text:
Spatious Apartment near Amstel River
Size120 m²
Floor No.0
- Family/child friendly
- Kitchen
- Washer/dryer
- Balcony/terrace
- Internet/WiFi
- Towels
- Dishwasher
Accommodation summary
|Grensstraat, 1091 SW Amsterdam, Netherlands
|Property type
|Property ID
|Acceptance rate
|Response time
|A few hours
|Calendar updated
|3 weeks ago
A friendly apartment with freedom, privacy and a personal touch.
On the other side of the river you will find the Amsterdam 'Quartier Latin'; de Pijp.
First floor (streetlevel); two living rooms en-suite (wood stove, television/dvd recorder/cd), balcony, kitchen
(microwave/oven/dishwasher), toilet.
Bottom floor (souterain) with bathroom (shower and bath), three bedrooms, two with a double bed and one with a single bed. Wifi internet, garden.
Situated near the Amstel river in the east of the city, 15 minutes walking distance to the center.
Suitable for 5 persons.
House rulesRespect my house as it is your own!
|Check-in after
|Check-in before
|On arrangement
|Check-out before
|Cancellation Policy
Reviews of this property
We had a fantastic weekend in amsterdam. The apartment is cozy and located very close to the metro and a supermarket. Marjolijn is a friendly person and made us feel welcome instantly. Everything went fine, no complications. I would definately recommend this location and this host.
We had a really good time. The location of the apartment was ideal, next to the supermarket and the Metro station. We felt comfortable in the apartment. It was good though that it was only 4 adults, not 5. 5 adults in 3 rooms with one bathroom would have been tight. The bedrooms are a little dark before Easter as they are in the cellar. I bet this is a real advantage in the summer though, when it is nice and cool and the little garden can be used for a barbeque.
The owner responded very quickly to any questions sent out, and recommended a really nice Spanish restaurant called Bara in de Pijp that we thoroughly enjoyed.
Everything was nice, easy, nothing complicated.
Everything was great.
We haven´t met Marjolijn but had quite good communication.
She seems very nice and helpful and provided our check in with everything we needed. The Appartment was very nice and comfortable. I can definetely reccomend the flat for up to 4 people.
Thank you for everything!
We had three wonderful days in Amsterdam and Marjolijn and her Apt. made it possible. It's located perfectly: close to the city centre, near the Amstel river, close to the Metro and a supermarket is right around the corner. The host is very open-minded and made us feel right at home. I can only recommend staying with Marjolijn and will do so again myself the next time I'm in Amsterdam. Thank you again Marjolijn!
Lovely spacious apartment, very close to shops and subway. Marjolijn was very helpful and welcoming. Would definitely recommend!
Wimdu is a great, concise and user-friendly platform that leaves no questions unanswered. For those arriving by car d: parking and above all the traffic tickets are very expensive. As in Amsterdam, everything is within walking distance or by bike, the car for 8.00 / Tg parked in the Ajax Arena. The tickets for the public transport it for free and the links are great.
Wimdu ist eine klasse, übersichtliche und bedienerfreundliche Plattform, die keine Fragen offen lässt. Für alle die mit d. Auto anreisen: Das Parken und vor allen die Strafzettel sind sehr kostenintensiv. Da in Amsterdam alles zu Fuß oder per Fahrrad zu erreichen ist, das Auto für 8,00/Tg. unter der Ajax Arena parken. Die Tickets für öffentliche Verkehrsmittel gibt es gratis dazu und die Verbindungen sind klasse.
- Quality assured accommodation
- Every host is verified by telephone
- Secure payment via SSL encryption


text:
Dragon Keeper 2 (FINAL) | 76.36 MB
The evil witch is back and causing trouble in this exciting Time Management game! The Prince has been turned into a goldfish by the evil witch and the Princess has to save her beloved husband. Enlist help from the magical dragons to break the spell on the Prince. Breed dragons, hire a variety of magical creatures and learn how to cast dragon spells in Dragon Keeper 2!
Dragon Keeper 2 (FINAL)
Free 300 GB with Full DSL-Broadband Speed!
* Incredible graphics;
* Raise baby dragons;
* Save the Prince!
Dragon Keeper 2 (FINAL)
14 Days Free Access to USENET
Free 300 GB with full DSL-Broadband Speed!
Related Posts

subset: commoncrawl


text: Next Story > CFO Journal. Many Companies Already Guiding Lower for Q4 By Maxwell Murphy Maxwell Murphy The Wall Street Journal CANCEL BiographyMaxwell Murphy @kmaxwellmurphy Nov 1, 2012 1:14 pm ET More than three in four companies that have given fourth-quarter earnings forecasts have guided below consensus estimates, a similar pattern to the third quarter, according to a report released Wednesday by FactSet. To Read the Full Story, Subscribe or Sign In Previous The Morning Ledger: Companies Assess Sandy Damage Next New Estee Lauder CFO at Center of Cost Saving Plans


text:
|"Nick Cox" <firstname.lastname@example.com>
|st: RE: RE: RE: RE: RE: tabulation of variables
|Mon, 23 Sep 2002 16:55:22 +0100
Banya, Winston > > Thanks Nick [Winter]. It seems to work but some of the variables are > not numeric and > so when I took that into account I am geeting an error message. > > I wrote in the last line you sent me: list 'v2' if 'v1'==. > | 'v1'=="&" and > then the error message was that 'v1'is an invalid name. > Note the in this > database the missinbg value for a string variable is > designarted as &. How > can I modify it ? Whatever the variable, `v1' == . | `v1' == "&" will be illegal. If the variable is numeric, then it cannot be compared with a string, and indeed vice versa. I would replace "&" by "" and use -missing()- in any case to test for missings. That will work across numerics and strings. Nick firstname.lastname@example.com * * For searches and help try: * http://www.stata.com/support/faqs/res/findit.html * http://www.stata.com/support/statalist/faq * http://www.ats.ucla.edu/stat/stata/
|© Copyright 1996–2017 StataCorp LLC | Terms of use | Privacy | Contact us | What's new | Site index


text:
Take Voice Lessons
If you would like to obtain extra data regarding Singing Method kindly pay a visit to Here.
I think at some point I'll article a detailed review on The Zen of Screaming, but I highly encourage you to check it out or its 2nd edition that came out. Unsurprisingly, Podcast Station really shines in the live studio scenario. Don't ever allow that passion die if it is something you wish to do. Once that is certainly accomplished, the voice will sound healthy, and mainly will likely be protected forever, as it will likely be lifted altogether in the once injured vocal anatomy. If there are no nodules on your own vocal folds, then the good news would be that the damage you do is not irreversible.
If any of those apps have piqued your interest in creating music on the phone so you've just make your voice sound better pointed out that your existing musical ability isn't that great, a wide selection of apps for learning music are available, teaching guitar, piano scales and standard notation. Use a guitar, piano, or another instrument, and continue with the notes when you increase by half steps (on the piano, hitting each input succession, both white and black). The range extends make your voice sound better for the A for the treble clef staff. The ending was abrupt high was about a micro-second of silence prior to wedding audience exploded into applause. In northern parts from the range where the weasel is found, they turn white in the winter.
Next imagine as an artist which has a giant canvas and painting whatever you desire about the canvas. This ensures that on occasion you may find something obscure enough that it will not be capable to find it, but a majority of the time you will find exactly that which you want. They can in fact help you and guide you inside the direction you need to strengthen your cords properly. As a voice coach, I see a huge how improve your singing voice amount of vocal abuse one of the general population, especially since the voice ages. Each state of India possesses his own style of music and dance.
There are techniques you'll need to use to get able to produce beautiful music along with your voice that comes across the sound system just like nicely as you sang it. I further sang the rock stay tuned off key and was capable of add it with no glitches to the 1st clip. It encourages crawling by wobbling just out with the reach of little hands. It's a fairly easy thing to convey, to consider care of yourself, and not always a straightforward thing to perform. Finally available for Windows Mobile (if you do success on i - Phone), Midomi cleverly identifies songs from its vast library by you singing, humming or playing the music in the radio or an MP3.
You wouldn't like them being stiff, however your shoulders should stay in place whilst you breathe. What may seem being a quirky thing to set down over a college application or to write about while attending college application essays can actually pay off. Once again, you charge what you consider to be a fair hourly rate, or ask for any donation. In fact, it can be encouraged to breathe deeply and slowly. If you might be lucky, you've only been sentenced to the first level, so that a human being really is certain to breathing exercises for singing get back for the line along with you (after allowing you to wait an interminable time period).


text:
Sign Up for Email Deals »
MEMORIAL DAY SALE - Up to 78% OFF & FREE SHIPPING over $49!* Save Now »
Alternate Views
Out of Stock
Leaves the Warehouse in 3-4 Weeks
Check Availability & Lead-Time
Elkay ELGUS3322RMC0
Undermount Composite Single Bowl Kitchen Sink 33" x 20" x 9.5"
Retail: $625.00
Your Price: $328.74
Elkay ELGS3322RMC
Top Mount Single Bowl e-granite Kitchen Sink
Retail: $623.00
Your Price: $373.80
Manufacturer's Warranty Included
View Elkay Warranty
Limited "" Warranty.
Specification Sheet
Installation Instructions
Parts Diagram
This item is also sometimes listed under the following Manufacturer Numbers and Finish Codes:
*Discontinued - This product has been discontinued by the manufacturer and is Non-Returnable.
*Image displayed for product may differ from actual product appearance, especially in finish. Due to the differences in monitors, technical factors, and characteristics of some finishes, the colors shown here cannot be represented with all their true qualities. The images and color tiles should only be considered a guide. eFaucets.com is unable to guarantee that finishes between manufacturers will match.
*Orders placed before 3:00 pm (CST) Mon - Fri are usually shipped out the same business day when availability is displayed as 5 or greater. All orders subject to stock on hand.
See Terms
View All Elkay ProductsView Matching Elkay "Mocha" Products.View All Elkay Harmony Products


text:
Your Cat, Your Life
The Scoop
Cat News, Politics
Meow-Out-Loud Humor
Cat Chic
Gear and Glam
Your cat loves a clean toilet -- don't we all? Catster's singing Cat Lady, Sarah Donner, explains why.
Cat Breeds
Foods & Treats
Health & Care
Behavior & Training
Cats & Cleaning
Cat of the Day
Photo Comments
"Trying to be nice! ;o)"
Photo Comments
"Hello! Welcome to my page."
Photo Comments (1)
"Mom, am I being nice now?"
"I hope Mom doesn't pack me in with the HotWheels!"
Photo Comments (2)
"In my Easter Bonnet."
Photo Comments (3)
"Happy Easter!!!
I was an Angel in Blue, in the Babes in Blue contest. :)"
"We're the Pawprints on Mom's heart."
Photo Comments (4)
"In Loving Memory of our Baby. She's now cancer free and running on all 4 legs at Rainbow Bridge. We Love You, Baby!"
"Beautiful Stormy, now at Rainbow Bridge. Missed and forever loved by Smudge, Alex & Vonda"
Copyright © I-5 Publishing, LLC. All rights reserved.
Visit Dogster


text:
Issue 151, Summer 1999
Robert Fagles and I met several times in his office at Princeton, where he is Arthur W. Marks '19 Professor of Comparative Literature, to discuss our forthcoming interview at the Unterberg Poetry Center of the 92nd Street Y. White-haired, tall and spare, he moves with the air of preparedness, flexibility and covert attentiveness of someone who, I correctly guess, has played a lot of tennis. His conversation is flecked with stanzas of poetry and quotations he values, often from W. H. Auden, whose lines he quotes as if he were reverting to a private native tongue. His manners are fine in the way that Americans, having not yet evolved a word, still inappropriately describe as courtly, a word that misses the lack of ostentation and the deliberate grace that are at the heart of democratic elegance.
His office is stark on first impression, but comes to seem increasingly peopled, in part because most of its ornaments, like the poster of a mosaic Orpheus singing the beasts into harmony, are gifts from other people—the sign of a man for whom partnerships and collaborations are cherished matters, an ideal temperament for a poet-translator. On his work table are several photographs, a sculptural valentine from his wife Lynne, and an origami bird, fashioned from her program by a blind student of his at a performance of Aristophanes's The Birds. Nearby is an open paperback version of Virgil's Aeneid, his next translation project. The poster on the far wall is of the image he submitted for the cover for his Iliad, a bronze votive offering of a fierce warrior from 500 b.c. A table opposite him holds a tape player on which he reviewed the raw tapes of the actors Derek Jacobi and Ian McKellen performing his translations of the Iliad and the Odyssey respectively, "listening for a kinship in the cadence of what they were trying to read and what I was trying to write." This must have been a task of joyful absorption for someone who never forgets that Homer was a singer and was himself an amateur singer. The tape player concentrates the atmosphere of the office, which has something of the shelllike ambience of a recording studio, a space artfully hollowed to create the best acoustics for the concert of voices Fagles is working to bring to life.
A pair of regal Gothic Revival windows, which used to remind his young daughters of a king and queen, look out on a tree-filled courtyard and on Nassau Hall, where the Continental Congress met during the American Revolution. Placed parallel with the windows, resting on a stand, is the mammoth, "inevitable" Liddell-Scott, as Fagles calls it, the standard Greek-English lexicon, the great open dictionary seeming like a stately window itself, opening onto an incalculable number of views.
I thought we would start with the classic Homeric question, in the words of Queen Arete from the Odyssey, "Who are you? Where are you from?"
Well, I'm the son of a lawyer and an architect, and I grew up outside of Philadelphia, in a household beset by my father's illness and filled with my parents' kindness. I'm an only child, and that's a curse and a blessing both according to the old wisdom, and it's true. I was educated in public schools in the Philadelphia suburbs, then I went to Amherst College for undergraduate work, and Yale for graduate work in English, and I've been teaching literature at Princeton since 1960, where I'm a "lifer," and lucky to be one too. There I live with my wife of more than forty years—the greatest luck of all—and there we've raised two daughters. They cover the real world—one's a physician and the other a businesswoman—while I've been hiding out in Homer for the last twenty years.
Was there anything in your childhood that was a bridge to Greek?
Probably what I was reading and what my mother read me as a child. Many kinds of adventure stories on the one hand—Kipling, Robert Louis Stevenson, James Fenimore Cooper (when I could understand him), Jack London—and on the other, the newspapers, full of breaking news about the world at war. Adventure and violence, something like the Odyssey and the Iliad, perhaps, and so a kind of bridge-in-the-making to Homer and both his poems.
You did graduate work with a great Alexander Pope scholar, Maynard Mack?
He was a superb mentor—and still is—for many reasons. He would draw my eye to the fine points of Pope's great translation of Homer and then expand into Pope's entire epic vision, his notion of what Homer's all about. Thanks to Maynard, I came to realize, early on, that Pope's Homer is really an original English poem on the order of Dryden's translation of the Aeneid and Milton's Paradise Lost. An important lesson, I think, and not only in literary history; it may have prompted in me a kind of epic ambition that I've tried to follow ever since.
So you came to Greek really as a young adult?
I began the language late . . . my junior year of college. English friends will always scold me for not having come from the womb fluent in ancient Greek. So I've always felt behind and struggled to catch up. That's not false modesty. It's just a fact.
Do you think that Greek and Latin should be taught as a matter of course in the high schools?
I certainly do. And if we can't do that, by all means let's teach Greek and Latin literature in translation. And if the translations are worth their salt, they just may win recruits to learn the old languages themselves.
Your first volume of translations was Bacchylides, the choral-lyric poet. Published in 1961, followed in succession by the Oresteia, a volume of your own poems, Sophocles's Theban Plays, and then Homer. There's a natural progression from lyric to tragedy to epic.
Yes, by virtue of twenty-twenty hindsight, I suppose, not by some determined plan. Now that I look back on it, I see that I began with lyric poetry, moved to choral-lyric, which forms the spine of Greek tragedy, then to what we think of as our first tragedy, the Iliad, and then to its necessary sequel, the Odyssey, its comic sequel—not in the sense of something side-splittingly funny but as a commedia, a story of adversity overcome, a song of things harmonious and normal, set to rights.
You acknowledge Robert Graves in your introduction to Bacchylides. What was your connection to him?
Oh, just a passing in the night—and a folly of youth. I was translating Bacchylides, and I felt kind of good about it, for no very good reason. So I sent a draft to Robert Graves on Majorca, an idiotic thing to do, chutzpah of the worst sort. And back it came, almost by return mail, with a letter from the master pointing out a lot of errors I had made, things gone wrong in tone or sense, and he signed off by saying, Excuse me for looking a gift horse in the mouth, but a bit of dentistry won't hurt. I writhe every time I think of it, but I'm grateful for it too, and so it goes.
Have connections with other poets been important to you?
Very much so. I've been blessed with a lot of poet friends, privileged to eavesdrop on their sense of enterprise, vocation. Just to name a few . . . Bill Meredith—and what good news it is that Bill has won the National Book Award for his collected poems—and Ted Weiss, Carolyn Kizer, Maxine Kumin, Richard Howard, Dan Halpern, John Hollander, William Merwin, Paul Muldoon, Rachel Hadas, C. K. Williams . . . I could go on and on. Two of the poet-translators have been particularly helpful. Robert Fitzgerald was a friend, and he confirms our notion of what an epic poem might be like in modern English. The other is Edmund Keeley, a friend who is the American voice of the great modern Greek poets, especially Seferis, who owes so much to Homer. And last I'd mention Jim Dickey, whom I knew but only in the last two years of his life. There's something about the rugged daring of Dickey that I've always admired, and the few letters that passed between us mean a lot to me.
And what was the occasion of your first translation from Homer?
I can practically date it for you, more than twenty years ago. My mother died in 1976, and it fell to me to fit together a kind of service for her—some readings, some sentiments, some tears. The first thing that leaped to mind is a memorable moment in the Odyssey. Odysseus hasn't seen his mother for twenty years, and he'd left her quite alive in Ithaca before he went to Troy. But after the war he goes to the underworld and finds her ghost and sees at once that she belongs to the world of the dead—a world "embraces cannot bridge"—while he, alive and breathing, is severed from her. That's the text I thought might be the best for the occasion, so I tried my hand at turning it from Greek to English.
You've cited W.B. Stanford's work on the Odyssey as an important influence and said that he told you in County Wicklow of a path back to the roots of Homer. What was that path?
Stanford was a fine commentator, on Aeschylus as well as Homer, and a good friend. We worked on the Oresteia together, and we saw eye to eye about those plays. He felt that the route back to Homer, the source of tragedy, lay in trying to capture Homer's energy, momentum, performative aspect. That sounded right to me, and it was something I pursued.
So you began your Homer project with the Iliad, which you published in 1990. I'm curious about how long it took you for each epic.
I think a little over ten years for the Iliad and a little under ten for the Odyssey.
Those are good Homeric numbers. Can you talk a little bit about the role of Bernard Knox, the classicist whom you describe as your collaborator in these books?
I've been responsible for the translations and Bernard for the introductions and the notes, yet we've passed our writing back and forth, offering suggestions. Bernard is not only a collaborator but my former teacher and now a comrade—though I probably shouldn't use the word for my friendship with an old soldier, a very seasoned one at that. I have never known combat—lucky me—and war is only a dim, vicarious experience for me. To work with Bernard on a translation of the Iliad, to receive his comments line by line, shaped the entire poem for me. From my careless use of the word murder for what one soldier was doing to another (when Bernard caught me short and said, You know, it's really not murder) to Homer's entire vision in Bernard's eyes—the tragic vision of the Iliad, the comic vision of the Odyssey, especially as we see it in the remarriage of Odysseus and Penelope. From start to finish Bernard's help has meant the world to me. Lawrence of Arabia said that Homer was "more an aspiration than a person. I aspire most fervently in him." I feel the same way about Bernard Knox. He embodies the great classical ideal—"a man of words, and a man of action too."
There was also an impact on your imagination, a sense of having just missed combat in a war?
Yes. This may sound a little far-fetched, but it's something that's been on my mind for many years. Ever since my parents read the papers to me and I could follow the European and Pacific theaters of World War II, I've hankered to be a soldier—if only in that war, a war worth fighting, and winning too—and I've been fascinated as well as repelled by the notion of mortal combat. Translating the Iliad was, in some distant, protected way, a way of entering combat, experiencing what many other friends, somewhat older than myself, have known.
You also spoke about imagining the American Civil War as a path into Homer's song.
Very much so, and largely because of Shelby Foote's three-volume narrative of the Civil War. When I began translating the Iliad my friend George Garrett asked if I knew Foote's great work. No, I said, and he replied, Well, drop everything and read it! At the end of Foote's labors—a magnificent piece of writing—he credits Homer as a model for his volumes. And when I think of that "defining moment" in American history I think of a sentiment expressed by Oliver Wendell Holmes (in his Memorial Day address in Keene, New Hampshire, 1884): "Through our great good fortune, in our youth our hearts were touched with fire. It was given to us to learn at the outset that life is a profound and passionate thing." That's Homer through and through.
Can you take us through a sample working day on one of these translations?
I have a merciless internal clock that wakes me up rather early and gets me to my desk by seven-thirty or so and puts me to work on Homer. The work itself? The easiest thing to say is here, on one side, I'd have the Homeric texts and commentaries and lexicons, and on the other, as much as I could manage of English and American poetry, in my head or in an open book—say, Derek Walcott's Omeros. There are about twenty-seven hundred years that separate the two traditions, and the trick (and the hard labor) is somehow to bring the two together. What I always do is read the Greek aloud until I begin to feel or find some English lurking between the Greek words, between the Greek lines, and I keep on mumbling like a maniac: Andra moi ennepe, Mousa, polutropon, hos mala polla / plangthê, epei Troiês hieron ptoliethron eperse. "Sing to me of the man, Muse, the man of twists and turns / driven time and again off course, once he had plundered / the hallowed heights of Troy." The two passages are hardly equal, obviously—Homer's infinitely greater—but trying to work from the Greek lines some English cadence of my own, trying over and over, would consume about three hours every morning. I once drove Robert Fitzgerald back to the Newark airport after he gave a reading in Princeton, and I said (fatuously, when he was halfway through his Iliad), It's an awfully long poem, isn't it, Robert? And he replied, Yes, Bob, but I wake up every morning with Homer as my companion. That's the privilege. I know exactly how that feels now. It's quite a privilege, and one you hate to leave.
Robert Fitzgerald, your predecessor in these translations, said that his guide was to remove anything transient from the language, that the test of any given phrase would be "is it worthy to be immortal?" You have said that your aim was to bring to life as many voices as possible. Can you talk a little bit about your sense of Homer as performance?
I think it has a lot to do with voices. As I read Homer, he's a remarkable combination of the timeless, immortal phrase, and of the timely, too, and he's meant to be heard, not read. "Homer makes us Hearers"—in Pope's fine formulation—"and Virgil leaves us Readers." The Iliad is more than half dialogue, direct discourse; the Odyssey more than two-thirds. Both are very dramatic poems, in other words, filled with many voices. It's as if Homer were a ventriloquist, projecting his voice into the voices of dozens of people living within his poems. That's one of the most important things to capture—if you can—the dramatic sense that he conveys. Whole books (Books Nine and Twenty-four of the Iliad, Nineteen and Twenty-three of the Odyssey, the reunion of the king and queen) could be lifted out of the text and placed directly on a stage. They're plays waiting to be performed.
Do you think it's this conception of translation as performance that differentiates your work from your predecessors' versions?
I can't say, or at least I'd rather not. I can't believe that any translator ever set about to write an unspeakable Homer—though I think that Chapman came quite close! But whether mine is more speakable than other translations, I'd rather leave that for others to decide.
Until roughly the 1950s Homer in English had been a pretty British fellow.
That's true.
Is he having an American incarnation now, and why is that?
He's still a pretty British fellow. (Any Brit will tell you!) In fact, much of Homer's currency derives from Christopher Logue's epiphanies from the Iliad, and the strong prose translations by E. V. Rieu, revised by his son, and Walter Shewring. The English tend to take their Homer straight, in prose. We tend to like our Homer in verse. That may explain, in fact, why American translations of Homer are in style these days. We don't want to subject a great ancient poem to what Fitzgerald would call "the betrayal of prose." We want our work to be in partnership with Homer's poetry—in poetry that's in some way comparable (never equivalent!) to the matchless Greek original. I think it's through that effort, trying to turn Homer into poetry, that we just may come a little closer to Matthew Arnold's unforgettable touchstones—Homer is simple, direct, swift, and above all, noble. So Homer's becoming more and more a Yank these days. At least I'd like to think so.
One of the traditional problems for a Homer translator has been that rapid movement from the sublime to the low, from Olympus to pails of milk with flies swarming around them, which made Pope wince.
And he couldn't handle it very well, either . . .
Has being an American poet given you a different perspective on that and maybe even been an advantage?
I think it's been an advantage. We are more agile in climbing off our high horse than some other practitioners of English. We like a full run in tone from the high to the low. Robert Frost might even be, I think, what you call a tutelary spirit. There are many things in Frost that come to an American Homerist's aid. One is his bluntness. That does well for the Iliad, I think. His kind of earthy, ironic savvy has a lot to do with the pastoral parts of the Odyssey, especially with the long powwows between Odysseus and the pigkeeper. When we're writing well and talking well, there are parts of American speech that are rough and ready on the one hand, "high, wide, and handsome" on the other—strong with a kind of burly courtesy. When I think of those American tones and turns of speech, I think they might serve Homer rather well.
For me that's been one of the freshest and most daring elements of your translation—the refracting of Homer through American voices and, in some ways, the jettisoning of Shakespeare, whose echoes are so strong in other translations, especially Fitzgerald's.
I tried, in fact, to stay away from Shakespeare. The Shakespearean gesture might be too literary, stilted, too "poetic." Homer is more down-to-earth than that. I'd like to persuade a reader that Homer is not a writer, strange as that may sound. There's something paradoxical about reading Homer in a book. He's meant to be heard—performed, not savored in your brown study, where you can mull over the same passage time and again. Nothing should get in the way of Homer's immediacy, his headlong pace.
On the other hand, has the lack of tradition in American poetry as public speech been a hindrance?
There's probably no tradition of public speech as poetry, but there's a lot of public speech in this country that verges on poetry. I'm thinking of Lincoln, of course, and Frederick Douglass too, and all the voices resonating throughout Ken Burns's Civil War. We're not short on a commanding kind of oratory. I think again of Oliver Wendell Holmes.
Can you give us a metaphor for the role of a translator with regard to his poet: we have prison; we have marriage; we have ghost and medium?
Let me tackle them all and give each one a twist, if I may. Being a translator is to be a prisoner, all right, a prisoner of Homer, which is not such a bad thing after all. I mean, if you're a "lifer" with Homer, Homer has the gift of setting you free, on occasion, releasing you into a larger form of utterance than you'd ever imagined for yourself. Was the next metaphor a marriage?
Marriage. It is a kind of marriage, often on the rocks, I must say, when the days go hard and the work won't come and you can't hear Homer for a moment. But it can be a good marriage too, I think. I remember the line in praise of marriage that Odysseus says to Nausicaa—"two minds, two hearts that work as one." That, too, can be the relationship between a translator and his great original if you're lucky. What was the other? Ghost . . .
Ghost and medium.
Ghost and medium. Indeed, you're a kind of ghostwriter. I remember George Steiner's bon mot: "when a translator looks behind him what he sees is a eunuch's shadow." I'm a little unclear about the physiology here but I surely know the feeling. You're bloodless, to some extent. A ghostwriter for the great master, it's true. Yet you're also like those ghosts in Homer's underworld. You're sipping the magic blood that can animate you, give you a voice in fact. So it's a kind of necessary dying, as Keats would put it, "dying into life."
But my favorite metaphor for the relationship is that of actor and role to play. You need to perform Homer, in your own day and age. I'm always asking myself, If Homer lived in the nineties, how would he say this or that? Well, given the limits of our language, not to mention our sensibility, he probably wouldn't have mentioned the "wine-dark sea" or "the dawn with rose-red fingers," let alone a one-eyed cannibal or a witch that turns men into swine or, most miraculous of all, a marriage that survives twenty years of separation! But, at the same time, Homer might insist on those miracles even in the nineties. And so, as an actor with a role to play, you experience a kind of contraction and a kind of release as well. And if you feel the limits and the liberation fully enough, you stand a chance, as the good cliché would have it, of "bringing Homer home."
Is it possible to give us a little psychological portrait of Greek?
That's a pretty tall order. But let me try—in a few words! To begin with, Homer's Greek is paratactic. It sets things side by side. Its favorite way of joining the elements in a sentence is to say and and and and and. (Hemingway mastered the art, as you know.) And Homer's Greek is not only paratactic, it's remarkably forthright and direct, it has a terrific energy and momentum. What's more, Homer has a metric in him that's unstoppable and quite wonderful. Whether he's building a raft or hitching up a wagon or stringing a bow or winging an arrow, whatever Homer describes, however homely or humdrum, it always comes out as poetry—metrical, memorable. On the other hand, turning to English, my English at least, it's more hypotactic than paratactic. It deals in probable causes, in subordinations, and insubordinations. My English is hardly forthright and direct; it's more understated, lacking in forward drive, more phrasebound, clausebound, fragmentary. What I try to say is never poetry, whether I'm describing a long hard sail in the Mediterranean or the reunion of a king and queen. My English, and much of the English I inherit, is far from cadenced, by and large, unless a Melville or a Faulkner makes it so. Well, so much for a brief character sketch of Homer's language, all too brief.
Can you talk about the mystery whereby translations of the same author will inevitably reflect a translator's personal preoccupations?
I think I had some things on my mind, even on the brain. I wanted to bring out not only the surging action and violence of the Iliad but also its gravitas, the weight and majesty of the poem, especially in its more tragic moments. When I came to a great line that Priam speaks to Achilles, I labored over it quite a while. It sounds like this in Greek: etlên d'hoi ou pô tis epichthonios brotos allos, / andros paidophonoia poti stoma cheir' oregesthai. And a far cry in English sounds like this: "I have endured what no one on earth has ever done before / I put to my lips the hands of the man who killed my son." Those lines, at least in Greek, represent the great Iliadic experience. Hermes, who escorts Priam to Achilles's tent to ransom Hector's body, never told the old king that he had to kiss Achilles's hands—it's simply Priam's impulse. But by doing so, he brings both men to tears, tears for their own losses, and from their tears flows a reconciliation, however brief, between the bereft king and the killer of his sons. It's a moving, tragic moment, and I dwelt on it, long and hard. A comparable, crucial moment in the Odyssey is when, in the next to last book, Penelope challenges Odysseus by telling the housekeeper to move his bed from the bedroom. Of course it's not movable, it's built around the trunk of an olive tree. He knows that and so should she. So, in exasperation, he goes back over the source of the bed, how he constructed it, and where the olive stood. And he concludes by telling Penelope, "This is our sêma, this is our sign." But sêma in Greek means more than sign; it's also a mark of identification, even something that stands for a person's life. So when I came to the conclusion—it sounds like this in Greek: houtô toi tode sêma piphauskomai—I expanded a little and came up with, "There's our secret sign, I tell you, our life story." I felt the bed could hold the biography of the couple, could bring them back together again, and like the olive tree could ensure the vitality of their reunion. Moments like that—if they hit you hard enough and you dwell on them long enough—begin to open up a poem as momentous as the Iliad or the Odyssey.
Both epics contain battle scenes and love scenes. The combat is described in intense and inventive physical detail, noses are lopped off, genitals are mutilated, teeth are knocked out. But when we come to physical love, the act of erotic love, it's hardly described in any physical detail at all. What do you make of that?
It's true. It's hard to know what to make of it. We've talked about it before, and I like your idea that lovemaking can be described, at times, in terms of battle, and that's a cruel, savage irony. You also suggested, I remember, that it may be a question of Homeric decorum, a kind of conventionality that keeps him from being as physical about the act of love as he is about the act of killing. But if Homer is short on physical descriptions of lovemaking, he's fairly long on dramatic occasions for it, and these, I think, are really very telling. And you can find a way to bring them out, if only playfully. Homer doesn't title his books. That falls to the translator, if he wants to try his hand. I call Book Fourteen of the Iliad, where Hera seduces Zeus to keep him out of battle, "Hera Outflanks Zeus." (Perhaps for no good reason, but there it is.) I also think of some great moments that are Homer's way of making love dramatically. May I read you one?
This is the simile that describes the reunion of Penelope and Odysseus in the next to last book of the Odyssey:
The more she spoke, the more a deep desire for tears welled up inside his breast—he wept as he held the wife he loved, the soul of loyalty, in his arms at last. Joy, warm as the joy that shipwrecked sailors feel when they catch sight of land—Poseidon has struck their well-rigged ship on the open sea with gale winds and crushing walls of waves, and only a few escape, swimming, struggling out of the frothing surf to reach the shore, their bodies crusted with brine but buoyed up with joy as they plant their feet on solid ground again, spared a deadly fate. So joyous now to her the sight of her husband, vivid in her gaze, that her white arms, embracing his neck would never for a moment let him go . . .
I find that very physical and, in its own way, erotic too. Watch how the simile works. The land to the shipwrecked sailor turns from Odysseus's feelings to the feelings of Penelope, and so the simile gives the couple a reciprocity, a mutuality that I find very heartening, and it presents their lovemaking, or at least the foreplay to it, in a very dramatic way.
You've said that Odysseus is a character who has no consistency whatever, that he is as cruel as he is tender, as innocent as he is knowing, and as naive as he is experienced. Would you say this is also true of Penelope, or is she a different order of creation?
Let me begin by correcting myself. I never meant to say that Odysseus is inconsistent. I'd say he's remarkably complete. As Joyce put it, he's the "complete all-round" man, he's seen from every angle, seen with all his faculties intact. The best description of this kind of character comes from John Crowe Ransom, a critic whom few people read these days, unfortunately. Ransom refers to "character," not in the sense of habitual goodness, "but the Shakespearean, modern, passionately cherished, almost religious sense of the total individuality of a person who is rich in vivid yet contingent traits, even physical traits, that are not ethical at all." And as Ransom concludes, this kind of character "engages an auditor's love, and that is more than his ethical approval." That's the completeness of Odysseus. Do I think Penelope has the same sort of completeness? Absolutely. She goes from a creature of dreams to the hard-edged realist who can plan the contest of the bow that leads to the slaughter of the suitors and Odysseus's identification of himself. She's a weaver of fabrics—he's a weaver of plots. And together they complete the most natural marriage in fiction.
Garry Wills has written that one of the great strengths of your translation of the Odyssey is its psychological subtlety in the way Homer presents women characters. I wanted to ask if you felt that the entry of women into classical scholarship has changed the way we read the classics and translate them?
Indeed I do. I mentioned that passage about the sêma of Odysseus's bed. I owe much of my sense of the word to one of my colleagues at Princeton, Froma Zeitlin, who, among other things, is one of the leading classicists with a feminist leaning. Feminist criticism has identified exactly what Wills is talking about. Yet remember that Wills describes the reunion of Odysseus and Penelope as "the greatest picture in all literature of a mature love demanded and bestowed on both sides equally." I think that equality is what you sense in the famous simile in Book Twenty-three, the one I just read, yet it's something as old as Homer, and it's typical of his perspective on our lives. I think, in other words, that feminist criticism offers a welcome clarification of many Homeric effects—effects that were always there.
I'd like to propose a paradox for you to comment on. Many readers, sophisticated, unsophisticated, come to Homer and feel it's the best poetry they've ever read. Yet it takes no special intelligence or training to read Homer. If you go to Wallace Stevens or T. S. Eliot, you have to have your wits about you. They ask a different kind of collaboration from a reader. But Homer does so much work for the reader beforehand that he or she can just bring attention at the outset. I would like to ask how is it possible that this best of poets, whom you call "everything," requires the least of a reader?
I'm not so sure that Homer requires the least of a reader. You suggest that what he asks of us—and it's the perfect word—is attention. Our attention is riveted on Homer because Homer, thanks perhaps to the seeming simplicity of his effects, is reality incarnate. In many ways I think that, far from asking the least of us, he may just ask the most—the most direct kind of participation, line by line, that kind of attention. Ruskin said this best, in Modern Painters, when he put words in Homer's mouth and had him say, "These are the facts of the thing. I see nothing else than these. Make what you will of them." The act of making what you will of Homer requires enormous attention, the utmost mental, physical, visceral energy from a reader or a listener—the ultimate participation.
Here's another paradox. You've spoken eloquently of Homer as the great poet of the nature of human fate. I wonder how conscious you were as you undertook this work that you, as a translator, and we, as readers, are in fact the latest turn in Homer's fate, that he is at our tender mercies?
He's at our mercy all right, and I hope it's tender too. At times he gets some rough treatment, but Homer's so resilient he always springs back into shape and always, I think, seems to ask for more. It's true that a great poet becomes, in some sense, the later tradition that absorbs him. To take, or twist, a leaf from Borges, the greatest influence on the Odyssey is Joyce's Ulysses. The best aid for my own reading of the Odyssey, at least, is Joyce's novel. As a translator, I turn to him again and again, episode by episode. Perhaps that's a misleading, even dangerous thing to do, but I find it helpful. Homer's fate in the twentieth century is, in large part, the fate of James Joyce. Not such a bad fate to meet up with. You could do worse! So for those who don't speak Greek, Homer may live in our own language, and that's the latest twist of fate, one that just may offer him some kindness. For Homer will always have the last word—since the duty of a translator is to live up to the vivid drama that runs through Homer's lines and song.
Moving from the paradoxical to the impossible, is translation a comic or a tragic activity?
I'll fudge the question and say it's something of both. Or I'll try to answer by saying—too simply—that when you're translating the Iliad, by God it's a tragic activity. When you're translating the Odyssey, it's wonderfully comic. Not only funny, what with the poem's sneezes, puns and fools, but there's something restorative about the Odyssey, a quality that belongs to the comic vision, as I mentioned before—the return home, the reclaiming of one's roots, and the sensation of rising back to strength and health and wholeness.
I will indulge in a Barbara Walters moment because I happen to know that you are a football fan.
Who's a football fan?
You are!
Can't keep any secrets.
It would be great to work a fantasy football team out of the Iliad and the Odyssey.
Out of the Iliad and the Odyssey? Good. I know who'd be thrown off the team as captain. Agamemnon. He's a disaster as a leader! Achilles is the best broken-field runner. And the one I'd most like as a coach is Penelope. Good at tactics, better at building morale, emotional when it counts. I don't mean to be gallant. I'm not half-kidding.
Just shrewd.
But not as shrewd as she.
Author photograph by Nancy Crampton.


text:
You really have been to some amazing places, it brings out the Geographer in me and I am so jealous. Keep safe and warm on the next stage of the journey!
They say toucans don't usually attack humans...
Loading Map
After spending a small fortune in the pizza hut across the road and a good night sleep in the warm hostel room, we woke up early to catch the short bus to Puerto Iguazu, Argentina. The bus dropped us at the Brazilian border to get our exit stamp, but didn't wait for us to get it, so we had to sit outside in the freezing cold waiting for the next bus to come along
The next morning we woke up early, had breaka in the hostel then went and got a bus to the national park. Once in the park we were given a map showing lots of different walking routes, which brought you out at various falls viewpoints
Later that evening we chilled out in the kitchen with our new friends and filled four Tupperware boxes with chilli con carne in preparation for our long bus journey the following day! One of the people we were chatting to in the hostel kindly donated her llama wool jumper to me in preparation for the apparent arctic conditions up in Bolivia, which was ace!
The waterfalls had been every bit as impressive as we had heard, and well worth the long bus journey each side to get there and away. Our next stop is Bolivia, but seeing as it is a 24hr bus journey just to Salta, a city in northern Argentina, we decided to stop off there a day or two to recover before making the final trip up to Bolivia.
Wils x
Well guys I have to confess that for various reasons (including a broken laptop) I have been well behind in reading your blogs. However I have just spent he last two hours sat in the chair on mums ipad catching up with all your activities and adventures so I am now up to date. it is just incredible what you are both experiencing and your blogs will be nice to look back on for years to come. The turtle experience sounds amazing to me and I would have loved that. Keep up the good blogging work Carlz and look after each other. Xxx


text:
Create a free account to check out faster, store multiple shipping addresses, view and track your orders in your account, and much more.
Please enter your password to continue.
I love anything lavender and this hand cream is great. I've been putting it on at night and my hands feel super soft in the morning!4


text:
For those parents with children who may be heading off to college soon and are in grades 9-12, North Iowa Area Community college will be offering a Parents Night on Thursday, February 27th beginning at 5:30pm. The event will take place at the NIACC Activity Center and will focus on three main components of college life.
The first will be what the college calls Career Link. This shows parents and potential students opportunities offered by the college to earn college credit while in high school. The advantages are that students can ease the amount of class loads during semesters by tackling difficult classes such as sciences or math singularly, then moving through less stressful coursework while fully engaged in college. The other advantage is that students can get a first hand look at college life early, then be fully prepared when entering college full time.
The second aspect concerns financial aid. Many first year students put off financial aid until the last moment. This mistake can lead to lost opportunities in enrolling for crucial classes early. If financial aid is not approved early on, a student will be faced with paying for the classes out of pocket while waiting for the aid to be approved.
The third aspect is transferring credit hours from NIACC or any two year institution to a four year school. Many students don't understand articulation agreements between schools which allow for seamless transfer of credits. In some cases, it depends on the level of accreditation at a particular institution. It is better for students to be fully informed, before making a mistake and losing valuable credit hours and time because they didn't look into whether a class or series of courses will transfer to a four year school.
The event is free, but officials recommend that you register for the evening by going to www.niacc.edu/admissions/parents-night.


text:
By Kevin McCoy, USA TODAY
David Hodge got a shock when he filed his federal tax returns last year. An identity thief had beaten him to it.
"I was stunned," says Hodge, a 33-year-old Mount Vernon, N.Y., home-improvement contractor, recalling the moment his accountant told him the IRS had rejected his return because someone had already filed using his name and Social Security number. "How could somebody do that?
Hodge contacted the IRS. He says the tax agency told him to produce copies of his Social Security card and birth certificate within 30 days, "or else I would probably have more problems with that number."
Unable to comply by the deadline, Hodge says, he left "message after message after message" with the IRS seeking an extension, "But nobody called me back, ever." He didn't know whether the problem had been resolved until this spring, when his accountant, Catherine Censullo, filed his 2007 tax return electronically without problems.
"I'm getting a refund, too, which is great after everything that happened," he says.
Even as the Tuesday federal tax deadline looms, Hodge's experience is becoming more common. Federal Trade Commission complaints involving tax returns linked to identity theft rose to 20,782 in 2007, up 158% since 2003. Similar complaints to the IRS Taxpayer Advocate jumped to 3,327 in federal fiscal year 2007, up 644% in three years.
Nina Olson, head of the IRS Taxpayer Advocate office, reported to Congress early this year that identity theft has emerged as one of the top problems facing taxpayers. Olson said in an interview she believes the statistics only hint at the size of the problem.
"If you want quantification, we don't know," Olson says. "The IRS has no idea how many cases of identity theft exist."
Senate Finance Committee Chairman Max Baucus, D-Mont., criticized the tax agency's efforts to combat the problem during a Thursday hearing. Saying, "Victims of identity theft deserve better," he directed the IRS to produce a comprehensive action plan within 90 days. IRS Commissioner Douglas Shulman, conceding the agency's response to the problem "is not where it needs to be," promised to comply.
"It's time to end the nightmare for honest American taxpayers who fall victim to identity theft," said Baucus.
That nightmare is spreading, according to USA TODAY interviews with more than a dozen accountants and other tax experts nationwide.
Often, the goal is to collect an undeserved tax refund. File with one stolen identity, claim multiple dependents and apply for the federal Earned Income Tax Credit, and an identity thief can snag a tax refund worth thousands of dollars, or more. Diana Aliffi, a Riverhead, N.Y., accountant, allegedly stole former clients' personal information in a scam that could have netted her up to $19 million in tax refunds, according to an indictment unsealed Wednesday in Suffolk County Court.
"People create a phony business, phony children, phony working hours and other details to get a very nice refund," says Eduardo Leiseca, an enrolled agent in Miami who says a client who ran an import-export business fell victim to just such a scheme.
Alternately, taking another's identity can help thieves hide a criminal conviction, illegal-immigration status or other problem that could block them from getting a job. Their employers file W-2 wage-reporting forms with the IRS, which attributes the income to the true owner of the Social Security number. Victims don't discover the problem until the IRS contacts them with questions about under-reported income.
Either way, the thieves' victims confront weeks or months of bureaucratic wrangling to verify their identity at best, or suffer longer-term financial damage at worst.
A New York State Police trooper whose identity was stolen last year waited from February until September to get his anticipated tax refund as the IRS sorted out the problem, says Dianne Corsbie, the enrolled agent who prepared and filed his tax return.
"He was counting on that refund to pay his real estate tax bill. He didn't have the money to pay on time … and he had to pay penalties and interest, so of course it was a hardship," says Corsbie, a tax preparer at Boncor & Associates in White Plains, N.Y.
Victims forced to wait for refunds
A worker at the Hiram Walker distillery in Fort Smith, Ark., got his federal tax refund as expected last year. But six months later, he received an IRS letter questioning whether he had under-reported his income, says Charles Homolka, the enrolled agent in Muldrow, Okla., who prepared his tax return.
"Someone using his name and Social Security number worked at an aircraft factory in California. The IRS thought my client was hiding the income," Homolka says. "It made me laugh, because the commute would have been murder."
But it was no laughing matter for the distillery employee, because the problem took at least three months to resolve with the IRS, Homolka says.
Some cases take far longer. From 2002 through 2005, multiple identity thieves used the name and Social Security number of a Mexican-American factory worker to get jobs in Kansas, Texas and New Jersey, says Bob Smith, the enrolled agent in Albert Lea, Minn., who prepared the worker's tax returns. Olson says Taxpayer Advocate staffers have helped many victims whose identities were similarly appropriated.
"One year, he supposedly had over $240,000 in income" from all the different jobs, Smith says. "He said, 'I'll pay the tax if I can have all that income.' "
Each time, the IRS held up the worker's tax refund while investigating whether he had under-reported his income, Smith says. Each time, it took about six months to prove his client hadn't worked elsewhere and to get the refund released, he says.
Like Hodge, many identity-theft victims and their accountants complain about IRS delays and miscommunications in resolving their claims. Olson acknowledged in her congressional report that while IRS response has improved, the agency "too often exacerbates the difficulties" faced by victims. She said the IRS:
•Used procedures that ignored common-sense evidence about the rightful owner of a disputed Social Security number.
•Gave alleged victims temporary identification numbers to file tax returns and then denied tax benefits because they did not use Social Security numbers to file.
•Provided inadequate authentication processes for the electronic filing system used by many taxpayers and tax preparers.
•Provided instructions that varied from office to office, leaving victims "bounced around from one place to another."
"They were behind the curve," Olson says. "They didn't see this as a global issue, but rather as a specific problem that they had."
Similarly, a federal audit released Wednesday said the IRS contacted identity-theft victims multiple times for the same issues, even though their cases had been previously marked as closed. The audit, conducted by the Treasury Inspector General for Tax Administration, also criticized the IRS failing to pursue criminal investigations of identity thieves unless the cases "directly relate to a substantive tax or conspiracy violation." Only 100 IRS referrals for criminal prosecution in the last two years included identity-theft charges, the audit found.
"We are concerned that if the IRS takes no additional action to stop further use of another person's identity, then there is no deterrent to keep the problem from spreading," the audit concluded.
What the IRS is doing to help
The IRS agreed with the auditors' call for development of new and tougher strategies to deal with the problem. In an interview last week, Linda Stiff, the IRS deputy commissioner for services and enforcement, said cracking down on identity theft and assisting its victims is now "a top priority here."
The IRS recently established a Privacy, Information Protection and Data Security office to centralize the tax agency's handling of identity-theft issues and help provide assistance and consistent treatment to taxpayers whose personal information has been stolen.
Stiff says the agency by the fall will also form a team of specialists skilled both in navigating the IRS and in the measures victims should take "to get their lives back in balance."
"We've taken steps to ensure that our workforce … understands that when they're dealing with a victim, it's imperative that they provide the assistance that that victim needs, on the first call, and not 10 calls later," says Stiff.
The IRS recently created an electronic marker to flag compromised Social Security numbers in a system that would alert employees agencywide. The move is aimed at sparing identity-theft victims from having to prove their claim year after year.
But Olson, complaining, "There's no central guidance within the IRS as to how to use the marker," says the agency should do more.
She recommended creating an IRS form for taxpayers to file if they've been victimized by identity theft.
She also urged the agency to notify all filers using a compromised Social Security number that their identity might have been stolen.
"Maybe the thief would stop" after receiving such a notice, she said, adding that true victims would be alerted to the need to contact the IRS and other authorities.
Stiff says some of Olson's recommendations have been implemented, and others are being assessed as the IRS works to improve its victim assistance.
Once a taxpayer has proved she or he has been victimized, says Stiff, "We want you to know that we've cleared the matter up, and we want to take steps so that in the future our records won't force you into having to prove that a second or third or fourth time."
Although Hodge says the IRS never officially notified him about the outcome of his claim, he hopes the new steps being taken by the agency mean his ordeal is over.
"I feel ecstatic now," he says, "because I feel like I finally got my identity back."
Guidelines: You share in the USA TODAY community, so please keep your comments smart and civil. Don't attack other readers personally, and keep your language decent. Use the "Report Abuse" button to make a difference. Read more.


text:
Charles Williams Photographer
TawnaModel Female Denver, Colorado, US
My MM URL: http://www.modelmayhem.com/tcoose
Mayhem # 145892
About Me
My name is Tawna. I am looking to forward my career in the fashion industry. I have worked as a fashion coordinator as well as my modeling. I am an easy going person with a lot of drive. When I shoot I just want to have a great time with everyone I work with. Through this site I would love to meet some new people, and network as much as possible.
Have you worked with Tawna? Add Credits for Tawna! >>
Credit Notes
BrianBHayes.com, Global Hummer Girls, Global Hummer, N.V.Us clothing, Makes and Models.
Loading Content


text:
Product Reference: 36918
Rugged leather exterior protects against scratches and scrapes
With it's tough leather exterior and minimal bulk design, the Piel Frama Unipur Slip Pouch keeps your iPad Mini 3 / 2 / 1 safe from harm when not in use. It also looks and feels just like the real deal, providing luxury protection for your device.
Made using Piel Frama's high quality craftsmanship
Each case is made using Piel Frama's high quality craftsmanship. The case is made from genuine leather which has been hand stitched to offer a unique and stylish appearance for your iPad Mini.
Single opening for easy removal and insertion
The Piel Frama Unipur features a single opening which provides you with quick and easy insertion and removal, this means that you can quickly get access to your iPad Mini when you need it and when your finished, you can quickly put it back into the Unipur within seconds.
Made for iPad Mini 3 / 2 / 1
Designed specifically for the iPad Mini 3 / 2 / 1, this case offers a perfect fit for your device. It is snug without being too tight, so your iPad Mini won't rattle around inside it but also won't get stuck.


text:
Tiny animals solve problems of housing and maintaining oversized brains, shedding new light on nervous-system evolution
William G. Eberhard, William T. Wcislo
Problems associated with miniaturization are much more general than they might first appear. In addition to the many species with miniaturized adults, there are many more species with moderate-sized adults that have very small, free-living, immature stages. A mature female of the giant golden-orb-weaver Nephila clavipes weighs on the order of 2,000 milligrams, for example, but each of her newly emerged spiderlings weighs only 0.7 milligram and has tell-tale adjustments to small size, including extensions of its brain into a bulging sternum and into its legs. The ecological problems relating to energy intake and expenditure of smaller, young individuals are likely to be different from those of larger conspecific adults. Because of their higher metabolic costs, smaller animals may be more likely to be living on the edge of energetic limitations and less buffered against temporary food shortages. An increased susceptibility to unfavorable energy balances could have significant biological repercussions, such as limiting an animal's geographic distribution or its ability to survive food shortages or other stresses, and might select for alternative ecological strategies. Parasitic wasps (Hymenoptera) that use insect eggs as hosts are among the smallest known adult insects, perhaps because their larvae hatch into a host environment that contains all the necessary nutrients, thus permitting greatly reduced egg sizes and lower energy reserves.
Small immature stages of species may represent the leading edge of evolutionary innovations to solve size-related physiological problems as a lineage evolves toward smaller body size. Are grade changes associated with innovations that result in energetic efficiencies in the central nervous system? For instance, weevils have a low allometric brain-body line compared with many other insects. Are there economies of design that make their nervous systems more efficient in generating behavioral abilities? And are these efficiencies associated with the evolutionary and ecological success of weevils, one of the most speciose taxa of all animals? Answers to such questions are unknown, in part because they are rarely asked. We agree with Princeton biologist John Bonner, who emphasizes in a recent book that "size matters" in ecology and evolution. An understanding of the evolution of brain form and function requires comprehensive data on neuroanatomy, neurophysiology, behavior and ecology from a diverse array of species, not just a few models. Studies dealing with the nervous systems and behavior of very small animals are likely to reveal phenomena not seen in the larger animals that are typically studied. Tremendous opportunities await for neuroethological studies of taxa with miniature animals, and syntheses of data and ideas from disparate fields such as brain allometry, animal behavior, ecology, neurobiology, classic invertebrate zoology and molecular and developmental biology. An understanding of the patterns and processes involved in evolutionary decreases in body and brain size is also likely to illuminate those associated with evolutionary size expansion, and both are likely to further our understanding of crucial evolutionary transitions from one evolutionary grade to another.
We can't conclude this discussion of brain and body sizes without acknowledging that we have ignored the proverbial 500-pound gorilla lurking in the room throughout this discussion. We have examined many different consequences of Haller's Rule, but we have given no explanation for why the rule should be true. Why should organisms ranging from the different castes of ants in a single nest, from primates to salamanders to beetles, so consistently have relatively larger brains when they have smaller bodies? The new invertebrate data help by ruling out some previous explanations that were only reasonable for particular groups of vertebrates. But we do not have an alternative general explanation. It is very unusual in biology that such a general trend as Haller's Rule should have such a depauperate array of hypotheses lined up as possible explanations. More often the problem is having too many competing ideas to test. Understanding why Haller's Rule is so generally true is likely to be important in answering central questions regarding the evolution of the central nervous system and how and why different grade changes evolved.
Community Guidelines: Disqus Comments
The Art and Science of Communicating Science
American Scientist Classics
Women in Science
Purchase a Back Issue
2014 Annual Index
The Age of Nuclear Weapons
25 Years in North Carolina
© 2016 Sigma Xi, The Scientific Research Society


text:
Cold again
Trip Start Dec 01, 2005
8Trip End Aug 01, 2006
Map your own trip!
Loading Map
Loading Map
Map Options
Show trip route
Hide lines
And yes, it is once again COLD. I realise that I haven't stopped talking about the weather re:Holland, but that's pretty much all there is to Holland... that's all people talk about (apparently, from what people tell me... but I wouldn't know because I still don't speak Dutch! I know.. shocking huh? And very un-me-like). And can you hear the negativeness in my voice? It's the weather! It's the cold! It's the RAIN!
But, nevertheless, there are lots and lots of exciting things waiting to happen! Next next weekend - on the 9th June, we're going to Germany! yay! We're going to do a little road trip to Maik's hometown where apparently the people there are soccer-crazy
Umm... what else? I plan to go to Cologne (Germany) on the 20th June also. This is once again for the worldcup... (chunk cut out)
UMM... I'm also excited about Millie coming. I haven't heard anything from Naima, but I hear from Krissy that she's coming too... That's all in July right? GUYS - make sure you let me know of your plans ASAP cos I'll end up going straight home from here if I don't hear from you! The only reason why I'd stay in Europe is to see you guys. Also, Lynda is coming here in the end of June which will be lots of fun; and Lucine? Are you reading this? You still coming???
Umm.. okay, so i have less plans than I thought. lol.
I guess it's all soccer-oriented now that it's finally June.
Oh yeah, that's right - Nick, Craig, and I have been talking about going to Denmark, maybe end of June or begining of July (Chenthy, one of Nick's friends, is going there to study for the "summer")
So that's my update for my plans for June and July.. The sememster here ends in June. I'm getting rather sad just thinking about it. It's so soon before saying goodbye to these people FOREVER (and you guys know how bad I am at saying goodbyes!). I think it will be quite hard because this is the longest (after Ghana.. and oh my god Ghana...!!) time I have spent abroad in one country with the same people. Even though everyone I live with is fucking weird; I still love them!
BUT, having said all that, I CAN'T WAIT TO SEE YOU GUYS AGAIN!


text:
L'Occitane en Provence Cade hair & body wash 250ml
Item No.1570059339
Item No.1570059339
This two-in-one shower gel gently cleanses the skin and hair.
Item description
The complex of organic CADE essential oil (purifying and stimulating) combined with an extract of quinquina (rebalancing and revitalising) energises the body, restores its well-being and leaves hair strong and shiny.
£6.40 per 100ml
Sunday to Friday - order by 9pm
Saturday - order by 6pm
Monday to Sunday - order by midnight
Orders over £20 - FREE
Orders under £20 - £2
Show full delivery details
Subject to exceptions, Debenhams is happy to exchange or refund your purchase within 28 days of delivery. Please check here for more details on our returns policy and exceptions.
Open a Debenhams Credit Card today and receive:
Please note: if the amount you pay on your card is less than £500 after the 10% discount is applied, the 0% interest offer will not be available.
Credit available from NewDay Ltd to over 18s only
*Terms & Conditions apply.Find out more & apply now


text:
Wikitravel:How to add an image
Not sure, how do you add an image?
Maybe you have to go to Upload.
You do. And maybe you should know a little about the
Checking for existing images and uploading
When you want to add an image to a page, first you will need to see if an appropriate image Special:imagelist|, and, if it doesn't, Special:Upload| the file.
Use the form on that page to upload new image files. On most browsers, you will see a "Browse..." button, which will bring up your operating system's standard file open dialog. You must check the box affirming that you are not violating any copyrights by uploading the file. Press the "Upload" button to finish the upload. (This may take some time if you have a slow internet connection.)
Please name your files descriptively to avoid confusion.
Image rules
In general, images should conform to the rules listed below, but check out the Special:Image_policy| for more details.
-copyleft compliant (original work is best, but exceptions exist; see copyright details)
-low bandwidth means small page equals good. caring? be sparing
-External images should not be used; they can be linked to, however.
-Save photographs as JPEG; save maps, text, and "graphics" as PNG.
-Images should fit on a standard A4 or 8-1/2x11 page of paper. The smallest dimension of an image should be <250 pixels (excepting things like maps), <100kB total size, and preferably <50kB.
-People in photos equals bad, unless they've got good or no clothes. (Note: you must get authorization from human subjects of photos to publish the images.)
Adding image to page
Once you've uploaded or found your image, to insert it in a page you will need to use a link in the form [[image.file.jpg]] or [[image:file.png|alt text]].
This is text to the right, I mean left.
This is text to the right. Isn't it nice text. I wonder how it will wrap? Will it start at the top corner of the image, or the middle, or the bottom. What excitement! Yes, sarcasm is the cheap trick of those who have very little to say. Thank you So Much for pointing that out. Another bad joke. The absence of white space.
What about alignment, borders, etc?
Shall I plug gimp?
Quick and dirty gimp
The gimp is a fairly powerful image editing tool that is free and available on almost all platforms. You can read more about and find out where to download it here.
For basic photo editing, you will need to know the following:
1) To scale (change the size in pixels) an image, right-click on the image, browse the menu to "Image>>Scale Image..." and enter the appropriate information in the dialog box (remember to make sure that the aspect ratio is locked (i.e. x=y, or x/y=1)). 2) To rotate, right-click on the image, browse the menu to "Image>>Rotate" 3) To change the format (or just to save in general), right-click on the image, and go to "Save" or "Save as". By default, the gimp does not come with the ability to save images as GIF because of copyright issues, but you can convert GIFs to other formats.
Do I get to use anything in the tool-box?
So you've noticed that big square box with lots of fun toys that I'm not going to explain. If you want to make your own graphics or just learn more, your best bet is reading Grokking the Gimp. It's available online, or you can buy the book. That said, if you want to crop an image, click on the icon that looks like a small exacto knife, select the area you want to keep, and click "Crop".
I messed up! (But I haven't saved yet)
A word to the wise, "ctrl-z". The gimp will, by default, store the last five changes you've made to an image. If you hit crop a little too hastily, hit "ctrl-z", or right-click on the image and go to "Edit>>Undo".


text:
Explora for Secondary Schools is a search interface designed for students in grades 6-12. It provides students with research tools to obtain appropriate types of content (magazines, newspapers, biographies, etc.) on a variety of topics. This resource was previously known as Student Research Center.
Classic Catalog | OhioLINK | Lane Public | WorldCat |
More Options:
Research by Subject |
Databases A-Z
More Options:
OhioLINK Home |
OhioLINK Catalog |
Research by Subject |
Databases A-Z
More Options:
Miami University Search |
Miami University Directory
#King50Reflections Social Media Campaign Wins National Award
Find your summer read!
Faculty stipend and workshop offered for exploring open textbooks
Staff Spotlight: Nate Floyd


text:
Striking the Perfect Chord on a Gourmet Holiday
Hillbrook Inn • Charles Town, WV
Escape Kit
- A One-Night Stay for Two in a Main House Room
- Gourmet Breakfast for Two
- Bottle of Sparkling Wine and Box of Local Handmade Chocolates
- $25 Dining Credit
- $50 Spa Credit
Say, "So Long, Farewell" to your regular routine. With this week's Escape, you're making like Julie Andrews by retreating to a country manor for your getaway.
The charming Hillbrook Inn, nestled in the rolling hillsides of Charles Town, West Virginia, meshes cottage comforts with stately elegance. Savor a one-night stay for two in a Main House Room* ($197) and relish a European-esque holiday, sans the transatlantic flight.
This BedandBreakfast.com-Diamond Collection member has definitely done Something Good with its inviting, antique-bedecked suites. Picture rich hardwood floors, jewel-tone carpets, custom duvets, and classic clawfoot tubs.
Upon arrival, Escapees will enjoy a box of local handmade chocolates and a bottle of sparkling wine as well as creature comforts like wireless Internet and an iPad 2 in each room—just a few of our Favorite Things.
Let the chirping birds awaken you with The Sound of Music. Then, start your day with a gourmet breakfast for two. Be sure to stop by the on-site dining room later to apply your $25 dining credit toward an award-winning, candlelit meal made from fresh, local fare.
"Many visitors make tracks to Hillbrook for the food, even without an overnight stay," says the Washingtonian. " Favorites include sherried fennel soup, smoked local trout en croûte, filet mignon, and chocolate pâté." Chase that with a few drinks at the Bullskin Tavern, and relax by the crackling fire.
Climb Ev'ry Mountain, or do whatever you please on this retreat. Tee off at Locust Hill Golf Course, or bet on another kind of green at the Hollywood Casino. Hike along the Washington Heritage Trail, or explore the inn's historic grounds (which once belonged to George Washington, himself).
Stroll through the lush, emerald gardens or read a book beside the sparkling duck pond. Then, round off your storybook stay by applying your $50 spa credit toward the service of your choice at The Gatehouse Spa. The soothing massages, relaxing facials, gentle manicures and pedicures, and expert make-up applications are sure to strike the right chords.
For luxe accommodations at a spot steeped in history, you don't have know your do-re-mi's to see this Escape doesn't miss a note.
*Saturday stays not available from May through November.
"It's a country house that appears to tumble down its hillside one room at a time. Its flowered patios are lovely. Guest rooms—with a cosmopolitan décor, and some with wooded views, fireplace, or whirlpool tub—are exquisite."-- Washingtonian Magazine
escapes 30-day promise
LivingSocial gives you up to 30 days to return your unused voucher for a full refund. Once you've made a reservation, you are subject to the merchant's cancellation and refund policy. If you want to secure your preferred dates of travel, we strongly recommend that you complete reservation with the merchant within 30 days of your purchase—after that, LivingSocial will not issue any refunds.
the fine print
- Limit one per purchaser, up to three additional as gifts
- Limit one voucher per reservation; vouchers cannot be combined to extend stay
- Reservations required and subject to availability
- Not valid on group or existing reservations
- Merchant cancellation/re-scheduling policy of seven days applies; voucher subject to forfeiture
- Blackout dates are all holidays and Saturdays in the months of May to November
- Valid on any room in the Main House of the Inn; subject to availability at booking
- Based upon double occupancy
- Taxes and gratuity not included and will be collected at redemption
- All deal components must be redeemed during one stay
- Other conditions apply • PAID AND PROMOTIONAL VALUES EXPIRES ON March 7, 2013 • PAID VALUE DOES NOT EXPIRE • PAID VALUE EXPIRES ON March 7, 2018 • PROMOTIONAL VALUE EXPIRES ON March 7, 2013 • Enjoy By March 7, 2013
Other conditions apply
Except where noted in the fine print:
• Cannot be combined with any other offer or promotion
• Tax and gratuity are not included
• Merchant is responsible for the quality of the products or services provided to you at redemption
• LivingSocial Terms and Conditions - https://www.livingsocial.com/terms
Original Price:
- 0% savings
- remaining


text:
A behind-the-scenes glimpse into the Rising Stars
Revue Boston event. Check out these photos of chefs in the heat
of the action – cooking and partying, plus pictures of the
JobFinder seminar, and our proud sponsors, the people who made it
all happen. Almost as much fun as being there!


text:
CONTACT: Justin Hoyt, (518) 629-7898, firstname.lastname@example.com
FOR RELEASE: Immediate, Monday, Sept. 26, 2011
Kathleen Smith has been appointed women's basketball coach at Hudson Valley Community College. Bringing with her more than ten years of coaching experience at the high school level, she spent the last four seasons as the head varsity coach at her alma mater, Columbia High School.
Director of Athletics Kristan Pelletier said, "Kathleen is a coach who will be committed to the ideals and principles of Hudson Valley Community College and junior college athletics. She will continue the tradition of academic and athletic excellence that we have established in our women's basketball program."
Smith graduated from Southern Connecticut State University with a bachelor's in exercise science, after receiving a scholarship to play basketball for four years. She captained her team in her junior and senior seasons, leading the Owls to the NE-10 playoffs and ECAC championships. Scoring more than 1,000 points while at Southern, she also led her team in minutes played, steals, assists, scoring, and three-point field goals. Smith was named NE-10 player of the week and ECAC player of the week during her senior year, and earned the NE-10 Scholar Athlete Award during her junior and senior years.
"I am very excited to have this opportunity to coach young women at the college level and I look forward to being a part of the successful tradition at Hudson Valley Community College," said Smith.
Smith earned a master's in education with a specialization in curriculum, instruction and assessment from Walden University, and this past August finished her second master's in educational leadership and administration from the College of St. Rose. She currently teaches physical education at the middle school level in East Greenbush.


text:
The Queen Amelia Award was named in honor of Queen Amelia of France.
During a fund-raising journey to France in 1843, Mother Theodore Guerin was granted an audience with Queen Amelia. The queen not only agreed to pay her passage home, but she offered to solicit in France for the desperate Congregation saying, "The King and my children shall contribute. I shall ask them for you."
Like Queen Amelia, many of our constituents have offered their valuable resources to assist us in our ministries and mission. We believe it fitting to offer the Queen Amelia Award to an individual, family, foundation or organization who has made significant monetary gifts and gifts of time and talent to the Sisters of Providence and who has promoted the Sisters of Providence to others.
This award is bestowed annually at the Saint Mother Theodore Guerin Dinner, with the constituent receiving an individual recognition plaque.
The main plaque is located in the south corridor of the Church of the Immaculate Conception with the following recipients listed:
2016 — Julia and David Fuhs, Jasper, Ind.
2015 — Terre Haute Convention and Visitors Bureau Executive Director David A. Patterson
2014 — The Helping Hands, West Terre Haute, Ind.
2013 — Ray Stoiber
2012 — Mary Kay and Al Watson
2011— Margaret Monahan
2010 — John F. "Jack" Griffin
2009 — Julia and Frank Ladner
2008 — Marywood, Evanston, Alumnae Association
2007 — Rose Steidl
2006 — Agnes Badura
2005 — Dorothy and Charles Stuart
2004 — Paul and Betty Pfister
2003 — Providence High School Alumnae Association
2002 — Thomas Mulvaney (posthumously)
2001 — James (posthumously) and Genevieve McLaughlin


text:
This is a discussion on Doing the backyard drill within the Defensive Carry Guns forums, part of the Defensive Carry Discussions category; I have several excellent indoor ranges that I can go to. Spend ten bucks and blow off $25 of ammo. However, sometimes I just want ...
I have several excellent indoor ranges that I can go to. Spend ten bucks and blow off $25 of ammo. However, sometimes I just want to fire off a few to check the operation of my pistol. I just want to know at any odd time if my weapon will perform as needed.
So, I just go out to the back yard, pull the pistol from my everyday carry position and let it rip. Fortunately I am far enough from neighbors that it won't give anybody a heart attack. But, I can't let it seem like there is a new firing range in town either. I long for the good old days when I was a kid and we could just shoot out in the pasture or at the town dump with it's really good supply of cans and bottles.
So, here is my recent drill. I pull my Sig p238, drop the safety, drop the hammer and fire into a two by six board leaning up against a dirt bank. Second shot - nothing happens. Drop the magazine out, and nothing is in the chamber. It didn't load the second round. Tap, rack and shoot off the rest to get rid of my carry ammo. I figure that the slide grease had gotten too old and went inside for a little spray down with some break free. Went back out for another drill and all is well.
Then I decide to try out the Sig p220 .45, so I go inside, grab the .45, back outside, rack the slide, pull the trigger, nothing. Well, not only did I not have a round in the chamber, but I didn't even have a magazine in the gun. I had set it aside during a recent cleaning. Go, get the magazine, tap, rack and shoots great. I just love everything about the Sig .45, shoots great, feels good, so very reliable if I bother to load it.
So, this is why I do drill. I should have kept my P238 cleaner. I now feel that the P238 needs frequent light lubing so it can operate loose. Too much grease gets in the way after some time.
I should always have my .45 loaded so it will shoot when I expect. Doing the occasional drill reinforces these necessities.
About caliber. The .380 puts holes through the 2X6. the .45 makes a little bit larger hole. They both punch holes. The board doesn't explode just because I shot it with a .45. I view these things as basic hole punchers. I am surprised at how hard it is to kill something with a clean, single shot. You gotta be pretty good for that. Now I really appreciate my father's skill when, so many years ago, he dropped a steer for butchering with a single 30.06 shot. It must have been a good head shot. That steer just went stiff and keeled right over. Dad was not so talented when he had tried to castrate the bovine. The steer was actually a half steer. But that is another story.
I'd suggest a thorough review of city/county ordinances pertaining to the "discharge of firearms" before doing that. In my location, discharging even a BB gun for reasons other than SD is a violation, regardless of whether the neighbors complain or not.
Retired USAF E-8. Curmudgeon at large.
Lighten up and enjoy life because:
Paranoia strikes deep, into your life it will creep. It starts when you're always afraid... Buffalo Springfield - For What It's Worth