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- Easter, 1916 by William Butler Yeats
Writing Ideas
- Yeats's poem is a response to the Easter Uprising in Ireland, a rebellion that eventually led to the Irish War for Independence and the Irish Civil War. Think about how the poem commemorates, fails to celebrate, and/or eulogizes the event. Compare it to other poems that treat specific historical moments, such as W.H. Auden's "September 1, 1939" or Shelley's "England in 1819."
- Choose a moment in history to write about and, like Yeats, attempt to invoke the event and its consequences without directly addressing its specifics.What is powerful about the final list of names Yeats includes in the poem's last stanza? Think about the use of proper names in poems generally: what effect does the appearance of a proper name have on you as a reader? Consult other proper-name poems such as Frank O'Hara's "A Step Away from Them" which also concludes with a list of names. Try writing a poem that likewise includes or features proper names.
- In her poem guide, Ange Mlinko notes Yeats's "trance-inducing metric." Read the poem aloud a few times to see if you agree. Then, write a poem that induces a state of trance. Think about how rhyme, rhythm, and repetition can create, in to use Yeats's own words, atmospheres of "alluring monotony" while managing to "hold us waking by variety."
Discussion Questions
- Part of the poem's "vagueness," as critic Ange Mlinko notes, stems from Yeats's use of formal techniques—rhyme and rhythm—as well as symbolism and allegory. Isolate the poem's symbols and tease out some of the many registers and meanings at work in them. Some key words and symbols to consider include: stone, stream, rider, dream.
- The refrain to this poem is one of the most famous in English language poetry. Note each time the refrain appears; how does its circulation through the poem adjust what has come before it and what comes after?
- What work does the paradox of a "terrible beauty" do in the poem? What are some of the "utterly transformed" or "utterly changed" people, ideas, or states that Yeats depicts? As Mlinko tells us, Yeats was reluctantly political; how does this poem create a sense of vacillation or uncertainty about the revolution it is addressing?
Teaching Tips
- Yeats is one of the 20th century's most famous poets. Ask students to think about what they already know (or think they know) about Yeats. This can even be basic information about his country of origin, any famous poems, or lines of poetry they think they've encountered. Ask them to consider what contexts they've seen his name in and what kinds of ideas and images are associated with him and his poetry: have them treat Yeats as a cultural icon whose meanings often circulate far beyond reference to any individual poem. Ask students to conduct an online scavenger hunt for Yeats-abilia. Can they find five non-poetry websites that use Yeats in some way: either a quote from a poem, an image of Yeats, or reference to his life and work? What kinds of cultural currency does Yeats have now? Where is his "work" appearing and in what contexts? Ask students to think about the use of poetry in popular culture more generally: when are poems used in movies, TV shows, advertising, and music, and to what effect?
- Have students read the opening paragraphs of Mlinko's poem guide. For Mlinko, and many Yeats scholars, "Easter, 1916" is a turning point in Yeats's work, as he engages with "the Modernist rather than the idyllic Ireland." Talk about the lifespan of Yeats: what changes were happening in the world between 1865-1939? What might Woolf's quote mean, and do your students see an equivalent in 20th or 21st century events? (You might ask them to talk about how poets, themselves included, respond to the economic, social, and cultural shifts of our own era.) Have them predict some of the characteristics of "early" and "late" poetry by Yeats. Then break the class into two sides, one for early (pre-1913) and one for late (post-1913) Yeats. Have each side consult the Poetry Foundation archive, anthologies, or other websites to track how Yeats's poetry changed through his life. Have students take note of content as well as formal techniques such as rhyme, rhythm, prosody, and use of verse or popular forms (ballads, sonnets, etc.)
Related Poem Content Details
September 25, 1916
William Butler Yeats: "Easter, 1916"
Poem Guide
One of the most powerful political poems of the 20th century was written by a man who was ambivalent about politics. William Butler Yeats (1865–1939) began his career under the spell of the late Victorian era. Art in that time was generally more romantic than worldly. The word spell is relevant here: in 1887, Yeats became a Theosophist and an acolyte of Russian occultist Madame Blavatsky. He participated in various spiritualist practices—from séances to automatic writing—for the rest of his life. His early poems feature his passion for Celtic mythology and Gaelic sagas—as in the widely known lyric poems "The Lake Isle of Innisfree" and "The Song of Wandering Aengus." Nationalism was widespread in all its forms in Ireland at that time, but Yeats preferred his romantic literary nationalism to the new insurrectionary nationalism of his great love, the actor and activist Maud Gonne. Her beauty attracted him and her zealotry repelled him in equal measure. For the first 45 years of his life, Yeats focused his nationalistic energies on writing plays and songs and collected folk tales about Ireland's past but wrote little about its complicated present or uncertain future.
In middle age, Yeats became disillusioned, or perhaps more attuned to certain realities. As Virginia Woolf pointed out, "human character changed" somewhere around 1913, when Ezra Pound published his imagist manifesto and began work as Yeats's unofficial secretary—the unstoppable artistic revolutions of Modernism goaded Yeats into a crisis that ultimately resolved into a leaner style and a wider scope. He wrote the political and personal poem "September 1913," commemorating the work and death of nationalist friend John O'Leary, which included the refrain "Romantic Ireland's dead and gone, / It's with O'Leary in the grave." Three years later, Yeats said the poem "sounds old-fashioned now," just before he began writing "Easter, 1916." That poem expanded his political engagement and stood as an artistic breakthrough. Its innovation rested in Yeats's ability to preserve older techniques that gave his verse its power—incantatory rhythm, rhyme, symbolism, and allegory—while engaging frankly with the interplay of personality, history, and politics of the present. The oxymoronic refrain of the poem, "a terrible beauty is born," entered the language as Shakespeare's "to be or not to be" or Pope's "fools rush in where angels fear to tread" did. In "Easter, 1916," focused so closely on an unsuccessful struggle in Ireland's fight for independence, Yeats had timeless and universal things to say about it.
The engagement with the Modernist rather than the idyllic Ireland is evident in the first stanza of the poem:
I have met them at close of day
Coming with vivid faces
From counter or desk among grey
Eighteenth-century houses.
I have passed with a nod of the head
Or polite meaningless words,
Or have lingered awhile and said
Polite meaningless words,
And thought before I had done
Of a mocking tale or a gibe
To please a companion
Around the fire at the club,
Being certain that they and I
But lived where motley is worn: …
As in Ezra Pound's "apparition of these faces in the crowd" in the Paris metro or Eliot's London "city block … trampled by insistent feet / At four and five and six o'clock," readers are in the presence of the modern metropolis (for Yeats, it was Dublin). Yeats's fellow citizens and compatriots ("I have met them …") emerge from a milieu of buildings and counters and desks to an evening of urban amusement: the clubs where people exchange gossip and repartee, where "motley" means both the entertaining diversions of the city and the court fool's attire. Yeats allowed readers to entertain a general "them" for only a few lines; as we will see, four distinct persons will emerge from this crowd of convivial Dubliners. The transformation from ordinary citizen to revolutionary is marked by the refrain that will reverberate through the poem: "All changed, changed utterly: / A terrible beauty is born."
The "change" was the Easter Rising (or Easter Rebellion of 1916) of around a thousand Irish Republicans who wanted to secede from Great Britain and establish an independent Ireland. The insurrection was put down less than a week later, and many of its leaders were swiftly executed by firing squad. Although the original rebellion did not enjoy wide support among the general populace, the ruthlessness of the British response unnerved the Irish and led to the growth of the ultranationalist group Sinn Féin. "I had no idea that any public event could so deeply move me," Yeats said, months later. In the wake of the courts-martial and executions of May 1916, he wrote to Lady Gregory that he was "trying to write a poem." His simultaneous awe of and ambivalence toward the event are clearly coded in the both title and refrain. The Easter Rising is a double entendre on the holiday; the "terrible beauty" was "born" during Holy Week, which marks the occasion of Christ's sacrifice. Hence, the Easter Rising is simultaneously crucifixion and resurrection, reality and archetype.
Yeats traced the movement of hard-nosed realism to mythography through the poem. The second stanza elegizes the rebels whom Yeats intimately knew: "that woman" refers to the nationalist politician Constance Gore-Booth Markievicz; "this man" was the poet Patrick Pearse, a leader of the uprising; "his helper and friend" was the poet Thomas MacDonagh; the "drunken, vainglorious lout" was John MacBride, Maud Gonne's abusive former husband. They were not depicted heroically: Yeats chastised Markievicz for her shrillness and described MacBride as loathsome; the two poets, he observed, might have been better off remaining educators and writers. But in the first stanza, Yeats reluctantly recognized that each "resigned his part / In the casual comedy" of everyday life. The freedom to pursue individual liberty and happiness—the "casual comedy" of the modern city, in which one pursues love and leisure uninterrupted by political calamity—was rejected to promote collective liberty and happiness. At this point, Yeats shifted into the mythologizing third stanza, comparing the hearts of the revolutionaries to immovable rock:
Hearts with one purpose alone
Through summer and winter seem
Enchanted to a stone
To trouble the living stream.
The horse that comes from the road,
The rider, the birds that range
From cloud to tumbling cloud,
Minute by minute they change;
A shadow of cloud on the stream
Changes minute by minute;
A horse-hoof slides on the brim,
And a horse plashes within it;
The long-legged moor-hens dive,
And hens to moor-cocks call;
Minute by minute they live:
The stone's in the midst of all.
With its lyrical nature images, this stanza evokes a centuries-old pastoral tradition. The pastoral is meant to convey, above all, the peacefulness of the natural world. But there's a twist: instead of a landscape of changeless peace, we perceive a landscape in which the natural order encompasses movement and transformation. The unnaturally fixed stone causes violence; it "troubles" the flow of water. It is soulless, that is, "inanimate"; the root of animation—the state of being "full of life"—is in the classical Latin word for soul, anima. So revolutionaries, in Yeats's view, seem soulless when they have "one purpose alone": one ideology, one principle, one goal.
Yeats's stanza enacts a terrible swiftness. The poem's rhythm is magical and defies classification: I have seen it referred to as free verse, as iambic trimeter, and with its many seven-syllable lines, a trimeter with an unfulfilled tetrameter lurking behind it. He prized poetry that enchants with "metrical forms that seemed old enough to have been sung by men half-asleep or riding upon a journey." In his essay "The Symbolism of Poetry" (1900), Yeats explained:
The purpose of rhythm, it has always seemed to me, is to prolong the moment of contemplation, the moment when we are both asleep and awake, which is the one moment of creation, by hushing us with an alluring monotony, while it holds us waking by variety, to keep us in that state of perhaps real trance, in which the mind liberated from the pressure of the will is unfolded in symbols.
Our inability to pin down his trance-inducing metric is a symptom of its archaic power. The poem seems to have written itself: the original manuscript shows few revisions until the fourth stanza. It also shows that Yeats first wrote that the shadow of the cloud on the stream is "changed." By revising it into active voice, Yeats underscores the agency of individual actors in a whole in which "are changed, changed utterly" (italics mine). The parts may be active, but the whole is produced, passively, by this interplay. In a poem about historical destiny, this is significant; it implies that all citizens participate in the production of their destiny, but the outcome is unpredictable.
If, as the manuscript shows, Yeats had the most trouble writing the final stanza, it must be because its summary argument is difficult to articulate and even more difficult to digest. It is a lament for the dead. He asks his final, desperate question in three ways:
O when may it suffice?
Was it needless death after all?
And what if excess of love
Bewildered them till they died?
Yeats is not convinced the sacrifice is worthwhile. There is no definitive end to sacrifices that may be made because change is constant, peace cannot ever be a steady state, and more sacrifice is always a possibility. This particular sacrifice may have been needless; Great Britain at this moment in 1916 may well have been ready for a long-term diplomatic solution to the Republican conflict. It had suspended Ireland's bill for Home Rule in 1914 while promising to restore it after the conflicts subsided. Finally, the most horrible question the poet asked was whether "excess of love" for country can hound one to one's death, reducing honor and glory to mere bewilderment.
Yeats banished these terrible considerations with the invocation of a mother uttering her child's name in the dark. If there is any consolation, it can be only in commemoration. "Our part" reinvokes the comparison of life to drama: various roles, motley costumes, and the "casual comedy" turned tragedy:
To murmur name upon name,
As a mother names her child
I write it out in a verse—
MacDonagh and MacBride
And Connolly and Pearse
In his Autobiography, Yeats writes about where these lines come from:
One day, some old Irish member of Parliament made perhaps his only appearance at a gathering of members. He recited with great emotion a ballad of his own composition in the manner of Young Ireland, repeating over his sacred names, Wolfe Tone, Emmet, and Owen Roe, and mourning that new poets and new movements should have taken something of their sacredness away. The ballad had no literary merit, but I went home with a troubled conscience; and for a dozen years perhaps, till I began to see the result of our work in a deepened perception of all those things that strengthen race, that trouble remained. I had in mind that old politician as I wrote but the other day—
Our part
To murmur name upon name
As a mother names her child.
In the poet's telling, a ceremonial naming of the martyrs stamps them in the collective memory. It is also calculated, coming at the very end, to give the poem a definitive crest or climax because the first and second stanzas only sketch the personalities without naming them. The chanting of concrete names finalizes a magical act by a poet who has gathered power from the touchstones of nature in the third stanza. The spell is completed by the repetition of "changed, changed utterly: / A terrible beauty is born" (which went missing from the previous stanza). Repetition, circularity, and closure are as important to spells as they are to lullabies or nursery rhymes. In The Virtues of Poetry, James Longenbach points out that repetition is essential as therapy, where trauma must be psychologically processed: "The line must be said again, and then again, the past dragged into the present so that the trauma of the Easter Rebellion, difficult to process at the historical moment of its happening, might truly be experienced."
Yeats finished the poem on September 25, 1916, and it was printed privately in an edition of 25 copies but did not circulate widely until its publication in both London's Labour journal The New Statesman and New York's The Dial in the autumn of 1920 and then in Yeats's next book of poetry, Michael Robartes and the Dancer, in 1921. One wonders whether the four-year lapse between writing and publishing made the poem seem less tied to a particular event and more embedded in the historical long view. Its desperate questions regarding a solution to the fight were still unresolved. It certainly helps that the verb tenses of the poem begin with a quasi-mythic "I have met them … I have passed …" and segue abruptly to a present-tense "A terrible beauty is born" and "I number him in the song ... I write it out in a verse." As Longenbach again asserts, we could either read this scenario allegorically or literally; the effect is almost bifocal, the events both foreground and background as the poet completes his commemoration in an eternal present tense.
It's worth noting that Yeats waited to collect the poem for aesthetic reasons:he composed his books as books and cared greatly about the ordering of poems: he did not want just loose collections of poems. "Easter, 1916" reverberates with other famous single poems in the book: "The Second Coming" and "A Prayer for My Daughter," both of which juxtapose birth and apocalypse, mythical order and historical bloodshed, and it appears directly before Yeats's other poems about the Rebellion: "Sixteen Dead Men," "The Rose Tree," and "On a Political Prisoner." Donald Davie argued that the full import of "Easter, 1916" could be understood only in the context of the book. Such was Yeats's artistry that reading one poem inexorably leads to reading another and another without sacrificing the formal integrity of each individual poem.
Yeats once famously declared, "We make out of the quarrel with others, rhetoric, but of the quarrel with ourselves, poetry." This sentiment is borne out in "Easter, 1916": as shy as he was of revolutionary action, he wrestles with these doubts while lamenting his bolder confederates. In the tradition of such elegies as "Lycidas" or "England in 1819," Yeats calls upon the act of writing to preserve collective memory. He makes full use of the Easter myth given to him by the historical contingency and ritualizes the martyrs, and their names, not only with rhetorical means but also song—meter and rhyme. While the experiments of the imagists and vorticists and surrealists were creating aesthetic rebellions, Yeats engaged world events with old magic and Modernist ambivalence. Time is deep, he seems to say: take the long view. A true poem, like life itself, is not a political cause—even a just one. To make it so is to be "enchanted to a stone" and fix it in one moment. In the end, "Easter, 1916" is less of a political poem than an elegy. We read it because it is, in the strange way poems are, alive. And by naming, it animates the dead in turn.
Related Poem Content Details
William Butler Yeats is widely considered to be one of the greatest poets of the 20th century. He belonged to the Protestant, Anglo-Irish minority that had controlled the economic, political, social, and cultural life of Ireland since at least the end of the 17th century. Most members of this minority considered themselves English people who happened to have been born in Ireland, but Yeats was staunch in affirming his Irish nationality. Although he lived in London for 14 years of his childhood (and kept a permanent home there during the first half of his adult life), Yeats maintained his cultural roots, featuring Irish legends and heroes in many of his poems and plays. He was equally firm in adhering to his self-image as an artist. This conviction led many to accuse him of elitism, but it also unquestionably contributed to his greatness. As fellow poet W.H. Auden noted in a...
Poems By William Butler Yeats
- The Mountain Tomb
- To a Child Dancing upon the Shore
- Fallen Majesty
- Love and the Bird
- The Realists
- The Grey Rock
- The Two Kings
- To a Friend Whose Work Has Come to Nothing
- Paudeen
- To a Shade
- When Helen Lived
- Beggar to Beggar Cried
- The Witch
- The Peacock
- Running to Paradise
- The Player Queen
- To a Child Dancing in the Wind
- The Magi
- A Coat
- The Dawn
- On Woman
- The Fisherman
- The Hawk
- Memory
- The Thorn Tree
- The Phoenix
- There Is a Queen in China
- The Scholars
- Ego Dominus Tuus
- The Only Jealousy of Emer
- A Prayer for My Daughter
- Ribh at the Tomb of Baile and Aillinn
- Ribh Prefers an Older Theology
- Ribh Considers Christian Love Insufficient
- He and She
- The Four Ages of Man
- Conjunctions
- A Needle's Eye
- Meru
- Three Songs to the Same Tune
- A Full Moon in March
- The Watch-Fire
- To the Rose upon the Rood of Time
- The Lake Isle of Innisfree
- The Sorrow of Love
- When You Are Old
- The Cap and Bells
- Adam's Curse
- The Fascination of What's Difficult
- The Cold Heaven
- The Wild Swans at Coole
- Easter, 1916
- The Second Coming
- Sailing to Byzantium
- Among School Children
- A Dialogue of Self and Soul
- Crazy Jane Talks with the Bishop
- Byzantium
- Lapis Lazuli
- Under Ben Bulben
- The Circus Animals' Desertion
- No Second Troy
- Down By the Salley Gardens
- A Drinking Song
- The Song of Wandering Aengus
- The Song of the Happy Shepherd
- The Sad Shepherd
- To an Isle in the Water
- To Ireland in the Coming Times
- The Everlasting Voices
- The Fish
- He wishes his Beloved were Dead
- Never give all the Heart
- Reconciliation
- September 1913
- An Irish Airman foresees his Death
- On being asked for a War Poem
- Sixteen Dead Men
- The Rose Tree
- On a Political Prisoner
- A Meditation in Time of War
- The Tower
- Politics
- In Memory of Eva Gore-Booth and Con Markievicz
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V Festival Announces Headliners
The headliners of this year's V Festival were be announced moments ago. The UK event takes place on two sites – one in Chelmsford and one in Staffordshire – on August 21-22, 2010. The big gets this year are Kings of Leon and Kasabian, with each taking the top draw on the main stages on their respective nights.
Additional acts for the August event include: Stereophonics, Faithless, The Prodigy, David Guetta, The Kooks, Paul Weller, Paolo Nutini, Florence And The Machine, Madness, White Lies, Skunk Anansie, Mika, Goldfrapp, The Temper Trap, La Roux, Newton Faulkner, Cheryl Cole, Passion Pit, Ellie Goulding, Kate Nash, Imogen Heap, Paloma Faith, Pixie Lott, Scouting for Girls, Shed Seven, Amy MacDonald, Groove Armada, Chase and Status, The Charlatans, Sugababes, The Courteeners and Editors
Tickets go on sale Friday, March 5 at 2pm EST. Here's the link to do so.
mp3: Kasabian - Fire
mp3: Lykke Li and Kings of Leon - Knocked Up (Death To The Throne Remix)

subset: commoncrawl


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You may have trouble finding .38 Super ammunition, while .45 ACP is available in grocery stores and news stands all across the nation.
I hear that .38 Super is big in Mexico, though.
The .38 Super is a high-velocity round that was designed in (I believe) the 1930s, to go through automobile windshields. It was meant for use by highway-patrol and other police officers.
As I have written elsewhere, the ballistics of the cartridge aren't important unless the delivery system (that is, you) can place each and every shot accurately and effectively, in which case almost any round will suffice if you understand its limitations.
The reason that .38 Super 1911s are "popping up" may be that their owners are dissatisfied with some aspect of the gun's performance. High-velocity cartridges are hard to control, and to deliver accurate fire with.


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May 2006
On 27 September 1862, William B. Gould, a twenty-four-year-old former slave from Wilmington, North Carolina, began a diary of his service aboard the Cambridge, a Union gunboat then patrolling off the Confederate coast. Five days earlier, along with seven other slaves, Gould had escaped to freedom by rowing out to the Cambridge. During the next three years, Gould recorded his Civil War service in the U.S. Navy, first aboard the Cambridge, and later aboard the Niagara during the epic hunt through European waters for the Confederate cruisers Alabama, Florida, and Georgia.
William B. Gould's diary is a day-to-day account in his own words of the Civil War service of an African American sailor--a former slave who already had served for months in the United States Navy before Abraham Lincoln signed the Emancipation Proclamation on 1 January 1863.
In his diary, Gould reveals himself as a thoughtful, articulate observer, not only of his surroundings--his life at sea in the Civil War navy--but also the ports and countries that he visited in the course of his service, and of military and political affairs in the United States, especially as they touched the lives of African Americans. After hostilities had ended, while his ship was cruising off Southampton, England, he took note of a proposal that "intimates Colinization for the colard people of the United States...This move...must and shall be resisted. We were born under the Flag of the Union and we never will know no other. My sentement is the sentement of the people of the States."
After the Civil War, Gould moved to Nantucket, where he married, and later settled in Dedham, where he raised eight children, including six sons who served in the Spanish-American War and the First World War. He died in Dedham in 1923.
On Tuesday, 18 April 2006, in a ceremony held at the Massachusetts Historical Society's headquarters at 1154 Boylston Street, Boston, William B. Gould IV, the great-grandson of the diarist, donated the diary of William B. Gould to the Historical Society. Many members of the Gould and Gerber families-descendents of William B. Gould-were in attendance. The diary will be on display at the MHS through the spring and summer of 2006. The diary also will be used in educational programs and seminars, and public exhibitions at the MHS and Boston-area universities and museums.
William B. Gould IV's gift to the Massachusetts Historical Society brings the diary of his great-grandfather "home" to Massachusetts. At the Historical Society, the William B. Gould diary will join more than 2,000 other diaries contained in 3,600 separate manuscript collections that cover the entire course of American history.


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Welcome to Momentum Volkswagen dealership's website. Here you'll find all the information you need to make an informed purchase of a new Volkswagen, or used car at our Houston car dealership. Have questions? Call us at (844) 894-5462 during normal business hours. Please feel free to browse our Volkswagen blog to learn more about new models along with news and rumors in the automotive industry.
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Before the worship service started we had eaten dinner together, me with my tape recorder and notebook by my side.
I don't normally go to church on Wednesday nights, but I had come to New Beginnings Fellowship in Hernando, Fla., for a Religion page feature story and to take notes about their worship.
As the people entered the sanctuary, some grabbed musical instruments from a cardboard box in the back of the room — maracas and wooden sticks, cymbals and tambourines. During the first song, people used the instruments, making their own music.
To the editor:
It was my pleasure to participate in the KY Tech- Harrison County Area Technology Center's annual fall steering committee meeting led by Principal John White. I want to thank businesses and school leaders who support career and technical education programs offered at the school.
I would like to respond to the grandparent that was told that the PTO is responsible for getting playground equipment. The PTO is an organization that assists the school in buying computer programs, playground equipment, and materials/resources needed to help our teachers teach. I do not understand what she meant by competition. There is no competition between the PTOs. Fundraisers are held to raise money for all of the requests that they are given. The PTO then has to decide what they can pay for.
The HCHS cheerleaders invite all former HCHS cheerleaders and former HCHS cheerleading coaches to an alumni brunch to be held on Saturday, Oct. 10. The program will include a slide show and recognition of past cheerleading accomplishments. A quilt has been made from retired HCHS cheer uniforms and will be raffled at the alumni brunch. Please plan to join us at the HCHS cafeteria at 11 a.m. on Oct. 10. Tickets in advance are $15 or $25 at the door. For more information, call Pam Henson at 234-6641.
Pam Henson
Parents for Pep Treasurer
The day after my niece's wedding, my sister and I went to the California desert town of Temecula.
When I was growing up, Temecula was nothing but sand and tumbleweeds. Today, it looks like most every modern suburban sprawl with a CVS and Burger King on nearly every corner.
My sister and I went to the restored old town of Temecula, with its cute boutiques, restaurants and antique stores.
Traffic signals and stop signs are placed at intersections for a reason, and the reason is so that people can proceed through the intersection without running into another vehicle. The problem that we have here in our community is that a lot of people driving today do not stop. It seems that everyone is in a hurry for whatever reason.
On Tuesday, Sept. 8, 2009, the President of these United States spoke to school-aged children across the nation via a television address. I was confident my children, in attendance at a public elementary school in the Harrison County school district, would be viewing and listening to this address. It was directed, after all, to them.
Before we know it, 2009 will come to a close. We'll ring in a new year and say goodbye to what has been.
Some people may describe 2009 as momentous. For others it was just another 12 months. However you look upon the last four seasons, I hope you looked at some of it through a camera's lens.
Our new publication will come with the close of the year. It will be our first Yearbook, and quite honestly, if we don't get some photographs from our readers, it will likely be our last yearbook.
Everyone likes pictures. Not everyone likes to be photographed, but we all like to flip through photo albums and yearbooks.
Not being a parent, I wasn't aware that the students at Harrison County schools weren't able to listen to the President's address, though it doesn't surprise me.
In a country where five percent of the people have 95 percent of the money, this sort of situation confirms that split also applies to common sense and brains.
Nashville has come to Cynthiana! Well almost. Every Saturday night, The Classic Country Band is performing at Rohs Opera House, helping plant the seed for a downtown re-birth. The quality of music and songs performed by this group of seasoned musicians is equal to or above anything one can find in central Kentucky.
We can see that there have been some overall improvements in our city and we feel that we are headed in the right direction. However, Cynthiana is facing some serious problems and the solutions to some of these are difficult at best. This might be a good time to point out a few of our major hurdles and what the commission is doing to try to solve them.
Wow! Bruce Florence, director of MCTC-LVC has pulled off some more of her "magic" up on the hilltop this past weekend! I am referring to the writer's workshop.
There was a full house at The Prizing House on South Church Street Friday evening, where 15 noted authors set up for a "mini" book fair, wonderful buffet dinner, live folk band from Morehead and a keynote address by Kentucky's Poet Laureate Gurney Norman.
"Our district received an e-mail on Thursday, Sept. 3, 2009 at 11:05 am from the Commissioner of Education, Dr. Terry Holliday, with the subject-heading, 'Information about President Obama's back to school message.' We met with our principals on Friday, Sept. 4 to discuss the President's speech.
I heard that Harrison County schools had not aired the President's speech to school children. I thought, at the time, it must have been an isolated situation - surely the entire system would not have denied our own President the first amendment rights.
I stand corrected.
When I sent my child to school last Tuesday it was with the full expectation that he would have the opportunity to view the President's address to students. As I came to find out, the vast majority of students in Harrison County were not given the chance to view the address at that time. I began making phone calls to uncover the reasoning behind this.
Residents in Cynthiana who are for responsible growth for Harrison County, and thus against the zone change on Connersville Road, have been meeting regularly to discuss how we can make a difference in the outcome of the upcoming Sept. 22 zoning decision.
Like many kids in Harrison County, my niece and nephew went back-to-school shopping this past weekend.
Emma, 10, and Will, 8, were a little reluctant to give up their lazy mornings and homework-free afternoons, but they both couldn't help getting excited about back-to-school shopping.
Each first day of school deserves a new outfit, right?
Both in elementary school at Southside, there were many things that didn't make an appearance on Emma and Will's shopping lists.
The Harrison County school system beat them to the punch.
This Tuesday, Sept. 22 at 5:30 p.m., the city commission will decide if residents of the Lebus subdivision will have a new neighbor. It will not be a new family, but a propane storage facility, which should be located further into the industry park and not in front of our home. We welcome business and progress, but not at this great price directed at just a few people.
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