.
The mood is grim here. The old Maoist government was finally toppled by changing the Constitution, which hasn't even been written yet. The Chief Supreme Court Justice now runs an interim government until new elections can be held, which a large minority don't see as fair.
The US and other European countries, of course, want elections. Including the Carter Centre who wants to monitor them for fairness. Fairness? In a place where most of the people are illiterate and there are hardly any roads in most of the country. People can't even register to vote.
This morning I woke up in a room where a young man had left his country to pursue his engineering degree. His parents had to get him out because he was part of the revolution. Next to a picture of him on the wall was a screened drawing of Che Guevara. Che! Goodnight Che! Good morning Che!
The Mongolian Nepali descent people here are like niggers in America. They will not stop until they have equal rights, resources and representation. And I don't blame them.
we'll be glad to hear your reports from the field. And the summit.
Ka-ka-ka-ka-Kathmandu! ...as the old song goes.
It's monsoon, the mood is grim in this city of the concrete jungle (Jungle!)
family to see, things to do.
I would especially appreciate ANY deadheads here in the Valley to PM me.
Lots of temples to see!
If you've been here before you know this is a beautifully landscaped city near the equator. The people are very jolly and the easily laughing sort. Singapore is extremely neat and orderly. But not in the German sense. You don't even jaywalk here. Litter or spitting on the sidewalk results in a few lashes with the cane fine. I ain't kidding. We're talking draconian!.
Well, it's nice to see a place you've never been before.
Well, I'm here. Singaporeans are a delightful people, but it is hot! How hot? Damn Hot! & humid too.
Can't imagine there are deadheads here but in the strangest of places -- I know down under and \I ain\t far from there...
I live in India now - HI to everyone !! Lets create a topic - deadheads underwater, about divers - what do you think guys ?
Visit my blog -http://best-diving.org and you will understand what i am talking about !!!
essential for Japanese Heads -
support Yukotopia!! a damn fine bar and venue. (there's an English page too!) -
Happy New Year to you all!!!!! Looking forward to a new year as last year completely drained me, the good and the bad,(I had a hard run.) I still believe there is more positivity out there than negativity. I believe that there is more ying than yang, but somehow the ying and the yang always equal out to be about 50/50. I have lost more friends this year, but as you grow older this becomes a common occurrence. Unfortunately i am only 36 and my former circle of friends knew, and still know how to run it hard. I have learned more and covered more ground this year , but the year of the rabbit will not have run its course until mid January. I will miss my fellow soldiers of the night who have fallen in 2011 and in the former. Me I am still on the road and heading for another joint and have a cocktail in hand and the music is most likely too loud. Have been spending some time back in the States in south Florida on the water, any heads in the Fort Lauderdale area? Strange being back in the States after being away for so long, I was in Myanmar for the last week and I had a similar feeling, but there is no place like home. Happy New Year!!!


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CCPs object to 'misleading' Emir collateral clause
CCPs object to Emir collateral clause
A clause in the European market infrastructure regulation (Emir) text drafted by the European Parliament, which seems to state central counterparties (CCPs) must accept high-quality corporate bonds and gold as collateral, has been strongly criticised by clearing houses. They say they will only accept forms of collateral that meet their risk management standards. "A CCP should not be forced to accept collateral that does not fit with its risk management regime. It must be able to define a subset...
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Japanese design brand MIHARAYASUHIRO, known for its playful use of reptilian materials throughout its latest collections this year, teams up with the luggage experts at Tumi to create a limited capsule of bags. Each piece in the collection is executed in either the ever-popular camouflage motif or a unique textured python pattern. Both patterns are executed in sleek greens, greys and navy hues, adding a layer of sophistication to this collection of utility backpacks, carry-ons, and suitcases. The entirety of this premium collection is available on Japanese retail site rumors now.


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Premium Ariat quality and style graces the streets in the Ariat Ready to Go ankle boot, which features a supple leather upper lined in soft leather for interior comfort and breathability, while a sturdy rubber outsole maintains a steady footing.
- Accent straps with metal hardware
- Approx. 3'' heel height
- Cushioned footbed
- Leather lining
- Leather upper
- Medial-zipper entry
- Rubber outsole
Delivery and Returns
Estimated delivery date: 3 (based on standard shipping).
We offer free shipping on orders over $99, and free returns and exchanges for up to 30 days.


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This page allows you to perform various kinds of "runs" to determine
if you are able to retroactively influence the output of a
hardware random number generator based on
radioactive decay. Your browser must support
Java™ to run this
experiment; if you do not see a randomly-reading clock face at the left
of this paragraph, your browser either does not implement Java, or
Java applets have been disabled. Due to the wide variety of browsers
and differences from system to system, I cannot help you with Java
installation and configuration. If you need basic help with Java,
please contact your system administrator, a knowledgeable friend, or
the supplier of the browser you're using.
Bell curve