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Issue 48, Fall 1969
If it happens that your parents concern themselves so little with the workings of boys' minds as to christen you Elwyn Brooks White, no doubt you decide as early as possible to identify yourself as E.B. White. If it also happens that you attend Cornell, whose first president was Andrew D. White, then, following a variant of the principle that everybody named Rhodes winds up being nicknamed "Dusty," you wind up being nicknamed "Andy." And so it has come about that for fifty of his seventy years Elwyn Brooks White has been known to his readers as E.B. White and to his friends as Andy. Andy White. Andy and Katharine White. The Whites. Andy and Katharine have been married for forty years, and in that time they have been separated so rarely that I find it impossible to think of one without the other. On the occasions when they have been obliged to be apart, Andy's conversation is so likely to center on Katharine that she becomes all the more present for being absent.
The Whites have shared everything, from professional association on the same magazine to preoccupation with a joint ill health that many of their friends have been inclined to regard as imaginary. Years ago, in a Christmas doggerel, Edmund Wilson saluted them for possessing "mens sana in corpore insano," and it was always wonderful to behold the intuitive seesaw adjustments by which one of them got well in time for the other to get sick. What a mountain of good work they have accumulated in that fashion! Certainly they have been the strongest and most productive unhealthy couple that I have ever encountered, but I no longer dare to make fun of their ailments. Now that age is bestowing on them a natural infirmity, they must be sorely tempted to say to the rest of us, "You see? What did we tell you?" ("Sorely," by the way, has been a favorite adverb of Andy's- a word that brims with bodily woe and that yet hints at the heroic: back of Andy, some dying knight out of Malory lifts his gleaming sword against the dusk.)
Andy White is small and wiry, with an unexpectedly large nose, speckled eyes, and an air of being just about to turn away, not on an errand of any importance but as a means of remaining free to cut and run without the nuisance of prolonged good-byes. Crossing the threshold of his eighth decade, his person is uncannily boyish-seeming. Though his hair is grey, I learn at this moment that I do not consent to the fact: away from him, I remember it as brown, therefore it is brown to me. Andy can no more lose his youthfulness by the tiresome accident of growing old than he could ever have been Elwyn by the tiresome un-necessary accident of baptism; his youth and his "Andy"-ness are intrinsic and inexpungeable. Katharine White is a woman so good-looking that nobody has taken it amiss when her husband has described in print as beautiful, but her beauty has a touch of blue-eyed augustness in it, and her manner is formal. It would never occur to me to go beyond calling her Katharine, and I have not found it surprising when her son, Roger Angell, an editor of The New Yorker, refers to her within the office precincts as "Mrs. White." (Roger Angell is the son of her marriage to a distinguished New York attorney, Ernest Angell; she and Andy have a son, Joe, who is a naval architect and whose boatyard is a thriving enterprise in the Whites' hometown of Brooklin, Maine.)
At the risk of reducing a man's life to a sort of Merck's Manual, I may mention that Andy White's personal physician, Dana Atchley- giving characteristically short shrift to a psychosomatic view of his old friend- has described him as having a Rolls Royce mind in a Model T body. With Andy, this would pass for a compliment, because in the tyranny of his modesty he would always choose to be a Ford instead of a Rolls, but it would be closer to the truth to describe him as a Rolls Royce mind in a Rolls Royce body that unaccountably keeps bumping to a stop and humming to itself, not without infinite pleasure to others along the way. What he achieves must cost him a considerable effort and appears to cost him very little. His speaking voice, like his writing voice, is clear, resonant, and invincibly debonair. He wanders over the pastures of his Maine farm or, for that matter, along the labyrinthine corridors of The New Yorker offices on West Forty-Third Street with the off-hand grace of a dancer making up a sequence of steps that the eye follows with delight and that defies any but his own notation. Clues to the bold and delicate nature of those steps are to be discovered in every line he writes, but the man and his work are so nearly one that, try as we will, we cannot tell the dancer from the dance.
-Brendan Gill
So many critics equate the success of a writer with an unhappy childhood. Can you say something of your own childhood in Mount Vernon?
As a child, I was frightened but not unhappy. My parents were loving and kind. We were a large family (six children) and were a small kingdom unto ourselves. Nobody ever came to dinner. My father was formal, conservative, successful, hardworking, and worried. My mother was loving, hardworking, and retiring. We lived in a large house in a leafy suburb, where there were backyards and stables and grape arbors. I lacked for nothing except confidence. I suffered nothing except the routine terrors of childhood: fear of the dark, fear of the future, fear of the return to school after a summer on a lake in Maine, fear of making an appearance on a platform, fear of the lavatory in the school basement where the slate urinals cascaded, fear that I was unknowing about things I should know about. I was, as a child, allergic to pollens and dusts, and still am. I was allergic to platforms, and still am. It may be, as some critics suggest, that it helps to have an unhappy childhood. If so, I have no knowledge of it. Perhaps it helps to have been scared or allergic to pollens—I don't know.
At what age did you know you were going to follow a literary profession? Was there a particular incident, or moment?
I never knew for sure that I would follow a literary profession. I was twenty-seven or twenty-eight before anything happened that gave me any assurance that I could make a go of writing. I had done a great deal of writing, but I lacked confidence in my ability to put it to good use. I went abroad one summer and on my return to New York found an accumulation of mail at my apartment. I took the letters, unopened, and went to a Childs restaurant on Fourteenth Street, where I ordered dinner and began opening my mail. From one envelope, two or three checks dropped out, from The New Yorker. I suppose they totaled a little under a hundred dollars, but it looked like a fortune to me. I can still remember the feeling that "this was it"—I was a pro at last. It was a good feeling and I enjoyed the meal.
What were those first pieces accepted by The New Yorker? Did you send them in with a covering letter, or through an agent?
They were short sketches—what Ross called "casuals." One, I think, was a piece called "The Swell Steerage," about the then new college cabin class on transatlantic ships. I never submitted a manuscript with a covering letter or through an agent. I used to put my manuscript in the mail, along with a stamped envelope for the rejection. This was a matter of high principle with me: I believed in the doctrine of immaculate rejection. I never used an agent and did not like the looks of a manuscript after an agent got through prettying it up and putting it between covers with brass clips. (I now have an agent for such mysteries as movie rights and foreign translations.)
A large part of all early contributions to The New Yorker arrived uninvited and unexpected. They arrived in the mail or under the arm of people who walked in with them. O'Hara's "Afternoon Delphians" is one example out of hundreds. For a number of years, The New Yorker published an average of fifty new writers a year. Magazines that refuse unsolicited manuscripts strike me as lazy, incurious, self-assured, and self-important. I'm speaking of magazines of general circulation. There may be some justification for a technical journal to limit its list of contributors to persons who are known to be qualified. But if I were a publisher, I wouldn't want to put out a magazine that failed to examine everything that turned up.
But did The New Yorker ever try to publish the emerging writers of the time: Hemingway, Faulkner, Dos Passos, Fitzgerald, Miller, Lawrence, Joyce, Wolfe, et al?
The New Yorker had an interest in publishing any writer that could turn in a good piece. It read everything submitted. Hemingway, Faulkner, and the others were well established and well paid when The New Yorker came on the scene. The magazine would have been glad to publish them, but it didn't have the money to pay them off, and for the most part they didn't submit. They were selling to The Saturday Evening Post and other well-heeled publications, and in general were not inclined to contribute to the small, new, impecunious weekly. Also, some of them, I would guess, did not feel sympathetic to The New Yorker's frivolity. Ross had no great urge to publish the big names; he was far more interested in turning up new and yet undiscovered talent, the Helen Hokinsons and the James Thurbers. We did publish some things by Wolfe—"Only the Dead Know Brooklyn" was one. I believe we published something by Fitzgerald. But Ross didn't waste much time trying to corral "emerged" writers. He was looking for the ones that were found by turning over a stone.
What were the procedures in turning down a manuscript by a New Yorker regular? Was this done by Ross?
The manuscript of a New Yorker regular was turned down in the same manner as was the manuscript of a New Yorker irregular. It was simply rejected, usually by the subeditor who was handling the author in question. Ross did not deal directly with writers and artists, except in the case of a few old friends from an earlier day. He wouldn't even take on Woollcott—regarded him as too difficult and fussy. Ross disliked rejecting pieces, and he disliked firing people—he ducked both tasks whenever he could.
Did feuds threaten the magazine?
Feuds did not threaten The New Yorker. The only feud I recall was the running battle between the editorial department and the advertising department. This was largely a one-sided affair, with the editorial department lobbing an occasional grenade into the enemy's lines just on general principles, to help them remember to stay out of sight. Ross was determined not to allow his magazine to be swayed, in the slightest degree, by the boys in advertising. As far as I know, he succeeded.
When did you first move to New York, and what were some of the things you did before joining The New Yorker? Were you ever a part of the Algonquin group?
After I got out of college, in 1921, I went to work in New York but did not live in New York. I lived at home, with my father and mother in Mount Vernon, and commuted to work. I held three jobs in about seven months—first with the United Press, then with a public relations man named Wheat, then with the American Legion News Service. I disliked them all, and in the spring of 1922 I headed west in a Model T Ford with a college mate, Howard Cushman, to seek my fortune and as a way of getting away from what I disliked. I landed in Seattle six months later, worked there as a reporter on the Times for a year, was fired, shipped to Alaska aboard a freighter, and then returned to New York. It was on my return that I became an advertising man—Frank Seaman & Co., J. H. Newmark. In the mid-twenties, I moved into a two-room apartment at 112 West Thirteenth Street with three other fellows, college mates of mine at Cornell: Burke Dowling Adams, Gustave Stubbs Lobrano, and Mitchell T. Galbreath. The rent was $110 a month. Split four ways it came to $27.50, which I could afford. My friends in those days were the fellows already mentioned. Also, Peter Vischer, Russell Lord, Joel Sayre, Frank Sullivan (he was older and more advanced but I met him and liked him), James Thurber, and others. I was never a part of the Algonquin group. After becoming connected with The New Yorker, I lunched once at the Round Table but didn't care for it and was embarrassed in the presence of the great. I never was well acquainted with Benchley or Broun or Dorothy Parker or Woollcott. I did not know Don Marquis or Ring Lardner, both of whom I greatly admired. I was a younger man.
Were you a voracious reader during your youth?
I was never a voracious reader and, in fact, have done little reading in my life. There are too many other things I would rather do than read. In my youth I read animal stories—William J. Long and Ernest Seton Thompson. I have read a great many books about small boat voyages—they fascinate me even though they usually have no merit. In the twenties, I read the newspaper columns: F.P.A., Christopher Morley, Don Marquis. I tried contributing and had a few things published. (As a child, I was a member of the St. Nicholas League and from that eminence was hurled into the literary life, wearing my silver badge and my gold badge.) My reading habits have not changed over the years, only my eyesight has changed. I don't like being indoors and get out every chance I get. In order to read, one must sit down, usually indoors. I am restless and would rather sail a boat than crack a book. I've never had a very lively literary curiosity, and it has sometimes seemed to me that I am not really a literary fellow at all. Except that I write for a living.
The affinity with nature has been very important to you. This seems a contradiction considering the urbanity of The New Yorker and its early contributions.
There is no contradiction. New York is part of the natural world. I love the city, I love the country, and for the same reasons. The city is part of the country. When I had an apartment on East Forty-eighth Street, my backyard during the migratory season yielded more birds than I ever saw in Maine. I could step out on my porch, spring or fall, and there was the hermit thrush, picking around in McEvoy's yard. Or the white-throated sparrow, the brown thrasher, the jay, the kinglet. John Kieran has recorded the immense variety of flora and fauna within the limits of Greater New York.
But it is not just a question of birds and animals. The urban scene is a spectacle that fascinates me. People are animals, and the city is full of people in strange plumage, defending their territorial rights, digging for their supper.
Although you say you are "not really a literary fellow at all," have you read any books, say in the past ten years, that deeply impressed you?
I admire anybody who has the guts to write anything at all. As for what comes out on paper, I'm not well equipped to speak about it. When I should be reading, I am almost always doing something else. It is a matter of some embarrassment to me that I have never read Joyce and a dozen other writers who have changed the face of literature. But there you are. I picked up Ulysses the other evening, when my eye lit on it, and gave it a go. I stayed with it only for about twenty minutes, then was off and away. It takes more than a genius to keep me reading a book. But when I latch onto a book like They Live by the Wind, by Wendell P. Bradley, I am glued tight to the chair. It is because Bradley wrote about something that has always fascinated (and uplifted) me—sailing. He wrote about it very well, too.
I was deeply impressed by Rachel Carson's Silent Spring. It may well be the book by which the human race will stand or fall. I enjoyed Speak, Memory by Nabokov when I read it—a fine example of remembering.
Do you have a special interest in the other arts?
I have no special interest in any of the other arts. I know nothing of music or of painting or of sculpture or of the dance. I would rather watch the circus or a ball game than ballet.
Can you listen to music, or be otherwise half-distracted when you're working on something?
I never listen to music when I'm working. I haven't that kind of attentiveness, and I wouldn't like it at all. On the other hand, I'm able to work fairly well among ordinary distractions. My house has a living room that is at the core of everything that goes on: it is a passageway to the cellar, to the kitchen, to the closet where the phone lives. There's a lot of traffic. But it's a bright, cheerful room, and I often use it as a room to write in, despite the carnival that is going on all around me. A girl pushing a carpet sweeper under my typewriter table has never annoyed me particularly, nor has it taken my mind off my work, unless the girl was unusually pretty or unusually clumsy. My wife, thank God, has never been protective of me, as, I am told, the wives of some writers are. In consequence, the members of my household never pay the slightest attention to my being a writing man—they make all the noise and fuss they want to. If I get sick of it, I have places I can go. A writer who waits for ideal conditions under which to work will die without putting a word on paper.
Do you have any warm-up exercises to get going?
Delay is natural to a writer. He is like a surfer—he bides his time, waits for the perfect wave on which to ride in. Delay is instinctive with him. He waits for the surge (of emotion? of strength? of courage?) that will carry him along. I have no warm-up exercises, other than to take an occasional drink. I am apt to let something simmer for a while in my mind before trying to put it into words. I walk around, straightening pictures on the wall, rugs on the floor—as though not until everything in the world was lined up and perfectly true could anybody reasonably expect me to set a word down on paper.
You have wondered at Kenneth Roberts's working methods—his stamina and discipline. You said you often went to zoos rather than write. Can you say something of discipline and the writer?
Kenneth Roberts wrote historical novels. He knew just what he wanted to do and where he was going. He rose in the morning and went to work, methodically and industriously. This has not been true of me. The things I have managed to write have been varied and spotty—a mishmash. Except for certain routine chores, I never knew in the morning how the day was going to develop. I was like a hunter, hoping to catch sight of a rabbit. There are two faces to discipline. If a man (who writes) feels like going to a zoo, he should by all means go to a zoo. He might even be lucky, as I once was when I paid a call at the Bronx Zoo and found myself attending the birth of twin fawns. It was a fine sight, and I lost no time writing a piece about it. The other face of discipline is that, zoo or no zoo, diversion or no diversion, in the end a man must sit down and get the words on paper, and against great odds. This takes stamina and resolution. Having got them on paper, he must still have the discipline to discard them if they fail to measure up; he must view them with a jaundiced eye and do the whole thing over as many times as is necessary to achieve excellence, or as close to excellence as he can get. This varies from one time to maybe twenty.
Does the finished product need a gestation period—that is, do you put a finished work away and look at it a month hence?
It depends on what kind of product it is. Many a poem could well use more than nine months. On the other hand, a newspaper report of a fire in a warehouse can't be expected to enjoy a gestation period. When I finished Charlotte's Web, I put it away, feeling that something was wrong. The story had taken me two years to write, working on and off, but I was in no particular hurry. I took another year to rewrite it, and it was a year well spent. If I write something and feel doubtful about it, I soak it away. The passage of time can be a help in evaluating it. But in general, I tend to rush into print, riding a wave of emotion.
Do you revise endlessly? How do you know when something is right? Is perhaps this critical ability the necessary equipment for the writer?
I revise a great deal. I know when something is right because bells begin ringing and lights flash. I'm not at all sure what the "necessary equipment" is for a writer—it seems to vary greatly with the individual. Some writers are equipped with extrasensory perception. Some have a good ear, like O'Hara. Some are equipped with humor—although not nearly as many as think they are. Some are equipped with a massive intellect, like Wilson. Some are prodigious. I do think the ability to evaluate one's own stuff with reasonable accuracy is a helpful piece of equipment. I've known good writers who've had it, and I've known good writers who've not. I've known writers who were utterly convinced that anything at all, if it came from their pen, was the work of genius and as close to being right as anything can be.
In your essay, "An Approach to Style," your first rule for the writer is to place himself in the background. But recently you are quoted as saying: "I am an egoist, inclined to inject myself into almost everything I write." Is this not contradictory?
There is no contradiction. The precept "place yourself in the background" is a useful one. It's true that I paid little attention to it. Neither have a lot of other writers. It all depends on what's going on, and it depends on the nature of the beast. An accomplished reporter usually places himself in the background. An experienced novelist usually does. But certainly nobody would want B. Cory Kilvert, Jr., to place himself in the background—there would be nothing left. As for me, I'm no Kilvert, neither am I a reporter or a novelist. I live by my wits and started at an early age to inject myself into the act, as a clown does in the ring. This is all very well if you can get away with it, but a young writer will find that it is better discipline to stay in the background than to lunge forward on the assumption that his presence is necessary for the success of the occasion.
Since your interest with Strunk on style, have there been any other such books you would recommend?
I'm not familiar with books on style. My role in the revival of Strunk's book was a fluke—just something I took on because I was not doing anything else at the time. It cost me a year out of my life, so little did I know about grammar.
Is style something that can be taught?
I don't think it can be taught. Style results more from what a person is than from what he knows. But there are a few hints that can be thrown out to advantage.
What would these few hints be?
They would be the twenty-one hints I threw out in Chapter V of The Elements of Style. There was nothing new or original about them, but there they are, for all to read.
Thurber said that if there was such a thing as a New Yorker style, possibly it was "playing it down." Would you agree?
I don't agree that there is such a thing as New Yorker style. The magazine has published an enormous volume of stuff, written by a very long and varied roster of contributors. I see not the slightest resemblance between, say, Cheever's style and the style of the late Alva Johnston. I see no resemblance between, say, Thurber's style and the style of Muriel Spark. If sometimes there seems to be a sort of sameness of sound in The New Yorker, it probably can be traced to the magazine's copy desk, which is a marvelous fortress of grammatical exactitude and stylish convention. Commas in The New Yorker fall with the precision of knives in a circus act, outlining the victim. This may sometimes have a slight tendency to make one writer sound a bit like another. But on the whole, New Yorker writers are jealous of their own way of doing things and they are never chivied against their will into doing it some other way.
Do you think media such as television and motion pictures have had any effect on contemporary literary styles?
Television affects the style of children—that I know. I receive letters from children, and many of them begin: "Dear Mr. White, My name is Donna Reynolds." This is the Walter Cronkite gambit, straight out of TV. When I was a child I never started a letter, "My name is Elwyn White." I simply signed my name at the end.
You once wrote that English usage is often "sheer luck, like getting across a street." Could one deduce from this that great writers are also lucky?
No, I don't think so. My remark about the ingredient of luck in English usage merely referred to the bog hole that every writer occasionally steps into. He begins a sentence, gets into the middle of it, and finds there is no way out short of retracing his steps and starting again. That's all I meant about luck in usage.
Could we ask some questions about humor? Is one of the problems that humor is so perishable?
I find difficulty with the word "humor" and with the word "humorist" to peg a writer. I was taken aback, the other day, when I looked in Who's Who to discover Frank Sullivan's birthday and found him described as "humorist." It seemed a wholly inadequate summary of the man. Writing funny pieces is a legitimate form of activity, but the durable humor in literature, I suspect, is not the contrived humor of a funnyman commenting on the news but the sly and almost imperceptible ingredient that sometimes gets into writing. I think of Jane Austen, a deeply humorous woman. I think of Thoreau, a man of some humor along with his bile.
Dorothy Parker said that S. J. Perelman was the only "humorist" around and that he must be pretty lonely.
Perelman is our dean of humor, because he has set such a high standard of writing and has been at it so long. His virtuosity is unchallenged. But he's not the only humorist around. I can't stand the word "humorist" anyway. It does not seem to cover the situation. Perelman is a satirist who writes in a funny way. If you part the bushes, I'm sure you will find somebody skulking there—probably a younger, if not a better, man. I don't know what his name is.
She makes a great distinction between "wit" and "wisecracking." She said that the satirists were the "big boys…. those boys in the other centuries."
I agree that satire is the thing but not that it is the property of "other centuries." We have had Wolcott Gibbs, Russell Maloney, Clarence Day, Ring Lardner, Frank Sullivan, Sid Perelman, and Don Marquis, to mention a few. Satire is a most difficult and subtle form of writing, requiring a kind of natural genius. Any reasonably well-educated person can write in a satirical vein, but try and find one that comes off.
You were also an artist. What did Thurber and the other New Yorker artists think of your drawings and New Yorker covers?
I'm not an artist and never did any drawings for The New Yorker. I did turn in a cover and it was published. I can't draw or paint, but I was sick in bed with tonsillitis or something, and I had nothing to occupy me, but I had a cover idea—of a sea horse wearing a nose bag. I borrowed my son's watercolor set, copied a sea horse from a picture in Webster's dictionary, and managed to produce a cover that was bought. It wasn't much of a thing. I even loused up the whole business finally by printing the word "oats" on the nose bag, lest somebody fail to get the point. I suppose the original of that cover would be a collector's item of a minor sort, since it is my only excursion into the world of art. But I don't know where it is. I gave it to Jed Harris. What he did with it, knows God.
You did write the famous caption for the Carl Rose drawing of a mother saying to her youngster: "It's broccoli, dear"—with his reply: "I say it's spinach, and I say the hell with it." Why do you think it caused so much reaction as to become, as Thurber said, "part of the American language"?
It's hard to say why a certain thing takes hold, as that caption did. The Carl Rose drawing turned up in the office with an entirely different caption—I can't recall what it was, but it had nothing to do with broccoli or spinach. The drawing landed on my desk for recaptioning, and I abandoned the theme of the Rose caption and went off on my own. I can't say why it got into the language. Perhaps it struck a responsive chord with parents who found it true of children, or, more likely, true of what they liked to think a child might say under such circumstances.
Many people have said that your wife, Katharine S. White, was the "intellectual soul" of The New Yorker in the early days, and her enormous influence and contributions have never been recorded adequately.
I have never seen an adequate account of Katharine's role with The New Yorker. Then Mrs. Ernest Angell, she was one of the first editors to be hired, and I can't imagine what would have happened to the magazine if she hadn't turned up. Ross, though something of a genius, had serious gaps. In Katharine, he found someone who filled them in. No two people were ever more different than Mr. Ross and Mrs. Angell; what he lacked, she had; what she lacked, he had. She complemented him in a way that, in retrospect, seems to me to have been indispensable to the survival of the magazine. She was a product of Miss Winsor's and Bryn Mawr. Ross was a high school dropout. She had a natural refinement of manner and speech; Ross mumbled and bellowed and swore. She quickly discovered, in this fumbling and impoverished new weekly, something that fascinated her: its quest for humor, its search for excellence, its involvement with young writers and artists. She enjoyed contact with people; Ross, with certain exceptions, despised it—especially during hours. She was patient and quiet; he was impatient and noisy. Katharine was soon sitting in on art sessions and planning sessions, editing fiction and poetry, cheering and steering authors and artists along the paths they were eager to follow, learning makeup, learning pencil editing, heading the Fiction Department, sharing the personal woes and dilemmas of innumerable contributors and staff people who were in trouble or despair, and, in short, accepting the whole unruly business of a tottering magazine with the warmth and dedication of a broody hen.
I had a bird's-eye view of all this because, in the midst of it, I became her husband. During the day, I saw her in operation at the office. At the end of the day, I watched her bring the whole mess home with her in a cheap and bulging portfolio. The light burned late, our bed was lumpy with page proofs, and our home was alive with laughter and the pervasive spirit of her dedication and her industry. In forty-four years, this dedication has not cooled. It is strong today, although she is out of the running, from age and ill health. Perhaps the nearest thing to an adequate glimpse of her role with the magazine is a collection of books in our upstairs sitting room. They are the published works of the dozens of fiction writers and poets she edited over the years, and their flyleaves are full of words of love and admiration and gratitude. Everyone has a few lucky days in his life. I suspect one of Ross's luckiest was the day a young woman named Mrs. Angell stepped off the elevator, all ready to go to work.
Is there any shifting of gears in writing such children's books as Charlotte's Web and Stuart Little? Do you write to a particular age group?
Anybody who shifts gears when he writes for children is likely to wind up stripping his gears. But I don't want to evade your question. There is a difference between writing for children and for adults. I am lucky, though, as I seldom seem to have my audience in mind when I am at work. It is as though they didn't exist.
Anyone who writes down to children is simply wasting his time. You have to write up, not down. Children are demanding. They are the most attentive, curious, eager, observant, sensitive, quick, and generally congenial readers on earth. They accept, almost without question, anything you present them with, as long as it is presented honestly, fearlessly, and clearly. I handed them, against the advice of experts, a mouse-boy, and they accepted it without a quiver. In Charlotte's Web, I gave them a literate spider, and they took that.
Some writers for children deliberately avoid using words they think a child doesn't know. This emasculates the prose and, I suspect, bores the reader. Children are game for anything. I throw them hard words, and they backhand them over the net. They love words that give them a hard time, provided they are in a context that absorbs their attention. I'm lucky again: my own vocabulary is small, compared to most writers, and I tend to use the short words. So it's no problem for me to write for children. We have a lot in common.
What are your views about the writer's commitment to politics, international affairs? You have written so much (The Wild Flag, etc.) about federal and international issues.
A writer should concern himself with whatever absorbs his fancy, stirs his heart, and unlimbers his typewriter. I feel no obligation to deal with politics. I do feel a responsibility to society because of going into print: a writer has the duty to be good, not lousy; true, not false; lively, not dull; accurate, not full of error. He should tend to lift people up, not lower them down. Writers do not merely reflect and interpret life, they inform and shape life.
For a number of years, I was thinking almost continuously about the needless chaos and cruelty of a world that is essentially parochial, composed of more than a hundred parishes, or nations, each spying on the others, each plotting against the others, each concerned almost solely with its own bailiwick and its own stunt. I wrote some pieces about world government, or "supranational" government. I didn't do it from any sense of commitment, I did it because it was what I felt like writing. Today, although I seldom discuss the theme, I am as convinced as I ever was that our only chance of achieving an orderly world is by constructing a governed world. I regard disarmament as a myth, diplomacy as a necessary evil under present conditions, and absolute sovereignty as something to outgrow.
Can you suggest something about the present state of letters, and, perhaps, the future of letters?
I don't suppose a man who hasn't read Portnoy's Complaint should comment on the present state of letters. In general, I have no objection to permissiveness in writing. Permissiveness, however, lets down the bars for a whole army of non-writers who rush in to say the words, take the profits, and foul up the room. Shocking writing is like murder: the questions the jury must decide are the questions of motive and intent.
In a country such as ours, which has become increasingly enamored of and dependent upon science and technology, what role do you see for the writer?
The writer's role is what it has always been: he is a custodian, a secretary. Science and technology have perhaps deepened his responsibility but not changed it. In "The Ring of Time," I wrote: "As a writing man, or secretary, I have always felt charged with the safekeeping of all unexpected items of worldly or unworldly enchantment, as though I might be held personally responsible if even a small one were to be lost. But it is not easy to communicate anything of this nature."
A writer must reflect and interpret his society, his world; he must also provide inspiration and guidance and challenge. Much writing today strikes me as deprecating, destructive, and angry. There are good reasons for anger, and I have nothing against anger. But I think some writers have lost their sense of proportion, their sense of humor, and their sense of appreciation. I am often mad, but I would hate to be nothing but mad: and I think I would lose what little value I may have as a writer if I were to refuse, as a matter of principle, to accept the warming rays of the sun, and to report them, whenever, and if ever, they happen to strike me. One role of the writer today is to sound the alarm. The environment is disintegrating, the hour is late, and not much is being done. Instead of carting rocks from the moon, we should be carting the feces out of Lake Erie.
How extensive are the journals you have kept and do you hope to publish them? Could you tell us something of their subject matter?
The journals date from about 1917 to about 1930, with a few entries of more recent date. They occupy two-thirds of a whiskey carton. How many words that would be I have no idea, but it would be an awful lot.
The journals are callow, sententious, moralistic, and full of rubbish. They are also hard to ignore. They were written sometimes in longhand, sometimes typed (single spaced). They contain many clippings. Extensive is the word for them. I do not hope to publish them, but I would like to get a little mileage out of them. After so many years, they tend to hold my attention even though they do not excite my admiration. I have already dipped into them on a couple of occasions, to help out on a couple of pieces.
In most respects they are disappointing. Where I would like to discover facts, I find fancy. Where I would like to learn what I did, I learn only what I was thinking. They are loaded with opinion, moral thoughts, quick evaluations, youthful hopes and cares and sorrows. Occasionally, they manage to report something in exquisite honesty and accuracy. This is why I have refrained from burning them. But usually, after reading a couple of pages, I put them aside in disgust and pick up Reverend Robert Francis Kilvert, to see what a good diarist can do.
Faulkner has said of writers, "All of us failed to match our dreams of perfection." Would you put yourself in this category?
Yes. My friend, John McNulty, had a title for a popular song he always intended to write and never did: "Keep your dreams within reason." We both thought this was a very funny idea for a song. I still think it is funny. My dreams have never been kept within reason. I'm glad they've not been. And Faulkner was right—all of us failed.
Could you say what those dreams were?
No. Here I think you are asking me to be specific, or explicit, about something that is essentially vague and inexpressible. Don Marquis said it perfectly:
My heart has followed all my days
Something I cannot name.
What is it, do you think, when you try to write an English sentence at this date, that causes you to "fly into a thousand pieces"? Are you still encouraged (as Ross once wrote you after reading a piece of yours) "to go on"?
It isn't just "at this date"—I've always been unstable under pressure. When I start to write, my mind is apt to race, like a clock from which the pendulum has been removed. I simply can't keep up, with pen or typewriter, and this causes me to break apart. I think there are writers whose thoughts flow in a smooth and orderly fashion, and they can transcribe them on paper without undue emotion or without getting too far behind. I envy them. When you consider that there are a thousand ways to express even the simplest idea, it is no wonder writers are under a great strain. Writers care greatly how a thing is said—it makes all the difference. So they are constantly faced with too many choices and must make too many decisions.
I am still encouraged to go on. I wouldn't know where else to go.


text:
We love products with story and soul. We believe that imperfection is beauty and that a better world is one where everyone is free to choose how to be, whether that's about where they work or what they wear.
Our mission is to inspire consumers to value provenance – to ask of the where and why something is made, and champion alternative production models for textile artisans to expand their economic opportunities.
We truly believe that for rural craft to thrive, we need to build a network that creates access to market, providing products that through good design, stand on their own two feet. Working with a hybrid supply chain model, our artisan members develop unique, heritage-based fabrics that form the limited edition raw material for our pants collections; the garments are produced and finished by a fair factory that has expertise in garment construction and holds fast to international compliance standards.
Our bigger dream is to mainstream textile artisanship, connecting artisans and designers to become a collective that showcases the results of those collaborations.
Each of our supply chain partners are chosen through a set of criteria emphasizing product integrity, community integration, and good business practice. We visit each partner personally and focus on building long term relationships for better market access.
We rely heavily on artisan knowledge and local input to influence our design, creating a collaborative approach that acknowledges this expertise. All designs are a result of hands on dialogue and iteration. We don't see our partners as just producers, but experts of their craft and collaborators.
Ours is a trans-seasonal model with a fixed number of pants styles, where variety occurs in the type of fabric or prints used. Limited product variety enables artisan groups to excel at quality construction, while allowing us to innovate within the fabric medium.
Slow Style – Seasonless Classics
By default, given the principles and seasonality of our artisan production, we cannot partake in the world of fast fashion. We work our model around that, building a business that takes into account this inherent slowness, with seasonless styles and seasonal fabrics, adhering to timeless principles of style rather than runway trends. Styles are tested by time, and are phased out or brought back accordingly.
Slow Production – Quality over Quantity
We knew that we would never be a fashion label, nor had the desire to be, and so we focus on making the best product possible, not the most. We make small changes to each style in our stable of core products based on continual customer feedback – a top stitch here, a revision of an inch there, because we know we can always be better. Pants Parties and continual feedback from our Fieldtesters and passionate customers keep our ear on the ground for how to improve; we know we've got miles to go until we sleep.
Slow Design – Intentionality in Process
The design to product cycle is 6 months in each of our products. The longer design process comes from our inherent design principle of provenance – all prints hail from an existing heritage motif tied to a place and time, with a cultural story of its own. Our work is to retell and translate that story in a way that resonates still with a modern audience. Working collaboratively with artisans where the final print is a result from their feedback and design input also extends the sampling process. Incorporating natural time cycles of printing and weaving of the artisans means having a longer buffer period to take into account serendipities of weather, festivities, and harvest cycles.

subset: commoncrawl


text:
The royal Army officer is on the final leg of his troop leader training. Based at Warminster, Wiltshire, he is learning armoured tactics and taking part in exercises commanding troops.
When he completes the course early next month, the Prince will return to the Household Cavalry Regiment barracks at Windsor.
Eventually, Harry, who holds the rank of Cornet in the Blues and Royals, will take charge of 11 soldiers and four Scimitar tanks. "He is still training at Warminster. He will probably have a few beers in the mess with his mates," one aide said of Harry's plans for his birthday.
Conflict zone
Harry, who has been dating girlfriend Chelsy Davy for some time, is set on seeing action on the front line. He could be serving in a conflict zone by the end of the year, with both Iraq and Afghanistan being touted as possible destinations.
Two Household Cavalry soldiers were killed in Afghanistan last month after being ambushed by the Taliban. The attack happened during a reconnaissance patrol, the job Harry would have to do if he were sent to the region.
Harry, third in line to the throne, was born Prince Henry Charles Albert David at 4.20pm, weighing 6lb 14oz, on September 15, 1984.
- More about:
- Army
- Berkshire, England
- Military
- Reservoirs
- Wiltshire
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text:
More Big Ideas for Small Cities.....Please join us!
We need your suggestions for our upcoming launch of SmallCitiesMovement.com.
CityWorks is ready to serve place-makers and place-making in any way possible. Foremost among its initiatives is the upcoming launch of our new web platform, SmallCitiesMovement.com. This site will be an open and non-commercial effort to freely share powerful ideas for creating positive social change.
The mission of the platform is to identify, elevate, assist, promote, and connect innovative people, places, and projects that have an exponential impact on strengthening towns and cities. While the focus is on municipalities with populations of 100,000 or less, CityWorks recognizes that larger and smaller places have a great deal of experience to share in both directions.
So, we would like your input. CityWorks invites you to share your concepts for making SmallCitiesMovement.com a more powerful tool for sharing information and ideas about place-making in the US and abroad. What would you like it to do?


text:
+33 1 53 890 123
123 Rue du Faubourg Saint Honore Paris 75008 France
Location Centrally located in Paris' 8th arrondissement, it is just a short walk to the splendid boulevard of the Champs Elysées and a vast array of shops and entertainment venues as well as cultural sights are within easy reach. The nearest métro station is 50 m from the hotel and Gare Saint-Lazare lies 1.5 km away, as are various famous Parisian landmarks including the opera house and the Eiffel Tower. The congress centre is 15 minutes away on public transport and Orly and Charles de Gaulle a Facilities The hotel was built in 1889. Guests are welcomed at the accommodation, which has a total of 41 rooms. Most storeys can be reached by lift. Services and facilities at the hotel include a safe, a restaurant, a breakfast room, a bar, room service and a laundry service. Wireless internet access (for a fee) is available to travellers in the public areas. Those arriving in their own vehicles can leave them in the car park of the establishment for a fee. Rooms The hotel features rooms with air conditioning, central heating and a bathroom. A double bed ensures a good night's sleep. A safe and a minibar are also available. Additional features include a mini fridge and a tea/coffee station. An ironing set is also available for guests' convenience. Other features include internet access, a telephone, a TV, a radio and WiFi. A shower and a bathtub can be found in the bathrooms. A hairdryer can also be found in each of the bathrooms. Meals Breakfast can be booked. Payment The following credit cards are accepted at the accommodation: VISA and MasterCard.


text:
Schedule In Some Secrecy
Me: "[Firm]. How can I help you?"
Caller: "Yes I'm calling for [Attorney]."
Me: "Sorry, he is not available."
Caller: "Do you know when he might be available? I have a meeting with him later today."
Me: "Sorry, I can't say when that will be."
Caller: "What, is it a secret?"
Me: "No, I DO NOT KNOW when he will be available."
Caller: "Oh, okay! Thanks, honey."


text:
My daughter and I stayed here the entire month of January due to my son being in the hospital. The staff at the hotel helped to keep us sane, and made our stay the best it could be. Natalie went out of her way to help us find whatever we needed and was always available to translate for us. She was terrific and so was Yaitza who was also always willing to help us out. The hotel was clean, beds were very comfortable, and the only thing missing was a mini fridge. The rest of the staff was also very nice and helpful. There is an ice machine and soda/water machines on the floor and a cafeteria on the bottom floor of the building. The hotel is actually on the 4th floor of the Cardiac hospital and close to Centro Medico. A quick walk will take you to Walgreens, a grocery store, a couple of bars, and a restaurant. (neuronas - good pizza). Although I would not pick to stay here for a vacation as it isn't close to the beaches, for my requirements of being near the hospital, it was perfect. I would also recommend it if you just need to stay somewhere in San Juan for a short stay.
- Reservation Options:
- TripAdvisor is proud to partner with Expedia, Orbitz, Hotwire, Hotels.com, Booking.com, Travelocity, getaroom.com, Cheap Tickets, Cancelon, Priceline, TripOnline SA and HotelQuickly so you can book your Howard Johnson Centro Cardiovascular San Juan reservations with confidence. We help millions of travelers each month to find the perfect hotel for both vacation and business trips, always with the best discounts and special offers.
- Also Known As:
- Howard Johnson Centro Cardiovascular San Juan Hotel San Juan


text:
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Police Respond With Aggression to Wall Street Protests
Posted on Sep 25, 2011
Protesters claim 80 arrests were made Saturday as the occupation of Wall Street by scores of mostly young demonstrators turned violent, with police corralling, wrestling and appearing to pepper-spray participants. The arrests were made near Union Square after demonstrators made an impromptu march up Broadway in Lower Manhattan. The action can be seen in videos cropping up on YouTube.
WNYC radio reported that the arrests were mostly for "disorderly conduct, obstructing vehicular and pedestrian traffic, resisting arrest and, in one case, assaulting a police officer, the police said."
In response to the aggressive tactics used by police, organizers of the protest on their website Sunday demanded the arrest of one officer and the resignation of Police Commissioner Raymond W. Kelly. —ARK
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By Jason Pacifico, September 27, 2011 at 8:33 am Link to this comment
The protestors should move the protest to the New York Times building at 620 Eighth Avenue (between 40th and 41st), and hang the Nobel Prize economist Paul Krugman in effagy, who defends, justifies and narrativly "economizes" this system. A better "demonstration" demonstrably then the one in Michael Moore movie "Capitalism a Love Story."
By KP, September 26, 2011 at 8:20 pm Link to this comment
Anarcissie, John R, David, Gabriel—like I asked Steve—help us understand—how do you afford time away from work to protest in the streets? Is your home or rental at risk? Do you have student loans? Does your wife or significant other miss you? How do you feed your children? Please expalin so that you can help us find the courage to leave our students, our jobs, our patients, our wives and children, default on loans and jepordize careers in order to assist you.
By David, September 26, 2011 at 7:29 am Link to this comment
Few poeple, (especially the police) realize that the Police salaries are paid for by the very people that are protesting, and not the Corporate Banksters who pass on any taxes from doing buisness to the consumer. Banks do not pay taxes,.their customers do,..you know the people with the signs that are walking up the street are the folks who feed the Poilce officers family. Financial Speculation Taxes (FST's) are often never collected or are passed on to the consumer. http://www.truth-out.org/why-dont-deficit-hawks-want-tax-wall-street/1317044046
By KP, September 25, 2011 at 6:15 pm Link to this comment
@ Steve E—help us understand—how do you afford time away from work to protest in the streets? Is your home at risk? Do you have student loans? Does your wife or significant other miss you? How do you feed your children? Please expalin so that we can find the courage to leave our students, our patients, our wives and children, default on loans and jepordize careers in order to assist you.
By DeyNische, September 25, 2011 at 3:39 pm Link to this comment
@ Robespierre115
The vague demands are a concern for me too, but it's nonetheless a unifying peaceful fight against those who are using monies to shape the political weather which should actually belong to the peoples.
I feel that if they became too specific, then they wouldn't be 99%. The vagueness is on purpose. Without it, somebody in power will find a way to utilize the protest for a purpose other than for the people who struggle day to day with a never ending pile of bills.
By vcubed, September 25, 2011 at 3:38 pm Link to this comment
No matter what government we overthrow or put in place, if in the end, all cater
Occupying Wall St is brilliant, it gets to the heart of the beast. My fears are: That
Either way, nothing beats a failure but a try, and to believe even the most
In the end, democracy works only as well as its people keep working for it. We
By expat, September 25, 2011 at 1:04 pm Link to this comment
How anyone can claim ameriKa as as anything remotely resembling a free country is beyond me… thru this and many other examples, i.e death sentence if you're black and evidence is sketchy, free pass to rape if you're jewish strauss kahn and the evidence is solid, etc, etc…
this is tyranny pure and simple, you don't have the right to protest the icon of vulture capitalism.
so-called elections are completely rigged and mean nothing…
Refreshing Jefferson's Tree of Liberty.
no mercy for the vermin nor the pigs.
treason to the ideals of Liberty is worthy of nothing but death.
Right Skyscraper, Site Wide
Right Internal Skyscraper, Site wide


text:
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text:
Biological aspects of Cuvier's beaked whale (Ziphius cavirostris) recorded in the Croatian part of the Adriatic Sea
- First Online:
- Received:
- Accepted:
DOI: 10.1007/s10344-006-0032-8
- Cite this article as:
- Gomerči, H., Ðuras Gomerči, M., Gomerči, T. et al. Eur J Wildl Res (2006) 52: 182. doi:10.1007/s10344-006-0032-8
- Citations
- 116 Downloads
The paper describes two stranded ziphiids from Croatia: a subadult female (length 430 cm, body mass 610 kg) that was stranded in 2001 and an adult male (length 510 cm, body mass ∼1,000 kg) that was stranded in 2002. Both were confirmed to be Cuvier's beaked whales (Ziphius cavirostris Cuvier, 1823) from analysis of mitochondrial DNA sequences and osteological features. There are no previous records of Cuvier's beaked whales from the Croatian part of the Adriatic. The external shape of the head of the female specimen appears to be significantly different from the heads of Cuvier's beaked whales from other seas. The Croatian specimen exhibited embedded pieces of gravel in the gum tissue around the tip of the lower and upper jaws, which was observed for the first time in a Cuvier's beaked whale. The presence of the female in shallow coastal waters for several weeks and her boat-positive behaviour are apparently also first records of this kind for the species. The female was found to have ingested several plastic bags which likely caused her death. These are the northernmost findings of this species in the Adriatic Sea.


text:
please forgive me
Please forgive me.
I know you say I have nothing to be sorry for,
but I can't stop apologizing.
Please forgive me.
I'm sorry I'm so clingy,
I stick to you like a kindergartener's fingers
smeared with glue,
I don't mean to burden you
it's just since I met you,
I lost myself in your eyes
and I've been trying to find my other half
hidden in your smile.
Please forgive me.
I know I make mistakes.
My moods swing like a roller coaster
and I cling to you to keep me on
when you long to get off
and walk,
"let's look at the stars,"
you say, but I'm too tired, too far away,
and so you take your time to take me home
and make sure I'm okay.
Please forgive me.
For all the nights I kept you awake
afraid that I wouldn't be there the next day,
for all the times I pushed too far
and broke your beautiful heart.
Please forgive me.
Because I've been wandering around in the dark
and you have become my North star,
a constant, no matter where we are.
And I'm sorry.
I'm sorry I keep saying I'm sorry
but I want you to know it's more than just an apology.
It stems from the tips of my toes,
the bottom of my soul,
all the way to the eyelashes I butterfly kiss you with.
Because the truth is,
I've never been loved like this before,
and I'm terrified I'll ruin it
so you won't come back anymore.
So please forgive these tears,
they can't cease their flow,
because being without you,
is being without the only thing I know.


text:
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text: ESL Assessment K-12 Janet L. Pierce, Ph.D. ESL Teacher, ELL Coordinator Franklin Regional School District Background Why assessment for ESLState and federal requirementbased on information in the student's record- Home Language Survey, if a student speaks more than one language at home they must be screened to check English proficiency 2 Basic Education Circulars (BECS) Educating Students With Limited English Proficiency (LEP) and English Language Learners (ELL) 22 Pa. Code §4.26 DATE OF ISSUE: July 1, 2001 The school district/charter school must administer a home language survey (HLS) to all students as required by the Office for Civil Rights (OCR). The results of that survey must be retained in the student's permanent folder. For those students whose primary language is other than English (PHLOTE), the district must also determine the student's English language proficiency. Then, ESL instruction at the appropriate level must be provided for the limited English proficient student with local/state funds. 3 More reasons why we assess It helps instruction- you can adapt instruction based on the English level needs of the students considered ELLs You exit ELLs according to stringent state requirements 4 Exit Criteria In order to meet the required state exit criteria for Pennsylvania's English language instructional programs for ELLs, LEAs (ex. Franklin Regional School District) must use both of the required exit criteria listed below. In addition, LEAs (Franklin Regional School District) must ensure that students meet one of the two additional exit criteria provided below to exit from an English language instructional program: 5 Required Exit Criteria: Score of Basic on the annual Pennsylvania System of School Assessment (PSSA). SPECIAL CIRCUMSTANCES: * For students transferring from other states, out-of-state academic achievement assessment results may be considered when the academic proficiency level is comparable to Basic on the PSSA. * For students that are in a grade that is not assessed with the PSSA, LEA's must use each of the remaining criteria listed below to exit students. Score of Proficient (Bridging as per the Pennsylvania Language Proficiency Standards for English Language Learners) in the areas of Listening, Speaking, Reading and Writing on the annual state English language proficiency assessment. The Proficient (Bridging) score will be based on the total composite assessment results of all 4 learning domains on the state test. 6 Additional Exit Criteria: Final grades of C or better in core subject areas (Mathematics, Language Arts, Science and Social Studies). Scores on district-wide assessments that are comparable to the Basic performance level on the PSSA. 7 The state test is the ACCESS for ELLs. Test results must be taken from (c) tier assignment and proficiency score requirements for exit from English language instructional programs: Composite Proficiency Scores ACCESS proficiency scores, as presented on the teacher report, consist of a whole number followed by a decimal. The whole number indicates the student's proficiency level (1.0 = Entering, 5.0 = Bridging). The decimal, ranging from 1-9, represents the progress within the proficiency level that the student achieved. For example, 4.0 is the lowest score in the Expanding proficiency level, while 4.9 is the highest score before a student progresses into the Bridging proficiency level. 8 ACCESS Tiers and scoring caps The ACCESS assessment is broken into three tiers (A, B or C) at each grade level cluster. Scores for the Tier A assessments are capped at 4.0. Scores for the Tier B assessments are capped at 5.0. The Tier C assessment is the only assessment on which a student can achieve a score from 1.0 to 6.0. 9 ACCESS criteria for exit For the 2006-2007 school year, a student with a composite score of 5.0 on a Tier B assessment or 5.0 or higher on a Tier C assessment may be exited after meeting the other PA exit criteria previously described. For subsequent years, only scores above 5.0 on a Tier C assessment will be acceptable for exit. 10 Kindergarten The maximum overall composite language proficiency score that a student taking the Kindergarten form of ACCESS can receive is 3.7. To be considered for exit, a kindergarten student must, at a minimum: * have an oral language score of 3.8. * have a composite proficiency score of 2.7. Beginning in the 2007-2008 school year, the ACCESS kindergarten assessment score range will be 1.0 to 6.0 and the same exit criteria as all other grade level clusters will apply. 11 IDEA Language Proficiency Tests (IPT) - English The IDEA Proficiency Tests were designed to evaluate proficiency in English for children from the age of 3 years through the 12th grade. The Reading/Writing test may be given independently of the Oral test, but both tests would be needed for an overall assessment of language ability. The Oral Proficiency tests of English were designed to determine the proficiency level of students who are native speakers of other languages and who are being considered for placement in Limited English Proficient programs. These tests are administered individually using an easelstyle book with pictures which correspond to test questions. The domains tested are Syntax, Morphological Structure, Lexical Items, Phonological Structure, Comprehension, and Oral Production. 12 More about the IPT Examinees continue progressing through levels of difficulty until they reach their proficiency ceiling. The resulting classifications are Non-, Limited, or Fluent English-Speaking. There are three levels of the Oral tests: The Pre-IPT (ages 3-5); The IPT 1 (K-6); and the IPT 2 (grades 7-12). The Pre-IPT has a Spanish version which should be used to assess the oral Spanish language proficiency of pre-school children whose first language is Spanish. The Reading and Writing tests in English are used to assess the reading and writing skills of children with other native languages for placement purposes. 13 The IPT continued These Reading tests include multiple-choice items in several domains: 1) Vocabulary, in which one of four words is chosen to describe a picture, 2) Vocabulary in Context, in which one of four words is chosen to complete a sentence, 3) Reading and Understanding, in which a prose passage is followed by related comprehension questions like those in Vocabulary in Context, 4) Reading for Life Skills, which has the same format as Reading and Understanding, but uses product labels, street signs, and popular print , and 5) Language Usage which emphasizes grammar and punctuation used in writing. Scoring may be done by hand or by machine. 14 The IPT continued The Writing tests have three sections: 1) Conventions, in which a multiple-choice sentence completion task tests knowledge in writing conventions like capitalization, punctuation, and abbreviations, 2) Write a Story, in which the examinee writes a few sentences to describe a picture story, and 3) Write Your Own Story, in which the examinee writes a brief argumentative essay or a short narrative paragraph, depending on the level. 15 Levels of the IPT Examinees taking both the Reading and the Writing test may be given either the Language Usage portion of the Reading test or the Conventions portion of the Writing test, but not both. The Reading/Writing tests have three levels: The IPT 1 (grades 2,3), the IPT 2 (grades 4-6), and the IPT 3 (grades 7-12). Scoring of the writing samples is done using a set of rubrics and examples of student writing for each level of scoring. Norming studies and estimates of reliability and validity are available for all of the tests. 16 But what about the State test? The Pennsylvania Department of Education has the W-APT for entry/screening for students OR districts may use other tests for entry/screening purposes. Once students are in the ESL program, they can only exit using the state test, the ACCESS test and other criteria. 17 ACCESS as exit tool NOW PDE has adopted the ACCESS test as the exit/screening tool for ELL progress. It is given mid-year. Check out this site. http://www.wida.us/assessment/ACCESS.a spx You may wonder what tests will work best as a screening tool for your district? Create an evaluation checklist to help you decide. 18 To evaluate Assessment tools It is important to create a checklist to assist with the selection of an English language proficiency test. The items on the checklist should parallel the categories used to describe each test. Information about the test purpose, its method of administration, the cost, the time it takes to administer the test and so forth should be considered and rated for each of the 4 language modalities (listening, speaking, reading, and writing). Be sure to make a column for an overall rating as well. This checklist can be used for rating any language proficiency test or assessment. Some tests will not assess all 4 language modalities in which case you will check rate only the modality columns on the checklist appropriate for that test. Use the checklist as you review the "examination" kit for any test. Most test publishers will allow a 30 day examination period free of charge. Simply contact the publisher and ask them for a test examination kit. 19 Are there other assessments? YES! Teacher created regular assessments such as quizzes, tests, projects based on rubrics Textbook assessments Grades, progress reports Provide multiple ways to assess in line with student strengths and rubrics to help student know what is expected of them along the way. Check out this site for a multitude of tests and information on assessments: http://www.nifl.gov/readingprofiles/index.ht m 20 ESL Assessment for K-12 Complex Essential Creative Varied Authentic 21


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Give Your Kids A Great Time With The Jumping Castles
Bounce homes make the perfect birthday items so far as toddlers are concerned. However our merchandise don't simply stop at jumping castles... now we have amusement rides too! But our prevois gathering we go to the Moonbounce rental Raleigh in nc for renting their humorous material s that suit to the party. But this new Phillip Marlowe infuses Fortress with the right click combination of wit, mystery, and comedic aid. Purchase a big castle with a slide (16ft x 14 ft) and two with no slide (14ft x 12ft). Purchase Leaping Castles Online , and get a perfect estimate of what you are spending and on what precisely, whether color or dimension.
The other factor to remember, of course, is that if you are planning on saving cash and buying your individual bouncy fortress for a birthday celebration rather than hiring, is that should a baby have an accident you are not going to be insured. The popularity of jumping citadel hire he has a good point has grown immensely and there's no child's party full without one to entertain the kids and maintain them completely satisfied and contented and away from bother. The reason being apparent as the inflatable castles symbolize their ever beautiful desires.
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There is nothing just like the sight and sound of kids leaping, shrieking and bouncing in a themed jumping castle to generate birthday party pleasure and create wonderful recollections. There were a few click over here Spongebob Castles available from other suppliers however nothing that integrated a slide which is one thing that turns an excellent bouncy fortress right into a unbelievable bouncy castle.


text:
Relay For Life Leadership Chair
39.100887, -94.59146)
Cause Areas
WhenMon Dec 05, 2016 - Fri Jun 23, 2017
Where1100 Pennsylvania AvenueKansas City, MO 64105
We are looking for passionate individuals who want to help us in the fight against cancer! We have leadership positions available to help us plan our 2017 Relay For Life in Jackson County. Many different fun positions include Activities Chair, Sponsorship Chair, Ceremonies Lead and many more! Please email firstname.lastname@example.com if you would like to get involved with the American Cancer Society!
- Donor Management
- Business Development & Sales Management
- Fundraising
- Brand Development & Messaging
- Sales Marketing
- Community Outreach
Good Match For
Requirements & Commitment
- 1-2 hours per month


text:
All your recently viewed properties will be listed here
Your History of properties viewed will be accessible from anywhere on the website.
Jaise Delaney - Sales Specialist
E: email@example.com | M: 0424 187 786
My Listings
Download vCard
Jaise started with Professionals Bathurst in early 2007 in a Sales Support role. In his time with Professionals Bathurst Jaise has had numerous roles with-in the office from Senior Property Manager, Business Manager & Advertising Manager. Since that time Jaise has moved into a 'Sales Specialist' role and is enjoying the challenges that are coming with it. In May 2014 Jaise completed his 'CERTIFICATE IV IN PROPERTY SERVICES'. When he isn't at work, Jaise enjoys playing Golf, Basketball, Soccer and keeping fit. With 8 years experience in the real estate Industry Jaise has a passion for real estate and building relationships with new clients, and he is driven and focused to become one of the leading professionals in the region.


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Maureen Holloway –
Jay Leno is getting the last laugh … The former Tonight Show Host will receive the Kennedy Center's 2014 Mark Twain Prize for American Humor. Leno, who's 64, hosted the "The Tonight Show" for 22 years (minus 6 months) , so he deserves the prize for longevity, if nothing else.
"What an honor!" Leno said in a statement. "I'm a big fan of Mark Twain's. In fact, 'A Tale of Two Cities' is one of my favourite books". You see? "A Tale of Two Cities" was written by Charles Dickens. That Leno. As funny as a barrel of anthrax.
The Twain has been awarded 17 times to the likes of Carol Burnett, Ellen DeGeneres, Tina Fey, Steve Martin and Will Ferrell. Leno will collect his prizeOct. 19, with a national broadcast on PBS Nov. 23.
Speaking of not that funny, Joan Rivers has a new book out and it's nasty. In "Diary of a Mad Diva", the 81 year old comedienne goes to town on almost every female performer in Hollywood.
She calls Girls creator Lena Dunham the "first fat girl naked on television". She refers to Tyra Banks as a narcissistic loser, says Jennifer Ansiton has been dumped by every man in Hollywood, and says things about Taylor Swift and Miley Cyrus that can't even be repeated. Joan Rivers used to be mildly amusing. Now she's Mean old Lady Hickenlooper.
Your daily dose of Mo with the Last Word – 06/19/14


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|Message view
|« Date » · « Thread »
|« Date » · « Thread »
|"Will Hartung" <wi...@msoft.com>
|Re: [OT]JSP defense - can you point me in the right direction
|Thu, 06 Feb 2003 17:42:37 GMT
> From: "Denise Mangano" <email@example.com> > Sent: Thursday, February 06, 2003 8:49 AM > Subject: RE: [OT]JSP defense - can you point me in the right direction > More importantly, they are not 'validating' their choice of CGI, they are > just opting for the quickest and easiest solution. And the only reason why > they suggested it in the first place is because one member mentioned already > having some working examples of forms using CGI, but this member is working > on the DB... not the site. Honestly if they could defend their decision as > well as the list defends NOT using CGI, then there would be cause for > discussion. If this project wasn't a great opportunity for me, I wouldn't > otherwise want to be involved with this team. So I stick to my original > plan of being 'anti-CGI' and will explore the number of solutions that the > list has provided and present them with all the "evidence" and hopefully > open their eyes :) They're suffering from myopia. What they see is not CGI. What they see is "Sam is half way done, so we want to continue on this path". The problem, of course, is simply that Sam is not half way done. He's not even close. He has a model built from popsicle sticks and rubber cement. Unfortuneately, the Powers That Be cannot discern this model from the final application. So, they take this popsicle stick model to the gorge, see that it goes half way across and say "That looks like a bridge to us, let's finish this one!". All fine and dandy until the trucks come to cross or the gorge floods. They need to be convinced that they have a rough prototype, a stab at proving some basic technologies, or perhaps work flow. A nice sketch. Did it ever occur to them that these CGIs were used as a tool to simply validate the schema the DB folks were using? The tenet "Write it once, throw it away and write again" comes to play here. Convince them that there are wonderful lessons to be learned from this effort, but it should not be a foundation for the final application. Once they're convinced that they have gained all they can from the system they think they have, then they'll be much more likely to be willing to toss it out and start fresh. Regards, Will Hartung (email@example.com) --------------------------------------------------------------------- To unsubscribe, e-mail: firstname.lastname@example.com For additional commands, e-mail: firstname.lastname@example.com
|View raw message


text: BEIJING, Nov. 4, 2013 /PRNewswire/ -- iSoftStone Holdings Limited ("iSoftStone" or "the Company," NYSE: ISS), a leading China-based IT services provider, today announced that the independent committee of its board of directors (the "Independent Committee") has received a revised offer (the "Offer"), dated November 2, 2013, from a consortium (the "Consortium") consisting of (i) Mr. Tianwen Liu, the chief executive officer and the chairman of the board of directors of the Company, (ii) ChinaAMC Capital Management Limited ("ChinaAMC"), an alternative investment platform and an affiliate of China Asset Management ( Hong Kong) Limited, and (iii) Accurate Global Limited, Advance Orient Limited and CSOF Technology Investments Limited, to acquire all of the Company's outstanding ordinary shares not currently owned by the Consortium for $0.545 per ordinary share or $5.45 per American depositary share ("ADS," each representing ten ordinary shares of the Company) in cash (the "Transaction"), subject to certain conditions. The Offer adjusted down the proposed price of $0.585 per ordinary share or $5.85 per ADS in the non-binding proposal received by the Company's board of directors from Mr. Liu and ChinaAMC on June 6, 2013. A copy of the Offer is attached hereto as Exhibit A. The Independent Committee, which was formed to consider the proposed Transaction and any potential alternative transactions involving the Company, with assistance from its financial and legal advisors, is in the process of evaluating the Offer and any alternative proposals it may receive. The Independent Committee cautions the Company's shareholders that no decision has been made by the Independent Committee or the Company's board of directors with respect to the Company's response to the Offer and there can be no assurance that any agreement will be executed or that this or any other transaction will be approved or consummated.


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- Description
Prepare yourself for the time of your life with this miniature nano quadcopter! It is one of the highly recommended mini quadcopters for all levels of pilots! Don't let its' small size fool you! The CX10 features an adjustable 6-Axis Gyro, flip function, and is one of the easiest mini quadcopters to fly!Includes
Main Rotor Diameter: 2.9cm
Speed Control: Integrated
Required Radio: 4Channel
Frequency: 2.4G
Flight Time: Approx. 4-8 minutes
Charging Time: About 30-40 minutes
Battery: Rechargeable 3.7V 100mAh Lithium Battery
Transmitter Battery: 2 x 1.5V AAA Batteries (Not Included)
Control Distance: About 40 meters
Body Material: ABS Plastic
Mini UFO QuadCopterDimensions
USB Cable
2 Main Blades
User Manual
Dimensions: (4.2 x 4.2 x 2)cm
More from this collection: Toy
- Additional Information
Additional Information
SKU 26400010 MPN CX10 Orange GTIN N/A Brand AZ Trading And Import Collection Toy Assemble Length No Assemble Width No Assemble Height No Assembly Required Yes Material Plastic Finish Orange Shipping Time 1-2 Weeks Free Shipping Yes
- Reviews


text:
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text:
ED Magedson – Founder
Ripoff Report
Skywest AirlinesDenver International Airport Denver, Colorado U.S.A.
Does your business have a bad reputation?
Fix it the right way.
Corporate Advocacy Program™
This report was posted on Ripoff Report on 06/29/2009 02:36 PM and is a permanent record located here: http://www.ripoffreport.com/reports/skywest-airlines/denver-colorado/skywest-airlines-the-denver-branch-of-skywest-is-a-terrible-place-to-work-denver-colorado-466070. The posting time indicated is Arizona local time. Arizona does not observe daylight savings so the post time may be Mountain or Pacific depending on the time of year.
Ripoff Report has an exclusive license to this report. It may not be copied without the written permission of Ripoff Report. READ: Foreign websites steal our content
Click Here to read other Ripoff Reports on Skywest Airlines
If you would like to see more Rip-off Reports on this company/individual, search here:Search Tips
In order to assure the best results in your search:
#1 UPDATE EX-employee responds
this is false this is not Denver SkyWest
SUBMITTED: Tuesday, March 18, 2014POSTED: Tuesday, March 18, 2014
Skywest employee for 18 months, who had to quit to take care of his father, can tell you that this information is false.
There are no Denver - CS and ramp managers or supervisors who do any of what is alleged.
Then when the person just tosses in flight benefits as a good thing, it just makes the complaint even worse (for example, yeah the flight benefits are good, if you can overcome these horrible managers).
This is false; it harasses and misrepresents the corporation - a good one at that!
Howard Safran
Are you an owner, employee or ex-employee with either negative or positive information about the company or individual, or can you provide "insider information" on this company?
#2 UPDATE Employee
SUBMITTED: Thursday, January 07, 2010POSTED: Thursday, January 07, 2010
I am an employee and hopefully will find greener pastures soon... your comment speaks the truth. SkyWest is very devious.
Are you an owner, employee or ex-employee with either negative or positive information about the company or individual, or can you provide "insider information" on this company?
Advertisers above have met our
strict standards for business conduct.


text:
kategail Review
Super Cute Case
I love my new kindle fire and this super cute pink case. My only small critique would be that it smells a little funny but it wears off in time. I also love folding it so I can watch a movie without holding it. :)
- How did the image on site compare with the actual product? exact match
- Was the product free of any manufacturer defects? yes
- Please tell us about the quality of the product. great quality
Was This Review Helpful?


text:
137 Douglas Fir Drive Waleska, GA 30183
- Listing Status Active
- Neighborhood Lake Arrowhead
- County Cherokee
- Sale Type Normal sale
Enjoy the Lake Arrowhead Lifestyle in One of North Georgia's Premier Lake/Golf/Mountain Communities - Buy Now, Build Later. Across the Street from the Lake with Great Lake Views. Easy Access to the North Gate. Exceptional Amenities include Private 540-Acre Crystal Clear Lake Arrowhead for boating and skiing; Lighted Tennis Courts; Two Swimming Pools; 40-Acre Great Festival Park with Playground, Event Lawn, Pool, Beach Volley Ball, and Basketball Courts; Clubhouse with Restaurant and Golf Pro-Shop; 18-Hole Golf Course; and Miles of Hiking Trails.
- Listing Status Active
- Neighborhood Lake Arrowhead
- County Cherokee
- Sale Type Normal sale
- Elementary R.M. Moore
- Middle Teasley
- High Cherokee
- Kitchen
- Appliances
- Bedrooms
- Master Bath
- Dining Room
- Fireplaces
- Laundry
- Rooms
- Basement
- Pool
- Lot 91X213X100X255
- Disability Access
Other Information
- Interior
- Exterior
- Construction
- Green Building Certifications
- Heating
- Cooling
- Energy Features
- Home Warranty
- Setting Lake, Golf, Mountain
- Amenities Clubhouse, Lake, Swimming Pool, Security, Gated, Restaurant, Tennis Lighted, Golf
- Neighborhood Amenities
- Parking
Waterfront Features
- Lake Name Arrowhead
- Waterfront Footage 0
- Boathouse
- Dock None
Legal/Financial Information
- Taxes $59 (2014)
- Special Circumstances None
- Association Fee Includes Swim/Tennis
- Association Fee Includes
Listing provided courtesy of null. Listings identified with the FMLS logo come from FMLS, are held by brokerage firms other than the owner of this website and the listing brokerage is identified in any listing details. Information is deemed reliable but is not guaranteed. ©2017 First Multiple Listing Service, Inc.
Look Promising?
Want to schedule a showing? Have any questions? We're experts and ready to help!
Call us anytime at 404-965-4080


text:
Photos: 2014 Rockefeller Center Tree Lighting
Thousands celebrated in the heart of Manhattan on Wednesday night as they watched the lighting of the 85-foot-tall Christmas tree in Rockefe…
Thousands celebrated in the heart of Manhattan on Wednesday night as they watched the lighting of the 85-foot-tall Christmas tree in Rockefe…
The animals died late last month from the highly fatal virus likely contracted by eating an infected mouse or mouse urine.
Washburn Rural golfer Sam Mitchell signed to play at Baker University.
Emporia State split Wednesday's MIAA Conference opener against NW Missouri at White Auditorium.
Shooting under investigation by multiple agencies
A number of eyebrows have been raised recently at a new course of study at the University of Kansas.
Student protests culminate with vigil on campus Friday night.
Bill passes with large, bi-partisan support.
Arrested on suspicion of being a felon in possession of a firearm after authorities determined his wound was self-inflicted.
Luke Hochevar signed a two-year contract to remain with the Kansas City Royals.
Investigators say three dogs were unable to escape the home and died in the fire.
Pregnant women are about to get easier-to-understand information on how safe their medicine is for baby.
The Shawnee County Health Agency has staff certified to assist in navigating the process, and one on one appointments may be scheduled by ca…
The car was one of eight classic and historic Corvettes extracted from the sinkhole in the floor of the National Corvette Museum in Bowling …
Wages haven't rebounded fully from the recession when adjusted for inflation.
This year's theme for the White House decorations is "a children's winter wonderland."
KU volleyball freshman Addie Barry will get to play in front of her friends and family in Topeka.
A woman has lunged at a man charged with kidnapping, raping and killing an 8-year-old Topeka girl during his capital murder trial.


text:
Published every weekday, the Switchboard highlights five tech policy stories you need to read.
U.S. secretly created 'Cuban Twitter' to stir unrest. "When the network reached a critical mass of subscribers, perhaps hundreds of thousands, operators would introduce political content aimed at inspiring Cubans to organize 'smart mobs,'" according to the Associated Press, "mass gatherings called at a moment's notice that might trigger a Cuban Spring, or, as one USAID document put it, 'renegotiate the balance of power between the state and society.'"
Yahoo now encrypting traffic from its data centers, and plans to encrypt Messenger too. "In a meeting with reporters today, [Yahoo chief information security officer Alex] Stamos — who joined Yahoo three weeks ago — did not specifically call out the National Security Agency by name, but made it clear that revelations about NSA spying led directly to Yahoo's move toward more encryption," according to the Verge.
Computer companies back Aereo. "The Computer & Communications Industry Association (Google, Microsoft, Yahoo!) and Mozilla tell the Supreme Court that if it finds against Aereo, it would threaten cloud computing," according to Multichannel News.
EU Parliament votes to end roaming fees by 2016, protect 'net neutrality.' "The European Parliament voted overwhelmingly in favor of ending mobile phone roaming fees on Thursday," Reuters reports, "a move that will cheer Europe's consumers even as it frustrates telecoms companies."
Government plan to adopt ODF file format sparks standards debate in UK. "The U.K. is moving to a system where citizens can exchange information with the government digitally by default," writes Computerworld, "but in choosing the file formats to use for that exchange, it must balance corporate interests with those of citizens."


text:
Hotel International
Select your stay dates to check availability at Hotel International
Hotel International
About the Hotel
Property Location
With a stay at Hotel International, you'll be centrally located in Crikvenica, steps from Bronze Fisherman Statue and Crikvenica Town Museum. This hotel is within close proximity of Crikvenica Aquarium and Church of St. Anthony of Padua.
Make yourself at home in one of the 53 guestrooms. Complimentary wireless Internet access is available to keep you connected. Private bathrooms with showers feature complimentary toiletries and hair dryers. Conveniences include phones and desks, and housekeeping is provided daily.
Try your luck at the casino and enjoy other recreational amenities, which include a nightclub. Additional amenities at this hotel include complimentary wireless Internet access, gift shops/newsstands, and a hair salon.
You can enjoy a meal at a restaurant serving the guests of Hotel International, or find a snack in a coffee shop/café. Quench your thirst with your favorite drink at a bar/lounge.
Business, Other Amenities
Featured amenities include luggage storage, a safe deposit box at the front desk, and an elevator (lift).
Hotel Facilities
- Terrace
- Bar/lounge
- Safe-deposit box at front desk
- Number of floors - 3
- Breakfast available (surcharge)
- Restaurant
- Luggage storage
- Total number of rooms - 53
- One meeting room
- Hair salon
- Television in common areas
- Coffee shop or café
- Free WiFi
- Year Built 1964
- Casino
- Tours/ticket assistance
- Elevator/lift
- Nightclub
- Gift shops or newsstand
Room Facilities
- Phone
- Desk
- Free toiletries
- Shower only
- Free WiFi
- Hair dryer (on request)
- Daily housekeeping
- Rollaway/extra beds (surcharge)
- Private bathroom
Hotel Policy
The following fees and deposits are charged by the property at time of service, check-in, or check-out.
- Rollaway beds are available for an additional fee
The above list may not be comprehensive. Fees and deposits may not include tax and are subject to change.Show all hotel policy Show less hotel policy


text:
Riu Sparreise Negril
No prices found through our partners. Please contact the business directly or check some of our recommended alternatives.
Travel Blogs from Negril
The Truth
... afternoon and twelve attempts but by days end we were successful. My buddy Dave and I with the chemist had developed a cure to shoppers boredom. That I was now sick as a dog and spent the next 36 hours hugging the toilet is inconsequential compared to what we accomplished for mankind. The next day while nursing a horrific headache and running to the ...
... time I'm catching and Lily can climb. We ended the day watching the rain from a house atop the mountain and eating great jerk chicken from a hole in the wall restaurant watching the sun set over the beach. As luck would have it I found the best looking gal on the island to spend the day ...
We arrived!
Got off the plane at Montego Bay. They drive on the left here, but I had a few drinks at the airport and enjoyed the drive. Our resort seems nice, but so far we've only seen the bar. But that is the second most important room! I've attached a picture of our room. Lily wants to be on top the whole week. We spent the evening at margaritaville good dancing but hip-hop and we wanted reggae or calypso. Maybe ...
Our awesome vacation at Couples Swept Away Negril
... and play? You either make your own party, or call it a night!
Talent night was good considering it was mainly the staff members, who tried hard, and did their best to entertain the dinner crowd. They worked hard and you could tell they were enjoying themselves, especially Shelly and Omar! Don't go expecting to see Beyonce or Celine Dion, and you won't be disappointed.
Honorable mention - I cannot remember the guest name who performed ...
Welcome to Jamaica
... are gone, and the spring break students have taken their place. The main attraction of Negril is its uninterrupted 7 miles of beach, with soft white sand, low waves and beautiful turquoise colored water.
Along the beach there are resorts, restaurants, beach bars and countless souvenir vendors.
We check into the Legends Beach Hotel, one of the resorts, and then we walk along the beach
until the sun sets into the Carribean Sea.
Other places to stay in Negril
Beach House VillasNorman Manley Blvd, Negril | 3 star hotelfrom $128
Samsara Cliffs ResortNorman Manley Blvd, Negril | 3 star hotelfrom $53
- Loved the peace and quiet!
- OK For What It's Worth
- Best place to relax, kickback
Beachcomber ClubNorman Manley Blvd, Negril | 3 star hotelfrom $102
Foote Prints on the Sands HotelNorman Manley Blvd, Negril Beach Rd, Negril | 2 star hotelfrom $50
- Clean.Inexpensive. No Frills Hotel
- Our room was flooded
- Avoid at all costs
Sunset on the Beach ResortNorman Manley Blvd , Negril | 2 star hotelfrom $96
- This will be our 9th visit......
- You Pay for What You Get
- Great Wedding at Coral Seas Beach
Sunset on the Cliffs ResortWest End Road, Negril | 2 star hotelfrom $53
Negril Palms HotelNorman Manley Boulevard, Negril | 3 star hotelfrom $48
Sunrise ClubNorman Manley Blvd., Negril | 2 star hotelfrom $59
Rockhouse HotelWest End Rd, Negril | 4 star hotelfrom $125
- Chillin' at the Rockhouse!
- Loved the Rockhouse
- The perfect getaway
Country Country Beach CottagesDowntown, Negril | 3 star hotelfrom $95
Devine DestinySummerset Rd, Negril | 3 star hotelfrom $39
Khus Khus NegrilWest End Road, Negril | 3 star hotelfrom $61
Charela Inn / Le VendomeNorman Manley Blvd., Negril | 3 star hotelfrom $129
- Many Times to Jamaica - First at Charela
- Just okay
- Back to Paradise, once again!
Pure Garden ResortNorman Manley Blvd, Negril | 2 star hotelfrom $49
Bar-B-BarnNorman Manley Blvd, Negril | 2 star hotelfrom $63
Tensing Pen ResortWest End Road, Negril | 3 star hotelfrom $140
- Absolutely beautiful!
- You have to see this place and experience its atmosphere to believe it
- A wonderful experience
Negril Palm Beach HotelNegril | 1 star hotelfrom $65
Seastar Inn4 Seastar Road, Negril | 3 star hotelfrom $77
Coral Seas GardenNorman Manley Blvd, Negril | 3 star hotelfrom $52
Negril Beach Club HotelCharlottenburg-Wilmersdorf, Negril | 2 star hotelfrom $94
LTU VillasWest End Rd, Negril | Hotelfrom $40
Rayon HotelNorman Manley Blvd, Negril | 2 star hotelfrom $97
Negril Yoga Centre1 Norman Manley Blvd. Beach Rd, Negril | Hotelfrom $41
- Stay Somewhere else in the…
Mariposa HideawayNorman Manley Blvd., Negril | Hotelfrom $58


text:
|Provence Bus Service
Avignon is one of the main cities in Provence and as such provides a center of small, local bus activity. Many bus routes leave Avignon and go in all directions.
Avignon TGV train station is served by local bus to the center of Avignon
Central Provence,
Nearly all of Provence is covered by local bus service running six days a week. Some of the lines run five days during school weeks only, others run seven days.
The larger cities such as Nimes, Arles, Avignon, St Remy Aix-en-Provence, Nice and Marseilles have frequent service,. This service extends to the smaller towns along the route. In some cases you can ask to be dropped at a certain village along the way that is not a scheduled stop.
East to Apt
A line runs east of Avignon and covers Provence Villages near Apt and Saignon, east of Gordes and connects as far south as St Tropez and Marseilles.
North on the Rhone
Another line leaves Avignon and runs north to Montelimar and Carpentras.
Buses from Avignon reach Chateauneuf du Pape to the north.
SouthBus service from Avignon reaches Arles to the southwest
|Provence Vacation Rental
|Provence Transportation
|Provence Trains
|Provence Dining
|Provence Shopping
|Provence Events
|Provence Hotels
|Provence Hiking, Biking
|Provence Sightseeing