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SimplyInk.com stocks the highest quality remanufactured alternative for the Lexmark 18C2170 (#36XL) high yield black inkjet cartridge compatible with your Lexmark printer. Remanufactured with mostly new parts, this low cost alternative is the greatest value inkjet cartridge on the market. We cleanse the printhead nozzles and replace all worn parts. Refilling the ink, we reseal and thoroughly test our cartridges for perfection. Enjoy crisp, quality prints from your Lexmark printer with our replacement for the Lexmark 18C2170 black ink cartridge. Fully backed by our 2 year 100% Satisfaction Guarantee! Please be aware that due to changes in printer programming the ink levels for this particular cartridge might appear to be low or empty. It is indeed full and will print a full yield.
Page Yield is an approximation of the number of standard
pages that can be printed with one cartridge, usually
measured at 5% page coverage. 5% coverage is a standard 8.5
x 11 inch page with a light letterhead, address and three
paragraphs of text double spaced. If you print mixed text
and graphics or WebPages your page coverage is closer to
15% and therefore the number of pages printed with each
cartridge will be less. If you are printing photos your
page coverage is close to 100% and the number of printed
photos will be much less than the amount the number of
pages you would be able to print if you were just printing
standard text documents.
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(based on 9 reviews)
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it appears to work fine
By RMC459
from Arlington, TX, USA
Comments about Remanufactured Lexmark 18C2170 (#36XL) High Yield Black Ink Cartridges:
I'm very happy that I found out about this company.
Bottom Line Yes, I would recommend this to a friend
Was this review helpful? Yes / No
- You may also flag this review
This product has a problem
By mfrazier
from Texas
This cartridge does nor allow you to know how much ink is left.
not worth it
By OrchidStarr
from Undisclosed
These cartridges have not worked properly to print anything from the start. I don't understand what is going on. They wont align and wont print PDF or word documents properly. Keep skipping lines of text. I can copy a document fine but for whatever reason they wont allow documents to print from the computer. I've tried resetting and nothing. I wont be buying from this website again. I would like a refund since I can't print properly
Bottom Line No, I would not recommend this to a friend
I am glad you offer a quality cartridge with 500
By Margo72
With the new cartridge, my copies are much more clear and easier to read. My very much used printer will probably be around for a lot longer than I ever thought it would! Thank you folks for your help with a great product!
Does the job, but should last longer.
By GerryFromFlorida
from Florida
The Cost is OK. Does the job, but should last longer.
Not satisfied at all!
By ann33rose
Very disappointed - the black cartridge was almost empty, I am pleased with the Colored one - I will not order again.
This purchase may be more problems than its worth.
By MalibuPaul03
from Baltimore MD
I want a refillable black ink cartridge. I don't print a lot so when I bought these cartridges it took a little while to discover the problem with it. I might have saved some money with the purchase, but every time I try to print something I get an error message saying its an unsupported cartrige and I should cancel the job and order new cartridges from Lexmark. What I have to do is open the machine to the cartridges and snap the cart out and back in then I can continue the job. To print another job I will need to repeat the procedure again
(1 of 1 customers found this review helpful)
Faulty Product
By SH2115
from Fresno, CA
I installed the ink cartridge and, of course, the printer had to print an alignment page. Everytime I turn on the printer at the beginning of each day I have to print the alignment page. When that is finally done I push the print button and I get the message the black ink is low. What? I just bought it! And it is supposed to be a high-yield cartridge. My old cartridge was printing darker than my new cartridge.
(2 of 2 customers found this review helpful)
Perfect fit and match
By bobcat47
from Wesley Chapel , FL
The price was very reasonable I do wish that they would send a self addressed Postage payed plastic envelope like lexmark does, as I am big into recycling.
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*Savings based on price comparison between remanufactured / compatible cartridges and OEM cartridges offered on this site.


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A Girl's Love Story: A Sweet Tragic One
Poem by: Czekyrie Erranhya
Status: Finished
Genre: Literary Fiction
She watches you go home everyday She wants you to be happy in every way She sends you letters 'cause you're her crush She cried as she watched you threw them like trash She embraces every mean things you say to her You just couldn't see this beautiful girl She cries every night feeling unloved She gets insecure for things she never had She knows all the things that completes you She understands your menace when no one else do She falls asleep dreaming about your face She'll give anything just to receive a bit of your embrace You took advantage of her undying affection You treated her like a doll without a hint of hesitation She tried to protest but you never listened You mercilessly stole that poor girl's innocence You forced her to do such abominable things You told her you'll love her if she follows everything But we all know it's a lie so you could have what you wish But she's bound to your lies like a dog on a leash Even when you hit her a hundred times She still smiles and loves you, she never whines Throw her, leave her, kick her, use her She loves you so much, she's willing to go further With tears and pain, she's holding on tight She has been used to your animosity every night She wants to believe it's love everytime you touch her But you're just hitting on her for your own selfish pleasure She gazes at your face as she tries to remember The image of the man she dreamt of one summer But you were not the guy she thought you seem You are nothing but a demonic chauvinistic teen As bitter tears fell down her bloody, bruised cheeks She regrets everything she's done but nothing can be fixed She finally realizes you've been wasting her like hell She was a fool to dream of ringing wedding bells That morning she decides to pack up her clothes All she wants is to leave and just hit the road You tried to stop her but she only disobeyed You slapped her in the face, threw her in the bed 'Let this be a lesson to remember, ' you said With your piercing fingernails her skin had bled And you stripped off her clothes and took her for granted She was wishing it would end, wishing you to be dead She gets up from the bed with trembling blue hands She wiped away her tears as she managed to stand She looks at herself on the cold, clear mirror It took her a long time before she realized it was her All she could see is an old battered woman Gone was the young girl with beautiful hair as she ran She looks away and her eye caught the gleam of a knife How could she actually think of taking someone's life This was wrong, she was totally mad! But she found herself holding the blade in her hand Her hand moved by itself enjoying the sound of tearing flesh Her head is confused why she got into this mess You are now cold, lifeless and gone with your memories How she longed for this day where she could live again in peace Funny how love can make you do such things This is the story of a girl that love has drawn to killing
© Copyright 2017 Czekyrie Erranhya. All rights reserved.
Add Your Comments:
Other Content by Czekyrie Erranhya
Poem / Romance
Poem / Romance
Poem / Romance
Short Story / Mystery and Crime
Book / Thrillers
Short Story / Young Adult

subset: commoncrawl


text:
Quick Details
- Type: Binder Clip
- Material: Metal
- Magnetic: No
- Brand Name: 32mm binder clip
- Model Number: TS-BC017
- Place of Origin: Zhejiang, China (Mainland)
- Name: 32mm colored logo metal double foldback binder clip
- Size: 32mm
- Color: red
- Handle Wire Diameter: 1.0mm,1.2mm,1.4mm,1.6mm,1.8mm,2.0mm
- Metal Plate Surface Treatment: Nickel plated and color coating
- Usage: suit for office,home,school
- avaliable color: black, pink color, silver, metallic color, Korean color,etc
- avaliable size: 13,15,25,32,41,51,60mm
- Function: keep files organized and secure
- Main market: USA,German,India,etc
Packaging & Delivery
|Packaging Details:
|12pcs/paper box
we also have PVC tube,paper box,blister card,opp are available or as per customer's request
|Delivery Detail:
|20 days after confirming the order
32mm colored logo metal double foldback binder clip
Product Pictures of 32mm binder clip
Product Description of 32mm binder clip
3.Character:heavy-duty steel construction;rust-proof
4.Features:easily release,handles could be folded flat and removed at your willing.
5.Electrophoresed body&nickel-plated,handle avoid corrosion effectively.
6.Logo printing available,OEM is welcomed!
More binder clips for Your choice
About us
Ningbo TONY Stationery Co., Ltd was founded in 2002, and was integrated with manufacturing and selling. We specialize in clip board, magnets, pen holders, binder clips, plastic clips, stationery set, and clip dispensers
Our company arranges the strictest check to the quality and we are always trying our best to ensure the customer to be satisfied. We can look forward to a bright future together which is based on the excellent service and technology. This young entity is welcoming the new challenges and opportunities.
Why Choose
With the advanced production lines and the experienced senior engineers, the company has developed with the accelerated speed and has achieved the 7000-square meter standard plant and over 300 member staffs. Our annual sales amount has successfully exceeded 30 million Yuan RMB.
Our Markets


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USA, c.1930s. Vintage Institutional Juliet Nickeled Beveled Dentist Wall Portrait Mirror. Some Wear to Silvering along Beveled Edge. Bolt right to Wall.
found object art wire sculpture wood antique mirrors
Modern50 is a multi-disciplinary art and design collective. We assemble, create, and procure the most compelling furnishings for Residential and Retail Interiors, and the TV and Movie Industries. We love to collaborate with like-folks and artists to create an ever-evolving non-linear consumer lifestyles collection.


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GYPSY WARRIOR Light + airy sweater, featuring a wide V-neckline, long bell sleeves with frayed hems and an allover stripe print with natural white and black and pops of bright colors. Rock it with an O-ring Choker and black skinnies.
24" Length
34" Bust
24" Sleeve
Rayon / Polyester
Made in the U.S.A.
Measurements taken from a size Small


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Tweeting My Life Away
- @wfaachannel8 Daycares always try to cover their butts. Any good daycare worker notices when a child is not acting… twitter.com/i/web/status/8… 1 day ago
- RT @JasonWhitely: TERROR: Multiple fatalities reported after explosions at end of an Ariana Grande concert in #Manchester, England. https:/… 1 day ago
- @JasonWhitely Thanks for this link @JasonWhitely. Can't believe it's happened again. Prayers for all. 💔 1 day ago
- Yes!! 😢💔 twitter.com/allenleech/sta… 1 day ago
- My brain goes into overdrive at night. #ThinkingAllTheThoughts 4 days ago
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Tag Archives: remember
Minor Details
Well, Hey there good looking! Made it to Saturday, did ya? Awesome possum. Hope you had a wonderful, kick butt week, last week. And I hope you'll take time to worship God tomorrow, then be rested and ready to go … Continue reading
Posted in House and Home, inspiration, Just Me, Quotes Tagged details, lessons, life, Minor details, Normal, remember, setbacks, Small Stuff, thinking Leave a comment


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Actors (Equity and Non Equity) & Designers
Trike Theatre has various opportunities for Actors and Designers to be involved in Youth Theatre Productions, Theatre for Youth Productions, and our Little Trike Series. If you would like to be considered for these opportunities please send a cover letter, resume and head shot or portfolio (if applicable) to Julie Gabel, Interim Managing Director. email@example.com
Teaching Artist Roster
Trike Theatre has various opportunities for Teaching Artists to lead Academy Classes, Camps, and Residencies with our Partners. If you would like to be considered for inclusion on our Teaching Artist Roster, please send a cover letter and resume to Kassie Misiewicz, Artistic Director. email@example.com
Find Information HERE


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YouthSpark Star Muriel Surmely
The Standout Dropout
"Thanks to Web@cademie, I have a job, I can leave behind the odd jobs, meet many different people, and do things I had never done before. The possibilities are infinite."
Muriel Surmely
At a Microsoft France seminar, Muriel Surmely, gives a speech about her experience in the Web@cademie program. The 25-year-old dropped out of high school in ninth grade and did various odd jobs before finding the two-year program.
Muriel grew up with a stay-at-home mom who fostered a number of children and a father who was a chief officer in the army. During her childhood, her military family moved back and forth between Paris and Brittany. She felt aimless and wasn't engaged in school.
After she dropped out of high school, the feelings of worthlessness followed her for years. She bounced around between jobs. She trained to be a secretary but that wasn't the right fit. She worked in a pet shop, printed photographs, served food at McDonald's, and helped breed dogs. It wasn't until Muriel was serving food in a university cafeteria, working alongside women old enough to be her grandmother, that she realized this wasn't the life she wanted.
"I saw myself in twenty years and I freaked out," Muriel said. "I should have been laughing with the students instead of serving them."
She had always been interested in computer science, so she began looking for low-cost online programs. A friend sent her a link to Web@cademie, a Microsoft program created last year through a $250,000 YouthSpark grant. Microsoft YouthSpark is the company-wide initiative launched last fall to create opportunities for 300 million young people worldwide over three years. The financial support from YouthSpark let Web@cademie provide IT training and increase access to technology resources for French youth.
The Web@cademie program provides free, two-year web development training to high school dropouts between the ages of 18 and 25 to help prepare them for skilled tech jobs. Last year, the program trained 60 youth in France; the goal is to reach 1,000 young people by 2015.
Youth unemployment in France is about 26 percent, more than double the national rate, according to the EU Labour Force Survey. In some rural areas, it tops 40 percent. France's newly elected president, Francois Hollande, ran his campaign on finding ways to tackle the rampant youth joblessness; in May he announced a plan to offer training and create jobs for young people who are out of work.
An estimated 1.9 million French youth are NEETS (not in employment, education, or training), according to the European Foundation for the Improvement of Living and Working Condition. Muriel could have easily been one of those statistics.
She applied to Web@cademie less than a week before the deadline and was accepted. It was a rigorous application process, she said, but she matched the program's criteria perfectly: young, passionate about computer science, highly motivated but no high school degree, and without money to pay for her education. She is now halfway through the two-year program.
Muriel stood out to Web@cademie founder Francois Benthanane for her determination, positivity, and enthusiasm, as well as her adaptability to new learning environments. "Muriel has a true passion for the web developer profession, which allowed her to become one of the best students in the program," Benthanane said.
Because of what she learned at Web@cademie, Muriel secured an internship at Microsoft France. When she was brought onto the internship program, she didn't know the different tools or languages, such as .NET, Windows 8, and C#. Thanks to the Web@cademie pedagogy, she quickly mastered all the new tools required of her.
Impressed with Muriel's motivation and resiliency, Web@cademie founder Francois Benthanane asked her to share her story with 1,200 Microsoft France employees at a company seminar. Her presentation got a standing ovation.
One of the best parts of the program for Muriel was having a mentor to push her. To go from believing she was no one to having someone tell her she could do anything was very rewarding, she said. She now believes that any project is possible.
"My first impression when I arrived was that all the doors were opening up to me. My mentors pushed me to outdo myself," she said. "I'm given a project with a deadline, then I have to manage it on my own. When you submit your project and get a really good grade, then you think 'I can do this after all.'"
Not coming from a traditional tech background actually works to her advantage, Muriel said. Because the field of computer science is constantly evolving, she's glad she didn't confine herself to learning just one language. Through her internship at Microsoft France, she was given a website to build on a technology platform she hadn't learned. Not only did she complete the job, she did it well. She works hard, but she loves it.
"Thanks to Web@cademie, I have a job, I can leave behind the odd jobs, meet many different people, and do things I had never done before," said Muriel, who sees herself working as a Microsoft Developer Evangelist. "The possibilities are infinite."


text:
DJ Zimmie
You Gots To Grill – Vol. 8
"To Pimp A Butterfly Shrimp"
Free Download
No shows booked at the moment.
I've been hella busy and traveling quite a bit so I apologize if I haven't kept up with the blog posts 100%. I just got back from playing at Bank in Barrie (Toronto), Ontario and 2 weeks ago I was at Dusk Atlantic City. Look out for those recap posts shortly as well as a new mix for a sneaker & hat blog. In the mean time, this blast is chock full of pics, info, 2 mixtapes and a remix…
Free Mixtape Downloads!
First up, I just dropped a mixtape for the blog White Folks Get Crunk. Chock full of crunk gems, myself, KosherKuts (Cleveland) and blog creator DJ Real Juicy (Illinois) put this together for your 40 drinking enjoyment.
White Folks Get Crunk – The Official Mixtape
White Folks Get Crunk – The Official Mixtape by DJ Zimmie
Speaking of mixtapes… If you didn't cop the 3rd installment of my Summer BBQ mix series, now's your chance. Shouts to Lindsay (Miss July 2011) for the modeling. See more here.
DJ Zimmie – You Gots To Grill Volume 3 – "Grillmatic"
DJ Zimmie – You Gots To Grill – Volume 3 – Grillmatic by DJ Zimmie
June Tour Recap
If you didn't catch the recap from my June tour, check out all the photos and info here.
4th of July Recap
I got to DJ for Pittsburgh's celebration of the 4th of July this year. Between Red Bull and thousands of people, it was nuts. Check the recap here.
More Free Music!
Here's a DJ tool that you might find useful or just bump it in your iPod…
DJ Zimmie – Player Hater Transition
(Zhane "Hey Mr. DJ" to DJ Godfather "Player Haters (Joe Maz Remix)") 105-127
DJ Zimmie – Player Hater Transition by DJ Zimmie
Don't forget to "Like" my Facebook Fan Page!


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The difficulty in describing Sir David Frost's career arises both from the sheer scale of it – he achieved national fame more than 50 years ago and was until his death still an interviewer for al-Jazeera – and from the variety. Aside from bringing political satire to people's living rooms, Frost pioneered the chatshow, interviewed just about every major political figure of his age, established two television franchises and worked with dozens of other famous television names at the start of their careers.
1. That Was The Week That Was
Still regularly cited as one of the most exciting and innovative programmes ever shown on British television, TW3, as it was generally called, skewered politicians in a way that was, for the era, genuinely shocking. Created and directed by Ned Sherrin and helmed by an unflappable 20-something Frost, it began with a satirical song from Millicent Martin and included sketches, skits and comic monologues. Writers included Dennis Potter, Bill Oddie and Keith Waterhouse. It ran for just two BBC series, in 1962 and 1963, though Frost went on to host a US version.
2. The Frost Report
If TW3 influenced TV satire for decades to come, The Frost Report, which ran in 1966 to 1967, more or less set the future for British television comedy in its 29 episodes. The three main performers, apart from Frost, were John Cleese, Ronnie Barker and Ronnie Corbett, whose most celebrated sketch saw them line up in height order for a much-copied routine about social class. It was on the set of The Frost Report that production staff began to refer to Barker and Corbett as "the two Ronnies", while the writing team included Michael Palin, Terry Jones, Graham Chapman, and Eric Idle – every Monty Python member bar Terry Gilliam – as well as Marty Feldman and lead writer Antony Jay, who went on to create Yes, Minister.
3. The Frost Programme
Frost's first outing as a more serious interviewer came with The Frost Programme, for which he returned to Associated Rediffusion, the then-ITV franchise for London for whom he had worked as a trainee after leaving Cambridge. Each hour-long episode featured an in-depth chat with one or a set of guests, among them Enoch Powell, the Beatles, Orson Welles and Prince Charles. The most famous episode involved Emil Savundra, a notorious insurance business fraudster, who clearly expected to sway public opinion. Frost's usually gentle style changed, and he harangued the increasingly evasive Savundra.
4. The Nixon interviews
Certainly Frost's most globally celebrated moment – not least after it was turned into a play and then a celebrated film – came in 1977 when he arranged and self-financed a series of 12 interviews with Richard Nixon, eventually edited into four 90-minute TV episodes. After hours of verbal sparring, Nixon, who was seeking to rehabilitate his reputation after Watergate, conceded: "I let the American people down and I have to carry that burden with me for the rest of my life." Time dulled the impact of the interviews until writer Peter Morgan chose to tell their story in a hit play Frost/Nixon that eventually became a film, with Michael Sheen starring as Frost.
5. TV-am and Breakfast with Frost
Rare among TV presenters in being as much an entrepreneur and businessman as a performer, Frost was central to the foundation of London Weekend Television in 1968. In 1983 he joined Michael Parkinson, Angela Rippon, Anna Ford and Robert Kee – the "famous five", as they were known – in establishing TV-am, and he stayed with the initially troubled ITV early morning operation until 1992. He was best known for Frost on Sunday, a politics and showbusiness chatshow, and took the weekend format to the BBC in 1993 as Breakfast with Frost.
6. Through the Keyhole
For many younger TV viewers Frost was known principally for hosting the gameshow Through The Keyhole, which initially started as a TV-am segment but ran as a full programme on ITV from 1987 to 2008. The format saw a panel of celebrities being asked to guess the identity of another famous person by being shown a video tour of their house. This section was presented by Loyd Grossman, whose diction and presenting style were even more distinctive than Frost's.
7. The Frost Interview
After being moved off the Breakfast with Frost sofa in 2005, seemingly against his will, he joined the English-language arm of Doha-based al-Jazeera when it launched in 2006, remaining with it until his death. There he chatted to the traditional mix of politicians and celebrities, with recent interviewees including Buzz Aldrin, Shimon Peres, Garry Kasparov and Lewis Hamilton.


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|Message view
|« Date » · « Thread »
|« Date » · « Thread »
|"David Moss" <mos...@googlemail.com>
|Re: Jackrabbit performance when adding many documents to repository.
|Tue, 12 Dec 2006 11:24:50 GMT
Hi, thanks for the quick response. On 12/12/06, Jukka Zitting <firstname.lastname@example.com> wrote: > > Hi, > > On 12/12/06, David Moss <email@example.com> wrote: > > On 12/11/06, Jukka Zitting <firstname.lastname@example.com> wrote: > > > The save() operation is expensive but so is having a too large > > > transient space. The best way to do bulk imports for now is to save() > > > the transient changes every now and then, like once every 100 added > > > nodes. This should give you a nice performance boost. > > > > Hmm, I've tried this but there didn't seem to be a noticeable > difference. I > > wonder if it's simply the additional cost of indexing the documents that > > takes so long? > > What kind of documents are you using? What index filter components > have you enabled? My documents vary and could really be any type, but include xls, pdf, doc, html, plain text. I've enabled all the text filters (I think): <SearchIndex class="org.apache.jackrabbit.core.query.lucene.SearchIndex"> <param name="path" value="${wsp.home}/index"/> <param name="textFilterClasses" value=" org.apache.jackrabbit.core.query.MsExcelTextFilter, org.apache.jackrabbit.core.query.MsPowerPointTextFilter, org.apache.jackrabbit.core.query.MsWordTextFilter, org.apache.jackrabbit.core.query.PdfTextFilter, org.apache.jackrabbit.core.query.HTMLTextFilter, org.apache.jackrabbit.core.query.XMLTextFilter, org.apache.jackrabbit.core.query.RTFTextFilter, org.apache.jackrabbit.core.query.OpenOfficeTextFilter" /> </SearchIndex> A quick test of removing this setting from the config files, and the insertion time for my 1500 documents is back down to ~ 4 minutes so it looks like the indexing is to blame. I'm currently only testing with a single pdf document, so perhaps the pdf indexer is just particularly slow and results would be different with other document types. Is there any way that this can be done in the background!? > > Note also that the RMI layer is not a very efficient way to access the > > > repository. For best performance with bulk operations over the RMI > > > layer I would definitely recommend using the XML import/export > > > operations since they simply stream the XML data over the network. > > > > Thanks. How would I go about doing this? I need to be able to add > non-xml > > documents to the repository in a way that allows them to be indexed and > > searched through Lucene. Can I simply wrap the document binary in a > minimal > > xml document? > > The potential speedup depends on the size of the binary documents. The > normal mechanism for adding a binary document would be: > > Node parent = ...; > Node file = parent.addNode("filename", "nt:file"); > Node resource = file.addNode("jcr:content", "nt:resource"); > resource.setProperty("jcr:lastModified", ...); > resource.setProperty("jcr:mimeType", ...); > resource.setProperty("jcr:data", ...); > session.save(); > > With JCR-RMI this causes the overhead of at least 6 network roundtrips > (once per each method invocation), so the relative performance loss > depends heavily on the size of the binary file. If the file is <10kB > in size, then the overhead is considerable; and if the size is >100kB, > then I would imagine the network throughput being the limiting factor. > > The XML serialization trick helps when you are importing a large > number of small documents or non-binary properties. See the system > view or document view formats and serialize your content using either > one of them. Binary properties are serialized as base64 encoded > strings. > > > Would interfacing with the repository via WebDAV be a better solution? > > Possibly, since imports over WebDAV are typically more coarse-grained > (i.e. the file properties are transferred in one request along with > the file contents). However, if you have a large number of small > files, then the XML trick might still be faster. > > BR, > > Jukka Zitting > This all makes sense. Actually, for the most part I'm connecting to the repository from the same machine that the rmi server is running on (but not exclusively!), so network roundtrips and throughput should be negligible factors. My primary reason for using RMI at all is that I need to access the repository from multiple VMs. Thanks again. David.
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New Braunfels Herald Zeitung Newspaper Archives
April 14, 1985
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New Braunfels Herald Zeitung (Newspaper) - April 14, 1985, New Braunfels, Texas Deaths Lora Moor Services for Lora Moor of 153 Pennsylvania will be at IO a.m. Monday at First Baptist Church, with Dr. Gordon Graham of New Braunfels officiating. Entombment will follow in Sunset Memorial Park Mausoleum in San Antonio. James Boyd, Marion Cook, and all deacons of First Baptist Church will serve as honorary pallbearers. Mrs. Moor, 73, died Friday at Southwest Texas Methodist Hospital. Bom on Nov. 7, 1911 in Ward, La., she was the daughter of John Melvin and Symantha (nee Oyer) Hollomon. On June 30,1940 in Houston, she married Charles M. Moor. They became residents of New Braunfels in 1947. She was the former owner of the Mom and Tot Shop, and served as church hostess of the First Baptist Church, where she was a member. She also belonged to the Good Sam Club. She is survived by her husband, Charles M. Moor, and son, Bill Moor, both of New Braunfels; brother, Percy Melvin Hollomon of Neches; five grandchildren, and one greatgrandchild. Memorials may be given to the First Baptist Church Building Fund. Her remains will lie in state at Doeppenschmidt Funeral Home from noon today until 8:30 a.m. Monday. Walter "Webb" Hartmann Services will be at 2 p.m. Monday at Zoeller Funeral Home for Walter "Webb" Hartmann, 82, of 857 Eikel. The Rev. Linwood Kennedy of New Braunfels will officiate, and burial will be in Comal Cemetery. Hartmann died at 5:15 a.m. Saturday at McKenna Memorial Hospital where he had been hospitalized for five days. He was born on April 17,1902 in New Braunfels to Adolph and Marie (nee Thiele) Hartmann. On Oct. 24, 1923, he married Paula (nee Beckmann) Hartmann, who died on March 22, 1985. A lifetime resident, he was a retired clerk for the Missouri-Kansas-Texas Railroad, and a member of the First Protestant United Church of Christ. He was a lifetime member of the Solms Bowling Club, and also belonged to Elks Lodge No. 2279 and the Brotherhood of Railway Clerks. Survivors include his daughter, Mrs. Elaine Ahrens, and son, Walter "Boobie" Hartmann Jr., both of New Braunfels. Memorials may be given to the First Protestant United Church of Christ or the charity of one's choice. Manuel A. Cardenas Manuel A. Cardenas of 2026 W. San Antonio died Saturday at Colonial Manor Nursing Home at the age of 76. Visitation at Zoeller Funeral Home will be from 8:30 this morning to 9 tonight. He was born on June 26, 1908 in Mexico tto Francisco and Carmela Aviles Cardenas, and married Ramona Esquivel Cardenas on May I, 1937 there. He was a resident of New Braunfels since 1956, and painted billboards for May Hiway Display Co. He was also affiliated with the Catholic church. He is survived by his wife, Ramona Cardenas of New Braunfels; two daughters, Edelmira Calera of Mexico, and Carmen Sanchez of New Braunfels; four sons, Rafael Cardenas, Carlos Cardenas, Benito Cardenas and Fransisco Cardenas, all of Mexico; and 28 grandchildren. MCorp earnings increase City clean-up The citywide trash cleanup continues Monday and Tuesday as two more sections of town will be covered by street crews picking up extra garbage, such as lawn chairs, dog houses, and general lawn items. Refuse should be out on the street by 7 a.m. the day of pickup, lf you have any questions, call 625-5625. The pickup will continue April 22, 23, 29, and 30. Public records CONVICTIONS County Court-at-Law (Ron Zipp, presiding judge) William Jackson, 2928 East 13th St., Austin, failure to appear, a $25 fine. Gary Haberkamp, Route 7, Box 616SA, Canyon Lake, Driving While Intoxicated (DWI), sentenced to 60 days in jail on work release, and driver's license suspended. Jesse S. Villanueva, 1650 Stonewall, possession of an illegal weapon, 30 days in jail with credit for time served, and a $50 fine. Carlos Martinez, 554 Newton, Seguin, Driving While License Suspended (DWLS), three days in jail with credit, and a $50 fine. Ruben Davila, 635 E. Camp, criminal trespassing, a $50 fine. Arturo Figueroa, 840 Simon Ave., DWI, 60 days in jail, probated for two years, and a $300 fine. Rodolfo Luna Valdez, 772 W. Mill, DWI, 60 days in jail, probated for two years, and a $300 fine. BIRTHS McKenna Memorial Hospital Samuel and Rosemary Zuniga, Route 2, Box 249G, New Braunfels, 8 lb., ll oz. boy, April 4. Scott and Dana Cement, P.O. Box 508, New Braunfels, 7 lb. girl, April 4. James and Belynda Moore, P.O. Box 202,7 lb., ll oz. boy, April 4. Jim and Sue Biedermann, 881 Rock St., 6 lb., I oz. girl, April 5. David and Lucrecia Jennings, Route 2, Box 562AE, New Braunfels, 7 lb., 4 oz. girl, April 5. Richard and Dora Perez, 321 Seele, 6 lb., 9 oz. girl, April 7. Wolfgang and Carolyn Gieg, 1017 Mission Dr., 9 lb., 9 oz. boy, April 8. Out-of-town Bom to the Rev. and Mrs. Ronald Krueger of Cosby, Mo., 8 lb., 9 oz. boy, April I. Paternal grandparents are Mr. and Mrs. Kermit Krueger of New Braunfels. Maternal grandparents are Mr. and Mrs. Alfred Refiling of St. Louis, Mo. Bom to Patrick and Laverne Wellborn of Houston, 8 lb., 6 oz. girl, April ll. Paternal grandmother is Mrs. William Welborn of Brooklyn, N.Y., and maternal grandparents are Mr. and Mrs. Werner Rahe of New Braunfels. MARRIAGES County Clerk's Office Raymond Alvin Jentsch and Rose Ludtke McMahon. Michael Eugene Rohan and Peggy Sue Gauwain. Henry Boessling Jr., and Judy Truitt McMahon. Faust Rachelle Parker Jr., and Julie Elizabeth May. Aniceto Cortes Martinez and Dolores Rocha. Larry Gene Kunkel and Jacquelyn Knight Shearer. Jon Lawrence Wilson and Karen Hope Carroll. Patrick Henry Post and Carla Sue Belcher. Antonio Nino Gonzalez and Mary Jane Trevino. James Michael Vollrath and Marian Loeschman Trammell. Rolando L. Martinez and Conna Cardenas. Frank Michael Garcorz and Patricia Louise Simpson. Michael Duane Moore and Jayne Leigh Gartman. Mario Alberto Valadez and Martha Ann Lopez. Manuel Flores and Orlia Hernandez. David Ortiz and Maria Emestina Rosales. Walter Richard Cook and Dorothy Lusk Dunkle. Charles William Edwards and Ella Acuff Ellis. Charles William Visonhaler and Nancy Ruth Hardaway. Preston Boyd Roskamp and Julia Elaine Rivet. David Glenn Heaton and Earline May Wilkinson. Raul Delgado and Esther Scott Llamas. DIVORCES County Court-at-Law (Ron Zipp, presiding judge) Martinez, Juan C. and Dolores J. Thomas, Joyce A. and Ted. Gillespie, Frances Lee and Lloyd Edward. Boatner, linda Wise and David Michael. Gomez, Maria Alicia and Alberto Rodriguez. Harborth, Jayne A. and Royce A. Howard, Nancy Dominguez and David Paul. Loomis, Georgiana M. and Russel A. Riojas, Leonel Riojas and Juanita Gomez. 274th District Court (Fred Moore, presiding judge) Sanchez, Ray Julian and Esther. FELONIES Municipal Court (David Perkins, presiding judge) Santiago DeLeon, 114 Chavez Walk, San Antonio, theft over $750 and less than $20,000, $5,000 bond. Mary Ester DeLeon, 114 Chavez Walk, San Antonio, theft over $750 and less than $20,000, $5,000 bond. Edward Diaz Moreno, 941 Merida, San Antonio, theft over $750 and less than $20,000, $5,000 bond. Feliciano Vallejo, 115 San Lino, San Antonio, theft over $750 and less than $20,000, $5,000 bond. County Court-at-Law (Roo Zipp, presiding judge) Domingo Rodriguez Corona, 383 McGaugh, aggravated assault on a peace officer, $10,000 bond. Justice of the Peace Precinct 2 (R.G. Blanchard, presiding) John Larry Peak, 1135 W. Rosewood, San Antonio, burglary of a habitation, $25,000 bond. Hnrald-Zeitung (USPS 377 880) lf you have not received your paper by 5:30 p.m. Tuesday through Friday or by 7:30 a m. Sunday, call 625-9144 or 6581900 by 7 p.m. and 11 a m., respectively. Published Sunday morning and Tuesday, Wednesday, Thursday and Friday afternoon by New Braunfels Herald Publishing Co.. 186 S. Casten Ave., New Braunfels, TX 78131. Second class postage paid at New Braunfels Herald Publishing Co., 186 S. Casten Ave., New Braunfels, TX 78131. Dave Kramer .... General Manager Claude Scruggs........Publisher Shirlene Thornton . Office Manager Robert Johnson..........Editor Charles Borman . . Advertising Mgr. Cheryl McCampbel! . . . Class. Mgr. Don Avery . . , Circulation Manager Carol Avery . . Photocomp Foreman Gus Elbel ........Press Foreman Wanda Lasater Kaleidoscope Editor David King.........Sports Editor Patricia Yznaga-King . , . Wire Editor Subscription Rates (Includes applicable sales tax) Carrier delivery in Comal, Guadalupe, Hays, Blanco and Kendall Counties: 3 months, $10.78; 6 months, $18.82; one year, $33.64. Mail delivery outside Comal County, in Texas: 3 months $18.92; 6 months, $33.64, one year $63.06. Mail outside Texas: 6 months, $42.00; one year $70.00. Postmaster: Send address changes to P.O. Drawer 361, New Braunfels, TX 78131. DALLAS (AP) — MCorp reported slightly higher earnings in the first quarter of 1985 compared with the previous three months, company officials announced. The Dallas-based bank holding company said it earned $34.8 million, or 81 cents per share, in the first quarter of 1985, up from $34.1 million, or 79 cents a share the previous three months. Figures for the last two quarters reflect the merger between Mercantile Texas Corp. and Southwest Bancshares that last October created MCorp, the state's third-largest bank holding company with assets of $20.5 billion. Meanwhile, BancTexas Group, a Dallas-based holding company with 13 member banks, reported net income of $1.6 million, or 5 cents per share, for the first quarter of 1985. Net income for the period included a gain of $1.03 million from the sale of a subsidiary bank building. In the same quarter last year, net income was $1.75 million, or 6 cents a share. Reflected in those earnings were securities and tax gains totaling more than $1.3 million. BancTexas posted a loss of $10.5 million, or 51 cents a share, in the final quarter of 1984, and a loss of $6.6 million, or 40 cents a share, for the entire year. MCorp, which operates 65 member oanKs, reported net interest income of $175.1 million for the first three months of 1985. reflecting a net interest margin of 3.94 percent. Corresponding figures the previous three months were $170.3 million and 3.89 percent. The Sentry motorcycle helmet. Ahead of its time. State-of-the-art protection for only $39.95 ) (up to $150 00 value) Because you' safety is important. Dairyland County Mutual is ma* rig this great helmet offer The Sentry is aerodynamically descried n fo.iy* polycarbonate tor minimal A nd resistance Pius you have an optcaiiy perfect sh e»d ana plush comfort liner The helmet meets or e«ceeds a;> Department of Transportation safety standards To learn more about this valuable otter just cai' us today And as* about Dairyland s attordabe flexible motorcycle insurance coverage WITTING & MILLER. INC. 299 W. San Antonio New Braunfels, Texas 78130 (512) 625-3000 Frank Witting Doug Miller Dairyland* Weather DRAW THE WEATHER SUBMITTED BY: Lance Dietert, Fifth Grade, Carl Schurz Elementary Texas Thunderstorms strstchsd across Texas late Saturday afternoon from th# northeast cor oar of th# state through the central sections and into far Wast Texas The Panhandle and a astern High Plains also received ram aa a Asak cold front moved slowly southward Only the western sections of North Taxes wars clear, the National Weather Service said. Winds ware generally northerly at about 10 mph. An 88degree temperature at McAllen was the state s high Saturday afternoon On the other extrema, the high was 65 at Dalhart in the Panhandle The forecast calls for more clouds and ram over much of Texas Sunday with mild tam peraturee In North Texas, skies will clear Sunday night and Monday with highs in the mid 70a to low 80s and overnight lows in the mid 60s. the weather service said Scattered thunderstorms wert expected rn South Texas through Sunday night, with highs Sunday and Monday rn the mid 70s to mid 80s and overnight lows in the 50s and low 60s In West Texas skies will clear Sunday with highs Sunday and Monday in the 70s end 80s the weather service said Overnight lows should be in the 50s Forecasts North Texas Mostly fair Sunday night and Monday Mild Sunday and Sunday night; a bit warmer Monday Highs Sunday 73 to 76 Lows Sunday night 61 to 65 Highs Monday 78 to 80 South Texas Scattered thunderstorms east and south Sunday and Sunday night and partly cloudy elsewhere Highs in the mid 70s to mid 80s and lows in the low 60s to low 60s Partly cloudy Monday with high* ai the me) 70s to mid SO* West Texas Tau Sunday and Sunday night Sunny and warmer Monday Highs Sunday ranging from near 70 north to BO south and upper 80s Big Bend Lows Sunday night mostly rn the 50* Hight Monday rn the 80s except tow 90s Big Bend Port Arthur to Port O'Connor Wind* nor thee*! 10 to 15 knots Sunday and Sunday night Seas 3 to 5 leat Sunday Port O'Connor to Brownsville Winds northeast IO to 15 knots Sunday and Sunday night Seat Sunday 3 to 5 feet Extended forecasts North Texas Chance of thunderstorms Thursday Lowest temperatures rn the 50s Highs in the 70s South Texas Some tate night end early morning cloudiness otherwise pertly cloudy with isolated mainly afternoon or evening showers or thundershowers Highs rn the 70s and 80s Lows in the 50s end 60s The nation Ram, sleet snow. hail and fog descended on Michigan Saturday, while severe thun derttormt pelted parts of Kansas Ram mixed with sleet and snow leu across MMinesota and eastern South Dakota A warm front moving across central Michigan spawned the unpredictable weather throughout the state fleering rem end snow led rn the upper legions heil was reported during a thunderstorm near Marquette end patches of dense fog lingered over central and western parts of the state While temperatures hovered near hearing across upper Michigan reading* soared into the 70s in the southern part Showers and thunderstorms were scattered over the mid Mississippi Valley from northeast Texas to parts of Florida and southeast Georgia The Carolines Tennessee and the Ohio Valley also got some rem Jacksonville. Fie reported nearly 2 inches of rain in six hours Deltas got more an inch end a half Nearly 3 inches of ram was reported at Valley Falls, Kan in a 24-hour period Skies wars mostly cloudy over the northern Rockies and the Pacific Northwest It remained sunny and hot rn the Southwest Temperatures around the nation at 2 pm ranged from 25 degrees at Caribou, Mama, to 103 at Palm Springs, Calif Brought To You By. I Si MBankNew Braunfels A Momentum Bank P. O. Bra 961 Main Plaza, New Braunfels, Texaa 78130 512/625-8601 Member MCorp MPflCT and FDlC ;
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Religion and Politics
Islam and Muslim Civilization
Muslim societies are struggling under the need for modernization and the drift towards Islamic fundamentalism. The balance between these two forces is struck differently in the various Muslim societies depending upon the constellation of groups as historical legacies. However, the tension is real. In this work, Jan-Erik Lane and Hamadi Redissi look at the underlying social consequences of religious beliefs to account for the political differences between major civilizations of the world against a background of the rise of modern capitalism.
Offering a timely new appraisal of the political and social impact of Islam, this expanded second edition of Religion and Politics has been fully updated in line with new events and will be welcomed by political scientists and historians alike. In a readable and accessible style, this thought-provoking work raises the question of whether the tenets of Islam might be reconciled with the requirements of post-modernity.less
Title: Religion and Politics
Author: Hamadi Redissi; Jan-Erik Lane
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Jimmy Carter 2010 US$ 7.99 208 pages


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Kettle Corn is a delicious treat for the whole family to enjoy. A non dairy version of caramel corn, this snack is cheap, delicious, easy, and chemical free!
1/3 cup oil
2/3 cup popcorn kernels
4 tablespoons sugar
Salt to taste
1. Gather all your ingredients on the counter, and then measure them out.
2. Get a medium sized covered saucepan, large mixing bowl and mixing spoon.
3. Heat up the oil in the saucepan on medium heat for a few minutes.
4. Pour in the popcorn, and then immediately sprinkle the sugar all over the kernels.
5. Cover the pot and shake. Shake every 30 seconds or so, so the sugar doesn't burn.
6. When the popping slows down, pour into the mixing bowl so it doesn't burn from the hot pot.
7. Sprinkle with salt and mix with the spoon. Be careful- melted sugar is really hot and can easily burn you badly!
8. When its cool enough, dig in!
Bon Appetite!
Friday, May 14, 2010
Kettle Corn
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"It is not enough to have one Wood. What is needed is a thicket—a forest—of Woods . . . [He proves] that superior criticism not only unifies and interprets a literary culture but has the power to imagine it into being." —Cynthia Ozick, Harper's Magazine
How Fiction Worksby James Wood
What makes a story a story? What is style? What's the connection between realism and real life? These are some of the questions James Wood answers in How Fiction Works, the first book-length essay by the preeminent critic of his generation. Ranging widely—from Homer to David Foster Wallace, from What Maisie Knew to Make Way for/i>/i>
What makes a story a story? What is style? What's the connection between realism and real life? These are some of the questions James Wood answers in How Fiction Works, the first book-length essay by the preeminent critic of his generation. Ranging widely—from Homer to David Foster Wallace, from What Maisie Knew to Make Way for Ducklings—Wood takes the reader through the basic elements of the art, step by step.
The result is nothing less than a philosophy of the novel—plainspoken, funny, blunt—in the traditions of E. M. Forster's Aspects of the Novel and Strunk and White's The Elements of Style. It sums up two decades of insight with wit and concision. It will change the way you read.
Editorial Reviews
The Washington Post
Wood takes aim at E.M. Forster's longtime standard-bearer Aspects of the Novelin this eminently readable and thought-provoking treatise on the ways, whys and hows of writing and reading fiction. Wood addresses many of the usual suspectsplot, character, voice, metaphorwith a palpable passion (he denounces a verb as "pompous" and praises a passage from Sabbath's Theateras "an amazingly blasphemous little mélange"), and his inviting voice guides readers gently into a brief discourse on "thisness" and "chosenness," leading up to passages on how to "push out," the "contagion of moralizing niceness" and, most importantly, a new way to discuss characters. Wood dismisses Forster's notions of flat or round characters and suggests that characters be evaluated in terms of "transparencies" and "opacities" determined not by the reader's expectations of how a character may act (as in Forster's formula), but by a character's motivations. Wood, now at the New Yorkerand arguably the pre-eminent critic of contemporary English letters, accomplishes his mission of asking "a critic's questions and offer[ing] a writer's answers" with panache. This book is destined to be marked up, dog-eared and cherished. (Aug.)Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Serious readers of fiction will tackle this informing and enlightening new work with unrestrained relish. A staff writer at The New Yorker, Wood (American literature, Harvard Univ.; The Book Against God) asks all the right questions: What is character, point of view, the value of metaphor and simile, and detail? Is it all artifice or realism, or could it be labeled imaginative truth? His engaging discussion covers narration in all its forms, the impersonal author, the tension that exists between an author's and a character's style, flat vs. round characters, irony, and more. Wood uses excerpts from works by notable authors, from Miguel Cervantes and Jane Austen to Saul Bellow and John Updike, to illustrate his statements with pinpoint precision. Whether he is commenting on a work's weakness or strength, he supports his opinion with reasoned scholarship. Great fiction has what Wood calls "lifeness." Ditto for this book, whose footnotes are as engrossing as the narrative. Highly recommended for public and academic libraries.
Robert Kelly
Product Details
- 9780374173401
- Publisher:
- Farrar, Straus and Giroux
- Publication date:
- 07/22/2008
- Edition description:
- First Edition
- Pages:
- 288
- Product dimensions:
- 5.38(w) x 7.86(h) x 1.02(d)
Read an Excerpt
How Fiction Works
By James Wood
Farrar, Straus and Giroux
Copyright © 2008
James Wood
All right reserved.
Chapter One Narrating
The house of fiction has many windows, but only two or three doors. I can tell a story in the third person or in the first person, and perhaps in the second person singular, or in the first person plural, though successful examples of these latter two are rare indeed. And that is it. Anything else probably will not much resemble narration; it may be closer to poetry, or prose-poetry.
In reality, we are stuck with third- and first-person narration. The common idea is that there is a contrast between reliable narration (third-person omniscience) and unreliable narration (the unreliable first-person narrator, who knows less about himself than the reader eventually does). On one side, Tolstoy, say; and on the other, Humbert Humbert or Italo Svevo's narrator, Zeno Cosini, or Bertie Wooster. Authorial omniscience, people assume, has had its day, much as that "vast, moth-eaten musical brocade" called religion has also had its. W. G. Sebald once said to me, "I think that fiction writing which does not acknowledge the uncertainty of the narrator himself is a form of imposture which I find very, very difficult to take. Any form of authorial writing where the narrator sets himself up as stagehand and director and judge and executor in a text, I find somehow unacceptable. I cannot bear to read books of this kind." Sebald continued: "If you refer to Jane Austen, you refer to a world where there were set standards of propriety which were accepted by everyone. Given that you have a world where the rules are clear and where one knows where trespassing begins, then I think it is legitimate, within that context, to be a narrator who knows what the rules are and who knows the answers to certain questions. But I think these certainties have been taken from us by the course of history, and that we do have to acknowledge our own sense of ignorance and of insufficiency in these matters and therefore to try and write accordingly."
For Sebald, and for many writers like him, standard third-person omniscient narration is a kind of antique cheat. But both sides of this division have been caricatured.
Actually, first-person narration is generally more reliable than unreliable; and third-person "omniscient" narration is generally more partial than omniscient.
The first-person narrator is often highly reliable; Jane Eyre, a highly reliable first-person narrator, for instance, tells us her story from a position of belated enlightenment (years later, married to Mr. Rochester, she can now see her whole life story, rather as Mr. Rochester's eyesight is gradually returning at the end of the novel). Even the apparently unreliable narrator is more often than not reliably unreliable. Think of Kazuo Ishiguro's butler in The Remains of the Day, or of Bertie Wooster, or even of Humbert Humbert. We know that the narrator is being unreliable because the author is alerting us, through reliable manipulation, to that narrator's unreliability. A process of authorial flagging is going on; the novel teaches us how to read its narrator.
Unreliably unreliable narration is very rare, actually-about as rare as a genuinely mysterious, truly bottomless character. The nameless narrator of Knut Hamsun's Hunger is highly unreliable, and finally unknowable (it helps that he is insane); Dostoevsky's narrator in Notes from Underground is the model for Hamsun. Italo Svevo's Zeno Cosini may be the best example of truly unreliable narration. He imagines that by telling us his life story he is psychoanalyzing himself (he has promised his analyst to do this). But his self-comprehension, waved confidently before our eyes, is as comically perforated as a bullet-holed flag.
On the other side, omniscient narration is rarely as omniscient as it seems. To begin with, authorial style generally has a way of making third-person omniscience seem partial and inflected. Authorial style tends to draw our attention toward the writer, toward the artifice of the author's construction, and so toward the writer's own impress. Thus the almost comic paradox of Flaubert's celebrated wish that the author be "impersonal," Godlike, and removed, in contrast with the high personality of his very style, those exquisite sentences and details, which are nothing less than God's showy signatures on every page: so much for the impersonal author. Tolstoy comes closest to a canonical idea of authorial omniscience, and he uses with great naturalness and authority a mode of writing that Roland Barthes called "the reference code" (or sometimes "the cultural code"), whereby a writer makes confident appeal to a universal or consensual truth, or a body of shared cultural or scientific knowledge.
So-called omniscience is almost impossible. As soon as someone tells a story about a character, narrative seems to want to bend itself around that character, wants to merge with that character, to take on his or her way of thinking and speaking. A novelist's omniscience soon enough becomes a kind of secret sharing; this is called "free indirect style," a term novelists have lots of different nicknames for-"close third person," or "going into character."
a. He looked over at his wife. "She looks so unhappy," he thought, "almost sick." He wondered what to say.
This is direct or quoted speech ("'She looks so unhappy,' he thought") combined with the character's reported or indirect speech ("He wondered what to say"). The old-fashioned notion of a character's thought as a speech made to himself, a kind of internal address.
b. He looked over at his wife. She looked so unhappy, he thought, almost sick. He wondered what to say.
This is reported or indirect speech, the internal speech of the husband reported by the author, and flagged as such ("he thought"). It is the most recognizable, the most habitual, of all the codes of standard realist narrative.
c. He looked at his wife. Yes, she was tiresomely unhappy again, almost sick. What the hell should he say?
This is free indirect speech or style: the husband's internal speech or thought has been freed of its authorial flagging; no "he said to himself" or "he wondered" or "he thought."
Note the gain in flexibility. The narrative seems to float away from the novelist and take on the properties of the character, who now seems to "own" the words. The writer is free to inflect the reported thought, to bend it around the character's own words ("What the hell should he say?"). We are close to stream of consciousness, and that is the direction free indirect style takes in the nineteenth and early-twentieth centuries: "He looked at her. Unhappy, yes. Sickly. Obviously a big mistake to have told her. His stupid conscience again. Why did he blurt it? All his own fault, and what now?"
You will note that such internal monologue, freed from flagging and quotation marks, sounds very much like the pure soliloquy of eighteenth- and nineteenth-century novels (an example of a technical improvement merely renovating, in a circular manner, an original technique too basic and useful-too real-to do without).
Free indirect style is at its most powerful when hardly visible or audible: "Ted watched the orchestra through stupid tears." In my example, the word "stupid" marks the sentence as written in free indirect style. Remove it, and we have standard reported thought: "Ted watched the orchestra through tears." The addition of the word "stupid" raises the question: Whose word is this? It's unlikely that I would want to call my character stupid merely for listening to some music in a concert hall. No, in a marvelous alchemical transfer, the word now belongs partly to Ted. He is listening to the music and crying, and is embarrassed-we can imagine him furiously rubbing his eyes-that he has allowed these "stupid" tears to fall. Convert it back into first-person speech, and we have this: "'Stupid to be crying at this silly piece of Brahms,' he thought." But this example is several words longer; and we have lost the complicated presence of the author.
What is so useful about free indirect style is that in our example a word like "stupid" somehow belongs both to the author and the character; we are not entirely sure who "owns" the word. Might "stupid" reflect a slight asperity or distance on the part of the author? Or does the word belong wholly to the character, with the author, in a rush of sympathy, having "handed" it, as it were, to the tearful fellow?
Thanks to free indirect style, we see things through the character's eyes and language but also through the author's eyes and language. We inhabit omniscience and partiality at once. A gap opens between author and character, and the bridge-which is free indirect style itself-between them simultaneously closes that gap and draws attention to its distance.
This is merely another definition of dramatic irony: to see through a character's eyes while being encouraged to see more than the character can see (an unreliability identical to the unreliable first-person narrator's).
Some of the purest examples of irony are found in children's literature, which often needs to allow a child-or the child's proxy, an animal-to see the world through limited eyes, while alerting the older reader to this limitation. In Robert McCloskey's Make Way for Ducklings, Mr. and Mrs. Mallard are trying out the Boston Public Garden for their new home, when a swan boat (a boat made to look like a swan but actually powered by a pedal-pushing human pilot) passes them. Mr. Mallard has never seen anything like this before. McCloskey falls naturally into free indirect style: "Just as they were getting ready to start on their way, a strange enormous bird came by. It was pushing a boat full of people, and there was a man sitting on its back. 'Good morning,' quacked Mr. Mallard, being polite. The big bird was too proud to answer." Instead of telling us that Mr. Mallard could make no sense of the swan boat, McCloskey places us in Mr. Mallard's confusion; yet the confusion is obvious enough that a broad ironic gap opens between Mr. Mallard and the reader (or author). We are not confused in the same way as Mr. Mallard; but we are also being made to inhabit Mr. Mallard's confusion.
What happens, though, when a more serious writer wants to open a very small gap between character and author? What happens when a novelist wants us to inhabit a character's confusion, but will not "correct" that confusion, refuses to make clear what a state of nonconfusion would look like? We can walk in a straight line from McCloskey to Henry James. There is a technical connection, for instance, between Make Way for Ducklings and James's novel What Maisie Knew. Free indirect style helps us to inhabit juvenile confusion, this time a young girl's rather than a duck's. James tells the story, from the third person, of Maisie Farange, a little girl whose parents have viciously divorced. She is bounced between them, as new governesses, from each parental side, are thrust upon her. James wants us to live inside her confusion, and also wants to describe adult corruption from the eyes of childish innocence. Maisie likes one of her governesses, the plain and distinctly lower-middle-class Mrs. Wix, who wears her hair rather grotesquely, and who once had a little daughter called Clara Matilda, a girl who, at around Maisie's age, was knocked down on the Harrow Road, and is buried in the cemetery at Kensal Green. Maisie knows that her elegant and vapid mother does not think much of Mrs. Wix, but Maisie likes her all the same:
It was on account of these things that mamma got her for such low pay, really for nothing: so much, one day when Mrs. Wix had accompanied her into the drawing-room and left her, the child heard one of the ladies she found there-a lady with eyebrows arched like skipping-ropes and thick black stitching, like ruled lines for musical notes on beautiful white gloves-announce to another. She knew governesses were poor; Miss Overmore was unmentionably and Mrs. Wix ever so publicly so. Neither this, however, nor the old brown frock nor the diadem nor the button, made a difference for Maisie in the charm put forth through everything, the charm of Mrs. Wix's conveying that somehow, in her ugliness and her poverty, she was peculiarly and soothingly safe; safer than any one in the world, than papa, than mamma, than the lady with the arched eyebrows; safer even, though so much less beautiful, than Miss Overmore, on whose loveliness, as she supposed it, the little girl was faintly conscious that one couldn't rest with quite the same tucked-in and kissed-for-goodnight feeling. Mrs. Wix was as safe as Clara Matilda, who was in heaven and yet, embarrassingly, also in Kensal Green, where they had been together to see her little huddled grave.
What a piece of writing this is! So flexible, so capable of inhabiting different levels of comprehension and irony, so full of poignant identification with young Maisie, yet constantly moving in toward Maisie and moving away from her, back toward the author.
James's free indirect style allows us to inhabit at least three different perspectives at once: the official parental and adult judgment on Mrs. Wix; Maisie's version of the official view; and Maisie's view of Mrs. Wix. The official view, overheard by Maisie, is filtered through Maisie's own half-comprehending voice: "It was on account of these things that mamma got her for such low pay, really for nothing." The lady with the arched eyebrows who uttered this cruelty is being paraphrased by Maisie, and paraphrased not especially skeptically or rebelliously, but with a child's wide-eyed respect for authority. James must make us feel that Maisie knows a lot but not enough. Maisie may not like the woman with the arched eyebrows who spoke thus about Mrs. Wix, but she is still in fear of her judgment, and we can hear a kind of excited respect in the narration; the free indirect style is done so well that it is pure voice-it longs to be turned back into the speech of which it is the paraphrase: we can hear, as a sort of shadow, Maisie saying to the kind of friend she in fact painfully lacks, "You know, mamma got her for very low pay because she is very poor and has a dead daughter. I've visited the grave, don't you know!"
So there is the official adult opinion of Mrs. Wix; and there is Maisie's comprehension of this official disapproval; and then, countervailingly, there is Maisie's own, much warmer opinion of Mrs. Wix, who may not be as elegant as her predecessor, Miss Over-more, but who seems much more safe: the purveyor of a uniquely "tucked-in and kissed-for-good-night feeling." (Notice that in the interest of letting Maisie "speak" through his language, James is willing to sacrifice his own stylistic elegance in a phrase like this.)
James's genius gathers in one word: "embarrassingly." That is where all the stress comes to rest. "Mrs. Wix was as safe as Clara Matilda, who was in heaven and yet, embarrassingly, also in Kensal Green, where they had been together to see her little huddled grave." Whose word is "embarrassingly"? It is Maisie's: it is embarrassing for a child to witness adult grief, and we know that Mrs. Wix has taken to referring to Clara Matilda as Maisie's "little dead sister." We can imagine Maisie standing next to Mrs. Wix in the cemetery at Kensal Green-it is characteristic of James's narration that he has not mentioned the place name Kensal Green until now, leaving it for us to work out-we can imagine her standing next to Mrs. Wix and feeling awkward and embarrassed, at once impressed by and a little afraid of Mrs. Wix's grief. And here is the greatness of the passage: Maisie, despite her greater love for Mrs. Wix, stands in the same relation to Mrs. Wix as she stands to the lady with the arched eyebrows; both women cause her some embarrassment. She fully understands neither, even if she uncomprehendingly prefers the former. "Embarrassingly": the word encodes Maisie's natural embarrassment and also the internalized embarrassment of official adult opinion ("My dear, it is so embarrassing, that woman is always taking her up to Kensal Green!").
Excerpted from How Fiction Works by James Wood Copyright © 2008 by James Wood . Excerpted by permission.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Meet the Author
James Wood is a staff writer at The New Yorker and a visiting lecturer in English and American literature at Harvard. He is the author of two essay collections, The Broken Estate and The Irresponsible Self, and of a novel, The Book Against God.
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This book goes beyond the basics. Great for writers who are at a higher level.
After borrowing this book twice from the library, I must have my own copy because I keep going back to it. As a writer, I find most books about writing to be fairly useless, telling me things I already know. James Wood's more theoretical (rather than practical) approach to explaining how fiction works is, admittedly, probably of much more use to writers than to readers. So be it. I found his section on "Truth, Convention, Realism" particularly insightful, and he is absolutely right about the challenge we face as writers of realism: "The writer has to act as if the available novelistic methods are continually about to turn into mere convention..." In response to the two-star rating from KrisPA, I'd like to add that, while Woods' language is undeniably "hoity-toity," he is in fact challenging the most irritating literary snobs who claim that realism itself is a "dead convention." This is utter horsedung, and Wood calls it out for what it is (though he uses the more polite term "nonsense"). That alone won me over. It's also true that his examples are mostly decades if not centuries old. That's because he's drawing on the classics. Our contemporary novels will have their day, but not yet. First they have to stand the test of time. I highly recommend this book for any writer seriously interested in the craft of realistic fiction.
One of the most important craft books in my library.
This book was recommended reading from a reading class I took from "Great Courses". I have pretty much read the Writer's Digest Book club library of books... must be well over 100 books on writing, to be modest. I wanted to qualify myself because of the low rating. This book is gibberish. Quite literally. How does someone learn to write fiction from someone who can't construct a decent sentence? How Fiction Works is absolutely not worth purchasing at any cost, not even as a free Friday nook book, and I suspect reading it could cause permanent damage to your writing skills and writing aspirations.
a critic's perspective.
I read this for a class in my MFA program. I found it very helpful in understanding certain aspects of point of view and types of discourse decisions that writers make in the narrative of a given work. Although it was at times dry, it's an informative book and was the subject of several class discussions.
What's absolutely intriguing to me about this book is that Woods does not discuss any recent fiction. His most current cultural reference is to Seinfeld, a show that ended, what, a decade ago? Woods refers to fiction that many (most?) people don't read today unless they are English majors in college. Even then they don't read them (I was an English major and didn't read most of these authors). Authors such as Flaubert, Shakespeare, Updike, Doestoevsky, Austen, Woolf, Tolstoy, Moliere, Proust, etc. Now, granted, I have read some of these authors and even like them, but he saves most of his praise for authors that I'm sure most of the reading public has never read. I read this whole book and often got lost in his thicket of French words and technical/philosophical literary theories. The majority of it that I did understand, my impression was: who care? For all his theories about how fiction works, particularly the last sections about realism, Woods neglects why fiction really works: the stories. Readers love a good story. We want to be transported from our everyday ho-hum lives into worlds of fantasy, science fiction, spies and thrillers. We want to live other lives. Fiction does this for us. All his high-minded words about "free indirect style" and "character-appropriate metaphors" are directed to readers and perhaps writers who sneer at today's fiction as "commercial realism." Why? Because it is written so people can enjoy it, lose themselves in it, and will actually buy it? Indirectly, this is a book about art, and when does art cease to become art? Because of his dearth of examples of contemporary fiction, I think Woods is implying that any book published after a certain time period is perhaps not art, not literary, and god forbid if more than 20 people buy it and actually read it. This book is also about a matter of taste--what I consider well-written, what sentences thrill me, cause a strong emotion in me, will not cause a strong emotion in you. Many of the examples he cited as beautiful, powerful writing didn't do it for me, particularly Marilynne Robinson's "weedy little mortality patch" from her novel Gilead. Wood swoons over that phrase. My reaction: eh. While this book provides a certain amount of intellectual stimulation, its theories should be discussed in a literary vaccuum--it's so snooty and provides few contemporary literary examples (except to sneer at them), I fail to see the significance of it. Do I think style and dialogue and metaphor and characters are important? Yes. Did Woods adequately explain that importance to me? Not really. This book should be titled: How Fiction Works: Only for the Literary Snobs. The one point he made that struck home was the idea that we (readers) must like our characters. He discusses all the "foolish" reader reviews on Amazon.com complaining about not liking the characters. He calls this a "contagion of moralizing niceness" and he's right. While I like to like my characters, I don't have to. My characters must be interesting and compelling, but not always likeable. However, I have no doubt that Mr. Woods would consider this a "foolish" review too.


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My boy is nearly 50 but would love to contribute - but the bins are a tad exposed (and so would he be)
I water it when I'm building a compost bin - helps to kickstart the process
Thanx - very helpful
That's muLch of course....
Thanx Bob - it's all good clean stuff
What time of year is best? Can I add it to my compost much in Autumn or is it better in Spring?
I don't have either of those fruits - any good for Raspberries, blackberries or fruit trees?
I have quite a lot of wood ash - how do I best use that? It's so fine that it wold blow away sprinkling it straight on the soil or can I mix it with nettle juice and water it in?
Just been on the interhort website and the HUmax produacts all say peat based. Can't find Erin's Excel anywhere :S
I've done OK with Verve for seeds and pots but agree it doesn't seem to last well in pots so I'm going to go for something better now as I've got a lot of things to pot on and don't want to be wasting water (or time).
So thanx for the tips for Humax & Erin's Excel
How did you get on Hannah? Are you still using New Horizon or have you found anything else since?
Just about to order some on line becasue the local places' stuff isn't up to much


text:
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text:
|Reviews for Lay Me To Sleep
| Mycroft-mione chapter 1 . 1/18/2015
So mean... so, so mean. So mean that I'm crying and I want this to be everywhere so that I can read it every day and be sad and cry with how good it was!
*wipes tears from eyes*
Okay, now I'm fine. This is going in my community though!
| Devoglio S chapter 1 . 4/22/2014
Why? Why you do this? It was beautiful, but why?!
| SaltyDishwater chapter 1 . 1/20/2013
| Slave-Of-Boredom chapter 1 . 11/1/2012
Somehow, the ending made me smile.
| Waaah chapter 1 . 6/9/2012
Oh my god I jumped from MorMor to this. Waaah! I hate you! :). I feel like a bad person for liking this, but it was so good. Wonderfully explored what ifs and the irony at the end has me all misty eyed. Love it.
| whisper.january chapter 1 . 5/31/2012
loved this. utterly depressing as it was, it was perfect
| G3AIM0QU3UR chapter 1 . 5/26/2012
Fantastically well written, but you... monster! T_T
| DxLilith chapter 1 . 3/31/2012
wow. so i read the summary & i'm like...that doesn't work. this was quite lovely...in a sort of...sad way.
| dreamergirl090 chapter 1 . 3/18/2012
So heart wrenching... Loved it. As I started reading I could see what was on folding. Really simple but beautiful.
| JimandPamfan chapter 1 . 3/10/2012
You monster!
Ok that was harsh. This was so haunting and sad. Great/terrible job!
| Raye Black chapter 1 . 3/10/2012
Oh my lord, way to kill my heart. This was horrible and beautiful at the same time. Great job


text:
Whisper and James
James tries to help his old friend Whisper find peace and bust the men who killed her.
A James Past Time.
"Whisper!" Timberline barked. Willow trotted along him, as they both ignored the stares and screams of the human boys and girls:
"What? Are... are those... wolves?!"
"Someone call Animal Control!"
The two twin wolves stopped dead when they heard that. They both turned to the man who called that, who was busy trying to pull his phone out. Timberline put his paw firmly in front of his sister.
"Over my living body!" The two young wolves looked back when they heard the distant-sounding and misty voice. Their lips curled up in smiles when they saw the girl their parents ate.
"Whisper!" Willow barked, charging forward. Timberline looked back at the man. He heard, through his highly-trained ears, Whisper chuckle, very ghostly-like.
Timberline watched as his invisible human friend walked over to the man, taking his cell phone out of his hand. Everyone looked at the flying phone, gaping. Whisper gave it a hard squeeze, and it exploded.
"What the he--!" the man yelled, falling back. Whisper laughed, and walked away from the crowd now forming, taking care to pass through no one. She knew how deadly it was.
Timberline snickered in his wolfy way, noticing only one person who wasn't staring at the man and his crushed cellular. It didn't look like he was staring at anything, just the ground in front of him. He had to look away when Whisper stroked his head. Willow and Timberline were the only living things she ever touched.
Neither of the retreating beings noticed the red-headed boy look directly at Whisper with his dull green eyes. The pupils were blocked out... he was blind, but still looking right at Whisper. His eyes strayed down her back. He "watched" her walk away.
"Whisper!! Where are you?" Willow canted happily as she bounded through the woods with her brother, looking for their friend. Timberline jumped on her suddenly, and then a bullet shot through a tree were Willow's head just was.
"Stupid animals!" yelled the hunter that shot. Willow got up and ran, Timberline growling at the man. He saw a flash of a half-eaten bloody girl behind him, staring at him evilly.
Timberline stood his ground as the hunter aimed the gun at him again. The hunter suddenly dropped the gun, clutching his heart. He gasped for breath as he fell to his knees. Timberline watched as Whisper flickered from visible (to him) to invisible. It looked... mysterious. To the human, that is. Timberline was used to it.
Just when the poor hunter was an inch from death, Whisper stopped, giving him his heartbeat and breath back. The hunter stammered and left his gun as he ran off to get his buddy.
"Was that necessary?" Willow whined as she got out from behind the bush. Whisper returned in her school-girl appearance. She smiled and squatted down in front of the pouting puppy-wolf. She laughed innocently (though it still sounded distant and creepy) and patted her head tenderly.
Whisper stood up, and started to walk towards their den. Timberline followed, but Willow stopped when she heard a thud. Whisper must've heard it too, because she stopped and looked in the direction of the dull noise. She started to walk towards it, becoming invisible.
Timberline and Willow trotted to the noise's site, seeing a young boy rubbing his head. They saw it was scratched and bloody when he removed his hand. They guessed he knocked it on the tree he was sitting in front of.
But who's so stupid they run into a tree? Willow thought. Timberline made a gasping noise. The boy looked at them.
"That's the boy I saw in the square!" he whispered.
"What are you doing here?" the boy asked. Willow backed up, and Timberline cocked his head.
"You- you guys aren't human. Wolves, maybe?" the boy asked. Willow suddenly recognized his face.
"Timber! Timber, that's James Synera! B-but... but... he's blind. How can he see us?" she whimpered. Timberline was looking at him in the eyes, but then the James boy looked at the spot right next to them.
"Who are you?" he asked. Timberline looked up in alarm, but nobody was there.
But slowly, Whisper came into view. James and looking at her, and she was looking at him.
"How... how can you see me?" Her voice sounded different, distorted. It was like she didn't want him to hear her right.
"Uh... Are... are you dead too?" he asked. Whisper gasped.
"How..? How can you see me?" she demanded. Her voice was still weird.
"I... uhm... I really don't know. I can't... I can't see anything else though," he admitted, his gaze fixed on her. Timberline wasn't sure, but he didn't look a day over 13.
Timberline and Willow looked at Whisper, scared. Whisper didn't look at them.
"James?" she asked. Her voice was sweet, normal sounding. The boy sparked.
"W-Whisper? Is... is that you?" he asked, sounding worried. Whisper nodded.
"Yeah. But... how the heck can you see me? You... you're blind!"
"I... I know. But... why are you here? Why are you dead?!" he asked, his voice rising in concern.
"James! Is that you? Where are you, honey?" called a woman. James blinked, looking around, motioning for Willow and Timberline to scatter. Willow stayed there, visible to only him and her two other friends.
"Mom? Mom! I'm over here! Where... where am I?" he called. A woman came up behind her.
"Honey, your in the forest. How did you get here, sweetie?" Mrs. Synera asked.
"James! James, thank God," a man ran up, a thin French accent hanging in his speech. He took James's shoulders in his hands. Mr. and Mrs. Synera gasped when they saw the blood slowly run down his forehead.
"I don't know. I just walked, until I met this ungrateful... tree, isn't it?" he joked. Willow laughed, making James smile. Mr. and Mrs. Synera didn't hear her.
"Bye for now, James," Willow said, as she started to walk away, after making sure her best living friend was safe in his parent's presence.
"Bye to you, too," he replied, making it look as he was talking to the tree. His parents chuckled, and walked him home. Whisper wondered off to find her 'canis lupis' friends.


text:
LRG Capital Funds
|Private Ownership
|Private Equity
|Lawrence R. Goldfarb
|San Francisco, California, United States
|Private equity funds, Leveraged buyouts
The LRG Capital Funds (formerly BayStar Capital Funds) are managed by LRG Capital Group, LLC. Through its BayStar Capital III Investment Fund, a multi-strategy investment fund, the firm makes direct investments in small-to mid capitalization, public and late-stage private companies, primarily within the technology and life sciences sectors.[1]
The firm is a business unit of LRG Capital Group is an investment, banking and advisory boutique that focuses on public and private companies in the technology, life sciences, hospitality, real estate and entertainment sectors. The firm was founded by former CS First Boston investment banker Lawrence R. Goldfarb.
Headquartered in San Francisco, with offices in New York City and Miami.
The BayStar Capital III Investment Fund invests in public companies[2] (such as Glasshouse Technologies, Inc.[3] and Virtualscopics[4]) that have a long term viable business model, an experienced management team and possess a major market opportunity.
Prior BayStar Capital Funds have collectively invested over $1.5 billion of equity in more than 250 companies.[5]
See also[edit]
- ^ LRG Capital Funds
- ^ LRG Baystar Capital Funds
- ^ BayStar Capital III Fund Investment GlassHouse Technologies Plans IPO
- ^ Baystar Capital III Investment Fund, L.P. Invests in Virtualscopics, a Premier Provider of Next Generation Imaging Solutions to the Biotechnology and Pharmaceutical Industries
- ^ LRG Baystar Capital Funds
External links[edit]
- LRG Baystar Capital III Fund (company website)


text:
|Company Report with Debt Check (RAI)
|VAT Number of Tekaleku S.L.
The company with name Tekaleku S.L., is declared as a company dedicated primarily to wholesale of other consumer goods other than food, with legal inscription in Trade Register of Bilbao, with seven filed documents at the Companies Registry Office, incorporated in Spain, with "sociedad limitada" as business entity type, in the postal code 48200 and with address for tax purpose in the Untzillatx Kalea street of Durango. The company named one Liquidator (a man) fourteen years and five months after its formation and was visited recently six times in the last three years from two different countries.
|Company type
|Sociedad Limitada, Extinguished company
|VAT Number (CIF)
|Last updated
|Tuesday, December 2, 2014 9:54:30 AM UTC
|Official Address
|The Untzillatx Kalea street 3 Durango 48200
There are 4 companies registered at this street
|Postal Code
|Phone number
|Wholesale of other consumer goods other than food (2004)
|Document Type
|Publication date
|Registry Date
|Download link
|Dec 2, 2014
|Nov 18, 2014
|New staff addition of one Liquidator (a man) was made
|Dec 2, 2014
|Nov 18, 2014
|Termination of the appointment of one Liquidator (a man) and one Sole Administrator (a man)
|Jan 23, 2014
|Jan 21, 2014
|Notification of inclusion in Mandatory Electronic Notification Campaign


text:
In an extremely restrictive and totalitarian medieval city, a girl discovers what life "outside the Wall" is like.
The sun shone gloriously down onto the city of Stonewall, gleaming off of the golden spires of the High Palace and the steeples of the many churches. The walls, however, did not gleam in the sunlight. They never shone. They just cast enormous, encompassing shadows behind them and stared moodily back at the sun, gray and hard as always.
The great city was perched on top of a low hill, its buildings thrusting upward like stalagmites. There were tall towers, short towers; low flat houses and jagged, crooked houses that grew taller every year as new additions were made to them. Most of them did not clear the lip of the high walls that laced the city, though, and those that did were mostly guard towers or apartment houses, and of course, towers of the High Palace.
A stiff wind blew toward the city from the east today, tossing the branches of the trees that made up the wood at the foot of the hill. And borne aloft by this breeze, a gray-dappled dove flew toward the city, something white and fluttery clutched in its beak.
The dove flapped and battled with the wind that buffeted it and soared over the tall stone walls. It flew on toward the heart of the city and eventually descended in spiraling circles around the tallest tower of the High Palace. After several turns about the tower, the dove finally flitted down and came to rest on a wide marble window ledge.
The window was open — just about six inches or so, but enough for the dove to duck through into the room inside, which it did with a short hop.
The room was large and circular and as gaudily opulent as was fashionable. There was a fine, thick red carpet on the floor that must have been imported from somewhere in the Western Mounts; fancy paintings adorned the walls wreathed in expensive gold frames. Most of the paintings seemed to be depicting the same person: a well-dressed man with dark tan skin and a trimmed black beard looking stern and aloof in various different poses. In the center of the room was an ornately carved mahogany desk facing the window, the many quills and papers on it all perfectly arranged as though they were merely for show and had never actually been used. And sitting behind this desk, reading one of his papers over steepled fingers sat a tall bearded man, dark-skinned, dark-eyed and dressed like a king, full with crown and everything; which was fitting because happened to be one. It was quite clear from a glance that this was the same man in the portraits on the walls.
There was a very small "tweet!" from the windowsill and the man looked up to see the little dove in the window. It was looking at him sideways with one of its small liquid eyes and there was a small piece of paper lying next to its taloned feet which it had apparently dropped there.
The king rose from his chair and crossed to the window. He ran a finger through the dove's feathers with one hand as he snapped up the tiny scroll of parchment with the other.
The man slit open the scroll with a letter opener he had in his pocket as he walked back to the desk. He seated himself again, as he rang a small bell on his desk. He had not even unfurled the scroll when the door opened behind him and in rushed a girl of eighteen or twenty years of age.
"Your Majesty?" she said bowing swiftly.
The king did not twist in his seat.
"Send for Commander Drake immediately. And tell him not to bother with his armor or anything else. I mean immediately."
"Yes, Lord," said the servant bowing once again and exiting the room.


text:
Xn--5brp31b1b031gegddrj.com is a 1 year old domain.
It was registered by Hu Maggie , who can be reached at . The site is owned by Guang Zhou Chuang Tou Sheng Wu Ke Ji You Xian Gong Si. Registration details show that it was registered on 10 Jan 2016 through hichina zhicheng technology ltd. and will expire on 10 Jan 2017.


text:
Bodice Ripper
Short Story by: Mike Brennan
Status: Finished
Genre: Romance
Katerina felt her heart pounding in her bosom as she cautiously crept along the moorland path, lifting the hem of her skirts with one hand and her lantern with the other. The Moon made the moors a mosaic of silvery sward and deep, ominous shadows. Did one of them conceal Pierre, the tall, dark stranger with the mysterious and slightly dangerous smile? Katerina desperately calmed her breathing, least it break the fragile string that replaced the sturdy cord that normally laced up her bodice. A string, she knew, that would part under any pressure, such as strong hands seizing her from the shadows, and thus avoid an embarrassing situation like last Tuesday, when she had to stand there for five minutes while he figured out how to get the damn thing off.
"I can't believe you sent that in," groused Laura, in a way that Ted did not find at all convincing.
"You should be happy," he replied, his voice somewhat muffled as he pulled the white linen shirt over his head. "Most authors would die for a call from an agent who wants to represent them." With practiced movements he tied the cuffs of his bloused sleeves closed.
"Yes, but most authors would have a clue that it was going to happen, and which story the agent was talking about." Laura settled her several layers of under-dresses in place, then started with the over-dress. She had a flash of panic about her shoes, then remembered that they were indeed on. She always felt embarrassed when she needed help getting dressed, but it was impossible for her to reach her feet once she had all the skirts in place.
Ted had his pants on and was lacing them up so that they conformed to every line of his body from the knees to the waist. Laura found it so distracting that she missed the arm-hole of her bodice.
"Well, all you need to do is send her three chapters and an outline, and you will be on your way to being published. I thought that's why you started writing again." He sat down to pull on the high leather boots.
"Of course it is. But I was expecting more time." She worked the lacings of her bodice to produce the "Hi, I'm Laura and these are my boobs" effect that gave her what Ted described as, "not so much cleavage as an honest-to-God rift.""I have the main idea, but there's still a lot to do. Including a lot of research." She started fixing her hair.
Ted stood up and admired himself in the full length mirror. He smoothed his moustache dramatically, then reached for his wide leather belt, with its dirk and pouch. He bent down and gave Laura a kiss on the neck. He whispered in her ear, "The wooden bridge near the golf course." She heard him trot down the hall, through the front room, out the front door and into the night.
Laura continued working on her hair for another several minutes, all the while thinking about Katrerina and all the peril she was going to get into. Finally she rose, donned her cloak, and moved through the house, turning off lights as she went. She closed and locked the door behind her.
Thirty seconds later the door opened and Laura came bustling through. She went to the hall table and picked up a brass-and-cut-glass lantern. Muttering, "I'd forget my head if it wasn't nailed on," she exited the house again, to do a little research.
© Copyright 2017 Mike Brennan. All rights reserved.
Add Your Comments:
more please! please? its a great start.
Liked this one. I think that you are very talented with a wonderful flair for humor. Another great job!
He whispered in her ear, "The wooden bridge near the golf course." (soft sigh!)
Bravo! Your wit.... comes across rico-sauve like.
Another enjoyable read Mike Brennan.
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