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2012 Park Recreation and Open Space (PROS) Plan
The Final Plan
After an extensive public process the 2012 Park Recreation and Open Space (PROS) Plan(.pdf, 4MB) was approved by the Planning Board in July 2012.
Table of Contents
Chapter 1 - Project Overview
Chapter 2- Background, Existing Policies, and New Guidelines for Urban Parks
Chapter 3 - Recreation and Parks
Chapter 4 - Natural Resources Stewardship
Chapter 5 - Cultural Resources Stewardship
Chapter 6 - Agricultural Land Preservation
Appendices 119
List of Figures
Parks and open spaces are essential to the high quality of life for Montgomery County residents. In the future, one of the greatest challenges will be to balance recreation facilities needed for the active lifestyles of a growing population with the stewardship of our park system's sensitive environmental and cultural resources. The 2012 Parks, Recreation, and Open Space (PROS) Plan will be a guide to meeting this challenge.
Montgomery County Parks, in coordination with Montgomery County Department of Recreation is preparing the 2012 PROS Plan. Guiding the 2012 PROS Plan is the recently completed Vision 2030 Strategic Plan for Parks and Recreation in Montgomery County, MD (Vision 2030 Strategic Plan - June 2011). The overall strategies and specific recommendations for the delivery of facilities, lands, and services are guided by the Vision 2030 Strategic Plan.
The PROS Plan represents a refinement of the overall framework for parks and recreation contained in the County's 1964 General Plan for the Maryland-Washington Regional District within Montgomery and Prince George's County and in existing park acquisition and development guidelines.
Required by the State of Maryland to maintain Program Open Space funding, The PROS Plan is updated every six years to keep pace with changing patterns of needs in our county. The plan also serves as the County's Local Land Preservation and Recreation Plan.
The final plan will compare the park and recreation facility needs for different areas of the County so that decision makers have the information necessary to establish priorities as the County's population grows in an era of high competition for limited resources. The plan will also include updated information on Recreation Needs, Natural Resource Conservation, Historic/Cultural Resource Preservation and Agricultural land Preservation.
Purpose and Scope
The primary purpose of the Plan is to:
- provide guidance regarding recreation facility needs in the county for the next 10 years.
- recommend priorities for important natural and historic/cultural areas in Montgomery County that need to be preserved and interpreted.
- provide input to area and park master plans regarding the need for public parkland and recreation facilities
- help establish park acquisition and development priorities in the six-year Capital Improvements Program (CIP)
How is the 2012 PROS Plan Update different from the Vision 2030 Strategic Plan?
MNCPPC, Department of Parks, Montgomery County and the Department of Recreation have just completed the Vision 2030 Strategic Plan for Parks and Recreation in Montgomery County, MD which will significantly enhance the PROS Plan Update by its many recommendations and products. There are significant differences between the 2012 PROS Plan and the Vision 2030 Strategic Plan. The PROS Plan summarizes guiding policies. It also includes a park inventory and it estimates needs for neighborhood, community and countywide facilities, natural, historic/cultural and agricultural preservation and implementation.
The Vision 2030 Strategic Plan is much broader in scope, focusing on priorities rather than on specific needs for land acquisition and facilities. It addresses all aspects of operating the Parks and Recreation system, such as programming, facility renovation and construction, maintenance, operations, policing, management and marketing. The Vision 2030 Strategic Plan also helps us understand where generally underserved areas of the County are. Together, these two documents will enable us to set clear priorities for acquisition, renovation, and development of our Park System, as well as guide our recommendations in Area and Park Master Plans and the Capital Improvements Program.
The Plan Process
A great deal of the input for the 2012 PROS Plan is based on outreach from the Vision 2030 Strategic Plan, including the statistically valid 2010 mail survey, public meetings, summits, and focus groups. Additional outreach includes obtaining input from recreation and park advisory boards, focus groups and public meetings on the draft proposals.
Calendar and Meeting Notes
The Plan schedule and presentation materials are listed on the calendar below. You may also want to review all outreach from the Vision 2030 Strategic Plan including, Surveys, public meeting notes, and focus group notes.
|February 24
|Work Program approved by Planning Board and submitted to State
Planning Board Agenda item #5
- Staff memo (PDF)
|M-NCPPC Regional Office Building Auditorium,
8787 Georgia Avenue, Silver Spring, MD
|Focus group meetings held where needed
|Develop Draft Plan Preliminary Recommendations
|Countywide Recreation Advisory Board (RAB) Meeting
|January 24
|Down-county Public Meeting on Preliminary Plan Recommendations
- meeting notice flyer (PDF, 330KB)
- Draft Recommended Service Delivery Strategies - PDF, 989KB
- Workstations Public Comments (PDF, 262KB).
|M-NCPPC Regional Office Building Auditorium
8787 Georgia Avenue, Silver Spring, MD
|January 25
Upcounty Public Meeting on Preliminary Plan Recommendations
UpCounty Service Center,
|April 12
Planning Board Staff Draft Review - Agenda Item #5
M-NCPPC Regional Office Building Auditorium
|May 24
Public Hearing
M-NCPPC Regional Office Building Auditorium
|June 28
Planning Board Work session #1 - Agenda item #7
|M-NCPPC Regional Office Building Auditorium,
8787 Georgia Avenue, Silver Spring, MD
- Please check the Planning Board agenda website for updates and tentative times
|July 19
Planning Board Work session #2 - Agenda item #5
|M-NCPPC Regional Office Building Auditorium,
8787 Georgia Avenue, Silver Spring, MD
- Please check the Planning Board agenda website for updates and tentative times
|Development of final plan, Executive Summary and materials requested by the State
Submit Approved Plan, Executive Summary and additional materials to the Maryland Departments of State Planning and Natural Resources
|2012 Park Recreation and Open Space (PROS) Plan(.pdf, 3.5MB)
|Novemer 8
|Presentation to the Montgomery County Council PHED Committee
Contact Us
For more information, contact email@example.com.
back to top - Last update: May 27, 2015


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Wellington's Mark Brown is holding on to his two-shot lead at the New Zealand Open through eight holes at Clearwater today.
The 37-year-old began the day at five-under the card and started well with six pars before birdieing the seventh hole to pull back another stroke.
Brown's playing partner Peter Wilson has also moved up the leaderboard and is two-under for the day and has a share of second place at four-under alongside Australian amateur Jake Higginbottom.
Higginbottom is bidding to become the first amateur to win the title since 1956, while Brown is aiming to become the first Kiwi to win the Open since 2003.
Australians Jason Norris and Peter O'Malley are tied for fourth at three-under, while Aaron Pike and Clint Rice are tied for eighth at two-under.

subset: commoncrawl


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Watch Cowboys vs Redskins live stream, game info, preview, nfl football. Somehow, we're only a few hours away from the Cowboys vs Redskins live stream Regular Season 2016 NFL Football Week 2. Stream NFL Games is so easy now, but sometimes people couldn't find any suitable site to watch stream NFL games online. A huge of websites are ready and showing live Stream NFL games online.
There have both free and paid live streaming. And most of them are paid streaming. Most problem is, there are too many sites with different quality NFL video streaming also there. In this NFL Football 2016 live stream, we have made an opportunity to give NFL streaming service to the Football lovers.
Cowboys vs Redskins live stream Game info.
Team: Dallas Cowboys vs Washington Redskins
Date: Sunday 18 September 2016
Kickoff Time: 01: 00 PM (ET)
Live Stream: FOX
Stadium: FedEx Field, Landover
Dallas Cowboys Football
The Dallas Cowboys are a professional American football team located in the Dallas–Fort Worth metroplex. The Cowboys compete in the National Football League as a member club of the league's National Football Conference East division. Wikipedia
Arena/Stadium: AT&T Stadium
Location: Dallas, Texas, United States
Head coach: Jason Garrett
Owner: Jerry Jones
Mascot: Rowdy
NFL championships: 1996, 1994, 1993, 1978, 1972
Washington Redskins Football
The Washington Redskins are a professional American football team based in the Washington, D.C. metropolitan area. The Redskins compete in the National Football League, as a member of the National Football Conference East division. Wikipedia
Head coach: Jay Gruden
Arena/Stadium: FedExField
Location: Washington, D.C., United States
Owner: Daniel Snyder
Fight song: Hail to the Redskins
NFL championships: 1992, 1988, 1983
Redskins vs Cowboys Live Stream Statistics
Meetings total 112 meetings
All-time series Dallas Cowboys lead 66–44–2
Postseason results Washington Redskins lead 2–0
Largest victory Dallas Cowboys 38, Washington Redskins 3 (1993)
Longest win streak
Dallas Cowboys : 10 (November 16, 1997 – November 28, 2002)
Washington Redskins : 4 (November 23, 1986 – October 9, 1988)
Current win streak : Washington Redskins, 1 win (2015)
October 27, 2014 – The Cowboys came into the Monday Night Football showdown with the Redskins on a six-game winning streak. Both teams had a shaky first half, with both teams combining for 3 turnovers in the half. Despite 2 fumbles, the Cowboys took a 7-3 lead into halftime. After halftime, the Redskins drove down the field and scored on a 5-yd run by Alfred Morris to make it 10-7. When Tony Romo left the game in the third quarter with a back injury, Brandon Weeden came in to lead the Cowboys to a field goal by Dan Bailey. The Redskins then scored on a Colt McCoy touchdown run with 13:38 left in the 4th to retake the lead 17-10. Dallas would score on the next possession in the game as Weeden threw a 25-yard touchdown pass to Jason Witten to make the score 17-17 with 9:27 left in the game. Romo would then make his return to the game in the last possession in the 4th but both teams failed to score again in regulation. The Redskins would score first in overtime with a Kai Forbath 41-yd field goal to make it 20-17. The Cowboys would be stopped on four down in their overtime drive to secure a Redskins victory.
December 28, 2014 – The Cowboys, now the NFC East champions, ran over the Redskins in the last game of the season 44-17. The Redskins only lead of the game came after a DeSean Jackson 69-yard touchdown catch from Robert Griffin III to make it 7-3. Tony Romo would then throw 2 touchdown passes to Dez Bryant to make it 17-7. The Redskins would cut a 27-7 lead down to 27-17 but the Cowboys would score 17 straight points in the last 3:31 to conclude a 12-4 season and split the season series with the Redskins.
December 7, 2015 – In their 17th meeting all-time on Monday Night Football, the Redskins and Cowboys both entered with losing records, but were still very much alive in the weak NFC East. Both teams traded field goals throughout the majority of the game with it being tied 9-9 with 1:30 left. On a punt return, Redskins wide receiver DeSean Jackson fumbled the ball, which was recovered by Dallas. This led to the Cowboys only touchdown when Darren McFadden ran it in from six yards to make it 16-9 with 1:14 left. The Redskins quickly recovered as Jackson would catch a 28-yard TD pass from QB Kirk Cousins with 44 seconds left to tie it at 16-16. Dallas would drive down the field however, and Dan Bailey would hit a 54-yard FG to win the game 19-16 for Dallas.
Dallas Cowboys vs Washington Redskins Injury Report
Redskins vs Cowboys Last Five Matchups
Cowboys vs Redskins Live Stream Prediction
The Cowboys have won three straight at FedEx Field and won last year with Matt Cassel as their starter. Something strange always seems to happen when the Cowboys play at FedEx Field. Something strange happens here. Record: 1-1. [ Cowboys vs Redskins ]


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Indiana Wesleyan University Adult and Graduate students are encouraged to apply for a variety of student financial aid options. There are many types of aid available, including grants, scholarships, loans, and veteran benefits. These funding sources can make completing a degree or certificate program affordable and attainable.
You will find it is easy to apply for aid. The process is straightforward and will start you on the way toward financing your education. Additional forms you may need to submit are available electronically. The resources and policies will help you better understand the student financial aid process, address important topics, and give you tools to map out a financial plan.
Please feel free to contact us for further information or for assistance in completing your financial aid application.
Indiana Wesleyan University
Financial Aid Office
1900 W. 50th St.
Marion, IN 46953
800-621-8667, ext. 2516
Fax: 765-677-2030
Free Application for Federal Student Aid
Last updated: 02/22/2017


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How to Make Money as a Mediator (and Create Value for Everyone): 30 Top Mediators Share Secrets to Building a Successful Practice
€ 39,99
Besorgung - Lieferbarkeit unbestimmt
August 2006
Beschreibung"How to Make Money as a Mediator" "(and Create Value for Everyone)" is an invaluable and inspirational resource filled with practical, proven, and down-to-earth information on how you can develop a satisfying and lucrative career as a mediator, no matter what your area of interest--labor and employment mediation, intellectual property, environment, personal injury, family and divorce, contract, securities, or international peacekeeping.
InhaltsverzeichnisAcknowledgments. Introduction: How I Found My Dharma in Mediation. 1. Extreme Mediation: What Top-Tier Mediators Know That You Can Learn. 2. Be Yourself: Inspiring Trust, Projecting Authenticity, Honing Your Skills. 3. Invisible Marketing: The Essence of Networking. 4. Visible Marketing: Getting Out There. 5. Practical Considerations: The Business of Mediation. 6. How Much Money Can You Earn? Value, Investment, and Cold, Hard Cash. 7. Staying Alive: Weathering the Ups and Downs of a Mediation Practice. 8. Looking Ahead: The Future of Mediation and Your Future in Mediation. The Mediator's Field Guide to a Successful Practice. About the Authors. About the Contributors. Index.
PortraitJeffrey Krivis is the author of Improvisational Negotiation. He is an adjunct professor of law at the Straus Institute for Dispute Resolution and is on the board of visitors at Pepperdine Law School. He is the past president of the International Academy of Mediators and the Southern California Mediation Association and is named in Best Lawyers in America. The Los Angeles Daily Journal legal newspaper named him one of the "top 20 neutrals in the state," and he has been named every year since its inception on the "Super Lawyer" list published by Los Angeles magazine and Law & Politics Media. Naomi Lucks has enjoyed success as a writer, editor, and author coach for more than two decades. She is a founder of the award-winning Web site for new writers, www.YouCanWrite.com, and coauthor of You Can Write! The Inside Scoop on Publishing Your Nonfiction Book.
Pressestimmen"When parties are truly committed to settling a large case, they are willing to pay what it takes to get the done ... " (Dispute Resolution Journal, Sept 2007)
Untertitel: Sprache: Englisch.
Verlag: JOSSEY BASS
Erscheinungsdatum: August 2006
Seitenanzahl: 241 Seiten
Format: gebunden


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If you're looking for a position in sales or sales management, this is a career fair you should attend. You will hear directly from company representatives, then decide if you want to meet with them. No sending out resumes. No awkward courtesy interviews and not getting a quick response.
You'll know immediately. The goal is to make a great 1st impression and land a second interview in their office.
Another great reason to attend a United Career Fair is for the networking possibilities. Networking is still the number one way to find the career that fits you best.
Two and half hours to accomplish more than you can in two and half weeks!
Typical positions available: Outside Sales, Inside Sales, Account Manager, Sales Manager, Retail Sales, Retail Management, Customer Service, Account Executive, Telesales.
Industries include: Advertising, Banking, Building Materials, Capital Markets, Financial Services, Healthcare Services, Insurance, Merchant Services, Office Equipment, Office Products, Pharmaceutical, Retail, Security Services, Software, Shipping Services, Telecommunications
Pre-register for free. Select the event that you would like to attend and simply send us your resume. Your resume will be put into a database that participating companies will have access to after the fair.
Please tell a friend and we hope you'll make the decision to attend!
Copyright © 2011 United Career Fairs. All rights reserved. Powered by: OneIMS


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Alaethea kNight Model
Deviant PhotographyPhotographer Male Conway, Arkansas, US
My Website: http://www.flickr.com/photos/19367099@N02/My MM URL: http://www.modelmayhem.com/deviantphotos
Mayhem # 714274
About Me
Hello MM,
This is Josh of Deviant Photography. I'm an amateur at the moment, but not for long. I prefer shooting: gothic/victorian/punk/cyber/fetish/naturistic/portraits/candid. I don't do nudes, artistic or not, so don't ask. I do TFP/CD, but compensation is always welcome! I'm aspiring to be a nature/adventure photographer or a gothic photographer. So if you like my work and live in the area let me know if you wanna do a shoot. Also, I have an escort with me at all times so if that is a problem, don't ask for my services.
Have you worked with Deviant Photography? Add Credits for Deviant Photography! >>
Credit Notes
My amazingly beautiful friend Alaethea and mother nature.
Alaethea kNight Model
Lady Raven Model Model
Lividly Vivid - Retouch Retoucher
Scott Miron Photographer
Azadeh B Model
Dark Romantics Photographer
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Case Conclusion Date: 09.16.2010
Practice Area: Employment and labor
Outcome: Settled upon remand from WV Supreme Court
Description: Plaintiff was a professor at WVU-Parkersburg. Upon termination he filed action under WV Wage Payment and Collection Act for alleged unpaid wages. Case dismissed on state immunity. On appeal to WV Supreme Court, reversed and remanded for trial. WV Supreme Court found no immunity for wage claims asserted.


text: Richard Perle's view on anti-terrorism Issues Jan 21, 2004 In a new book longtime defense advisor Richard Perle advocates U.S. armed action against terrorist organizations and the regimes he says support them. Stay Informed The news on your schedule from MPR News Update Email Address* Zip Code MPR News Update AM Edition MPR News Update PM Edition See our Privacy Policy. Must be age 13.


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Need an Ovulation Test in Cibolo, TX? Simply order online 24/7 and get a fast, affordable Ovulation Test at a lab near you (Find More Locations):
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Pergo Presto
Is Pergo Presto from Home Depot of good quality? I can't much info on it because apparently only Home Depot sales it. Don't want to make a mistake, since it is a special order to get the color I need.
Thanks for the help!!!
Sounds like the "Edge" tile at Lowes of a few years ago...it SUX, it's almost all been recalled, the manufacturer is giving full refunds, in many cases, sight unseen on the customer's word. Not saying that it IS that bad, but that's (that being the "Edge flooring system") the first thing I thought of after reading your post. Research it all you can and hope for the best if you do decide to use it. Good Luck.
BTW, I know it's not ceramic or immitation ceramic...it's a totally different type of floor, that was just my first thought when I read the name..."Hey here's a quick, easy, great way to spruce up your home..blah blah blah"...just MHO
This stuff is made by Pergo for Home Depot in New Jersey. It is a much poorer quality that "real" Pergo. The real stuff is 3 times thicker on the surface layer. This Home Depot stuff moves and shifts on the floor, gaps, the corners chip off. Ask me how I know .. I spent $2800 of this junk and would not recommend it to anyone. I am very suprised that Pergo even puts their name on it.
I have been doing home improvement for a lot of years ... I know I installed it to the specs they wanted. It is just a very poor quality.
Spend a little more and get the real stuff ... Good Luck:mad:
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In a neighborhood full of lovely houses, the uncommon French styling of Cheri and Charlie Runge's home gives it a presence all its own.
There's the curved chimney that towers over tall, whitewashed brick walls, and small triangular sections of slate that pop ever-so-slightly from the roof over the second-floor windows like eyebrows raised in surprise, creating the tiniest of dormers. Placed on a lot that backs up against a quaint Hansel and Gretel woods, the home's exterior is enchanting.
A massive, carved wooden door with a great iron knocker embedded in the center opens to a foyer warmed by terra cotta-colored tiles and dominated by a sweeping curved staircase with an iron banister.
The home and five neighboring houses - all varied in style and built between 1941 and 1952 - are tucked away in a discreet Wauwatosa neighborhood. They will be open for visitors on Oct. 6 as part of the Wauwatosa Historical Society's "In the Shadow of Hawthorne" tour of homes.
Construction of the Runges' custom home began in 1941 but was halted by the start of World War II. Completed after the war, it had amenities unusual for its time, including an in-ground sprinkler system, a formal garden with a fountain and pond, and a sizable air conditioning unit in the basement that foreshadowed modern central air.
A few decorating changes
When the couple moved in with their two young sons, they had only a few decorating changes in mind. Thirteen years later, the couple are empty nesters. Wallpaper has given way to painted walls in buttery hues, floors have been refinished and the kitchen and patio have been redone. A dusty screen porch has been converted into a dining room and sunroom combination, with windows on three sides and a stone floor with radiant heat to make it a true four-season room.
An unexpected ceiling collapse in the former dining room/library had a happy result: the creation of a large yet surprisingly cozy family room. The dark wood shelving, trim and paneling were painted a sage green to add lightness to the room, which looks out on the woods, and a lovely box beam ceiling was created to replace the dated popcorn-stucco ceiling that Cheri is certain was applied by a sprayer.
The Runges were initially drawn to the home by its convenient but private location, the wooded lot and extra bathrooms. But their true appreciation for the house has grown as they've come to see it through the eyes of the craftsmen and decorators they've worked with over the years.
On a recent September Sunday, Charlie escaped to cut the lawn and water newly planted additions to the front garden while Cheri talked about the home and neighborhood.
Q. Why did you decide to live here? What about this house appealed to you?
A. We were looking to expand and Charlie wanted more of a natural setting. We wanted more bathrooms, privacy and more space. We thought we would have to move out of Tosa to find it. This house was listed in the paper for sale by owner. It had four bedrooms, three baths, lots of closets, an attached garage and the woods. I've never heard of that combination in Tosa.
As soon as my husband saw the woods, he was sold. This is a very quiet and intimate area for Wauwatosa. It's a community within a community. The lots widen in the back, so there are nice-sized yards. The location was key because we could walk and bike to work. It's a great location.
Q. What shape was it in when you bought it?
A. I personally just wanted to update it and change the color scheme. We tried to keep the flooring and moldings when we could. We didn't change the feel of the house, just opened it up a little more. It's fairly shady on the back side, so we tried to bring in more light. This house has a lot of features like the slate roof and detail work outside and inside that I wasn't looking for but that I really appreciate now. There's a lot of brickwork detail, like raised diamond patterns. It was a very nice custom home when it was built.
Q. What changes have you made?
A. We redid the kitchen first, repainted every room in the house, reworked all the windows and resurfaced the floors. We changed the screened porch to a sunroom, landscaped the patio and the front yard.
The dining room/library was changed to a family room. Two bathrooms are above it, and the old shower pan cracked, and the whole ceiling fell down. It happened at the same time we were turning the screen porch into a sunroom, so we decided to add stereo throughout the first floor. You don't usually get to do that sort of thing in these old houses because you need ceiling access.
The floor was ceramic tile set in cement with this beautiful medallion in the center. It was the most permanent thing you ever saw, and we tried to save it, but we couldn't. It had to be jack-hammered out. What a mess! We put in a new subfloor and a wood floor.
Q. Describe your decorating style.
A. Traditional with an Asian accent. We're more traditional. We don't have very many family things. Two of the family pieces that mean the most to me are my mother's obi - the sash from her kimono - and a traditional family gift cloth used by Japanese families in the presentation of a gift. The decorator decided to go a little with the Asian feel. We decided on the oriental carpets, and then we inherited other pieces from Charlie's stepmother, who collected Asian art. It does make it kind of eclectic.
Q. Where do you spend most of your time in the house?
A. Charlie works in the sunroom every day. That's his spot. He loves the woods. I'm in the family room. I read and watch TV. I also like to cook; our galley kitchen works nicely for that. We decided to put the dining room in the sunroom. We entertain out there and on the patio. The chairs around the dining room table are from Charlie's stepmother. They have a table that goes with them, but we wanted that lighter look so we went with a glass table.
Q. What space most reflects you?
A. The living room. It's got a lot of color, and it's comfortable. I love the fireplace. It's actually a gas fireplace original to the house, which we didn't think we'd get a lot of use out of, but it's very practical. It's a very comfortable room.
Q.Where do you find special things for your house?
A. I'm not a big shopper. My favorite piece is the Taffy Girl (statue) that my father-in-law gave us. I don't know if she's bronze or what, but she's very heavy. It's a representation of a small traditional Japanese girl; she has a doll on her back. My husband and I had admired it, and one Christmas my father-in-law gave her to us.
Q. What projects do you have planned in the future?
A. We'd like to continue with the gardens and do some more landscaping; I'm rethinking some flooring. I'd like to get to natural flooring in the bedrooms and the kitchen, pulling up carpet, replacing laminate. I'm ready for a master bedroom redecorating. We'll redo the laundry room downstairs. It's one of those rooms that could be redone easily.
When: Saturday, Oct.6, from 10 a.m. to 4 p.m. The tour begins at Hawthorne Terrace, 7700 Portland Ave., and includes the original lobby of the former Hawthorne Junior High School (1931-'82), now independent retirement apartments, and an apartment in the historic portion of the school.
Tickets are $14 in advance at The Little Read Book, 7603 W. State St. and Wisconsin Garden & Pet, 8425 W. North Ave., or at (414) 774-8672 or www.wauwatosahistoricalsociety.org. Tickets are $17 on tour day at Hawthorne Terrace. Children must be older than 10 to attend.
Do you, or does someone you know, have a distinctive way of decorating for fall, Halloween, Thanksgiving, Christmas, Kwanzaa or another occasion? Contact Entrée home and garden editor Tina Maples at (414) 223-5500 or email@example.com.


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[Date Index]
[Thread Index]
[Author Index]
logical/set theoretic programming
Hello, any suggestions on how to program set theory?
Suppose that I have a notation set up well, and I have a set of rules
of implication. The next step is to teach mathemania how to compute...
For example, I define a notation for AbstractComplement[X,A], and I
want to associate it with it the rule
In other words, a point can't be in a subset and its complement. My
feeling is that alone this rule should be enough to decide the
falsehood of a statement such as
where in this case i've purposefully changed the variables because i
don't want to tie the rule to any particular symbols. How can we set
up Simplify,Reduce,Refine or something similar to decide on this rule?
Especially, without having to make the rule explicit in the expression
to simplify. Christopher Arthur
Student, Mathematics
University of North Texas


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Past Events in Arkansas
2 event(s).
ASEE Midwest Section Conference
Date: 9/28/2011 to 9/30/2011
Location: Russellville, AR
Phone: 479-498-6035
Source: American Society for Engineering Education
Arkansas Tech University, Lake Point Conference Center
Ian Baring-Gould, Wind Powering America technical director, will be presenting.
The American Society for Engineering Education has provided leadership and information to the U.S. engineering education community since 1893. Through several key policy studies of engineering education, provocative and informative publications, and opportunities for interaction among its members, ASEE has helped the community adapt to society's changing needs to ensure the continued relevance of engineering education.
Arkansas Wind Conference
Date: 1/16/2008 to 1/17/2008
Location: Fort Smith, AR
Attended by Wind Powering America.


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Best links/pics/vids for mass modifying frames for mini nucs, specificly the dadoed endbar slot.
I'm thinking I'll probably clamp together X amount of frames & run over dado blade @ width of endbar.
Also modifying supers for mini nucs.
Printable View
Best links/pics/vids for mass modifying frames for mini nucs, specificly the dadoed endbar slot.
I'm thinking I'll probably clamp together X amount of frames & run over dado blade @ width of endbar.
Also modifying supers for mini nucs.
I did a run of mini frames a few months ago. My first time doing it. It ended up being more cuts than I was expecting, but still way cheaper than buying them. I don't have any pics/vids/links to it though.
It ended up taking me six passes with a dado blade per top bar, and 2 passes with a cross cut blade. It also took me 2 passes with a dado blade per bottom bar, and 2 passes with a cross cut blade. I actually think it would have been more efficient (time wise) to make the mini top and bottom bars from a block of wood than it would have to modify a full length frame into two minis.
I'd be happy to share how I did it (the steps) but I'm sure you can figure it out, and it's probably not what you were looking for anyway.
Are you modifying a top bar or making one from scratch?
Seems like dadoeing for the end bar would be one pass each side w/dadoe blade set for thickness of endbar.
lakebilly, What size are you making your frame will it be half the length of a standard hive frame or will it go across the hive body is your hive 10 frame or 8 frame. Are you using a mini box which uses a 6 1/4 frames? What is your purpose making Queens?
cutting frames in 1/2 lengthwise. deeps & mediums. I hope to start rearing queens this year. new house & a lot of fencing to do. gonna try. thx.
Have you thought about making your own top & bottom bars from 3/4 stock. It is not hard all you need to do is add a frame rest inside the center of your full size boxes and make the frames to fit. I have been making my own frames for rearing queens and find it is easier to make them from new material. You can buy end bars from most suppliers and make the top & bottom bars to fit the end bars. Myself I use all 8 frame equipment and make the frames go across the hive body and use 6 5/8 depth. I have two styles of mating nucs both use 3 frames, one is two way and exits opposite ends of the nucs and the other is free standing. I have friends who use full length medium frames and a divided box the length and three frames to mate there queens in and once they are done they just combine them back into the regular hives and pull out the dividers.
Attachment 4408
Maybe this can help.


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Download your PDF guide to Enghien
15,8 km, in Brugelette
Paradisio is a park where you can see a birds of prey show that lasts about 30 minutes. There are hawks, eagles, vultures and other large birds in flight only a few centimeters from the audience. This impressive display of precision
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Keeping you motivated
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An Exercise Story
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Name: Edgar
Age: 71
Location: Maryland
Activity: Golf, Walking, Weight Lifting
I have participated in sports most of my life. I played football and baseball in High School. I boxed and did karate, baseball, weightlifting, and football in the Air Force. I started weightlifting to impress a young lady that I had eyes for. Now that I am a Senior Citizen at the age of 71, I still maintain a vigorous exercise program. I fast walk on a treadmill at least 40 minutes, 3 times a week. I also lift weights 3 times a week for an hour and a half each day. On the weight machine, I can bench press 300 lbs. I play golf at least once a week. By maintaining this exercise routine, my energy is always at a high level.


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Issue 108, Fall 1988
I first met Edmund White following his move from New York to Paris in 1983. His novel A Boy's Own Story (1982) had been recommended to me by Odile Hellier, in whose American bookshop, The Village Voice, White was scheduled to read. On the evening of the reading, the upstairs wing of Hellier's store was packed with curious newcomers. White's generous and genial personality, as well as his affective reading of his autobiographical novel—the first in a tetralogy dealing with gay experience in America—won White many new readers and inspired me to ask him to sit for an interview for the International Herald Tribune in April, 1984.
Over the next four years, White and I ran into each other often at various Paris gatherings, or at Village Voice literary evenings, and I meanwhile followed his essays and reviews in The New York Review of Books, The New York Times Book Review, and American Vogue, where he is a contributing editor. White's previous novels, Forgetting Elena and Nocturnes for the King of Naples, and States of Desire: Travels in Gay America, had already identified him as a fresh, original voice in American fiction as well as one of the country's most eloquent representatives of the gay community, but it was with A Boy's Own Story that he acquired a wide international readership. French critics praised his Proustian sensibility and compared his prose to that of Henry James; in England the novel sold well over one hundred thousand copies and began White's regular contributions to the Times Literary Supplement and The Sunday Times, among others. His fourth novel, Caracole, was described by the British magazine Time Out as "something to revel in: elegant, fabulous, almost sublime." Earlier this year, White's second autobiographical novel in the tetralogy, The Beautiful Room Is Empty, appeared. At present, White is at work on a biography of Jean Genet.
Our interview took place on a Sunday afternoon in mid-April, 1988. We met in White's apartment, a three-room walk-up in a seventeenth-century building that looks directly out onto the church of St.-Louis-en-L'Ile. Edmund White's persona is very much that of his nameless autobiographical narrator in A Boy's Own Story and The Beautiful Room Is Empty—a man who yearns for beauty and love, yet who often lives at the edge of the society he so painstakingly observes, his highest good is the truth of the imagination.
You've been variously congratulated by your peers as one of America's outstanding prose writers today, as a master of language and imagination. How does the kind of encouragement you need now differ from when you were just starting out?
I feel I'm getting all the encouragement I need. I almost feel spoiled. I wish I were more disciplined and taking better advantage of the time I have now.
Are literature grants such as the Guggenheim, which enabled you to settle and write in Paris, healthy for an author's sense of independence? Does the writer remain nonpartisan to the politics of the supporting institution?
Oh yes, there are no strings attached. You don't have to do anything but write and you don't feel compromised in any way. And often one may have no idea what those politics are.
Do you think there are enough grants available to writers who are just starting out?
There ought to be more grants that go to people in their late twenties and early thirties. That's a crucial age, although it's very hard to judge who is worth supporting and who is not. Looking back on my own life, I see that was the period when I was closest to giving up as a novelist and when I most needed some encouragement. I didn't get anything published until I was thirty-three and yet I'd written five novels and six or seven plays. The plays, I should point out, were dreadful.
How were you making a living?
I was working for Time-Life Books from 1962 to 1970, as a staff writer, and after that I was a journalist. Eventually I became an editor at The Saturday Review and Horizon.
These positions didn't allow you to think of yourself as a writer?
No, because a journalist and novelist are not quite the same thing. I was writing all the time and I was considered a good journalist but I had no idea if I could write a novel. Part of my problem as a young writer was that I was too much a New Yorker, always second-guessing the "market." I became so discouraged that I decided to write something that would please me alone—that became my sole criterion. And that was when I wrote Forgetting Elena, the first novel I got published. In my courses later I always forbade my writing students to discuss in class the commercial side of publishing. I wanted to save them the time I'd lost; I wanted them to be serious, artistic, free of all constraints. I believe it was Schiller who said that the only time a human being is free is when he or she makes a work of art; if that's true, then art is sacred and shouldn't be compromised by mere ambition.
You taught writing at Yale, Columbia, and Johns Hopkins University. What do you, as a confirmed novelist, acquire from teaching experience?
These are positions that are offered to you once you've already published a few books. I began teaching in 1977. In the beginning it served to clarify my thinking about my own methods. Then I used teaching to improve my work. For instance, I saw I was a weak plotter and so I would talk a lot in class about how to write strong plots, and how to analyze other peoples' novels and stories from that angle. That helped me to some degree; I was teaching myself. After a point, however, you become too immersed in other people's work to be able to think about your own, and it seems almost vulgar to write. You're surrounded by all of these struggling egos and it seems sort of impertinent. And yet being able to work out some of my own ideas about fiction was admittedly a useful process. I estimate there is a period of seven or eight years when you can do it, but then you burn out and I think you should stop for a few years before starting again.
Would you elaborate?
When I was teaching, some of my students were much better educated than I, and so I felt I really had to struggle to keep up with them and be worthy of their level of seriousness. I was also aware of just how much money they were spending in tuition and felt I had to give them their money's worth at every moment. I tended to overprepare, or let's say to prepare very, very carefully, for which I think they were grateful. But it's true that at the same time I was pursuing my own interests. Certain writers interested me, for instance Proust, whom I'd read many times in my life though never with enough care. I taught a course in Proust, which was a way of making myself read him with great attention. In the same way, I taught a course in Pynchon. Though I had admired Gravity's Rainbow, I'd never been able to get through it. I think it is a great but boring book.
In terms of lack of action?
Of suspense.
Is this inability to write fiction while teaching similar to the unwillingness to read novels while you're writing one?
Not in my case. I enjoy reading novels while I write. First, to steal ideas from other writers, particularly the classic ones—they remind you of just how good you have to be to be any good at all. It's very easy for one's standards to slip. I mean that I'm not an especially anguished writer; I tend to like what I write and am possibly satisfied too readily. When you finish reading a book like Lolita you feel that there's nothing more wonderful in the whole world than writing a novel; you feel challenged and awake and alive, and you have a desire to write with the same keen response to the sensuous world. Nadine Gordimer once said to me she felt that one of the things that goes out of writing as you become more mature is an attention to sensuous detail. I thought that was probably true but a terrible thing if it is true, and I've always tried to guard against what may be an inevitable process by reading some of my touchstone writers who never lost that love of sensuous detail, such as Colette, Nabokov, and Knut Hamsun.
There isn't a fear that a spark of originality might be taken away from you by reading earlier novels?
No, no, I find, for instance, that when Cocteau wrote what I think is one of his best novels, The Impostor, he thought he was copying The Charterhouse of Parma; or when Raymond Radiguet wrote Le Bal du Comte d'Orgel, he thought he was copying La Princesse de clèves by Comtesse de LaFayette—but you could read those two novels and never suspect their antecedents. There are many writers who enjoy seeing their books as a kind of homage to an earlier book. And yet very few readers would suspect such a link unless it was explicitly pointed out.
There may also be some truth in the notion that a good novel should have the ingredients to spawn a hundred other good novels, so that a succeeding novelist ought to be able to seize upon the ideas of a predecessor and somehow further them in his own work.
I think there is also this balance between the literary and the human interest in a book, if we can make that distinction. For instance, a novel like Caracole maybe errs in the direction of being too literary, without being sufficiently human. I think that Lolita is the greatest of all novels because it is both simultaneously. I mean that for those people who are interested in literature, it makes reference to a whole library of French poetry and fiction—everything from Carmen to Arthur Rimbaud. But for those who don't care about literature, they can read the book and be swept up by the strictly human interest of it, by the passions. I think that probably a novel like the one I've just finished, The Beautiful Room Is Empty, is very human in its orientation and may be the kind of book that pleases most readers—it holds a mirror to life; whereas Caracole, which is literary and fantastical and not obviously mimetic, has a much smaller readership.
From reading the French reviews of your work, one learns that they consider you very much an author in the European tradition. To what do you attribute this?
I believe they are struck by the echoes of Proust, in both Nocturnes For the King of Naples and A Boy's Own Story, and I think by that they mean a non-Freudian, psychological analysis written in a nuanced, flowing style. Americans don't necessarily associate that style with Proust; I think we usually attribute it to James, who is much more our figure.
Would you say the European literary tradition differs from its American counterpart more in style and form rather than in content or concerns?
It very much depends on which period you're talking about. I think that the nineteenth century in America is extraordinarily different from the twentieth century. There may be certain preoccupations that are similar, such as the individual versus nature, or the dynamics of male companionship, or the loss of innocence—you could tack those as three concerns that unite the nineteenth with the twentieth century, but those are moral preoccupations. In terms of style, nothing could be more different than the prose of Emerson and, say, Richard Ford, or that of Raymond Carver and Hawthorne.
Isn't this more a question of evolutionary progress in terms of writing technique?
Yes, but style has evolved more rapidly in the States. I would say that there's more uniformity between the styles of Angelo Rinaldi and Proust or even Flaubert than there is between Carver and Hawthorne. Even though Europe witnessed a tremendous upheaval in experimental techniques in the twenties and thirties, namely with the surrealists (and with Joyce in English), that innovative moment has left a rather small effect, and now most French novelists, and English novelists, are writing rather like their nineteenth-century antecedents. Barbara Pym, for instance, writes like Jane Austen, and Jonathan Raban or Alan Hollinghurst like E.M. Forster—just to name some of the writers I admire. Obviously there are some changes; for instance there is a great deal more interiority in contemporary fiction than in nineteenth-century fiction, and a lot less incident, or plot. And there is far more sexuality now than then, and so on. But English novelists continue to be primarily concerned with analyzing character in terms of social class. American novelists are not at all interested in that.
Aren't American novelists quite often less political in a worldly sense than Europeans?
Yes. I think a novelist like Milan Kundera, for instance, could not exist in America. A person of the stature of Kundera, let's say somebody like William Gass, doesn't have a political analysis of society so much as a mythic one. A novel like Omensetter's Luck by Gass, which I consider a masterpiece, is a big, mythic, Faulknerian, highly poetic view of an almost Jungian archetype, and this is an American tendency, one which starts with the greatest of all American novels, Moby-Dick. It's a quasi-religious view of society, whereas in Europe, a novelist such as Kundera is extremely interested in questions of individual authenticity versus political "kitsch," as he would put it.
Not to stray too far from the question of American and European literary counterpoints, it does seem somewhat odd that American novelists rarely work within a vast political framework, particularly when you evaluate U.S. interests and involvements abroad, which have of course escalated since 1945.
I think you have to look at the social conditions under which writers live in the various countries. For instance, in France, writers have often been involved in politics as diplomats or ministers—Paul Claudel was the ambassador to Japan and André Malraux was de Gaulle's minister of culture. Carlos Fuentes and Octavio Paz were diplomats and García Márquez was a journalist who knew Castro as a friend. Alejo Carpentier was stationed for years in Paris. Most Russian or Middle European writers have suffered for their political views—they cannot afford to be indifferent to politics. Now, if you glance at the social situation of most American novelists, you'll see they are professors on small, isolated provincial campuses and the larger world of politics is not part of their experience. If you take someone like Raymond Carver, for instance, he is from a working-class family, he is a man who had a serious drinking problem. Now that he has stopped drinking and is writing very brilliantly, what he writes about is a different kind of social problem; that is, the disenfranchisement of people in America itself. This is a perfectly legitimate concern and one that I think falls within his experience. I can't imagine him writing about the American oppression of people in Vietnam or Nicaragua; it's just not in his bailiwick. Of course there are American novelists who fought in Vietnam and who have written about that. I think the truth is that novelists are not universal legislators of morality, they don't set out to write about the most important issues; they write about the ones that have actually touched their lives. I agree with you, however, that there's something very insular about American fiction. So many books are first-person novels that deal with questions of adultery, personal poverty or misunderstanding between generations—suburban problems.
There is a paradox at work here, I think, because America has become more and more dependent on the outside world. If you took the inkwell of U.S. interests and involvements and spilled it on a map of the world, you would see how it sinks in nearly everywhere. And yet it seems that so many Americans don't want to know that they are no longer protected from the larger scale of things.
Americans do not keep up with world events. It may be partly that people don't travel very much, or it may be a kind of arrogance. Or maybe we should blame the press, which highlights personalities, not issues.
Occasionally one finds foreign words and phrases in your novels, and sometimes the odd word coined by yourself. How do you decide when to employ foreign words or coin new ones and when to remain within "the riches" of the English language?
Actually, the odd thing is that since I moved to France I've probably used fewer foreign words in my fiction. While I was living in America I always had a kind of longing to live in Europe, which expressed itself in such linguistic borrowings. But now that I actually live here I'm so worried about my English becoming too Gallicized that I tend to eliminate French words. Although you think I've made up a lot of words, it's not quite true. I once knew a woman who read books for dictionaries, and she would circle unusual or substandard or odd, variant uses of words; she told me it had been a waste of her time to read my books because the usages were utterly conventional. I think that writers who invent new words, like Joyce, are admirable.
In The Beautiful Room Is Empty, however, you chose to use the words malade imaginaire in reference to a character, instead of hypochondriac.
If you say "hypochondriac" it suggests a mild psychiatric problem that should be cured; if you say malade imaginaire it suggests a character in a Molière play—a comic figure whom experience will chide.
Can you talk a bit about the writers who most helped to form you as a novelist?
Vladimir Nabokov is my favorite writer, and I like Colette a great deal—I've learned a lot from the way she uses herself as a character in her own books and tantalizes the reader with the question: Is this autobiography or is it fiction? I also love her descriptions of nature and her handling of love. She is greatly underrated in France. I read Knut Hamsun all the time for inspiration, though he's so entirely different from me. Of course, I don't like his later work, when he came under the influence of fascism. But those early novels—Mysteries, Victoria, Pan, and Hunger—are beautiful books. I'm drawn to the simple lyricism that runs through his writing. There is not much plot, but intense outbursts of feeling.
And what is it about Nabokov that so moves you?
It wouldn't be his intellectual high jinks, but his passion, his sensuous detail, the wonderful rendering of the physical, visual, material world around us. It's almost a spiritual way he has of describing the world; he makes it so glowing, so mouthwatering and so precise that you feel it has somehow been irradiated. Writers can use literature as a mirror held up to the world, or they can use writing as a consolation for life (in the sense that literature is preferable to reality). I prefer the second approach, although clearly there has to be a blend of both. If the writing is pure fantasy it doesn't connect to any of our real feelings. But if it's grim realism, that doesn't seem like much of a gift. I think literature should be a gift to the reader, and that gift is an idealization. I don't mean it should be a whitewashing of problems, but something ideally energetic. Ordinary life is blah, whereas literature at its best is bristling with energy. Somebody once said Balzac's only fault is that he makes all of his characters into geniuses, like himself. What a wonderful fault!
Which of your American contemporaries do you admire?
I like Robert Coover, John Hawkes, Richard Ford, Carver, Pynchon, Gass, William Gaddis, Robert Ferro, and especially Cynthia Ozick. W.M. Spackman is someone I admire as well. James Merrill is, I think, my favorite living writer at the moment. I feel that his trilogy The Changing Light at Sandover is a masterpiece. I've been very involved with that book, following it as each episode appeared. His entire oeuvre seems to me enormously impressive and, again, imbued with the same kind of lyric quality that Nabokov has. Both of them constantly change register. They go from slang to the most serious or elevated speech, from the medieval language of courtly sentiment to the most recent street talk—a constant movement from the hieratic to the demotic, from the historic to the contemporary. This shift in register seems to be the genius of English, going back to Shakespeare, but it is not at all the genius of French, which is more concentrated and uniform in diction.
Principally, what have you read in French since you moved to Paris?
Chateaubriand's Les Mémoires d'outre tombe, Stendhal's La Chartreuse de parme, and, in more recent literature, Nathalie Sarraute's Enfance, which I admired tremendously. I think her style is ideally suited for early childhood memories because it is so spare and fragmentary. Most people writing about childhood tend to inflate what are actually very small memories into a continuous and rapturous narrative. She doesn't do that. Her refusal to part from the facts, the actual phenomenological memories of experience is careful and honest . . . I've been reading both Richard Ford and Raymond Carver, whom I admire immensely—Ford, I think, may be one of the most important new American fiction writers to emerge in the last five or six years. And of course, I've been reading a lot of Jean Genet for the biography I'm writing of him, and then other writers whom he read and liked, such as Racine and Jouhandeau. And I do quite a bit of book reviewing as well. So, I do read a good amount of fiction.
Do you find yourself reading more slowly now than, say, twenty or thirty years ago, when you were just beginning to write? Are you reading from a craftsman's point of view, or are you still able to appreciate reading fiction as a kind of nostalgic literary enterprise?
I get quite caught up in books, but rarely in French because I'm always too aware of reading another language. But I do often get caught up in English-language novels. I don't find that technical awareness stands in the way of pleasure; it can even make that pleasure more piercing if you're constantly excited by the writer's technique.
In A Boy's Own Story, your nameless narrator "awakened to the idea that a great world existed in which things happened and people changed, took risks . . ." What kinds of risks do you feel you take as a writer?
Writers are always taking risks economically. You don't have a retirement plan, you don't have health insurance necessarily, and little in the way of personal savings. In other words, if you were to become ill tomorrow or if you were to write two or three bad or unpopular books, you'd be very, very poor. Nevertheless I have always made it a point of honor to write as though I had a million dollars; that is, I try to write in the most original way I know how, and that feels like a risk each time you do it. André Gide said that with each book you write you should lose the admirers you gained with the previous one.
One takes the risk of changing audiences, or styles?
Yes, I think so. In the nineteenth century people wrote rapidly and they wrote a great deal; books were almost like chapters in people's writing today. Then there wasn't any question of changing the basic style, or basic premises. In the twentieth century the serious writer strives to evolve. Someone once said that each good novel should also advance a theory of the novel.
There seem to be two distinct voices in your fiction, with Nocturnes and Forgetting Elena falling into a kind of baroque, rather dreamlike reality, while A Boy's Own Story and The Beautiful Room Is Empty are in that register of possible autobiography you admire in the novels of Nabokov and Colette. (Caracole, however, is somewhere between them and in a genre of its own.) How many convincing voices or styles can a novelist hope to master, and might they reflect the nature of his or her worldly concerns?
Caracole was consciously about society and the individual's place within it. In The Beautiful Room I was interested in showing the puritanical oppression of sexual freedom. In any event, those two books have a specific political concern. If a writer keeps changing his style, he could be accused of dilettantism—or he could be defended as someone who resists the sort of packaging designed for quick product recognition and smooth consumption. Is a stylistically unpredictable writer a luxury product—or is he refusing to be a product? More subjectively, my mercurial literary personality reflects a general feeling of unreality. Like the narrator in Forgetting Elena, I'm an amnesiac—a guilty, not an innocent amnesiac. I keep feeling I've accomplished nothing, never written a "real" novel. Today, when so many of my friends are dead or dying of AIDS, that feeling of unreality has been heightened. People say we should seize the day, but just one day turns out to be too cold (or slippery) to hold.
Until Caracole you wrote principally of gay experience. Why did you make the departure into "straight" fiction?
The writing of Caracole coincided with my coming to Europe. In New York, without even really noticing it, I had come to live an almost exclusively gay life (except for my teaching). I had gay friends, I dealt with gay shopkeepers, I lived in a gay community in Greenwich Village, and I was interested mainly in gay politics and read a lot of gay literature. My reference group, as a sociologist would say, was gay. But, when I came to Europe, partly because there isn't such a strong gay ghetto in Paris, I began to lead a more ordinary life. Caracole represents that renewed participation in society. I suppose that the idea for the novel came from reading, many years ago, eighteenth-century French pornographic fiction—the novels of Crébillon fils—which struck me as very odd. The heterosexual characters seemed so gay in that they were interested only in promiscuity and conquest. War was constantly a metaphor for love, and there was a highly structured and artificial nature to courtship. Sex was seen as sport, time killer, self-expression, pleasure and war—whereas in nineteenth-century conventional heterosexual fiction it's seen as an urge toward companionship, affection, familial values or lust. Crébillon showed me how one could write about heterosexual sex in a very different way.
Did you receive any reaction from heterosexual readers either confirming or disavowing some of the experiences they read about?
A number of heterosexual men told me they found it arousing. An English novelist said that he'd gotten very embarrassed reading Caracole in a train. A reviewer from L'Express was reportedly confused and disappointed to learn I was gay.
Let's go back to your early years as a novelist. You mentioned you'd written several novels but couldn't get any of them published until you were thirty-three. What difficulties were you experiencing?
I was writing gay books well before gay liberation and before there was a recognized gay reading public. One actually existed, although no publisher was aware of it. There was also a tremendous amount of self-repression among gay editors. A gay editor would turn down a gay book because if he admitted to liking it he would have to defend it in an editorial meeting, and that might lead other people to suspect he was gay.
What became of all those unpublished novels?
They are gathering dust. But I quarry them for other books I write. They are a source for a lot of information, particularly about the fifties and sixties. For instance, A Boy's Own Story and The Beautiful Room contain material from previous novels. I could not employ much of the actual language because I've come along as a stylist, but the material serves to refresh my memory of the years I was dealing with, when I was in my twenties and early thirties. It's very easy to rewrite the past in your mind and to assume that in the sixties you had the same sophistication—let's say politically—that you might have had in the seventies. In the sixties we harbored utopian notions that were extremely naive. I feel that it's hard to recreate that naïveté unless you're faced with documents from the period.
Why does one write a book like A Boy's Own Story—as a coming to grips with the ghosts of childhood once and for all, a sort of final self-analysis of one's rudiments?
I think you're making it sound a little more pragmatic than it is, but there is something crucial about the relationship in that book, for me, between the narrator and the younger self. I call it the pederasty of autobiography; the older self actually loves the younger self in a way the younger self never could have felt or accepted at the time. There is a kind of lapse in time in self-approval. One is filled with self-loathing at sixteen but when one is forty one can look back with this kind of retrospective affection at the younger self—which is very curative.
From Nocturnes: "We label the feelings of our childhood with the names we learn as adults and brightly, confidently refer to that old 'anguish' or 'despair' or 'elation.' The confidence of liars. For those words meant nothing to us then; what we lacked as children was precisely the power to designate and dismiss, and when we describe the emotions of one age with the language of another, we are merely applying stickers to locked trunks, calling 'fragile' or 'perishable' contents that, even were we to view them again, would be unrecognizable." Is this representative of the writer's responsibility to "tell the truth"? What precisely does that mean?
Piaget makes a very good case for the fact that the language, and even the concepts and the thoughts we have as adults, really don't fit with childhood experience. There is a radical discontinuity between childhood experience and adult experience. We complain of a kind of amnesia, that we don't recall much of our early childhood, and Freud of course said that this was because we were repressing painful or guilty desires. But Piaget argues this couldn't be true, because otherwise we would forget only those things that were painful but remember everything else—which is clearly not the case. We have an almost blanket amnesia, and Piaget argues that the terms in which we experienced our childhood are incommensurable with the terms in which we now think as adults. It's as though it's an entirely different language we knew and lost. Therefore I feel that any writer who is writing about childhood, as an adult, is bound to falsify experience, but one of the things you try to do is to find poetic approximation; an elusive and impossible task. It is like trying to pick up blobs of mercury with tweezers—you can't do it. You nevertheless attempt to find various metaphorical ways of surprising that experience. I think you oftentimes feel it's there, but you can't get at it, and that's the archaeology of writing about childhood.
In Caracole you write, "Children never question what happens around them," although in A Boy's Own Story your narrator is quite inquisitive. Thus one's childhood becomes a kind of myth so that as an adult one is more dependent on imagination than memory.
Yes, I think that our notion of what we experienced as children is highly infected by whatever is the prevailing philosophy of childhood. In other words, if you'd asked somebody in the seventeenth century to write a story of his childhood, he would have perceived it as a rough draft, an inferior version, of maturity—or as comical, deformed. Then in the nineteenth century the child becomes the angel, innocent and pure, who must be protected. And then in the twentieth century, with Freud, the child becomes a monster seething with vice and lust.
Might we say that a true novel, when it is the fruit of the creative subconscious, is a kind of rendering of one's past as a mythology?
It's curious that if you take certain facts from your childhood and perceive them in a kind of glow, and arrange them in a certain sequence, it will not only move you and your mother and sister, but also people who don't know you. It's very odd how that works and I'm not quite sure why it works. I'm always struck by it because I've invented childhoods for imaginary characters which seem to have a lot less impact on readers than my actual childhood has when I recount it.
You underwent psychoanalysis for a time. Can you talk about that experience, and how it did or didn't help you to write?
I started psychoanalysis very much as the narrator does in A Boy's Own Story, at the early age of fifteen, and I would say my early experiences with it were almost entirely destructive. However, towards the end of the twelve years I spent in therapy over a period of some twenty years, I did finally find a therapist who I felt approved of me in some fundamental way, and who was himself a writer. He was quite helpful to me as a writer, yet in ways that would make you smile. For instance, when I had a writer's block and I went to him, he said to me, "Well, it's very hard to write and you're feeling very frightened of it. It's simply a question of courage. You must find some courage within you and go home and write." I found that very useful advice coming from him, though I don't think I would've accepted it from anyone else. This kind of primitive advice that you could get from your grandmother turns out to be the most useful "insight" the analyst offers. And perhaps self-acceptance leads to tolerance, just as self-knowledge leads to insights into other people. I've had people say to me, not so much after reading my fiction as a book like States of Desire, that they felt I was a compassionate writer—I don't really know what they mean by that, as I can be pretty arrogant as a commentator on other people. But I suspect what they mean is that I'm able to put myself in other people's shoes and see things from their point of view without being too judgmental early on in the process.
I was wondering if the analysis might not be destructive in the sense that you begin to feel too much guilt, and find yourself in a kind of endless process of exorcism when that guilt may be merely a minor aspect of your personality.
I would say that writing, in its own way, is a rival to therapy. You should recognize that literature is a separate province. It has its own rules. It cannot be simply an embodiment of Freud's notions on human nature, for otherwise it will soon seem hopelessly dated and hollow.
In A Boy's Own Story your character reflects: "I see that what I wanted was to be loved by men and to love them back but not be a homosexual. . . . It was men, not women, who struck me as foreign and desirable." When did you eventually conceive of your sexuality as healthy and acceptable?
Well, I was actually in the Stonewall riot, the harbinger of gay liberation in New York in 1969. The riot itself I considered a rather silly event at the time; it seemed more Dada than Bastille, a kind of romp. But I participated in that and then was active from the very beginning in gay liberation. We had these gatherings which were patterned after women's and ultimately, I think, Maoist consciousness-raising sessions. Whether or not our sessions accomplished anything for society, they were certainly useful to all of us as a tool for changing ourselves.
But what did you have to change? The fact that there was nothing to deny or repress?
You see, many of us began by thinking that we were basically heterosexual except for this funny little thing, this sexual habit we had somehow picked up carelessly—but we weren't homosexuals as people. Even the notion of a homosexual culture would have seemed comical or ridiculous to us, certainly horrifying. We would have wanted to confine our disease to the smallest possible part of our life, to our sexual behavior and nothing else.
You've said previously that you're writing for gays and straights. But do you think of yourself as a gay spokesman?
It was a political act for me to sign the The Joy of Gay Sex at the time. The publisher could not have cared less, but for me it was a big act of coming out. Charles Silverstein, my coauthor, and I were both aware that we would be addressing a lot of people and so in that sense we were spokesmen. We always pictured our ideal reader as someone who thought he was the only homosexual in the world. States of Desire was an attempt to see the varieties of gay experience and also to suggest the enormous range of gay life to straight and gay people—to show that gays aren't just hairdressers, they're also petroleum engineers and ranchers and short-order cooks. Once I'd written States of Desire I felt it was important to show one gay life in particular depth, rather than all of these lives in a shorthand version. A Boy's Own Story and its sequel, The Beautiful Room Is Empty, grew out of that.
"The world is governed by a minority, the sexually active" is one of the boy's rationales. What do you mean by designating the sexually active as a minority?
If you look at most people in the subway or on the street they're either sick or old or ugly or crippled or crazy. That's "most" people, and they can't get sex and sex is hard to buy; it's expensive. There are a lot of Arab men in Paris, for instance, who would do anything to get a sex partner. There are a lot of black men from the Antilles, you know, who are too poor to afford sex, except occasionally, with a prostitute.
Do you see the range, the reactions, the emotions in heterosexual love and homosexual love to be approximately similar?
I think there is an equally complex gamut but the two experiences are not coincident. You can't say all the things a straight woman goes through in her courtship, marriage and divorce are the same as a gay man experiences in meeting another man, living with him and breaking up with him. They're not the same emotions, they don't occur in the same sequence nor do they have the same social repercussions. But there are enough similarities to permit us to speak to each other. When a straight man breaks up with his girlfriend, the break is often decisive; it's very hard for them to move from the end of their affair into an ongoing friendship. However, I would say that many—if not most—gay men who break up continue to be best friends. And they may even continue to live together. They may enter into a period of rivalry during which each of them tries to meet somebody new first. When that phase wears out their friendship gets mellower and better. This is something which seems unthinkable to most straight people; they don't know how we can do it, but there is a great deal of comradeship that lies under the discourse of homosexual love. There is a discourse of gay friendship, and then there is a kind of male/male friendship which straight men know about, and there is also a discourse of love that straight men have with women. The idea that those discourses can come together in one relationship, and that when the love ends the friendship can continue, astonishes many outsiders.
Can you discuss your work process? When do you sit down to write, and what do you do to warm up?
Oh, it's very tormented. I try to write in the morning, and I write in longhand, and I write in very beautiful notebooks [White displays a couple of hardbound notebooks filled with thick, hand-laid paper] and with very beautiful pens. I just write away, and then . . . This is a first go at it, and then I start crossing out, and it gets crazier and crazier, with inserts and so on. Finally, two or three years of this go by and then one day I call in a typist. I dictate the entire book to her or him. The typist is a sort of editor in that he or she will tell me what is really terrible and what's good, or what's inconsistent and doesn't make sense. I get together a whole version this way and then I stew over it some more. Eventually my editor reads it, and then he tells me to change things, and it goes on like that. If I write a page a day, I'm lucky. But I write less. And months go by without my writing at all, and I get very crazy when I write! Sick, physically.
You are more neurotic when you write than when you don't?
It's a very uncomfortable process; I don't like it all.
In everyday life, what sort of things spark off your imagination?
Other works of art, as I've said, challenge me. Then, when I'm writing, I find that my brain begins to store information in a different way than it usually does. That is, I'm out looking for things that I need, and I will grab them anywhere. And there's a magic which any writer can tell you about: the world provides you with just the information you need, it seems, just when you need it.
Has it happened that you've been blocked and you go to sleep and upon waking the following morning you've been given what you needed?
Yes, but my plots are rather primitive, so that is not a worry. I'm more concerned with controlling the mood. I find that when I'm writing well, I have a real zest for detail, for description. When I'm not writing well, I can't think of anything to say, and there is a lackluster, mechanical quality to the writing. But, basically, when the sentences get longer and more ornate, and there's more and more sensuous detail, that's when I'm writing happily or well. When the sentences get shorter, clearer, more pure or classical, then I'm not enjoying the book and neither is the reader.
You seem to be more a creature of inspiration than habit, which counters the dictum many writers have about getting up every morning and writing for several hours a day, come what may.
Writers say two things that strike me as nonsense. One is that you must follow an absolute schedule everyday. If you're not writing well, why continue it? I just don't think this grinding away is useful. The other thing they say: I write because I must. Well, I have never felt that, and I doubt most of them do either. I think they are mouthing a cliché. I don't think most people write because they must; perhaps economically they must, but spiritually? I wonder. I think many writers would be perfectly happy to lay down their pens and never write again if they could maintain their prestige, professorship and PEN membership.
In A Boy's Own Story you describe the character as having imaginary playmates, but he thinks, "And yet I didn't really like my imaginary playmates precisely because they were so irritatingly vague and unreal." Does it ever seem to you while writing or reading that fiction is vague and unreal?
Yes, and the stewing I'm talking about, getting ready to write, the thinking about writing and trying to find your way, all of that is meant to find a way of doing a scene that is full of energy, so that it has conviction, a sharp outline, progression and intensity. You should find that your writing overcomes the besetting feeling of vagueness and ennui that is characteristic of everyday life.
In your New York Review of Books essay on Nabokov you wrote, "Many writers proceed by creating characters who are parodies of themselves or near misses or fun-house distortions, or they distribute their own characteristics across a cast of characters, and some especially like to dramatize their conflicts and indecisions by assigning them to different personages." How do you find yourself adapting yourself to your characters, or do they perhaps adapt themselves to you?
Well, I do two things. One is that I pattern a lot of my characters on people I know, but there is a strictly imaginary element which creeps in after I start writing. I begin by writing a fairly close portrait of somebody I know, but then the character begins to seem real to me in his own right. If I'm stuck at some point I try to find something in my own experience that I can use, even if the character is going through something I've never experienced. I have had my writing students read Stanislavsky, and of course his whole method requires the actor to find real-life experiences to draw on for even the most improbable and wild scenes that he must portray. I think the writer must do something like that, and most writers go through that process without thinking about it. What Stanislavsky says is that you cannot hope to recuperate an emotion by going for it directly. What you can do is to reconstruct the original sensuous details of the room in which you were sitting, what you were eating, what you were wearing, whether it was hot or cold; and if you get all those things right, then the emotion will come flooding back, of its own. I think that is an important exercise for writers. People always ask: What do you teach in creative writing? People insist: There's nothing to teach. Well, of course, there is something you can teach; you teach people to find ways of tapping their own emotions.
When you're writing, do you look more towards innovation, or towards tradition?
Originality is important, and one of the dangers of creative writing classes, for instance, or any critical approach to literature, is that it under-emphasizes originality. After all, a professor of literature is trying to find a tradition, and influences, which can be traced. People would rather talk about Poe as the typically American genius than as the total kind of lunar nut that he really is. There is nothing typical about Poe; he's from the moon.
How do you go about being original?
Well, of course, if you ask this question of somebody in a Paris Review interview, he will say, "You do it by being yourself, by being true to your own vision." I think that is somewhat true. As you gain confidence as a writer, you learn to spot your own funny ways of looking at things, and you learn how to notate them—because at first, of course, it's very elusive. You've never seen your vision before, so you wouldn't know how to put it down on paper, and it might not occur to you that the vision is something suitable for writing about. After you have acquired a certain amount of technique and confidence, you learn how to notate these rather passing, elusive thoughts. A young woman came up to me once after a reading and said, "I love what you do," and I said, "What do I do?" and she said, "You completely jump over the important plot points, and then develop the minor things that nobody else would think to develop." I decided to profit from her intelligence.
In A Boy's Own Story you evaluated your readers as "eccentric," as they were "willing to make so much out of so little." Is it not the writer, ostensibly, who must make so much out of so little?
In Nocturnes, I thought I had been almost perverse in how few clues I gave to the reader, and I was amazed by how much was made of so little. That is, if you go back to the text, there are only the strangest little traces of slime that indicate where the snails once crawled, just a few phosphorescent, glimmering paths, and I was astonished by just how much intelligent readers were able to get out of this, and to reconstruct more or less the same picture I'd intended. It is a rather eccentric enterprise on both the part of the reader and the writer, but technically it is the reader who must be willing to take all these faint clues and reconstruct them into a novel. This is very different from the process of reading a nineteenth-century novel, where all the work has been done for you.
The non-dit, the art of ellipsis, is certainly within the European tradition, and more noticeably so, I think, in postwar fiction. Isn't this not only a result of an increasing sophistication in readers, but also a reflection of the mass media, which tends to condense everything for quick consumption?
It is precisely film that has promoted the use and understanding of ellipsis. In the nineteenth-century novel, the reader was oriented for a full chapter before the action began. A film, however, will begin with one man chasing another and they're desperately racing over rooftops, and then suddenly they're speeding away in cars and—who are these people, and what are they doing? You don't care; you're suddenly seized by the action. Poetry also proceeds in an elliptical way. Anyone who's studied English in America, for example, has read T. S. Eliot, Ezra Pound, and Wallace Stevens, not to mention John Ashbery, and such a reader is used to suspending a demand for instant intelligibility. They're willing to wade into line after line of language without quite knowing where they are or what's happening or what it all means.
I was wondering how your life has significantly changed in the move from New York to Paris. Has it been good for your writing?
French people are extremely formal and they don't call you up all the time, whereas in America total strangers look you up in the phone book and want you to read their nine-hundred-page manuscript.
What sort of notions do you have of what a writer's life should be like?
I wish I were more at home with writing. I can go a year or two or three without picking up my pen and I'm perfectly content. The minute I have to write I become neurotic and grouchy and ill; I become like a little wet, drenched bird, and I put a blanket over my shoulders and I try to write and I hate myself and I hate what I'm writing. Writing depends upon a fairly quiet life, whereas I am a sociable person. I think every writer goes back and forth on this question; it's a constant struggle to find the right balance between solitude and society and I don't think anyone ever does. I find it reassuring to read the complaints of Chekhov: "My country house is full of people, they never leave me alone; if only they would go away I could be a good writer." He's writing this close to the end of his life.
Originally you moved to Paris to be in Europe for a year or two, but five years have passed. What keeps you here in Paris?
I think mainly the quality of life is so attractive, and there is still a certain degree of exoticism for me here. And just from a practical point of view, I can make my living here as an American journalist writing for American magazines about Europe. In New York everything is done for a motive, and people are even quite frank about it, whereas here people get together simply to have fun with each other. In a way it's more like small-town America, which I like, and not like big-city life. I think New York is a city for ambition. In Paris people cultivate social life as an art form; in New York people cultivate it as a form of self-advancement.
Do you find journalism as pleasingly painful as writing fiction? What inspired you to turn to biography and to work on Genet?
In both journalism and biography the assignment is fairly clear, which is never true of fiction. Moreover, in journalism and biography one is obliged to study, observe, record, whereas in fiction one is left to one's own melancholic devices.
Social life has been very important in your fiction, especially in Caracole. Aren't people too often victims of what is fashionable, whether it be a social theory or a political ideology, and isn't that moment as subject to change as the kinds of clothing they wear?
I would say a novelist's proper job is to be sensitive to the way things look. I agree with Conrad that fiction is primarily a visual medium, and that there is something very concrete and valuable and eternal in any accurate description of the way things look. No one would ever require fiction to be totally divorced from its period; in fact, most people believe, and I believe, that the more it's anchored in a specific locale, period and milieu, the more universal it is. This is quite different from, for instance, espousing a Freudian view of sexuality and imposing that in a rigid way on your characters, and then ten years later a Foucaultian view—because then you get a roman à thèse. After all, fiction writers are not professional thinkers.
Caracole treats fashion and la société mondaine in a context of political upheaval. Does fashion, for you, influence politics in any perceivable way? Why was the leitmotif of fashionable society so important to you in that novel?
I was trying to show a society in which the conquerors were less evolved than their subjects and in which they were even intimidated by their victims. This is a situation that can be observed in life. Oscar Wilde unnerved his jailers. Wit, style, and intelligence can outweigh, or at least hold at bay, brute power or wealth. The Chinese intimidated their Manchurian conquerors, just as the Nazis, upon conquering Paris, became respectful of French culture and were eager to win the approval of the subjugated. Of course, Cesare Borgia respected Urbino so much he destroyed it.
In terms of the kinds of ideas which are a writer's staple, there is something in Forgetting Elena I'd like to take issue with. You write, "We all know that human emotions are banal . . ." Is this meant to provoke the reader or, for you, is it axiomatic?
When I say human emotions are banal I mean that they are familiar, we all have them; if we didn't we wouldn't be able to write novels that each of us could read and understand. Originality in writing is in the presentation of those emotions, or even in their occlusion—the way in which feelings are stopped or diverted or disguised.
Writing, then, with originality should prevent the banal from creeping into the tone of the novel.
There is a tendency to talk about the Platonic novel as though there were but one novel we're all striving to write, an ideal, perfect novel that is outside time, outside history, outside any particular cultural tradition—an eternal, floating, and perfect book. An opposed point of view, which is the one I hold, is that each person has it within him to write a novel unlike everybody's else's. If you're a teacher this is very important, because you either have a normative notion of the novel, and you struggle to make all writers ascribe to your notion of what the great novel should be, or you have a pluralistic notion, whereby each person should write a novel unlike all others.
Is writing a way of rendering the banal beautiful?
Or making the banal strange. There is a term that comes up in Russian formalist criticism called defamiliarization. It's a way of talking about the events of everyday life (in Tolstoy, Natasha's first ball or her first opera, for example) and making them utterly weird because they are described by an innocent or inexperienced person. Good fiction often takes the banal around us and defamiliarizes it.
Writing from an unfamiliar point of view must be one of the great challenges of a novelist. In The Beautiful Room Is Empty, your character at one point during his university days says he thinks the Buddhists were right in their belief that the self is an illusion, although as a writer he reacts to the individuality of everyone he meets. "I was potentially everything or nothing. I could wake up one morning gay or straight . . ." I thought this seemed like a desire to convince yourself that Edmund White, writer, transcends Edmund White, self; transcends his class, race, and sexuality.
You're right.
Yet there are two contradictory points of view at work here.
I'm convinced that the self is an illusion, and that actually all we are consists of several piles, or, as the Buddhists call them, skandhas, of associations and memories and so on, that the way to enlightenment is to dissolve the illusion of unity and return all these elements to their original constituents, thereby ridding oneself of the notion of identity. Although all that appeals to me philosophically, as a novelist I don't believe it. As a novelist I believe there is a kind of smell that's very distinctive about each living creature, and I enjoy being a sort of sketch artist, like a sidewalk artist, who tries to catch a likeness—and I somehow manage to believe that there are likenesses, and that they do tell you something about people.
In A Boy's Own Story you write, "It seemed to me then that beauty is the highest good, the one thing we all want to be or to have or, failing that, destroy." One is immediately reminded of Yukio Mishima, who made youth and beauty into a cult and ultimately committed hara-kiri at the age of forty-five, already an old man by his standards. You are in the vicinity of that age now. What do you see as the "highest good"?
Are you suggesting I make the supreme sacrifice? Artists should be honest about the tremendous glamor and impact of physical beauty. It is not fair that it should be so important, since so few people possess it, but, in fact, beauty is a glimpse of the beautiful. A beautiful person embodies in her or his flesh what an artist is struggling to represent in his work. But a writer shouldn't have too many answers. Barthes has a phrase in which he suggests that the artist is like Orpheus leading Eurydice out of the underworld. Everything is fine, the novel follows along behind the novelist, until he looks back . . .
Author photograph by Nancy Crampton.


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One Direction gave a KILLER performance at the Kids' Choice Awards on March 31! Were you more excited to see them or Justin Bieber on Nickelodeon's biggest night?
One Direction had everyone dancing in their seats — but Justin gave fans the best surprise EVER by showing up at the last minute!
One Direction's performance of their mega hit "What Makes You Beautiful" had everyone from Selena Gomez to First Lady Michelle Obama getting down. We were so excited to see Justin Bieber get slimed at the end of the show, but the super hot boy band may have stolen his glory!
What do YOU think, HollywoodLifers? Did One Direction or Justin Bieber own the night at the KCAs?
— Kaydi Poirier
More KCAs
- One Direction's Performance At the Kids' Choice Awards Was Awesome
- Cutest Guys At Kids' Choice Awards: Justin Bieber & More
- Justin Bieber, Taylor Lautner & More: Kids' Choice Awards Best Slime Moments
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Dorothy Dunne
It has been a tough year for all of us, but we are still here. In spite of all the deaths and tragedies and economic slump we had to face and encounter, we still have a future to look forward to bring things back to stabilization. True, great losses, but still so very, very much to be thankful for. And, I hope as we celebrated Thanksgiving Day this past week you stopped a minute to reflect on all the blessings God has given you. And, don't forget, " The more you give, the more you receive". The more you put into a project, the more you get out of it. Now, don't be disappointed if you gave to someone who did not return the favor. Give without expectation (which is not easy to do) and if a favor is returned what a beautiful surprise Just remember favors are returned, but in different ways. Hope you all had a Happy Thanksgiving. Gobble up as much of life's happiness as you can throughout the year.
It amazes me to see the great progress medical science has made in the cure of many diseases. There are quite a few children born with Down Syndrome and, though so sad, what a delight to meet some of these children performing on television today who made guest appearances at the beautiful award dinner and silent and live auction at Chelsea Piers. It was a beautiful evening and those of you interested in helping this cause most certainly should attend next year. The generosity of the audience was overwhelming and the bidding was unbelievable. How conscious they were of being active in helping the research of cures for Downs Syndrome children. Man does have a big heart.
At Tavern on the Green, Motor Trend Magazine unveiled the Car of the Year 2003………Infinity 35 Sport Sedan and Sport Coupe, two beauties. It combines cool casual luxury with an impressive measure of performance. And, let's not forget value for the money.
Have you ever thought of the UN Delegates Dining room for lunch when in the city? Absolutely divine!
I was a guest there for lunch the other day and was so impressed with the ambiance, the impeccable, warm friendly service. And the food……….the food was so delicious. There is a tempting all you can eat buffet, but they just started an a la carte menu that started with shrimp over vinaigrette bell peppers and red onion that was refreshingly sublime. The grilled veal chop entree' was one of the best-prepared veal chops I have ever had. Everything was superb. You really should try it. Of course the view of the East River most certainly adds to your enjoyment as well.
Now that the snipers have been caught I can tell you about a small luxury Hotel, one of the Leading Hotels of the World, in Irvington, Va. called Tides Inn. It is great spot for meetings. They offer rooms overlooking Carter's Creek, another overlooking the magnificent Golf Course. Not only that but you can cruise down the Rappahannock River to the Chesapeake Bay and for a small group, the 60' High Tide will cruise you around. Across the way is their Tides Lodge for a more rustic stay.
Ad Tech was at the New York Hilton with a number of exhibitors to show off their innovative and effective software to make advertising with punch directed toward the right market. Ads are popping up everywhere you never thought of before. Of course, the Internet has captured a great many. Very interesting show.
The Lion King was roaring with pride as it celebrated its Fifth anniversary on Broadway on Nov. 13. It has become a worldwide phenomenon and is seen in Tokyo, Hamburg and Sydney, Australia. It will be another classic.
When you book The Flower Drum Song you also receive a FREE dinner or lunch. Check it out.
Ireland has a great deal. Fully escorted via Aer Lingus for a Pub and Shopping Spree for 5 days…$472; a 6 day Celtic Tradition $515, ……visiting Kilarney/Blarney/Cork and Ring of Kerry...Jan 23 -27; Jan 30 -Feb. 4 5 days $538; Mar. 8-12 $538 Sgl. Sup $99; 6 days Jan 29 -Feb. 3 $516…1 class hotels, brfkts daily, most dinners, entertainment, motor coach and service. chg., with guides. QE2, 2 for 1 Jan 24 - 29, 5 nts. $499; Jan 24 to Feb 5, 11 nts. Honolulu/Auckland, New Zealand.. Hawaii, Hyatt Regency 4 nts. hotel & RT Air NOW till Dec 12, $1113 p.p. Dec. 13 to Dec. 21 $1441. Club Med Ft. Lauderdale Air/Land all include 7 nts. $1310; Bahamas $980; Punta Cana $1130p/p; Hawaiian Holiday $1,999 Dec. 20 15 days to Jan 3 from San Diego.
More travel specials on WNYX-TV at 12:30pm Mon. to Fri. E-mail email@example.com.


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