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Issue 173, Spring 2005
Charles Simic was born in Belgrade, Yugoslavia, on May 9, 1938. His early childhood was, inevitably, dominated by the Nazi invasion, and some of his most powerful poems derive from memories of this period. In "Two Dogs," for instance, he recalls watching the Germans march past his house in 1944:
The earth trembling, death going by . . . A little white dog ran into the street
And got entangled with the soldiers' feet. A kick made him fly as if he had wings. That's what I keep seeing!
Night coming down. A dog with wings.
Simic's father was arrested a number of times, and eventually fled Yugoslavia in 1944 for Italy, where he was again thrown into jail. On his release at the war's end, George Simic spent five years in Trieste, and then moved to America; he was not to be reunited with his wife and two sons until 1954.
Simic attended primary school in Belgrade. His mother, Helen, made various attempts to escape postwar Yugoslavia, and was herself briefly incarcerated, along with her sons, by the Communist authorities. Eventually they were granted passports in 1953. Afraid the passports might be revoked, Helen hastily packed, and the family boarded a train that very evening for Paris. After a series of delays they were finally granted American visas, and set sail for New York in August of 1954.
The family lived in New York for a year, and then settled in Chicago. There was no money for Simic to attend college, so he worked as an office boy on the Chicago Sun-Times and attended night classes. In 1958 he moved back to New York, where he worked at a variety of jobs—parcel-packer, salesman, housepainter, payroll clerk—and studied and wrote poetry at night.
In 1961 Simic was drafted into the army and was obliged to spend two years as a military policeman in Germany and France. On his return to New York he enrolled at New York University, where he studied linguistics, and married the fashion designer Helen Dubin. His first collection, What the Grass Says, was published in 1967. In 1973, the University of New Hampshire offered him an associate professorship, and he has remained there ever since.
Simic, who has acquired a large and faithful following, has been astonishingly prolific, publishing collections of his poetry and of his reviews and essays at the rate of one, and sometimes two, a year. He has also translated the work of such writers as Vasko Popa, Ivan Lalić, Aleksandar Ristovic, and Tomaž Šalamun, and has been instrumental in bringing their writings to the attention of the English-speaking world. His own poetry has, in turn, been translated into most major European languages.
The following interview was conducted in November 2004, at my flat in Highbury, London. Simic was over to promote the publication of his Selected Poems: 1963–2001, and to read at Poetry International. He knows London well, and has many friends here. A longtime admirer of his work, I was delighted to find myself with an opportunity to discuss with Simic his life, his art, his politics, and his strongly held views on all matters relating to food, in particular rillettes, on which he discoursed over a serving of them I offered at lunch, at great and enthusiastic length.
I'd like, initially, to talk a bit about your childhood in Belgrade. What were your parents like and how did they meet?
My father came from a blue-collar background. He was the first child in that family to go to university. On the other side, my mother came from an old Belgrade family that had been living in the same spot for a couple of centuries. They were pretty wealthy in the late nineteenth century, but lost everything. My grandfather on my mother's side, who was a military man, gambled it all away, as I only found out years later.
How did the different branches of your family get on?
To tell the truth, they despised each other. My mother showed her dislike for my father's relations with sighs, the rolling of eyes, and meaningful asides, while my father's side was more direct. They were a rowdy, hard-drinking bunch. I identified more with them. My mother's family was fearful, paranoid, and secretive. They had lost their wealth and were worried about keeping up appearances. They had no sense of humor. Nothing was ever funny to them. My father's family, when they got going at a dinner table, they were like a dadaist cabaret, so you can imagine how my poor mother felt in their company.
How conscious were you of the ideological positions of the combatants—of what Nazism or Communism meant?
Very much—not in an intellectual way, but everyone around me argued politics all the time. My father had Royalist sympathies. My grandfather on my mother's side, the one who gambled all the money away and spent it on floozies, was a highly decorated World War I officer who thought we should've stayed out of the war since our allies were going to screw us in the end—as they did at the Yalta Conference. My mother believed all her life—and said so openly—that Serbs are political morons who are bound to make the wrong choice no matter what. On my father's side, the young ones were all leftists and thus Communist sympathizers. They looked forward to the Russians coming to liberate us and shooting people like my mother's family. So, as you can imagine, there was a lot of shouting, a lot of tears and slamming of doors.
How difficult were those years for you?
There's a story they used to tell in my family. The war ended the day before May 9, 1945, which happened to be my birthday. I was playing in the street. Anyway, I went up to the apartment to get a drink of water where my mother and our neighbors were listening to the radio. They said, "War is over," and apparently I looked at them puzzled and said, "Now there won't be any more fun!" In wartime, there's no parental supervision; the grown-ups are so busy with their lives, the kids can run free. A few years ago I reviewed two huge books of photographs of the war in Bosnia. Every face looked unhappy, except for some kids in Sarajevo who were smiling as if saying: Isn't this great, isn't this terrific! When I saw those faces, I thought, That's me and my friends. Then, after the war, the fun continued. Yes, we had poverty, Communist indoctrination, but also a few American movies, jazz music on the American Armed Forces Radio, and gangs of kids fighting in the streets. I lived in the very center of Belgrade in a bustling, crowded neighborhood, so it was never dull. In school, there were pictures of Tito, Stalin, and Lenin over every blackboard, watching us do our schoolwork. Our teachers told us daily that these were three wise men who were bringing happiness to children like us all over the world. I, myself, didn't know what to believe. At home, I was told they were bad men who were responsible for my father being away.
When you arrived in France, you were classified by the French authorities as a "displaced person." Displacement, deracination, exile, not belonging are persistent themes in your poetry. Was it in Paris that you most acutely felt that you didn't belong?
Yes, I think it was. I like the French, but they did enjoy humiliating us. Every few months we had to renew our permits, and would have to wait in line for hours only to be told that some document was missing, such as the birth certificate of my great- grandmother, which we had instantly to obtain from Yugoslavia, and then when we did, they'd say we didn't need it after all. We spent a year in Paris living in a small hotel room, surviving on money that my father sent from the United States. We had no idea how long it would take to get our visas. In the meantime, we roamed the city on foot, went to movies and studied English. My mother bought us LIFE, LOOK, and other American magazines where my brother and I studied women in bathing suits, new model cars, and refrigerators packed with food. It was while at school in Paris, however, that I first got interested in poetry. We had to memorize poems by Baudelaire, Verlaine, and Rimbaud and recite them in front of the class. You can imagine what a nightmare that was for me with my accent. Still, those poems brought tears to my eyes.
You've often said New York is your favorite city: Was it love at first sight?
It was. It was an astonishing sight in 1954. Europe was so gray and New York was so bright; there were so many colors, the advertisements, the yellow taxicabs. America was only five days away by ship, but it felt as distant as China does today. European cities are like operatic stage sets. New York looked like painted sets in a sideshow at a carnival where the bearded lady, sword- swallowers, snake charmers, and magicians make their appearances.
How did you get on with your father after not seeing him for, what, ten years?
Fabulously. Of course, I had no idea what to expect. My father didn't want us to have a typical father-son relationship, which wouldn't have been possible in any case. He loved going out to jazz clubs, bars, restaurants—in fact, he took me out to a jazz club my first night in New York. Talking to him was always fun since he had a lot of good stories. Plus, he read everything: history, literature, political studies, Eastern religions, mysticism, philosophy, mysteries, sports pages, and even gossip columns in newspapers. He was one of those people who are always trying to figure out the big ques- tions. The nice thing about him was that he also had an ability to listen. He was interested in what anyone said, so it was easy being with him. Many years later, he met my poet friends James Tate and Mark Strand and they confirmed that he was excellent company.
But he and your mother didn't get along so well?
No. They divorced more or less amicably, two years after being reunited. It was the ten-year separation, of course, and the simple fact—which I grasped at an early age—that they had absolutely nothing in common. My mother was a woman of incredible personal courage and integrity whose political views proved to be much more lucid and prophetic than my father's, but from day to day she was no fun to be with. She expected only the worst. If she sent me to the corner grocery for a bottle of milk she would fret and imagine every awful thing happening to me and was astonished to see me return safe and sound. The horrors of war left a much bigger impact on her than on the rest of us. She would say often that my father was not a serious person, that he did not understand what had happened to us. She felt defeated and he wouldn't admit defeat; she felt that their lives had been made meaningless by historical events.
And you? Did you ever feel oppressed by history?
Not when I was younger. Now, I'm not so sure. The same type of lunatics who made the world what it was when I was a kid are still around. They want more wars, more prisons, more killing. It's all horribly familiar, very tiresome and frightening, of course.
How did you like Chicago?
Chicago was like a coffee-table edition of the Communist Manifesto, with glossy pictures of lakefront mansions and inner-city slums. On one side you had Michigan Avenue with its swanky hotels and luxury stores and, a few blocks away, the rest of the city wrapped up in smoke where factory workers, their faces covered with grime, waited for buses. An immigrant's paradise, you might say. Everyone was employed. There were huge factories humming twenty-four hours a day short distances from beautiful beaches where beautiful young couples sat reading Camus and Sartre. I had Swedes, Poles, Germans, Italians, Jews, and blacks for friends, who all took turns trying to explain America to me. Chicago, where I only spent three years, gave me my first American identity. Everything that happened to me there made a huge impression on me.
Like what?
It was all new. Looking for a job, going to work every day, meeting all kinds of people at work who were mostly older than me, going to bars every night with some of them and hearing them talk about their various lives.
Was it there you began writing poetry?
Well, at first my secret ambition was to be a painter.
What kind of painter were you?
I started out when I was fifteen as a kind of Postimpressionist. Later on, I imitated Soutine, Vlaminck, and the German Expressionists. When I stopped painting around the age of thirty, I was an Abstract Expressionist, at times aping de Kooning, at times aping Guston. The truth is, I had little talent.
When did you start writing seriously?
I started writing in my last year at Oak Park High School, but not seriously—whatever that means. I wrote a poem now and then, but was more interested in what I was painting.
On graduating from Oak Park you got a job as an office boy at the Chicago Sun-Times; had there been talk of your going to college?
Sure, there was a lot of talk. I was accepted at New York University and the University of Chicago, but there was no way for me to go. When it came to money, my father was completely irresponsible. He made a terrific salary and spent every penny immediately.
When did you leave home?
When I was eighteen. I got a place near Lincoln Park in the same neighborhood as a friend who worked at the Sun-Times. He was finishing a degree in philosophy at the University of Chicago. He was the first serious reader of my poetry, an ideal one since he had every reasonable person's understandable suspicion of the imagination. Logic is what he valued and not metaphor. We'd sit on the beach on Lake Michigan and I'd try to explain "Prufrock" to him and he'd say, "How can the evening be etherized like a patient upon a table?" By questioning everything I assumed to be self-evident, he forced me to think seriously about poetry. He turned out to be a very important person in my life. We've stayed friends for over forty-five years.
What kind of poets were you reading?
The modernists, European and American. Pound, Eliot, Williams, Stevens, Apollinaire, Brecht, Rilke, et cetera. The novelist Nelson Algren, whom I knew a bit in Chicago, saw me with a volume of Robert Lowell one time and said, "Simic, don't read that shit! You're a kid off the boat. You ought to read Carl Sandburg and Vachel Lindsay!" In the Midwest, with its populist tradition, there was a suspicion and dislike of the East Coast intellectual elites. They preferred Robinson Jeffers to Robert Frost, Edgar Lee Masters to Wallace Stevens. As for me, the first poet I remember really liking was Hart Crane. He appealed to me because he was obscure. His impenetrable poems sounded like a higher form of poetry. I had no wish to find out if there was a meaning concealed by the obscurities. I wrote a number of Crane imitations, reaching frequently for the thesaurus to seek out the least familiar word and phrase until I had a poem no one, not even I, could understand. Luckily, they have all been destroyed.
Many of your poems throughout your career represent life on the margins—your characters are often loners, winos, bums, desperadoes, street mystics, long-term residents of fleapit hotels . . . Would it be true to say that the nearest you came to living such a life were the years you spent in New York in your early twenties?
Yes. I came to New York in the summer of 1958 and found myself alone. I had a lot of friends in Chicago, who wondered: What do you want to go to New York for? But New York had more of the things I liked—more movies, more jazz clubs, more bookstores. I attended university classes at night, and I worked during the day at various jobs. I sold shirts in a department store, worked in a bookstore, did a bit of house painting, was an accounting clerk, then a payroll clerk, and a few more things like that. When I was not working or in class, I went to bars and movies. I slept little, read a lot, and fell in love frequently. As I recall, I was neither terribly happy nor terribly sad. One of the distinct advantages of growing up in a place where one is apt to find men hung from lampposts as one walks to school is that it cuts down on grumbling about life as one grows older.
Did you participate in the poetry scene at all?
Yes, I did. I went to a lot of readings. In the 1950s and early 1960s poetry readings were modest affairs with five or six friends of the poet, two or three retired schoolteachers, and a few more who by their furtive or outright hostile manner were most likely aspiring poets. I heard Allen Tate, Lowell, Berryman, James Wright, O'Hara, Creeley, Levertov, and many others. Of course, I took a critical view of just about everything I heard. I sat fuming. That's how I met other aspiring poets. I'd blurt out something to someone on the way out; we'd start arguing about it and end up going out for a beer. Some of them were older, knew more than I did and did their best to enlighten me.
Who were the aspiring poets you were hanging out with? What did you argue about?
People passionately interested in poetry, who occasionally published a poem in one of the little magazines and who afterwards were never heard from again. We tried to make sense of what was happening in poetry from the books and magazines we were reading.
Were you yourself sending the poems you wrote to magazines by this stage?
Yes. My first poems were published in 1959 in an issue of the Chicago Review, so they must have been submitted the summer of 1958, four years after I came to the United States.
Were you writing in English?
I always wrote in English since I wanted my friends and the girls I was in love with to understand my poems.
I understand you destroyed all of your unpublished early work. Why?
That happened during my military service—I was drafted into the army in 1961, and sent overseas to France. After about a year there I had my brother send me a shoe box full of poems, and, when they arrived and I read through them, they all struck me as fraudulent. They were so derivative, so bad, so wrong; I never felt so ashamed in my life. I rushed out of the barracks into the night, ripped them all up, and threw them in the trash in a kind of ecstasy.
I guess everyone who lived through the cold war was a cold warrior in some way, but during standoffs such as the Cuban Missile Crisis you must have felt pretty close to the front line.
Yes, we were permanently on the alert because we were expecting war to start any minute, perhaps even a nuclear war. I recall, during the height of the Cuban crisis, a seal on a safe being broken with great solemnity by our commanding officer. It read Not to be opened except in case of war, so this was clearly it. Our orders, as it turned out, were so stupid that even our officers and sergeants were at a loss for words. PFC Simic was supposed to proceed alone to an intersection on the border of Germany and France and advise foreign nationals who were fleeing the Russian troops not to use that particular highway because by NATO agreement it was reserved solely for retreating families of American enlisted men. If they objected, I had my gun and presumably could use it in some fashion. The rest of the orders were equally unrealistic. Fortunately, the crisis was over in a few days so I didn't have to make a fool of myself.
Were you writing poems during this time? Was it possible to write under those conditions?
It was possible, but I had no desire to write poems. I kept a journal for a few months and had a notebook where I jotted commentaries on books I was reading, but all in all I did very little writing during that time.
Editions of your selected poems always begin with "Butcher Shop." Do you think of this poem as a kind of gateway to your oeuvre, as the first in which you found your voice?
It was the first poem I wrote that I knew I wanted to keep. I wrote it in 1963, when I was living on East Thirteenth Street. In those days there were still Polish and Italian butcher shops in that part of town with wonderful displays of sausages, pig knuckles, slaughtered lambs and chickens. I never in my life went past a butcher shop like that without stopping to take a close look. Of course, it reminded me of Europe, of my childhood. I slaughtered chickens when I was a boy, saw pigs have their throats slit and then be butchered afterwards.
Would I be right in suggesting its final lines posit some kind of connection between violence and creativity?
There is a wooden block where bones are broken,
Scraped clean—a river dried to its bed
Where I am fed,
Where deep in the night I hear a voice.
I think so, but I have no idea how conscious I was of that when I wrote the poem. Most likely not. It took me many years and meetings with some of my childhood friends from Belgrade to realize that I grew up in a slaughterhouse. We were not only occupied, but there was a civil war going on with multiple factions fighting each other. Blood in the streets was not a figure of speech, but something I saw again and again. There's no question that all that had a lot to do with my outlook on life. Innocent human beings get killed—that was my earliest lesson. Whenever I read about a "just war" in which thousands of innocents have died or will die, I want to jump out of my skin.
From the outset you were drawn to subjects many people wouldn't consider that poetic, like, say, cockroaches.
That was another early poem. Cockroaches appear for the simple reason that the places where I lived in New York were infested with them. They were the only visitors I had all day. I was brought up to be polite to strangers and help old ladies across the street, so I'd stop whatever I was doing and inquire about these roaches' health.
Insects feature a lot in your work. You seem to be pretty fond of ants, too, particularly in Jackstraws.
I know—when friends read that book they said, "Simic, are you drinking too much? All these bugs!" Actually, I've always been curious about these little creatures going their merry way, taking care of business—whatever that business is. Flies are neurotic, moths are crazy, but for serenity you can't beat a butterfly. Even ants seem pretty cool. When I was little I used to step on them out of sheer nastiness or boredom. Now I can't hurt a flea that's biting me.
Returning to your early work, and poems like "Butcher Shop" and "Cockroach" and "Fork"—what kind of responses did they elicit from their first readers in the midsixties?
A couple of editors I showed the poems to were kind of irritated. They said I was just trying to be a smart aleck. More interestingly, they thought these were not worthy subjects. My pals, on the other hand, liked them. They wanted me to write epics about toothpicks and dripping faucets.
Was there anyone who particularly influenced them?
Well, maybe Apollinaire is behind "Butcher Shop." As for the object poems, there were William Carlos Williams and the French surrealists. It's not that I read their poems and wanted to do some- thing like that immediately, but their example was certainly in the back of my mind. Still, it was a breakthrough. I felt, This is what I want to do from now on and I don't care if so-and-so doesn't like it.
A number of critics have suggested your work achieves a kind of fusion between European and American influences. Do you see it at all in those terms?
I don't really know how to answer that. I did read a lot of European poets, but so did almost all my American contemporaries. No doubt my way of reading the Europeans was different because of my background. On the other hand, as Serbs will tell you, my poetry sounds mostly foreign to them. "He is no longer one of us," I hear them say both in anger and disappointment. I realize I'm an odd case, difficult to classify, neither an exile nor an immigrant exactly, but this is not something I worry about. It's not like I had a choice about the life I was going to have or the kind of poet I was going to be. It just happened this way.
You said that your way of reading the Europeans was different because of your background. How so?
For obvious reasons. In addition to knowing some of the languages, I knew what Europe looked like and had a firsthand experience of its recent history.
How did it feel writing in a language that wasn't the one you'd grown up speaking?
I don't know how to answer that question since I never wrote any poetry in my native language. There was never an inner struggle.
How crucial to your sense of the poetry you wanted to write was your experience of reading Yugoslav poets such as Vasko Popa and Ivan Lalić?
It is all mixed up in my mind with the experience of translating them. Translation is the closest reading of a poem so it's almost impossible not to be influenced. They were two very different poets, Popa coming from French surrealism and Serbian folklore, and Lalić with his roots in Hölderlin and Rilke, so I got myself an extended education on how to compose poems in such radically dissimilar ways. This is true of other translations I did over the last forty years. I did all kinds of poets and learned how poems are made and, most importantly, about languages, the relationship between my first and second language. It's mind-boggling to discover that a word, a phrase, or an entire poem perfectly understandable in one language cannot be translated into another. Whatever the answer to this puzzle, it has something to do with the relationship of experience to language and the way each language encompasses a particular worldview. In fact, it's not only a question for poetry to concern itself with, but for philosophy, too, to ponder.
Can you give an example of a word or a poem that can't be translated?
Chieftain Iffucan of Azcan in caftan
Of tan with henna hackles, halt!
The more a poem depends on language to make its effect, the harder it is to translate. I mean, there are lyric poems where there's almost no content, where the gorgeousness of the vocabulary and the music are everything. As for individual words, I met a fellow once who insisted that the word for bread in any language cannot be translated. Sure, one can find an equivalent in a dictionary, but can that other bread really do justice to what one knows of bread?
You've also talked of the enormous impact made on you by Dudley Fitts's Anthology of Contemporary Latin-American Poetry, which was where you first came across the work of such poets as Pablo Neruda and César Vallejo.
Yes, that is still one of the most wonderful books I know. These poets were nothing like anything I'd ever read. South American poetry is in some ways closer to American poetry than European poetry is. It's the frontier, the immense space and the sense of always being a provincial. I cannot imagine a French or German Whitman or Dickinson, but have no trouble placing them in some hick town in Argentina or Brazil. Of course, there are also profound differences between us, but at the time I was reading them in 1959, they seemed close and worth emulating.
What did you study for the B. A. degree you took at New York University in the midsixties?
Linguistics—mainly Russian language and linguistics. I used to say that I wanted to read Tolstoy, Dostoyevsky, and Chekhov in the original—or something like that—but that was not really the reason. I thought that studying languages would be beneficial to my writing and also that it would be a breeze since I already knew some Russian. I was completely wrong. I ended up having to memorize verb endings in Baltic languages and rules for the formation of nouns in Old Prussian and hating it. I stuck with it out of stubbornness and laziness, unwilling to start anything else.
What would you recommend a poet study?
There's no preparation for poetry. Four years of grave digging with a nice volume of poetry or a book of philosophy in one's pocket would serve as well as any university.
When did you first discover the work of the New York school poets, and were they a significant influence or inspiration?
I think I first came across their poetry in an issue of that small magazine they edited, Locus Solus. When would that have been?
And I once went to a reading of Frank O'Hara's on Second Avenue at a place that I believe was called Metro. I also recall reading his "In Memory of My Feelings" thinking, This is the greatest poem ever written. We had a kind of nodding acquaintance since I frequented the same bars he did. Aside from that, it's hard to be more precise since there were so many little magazines, so many poets whom I read. Ashbery's poetry I did not know well and Koch's only a bit better. I certainly did not see them early on as a distinct group. All that became clear much later.
What about the poets who were seen as the era's heavyweights,—Robert Lowell and John Berryman?
I looked down my nose at them. Years later, I changed my mind, but at that time I simply had no use for their poetry, nor did any of my friends.
Why not? What didn't you like in their work? What made you change your mind?
They were too literary, too self-conscious, too intent on writing a "great" poem. Later, I began to appreciate Berryman's fine lyric sense, his ear for language, and Lowell's historical vision and verbal skill.
What about this era's heavyweights? What is the state of contemporary poetry?
Ask me in a hundred years.
Your work has always been admired by poets and critics on both sides of the "great divide"—I mean the divide between estab- lishment and avant-garde, paleface and redskin, cooked and raw, traditional and experimental. How conscious were you back then of "the poetry wars"?
That's all we talked about. There were the Beats, Charles Olson's projective verse, and Robert Bly's prescriptions for American poetry in his magazine The Sixties to argue over. I gravitated toward poets like W. S. Merwin, James Wright, and Bly, who had a bit of surrealism in their work, but found poems and ideas about poetry that appealed to me elsewhere. What makes a good poem never seemed to me a simple issue. If the literary history of the last hundred years proves anything, it proves that. I like Frost and Robert Creeley, Gertrude Stein and Donald Justice. Today, I guess there are the so-called Language Poets and the new generation of formalists to squabble over, but I consider it a waste of time.
Your first two books, What the Grass Says (1967) and Somewhere Among Us a Stone Is Taking Notes (1969), were published by a small press in San Francisco called Kayak. How did that come about, and how were they received?
Kayak was a poetry magazine in Santa Cruz, California, that published poets who more or less wrote like the surrealists. Its editor, George Hitchcock, was a theater actor and a poet influenced by Breton and Péret. After publishing many poems in the magazine over two or three years, he asked me to do a book. I was, of course, delighted. Even though it was cheaply produced, Kayak was widely read and respected. What the Grass Says came out in 1967 and was the second book the magazine published. The day it arrived, I couldn't believe my eyes. I was happy to have a book and at the same time astonished by how ugly it was. It embarrassed me to show it to anyone. The joke is that book made me known. It was distributed by City Lights, the same publisher that distributed Ginsberg's best-seller Howl, so it got around. I had a number of reviews, most of them favorable. Every other poet in the country seemed to have read it, so I did another book with Hitchcock, Somewhere Among Us a Stone Is Taking Notes. It was a bit better looking, though still amateurishly produced, but, as I said, my name became known.
The new Faber edition of your Selected Poems doesn't include your longest poem, "White," which has been published in a number of different versions. I hope that's not because you now repudiate it?
No, no, I wanted this book to be made up of shorter poems. I like "White" very much, though there are still a couple of small things I want to change.
Is "White" your only attempt at a long poem?
There were other longer poems I wrote when I was very young—for instance, a long narrative poem I wrote back in 1957–1958 about the Spanish Inquisition with veiled allusions to the McCarthy era. It's one of the poems I threw out. There were other attempts early on, best forgotten. I've grown to favor conciseness and pithiness. Less is more in my book. I'm always paring down—perhaps too much.
What kind of part does revision play in the way you write—do you often get a poem in one go, so to speak, or do you work on draft after draft?
Even when I'm stretched out in my coffin they may find me tinkering with some poem. Even published poems I won't leave alone. I very rarely get it right in one go. Mostly I revise endlessly. I don't keep old drafts, but I imagine in some cases they must number into the hundreds. There's a danger in endlessly tinkering like that. I've ruined many poems, took all the life out of them by not letting them remain a bit awkward, nonsensical, and inept. At times, such "weaknesses" give the poem whatever charm it has, but it's not easy to know until one tries to improve it.
One of the most distinctive features of your poetry is the way it combines wildly unpredictable imagery with a narrative style that is terse, clipped, at times elliptical. How did that tension evolve?
William Carlos Williams made a big impression on me. I think my style was formed partly in reaction to my early Crane and Stevens imitations. I wanted something seemingly artless and pedestrian to surprise the reader by conveying so much more. In other words, I wanted a poem a dog can understand. Still, I love odd words, strange images, startling metaphors, and rich diction, so I'm like a monk in a whorehouse, gnawing on a chunk of dry bread while watching the ladies drink champagne and parade in their lacy undergarments.
I guess if I were trying to locate you on a map of postwar American poetry, the writers in whose vicinity I'd place you would be Charles Wright and James Tate. Would that be right?
Sure. I've known them forever. I met Charles Wright in 1963 in Nancy, France, when I was in the army. We've stayed friends ever since. At one time, thirty years ago, we were all labeled neosurrealists and attacked for writing self-indulgent, meaningless, and supposedly anti-intellectual poems, but that label really meant nothing to us. Surrealism was lots of fun while it lasted, but it was long dead and gone. Of course, we used lots of images in our poems and made unpredictable leaps and juxtapositions, but that was no big deal. To prove that it was no big deal I made a little study of American folklore in the New York Public Library in 1963–1964. I was interested in magical sayings, jump-rope rhymes, superstitions, riddles, and proverbs. I would zero in on some little phrase like "extracting sunbeams out of a cucumber," and write it down in a little notebook with the intention of publishing a collection of the native surrealist imagination and making all these know-nothings in the literary world shut up and leave us alone. Well, it never happened. When the notebook was full, I lost it on the subway. I could prove it to no one else, but I proved it to myself.
I am somewhat puzzled by the way you and Tate were seen by so many as heirs to the so-called Deep Image Poets—Merwin, Bly, Mark Strand, and James Wright. The most obvious difference is, your poetry makes much more use of humor than theirs does.
Strand can be funny, but yes, we don't belong in that group. The goofiness, the playfulness in our poems makes us much closer to the New York school. We don't have any lessons to teach; we don't worship nature or tell the reader how much we suffered. As Tate says somewhere, "It's a tragic story, but that's what's so funny." I agree with that. We are a country of millions of fools, who believe the most imbecile things about ourselves and the world, but when it comes to poetry only solemnity counts and joking is un-American. What I like about Tate is his complete trust in imagination, that it can find poetry everywhere and in every conceivable human situation, not just on a mountaintop as the sun is about to go down some June evening. He is wisely irreverent and far more daring as a poet than I am. I can only emulate his example.
You took up a job teaching in California in 1970, then moved to the University of New Hampshire in 1973, where you've remained ever since. Did the business of teaching poetry affect your practice at all?
It enabled me to read and reread a lot of literature, to formulate ideas in class and have smart students challenge me on the spot and force me to rethink everything. I imagine the vast amount of reading I've done over the years, more than the teaching itself, affected my practice as a poet.
You've now been a New Englander for over thirty years. What writers associated with the New England tradition have meant most to you?
Emily Dickinson, Emerson, Hawthorne, Frost. I didn't care for Frost until I came to New England, but then I found myself living in the same landscape that he describes in his poetry. When I look out of my window, every tree, every bird has already been talked about by Frost. Then there's a whole range of philosophical and aesthetic issues he and the other New England writers raise with which I am temperamentally in tune. If one lives where I live, it's impossible not to have a dialogue with them. Even my dog as we walk in the woods gives me the impression that he is familiar with the writings of Henry David Thoreau and is curious to know how I feel about certain of his ideas.
And how about Wallace Stevens?
Stevens was a very great poet and a very smart man. He understood what the Romantics, Emerson, Whitman, and William Carlos Williams were all about—that every theory of poetry in the end is a theory of reality. I like poems that have interesting philosophical ideas, and his poems do. What Dickinson, Frost, and Stevens share is an ability to construct a brief lyric poem about some ordinary experience that eventually ends up asking all kinds of metaphysical questions. Poems like Stevens's "The Snow Man," Dickinson's "There's a certain Slant of light," and Frost's "An Old Man's Winter Night." I love that stuff.
I'd like to ask also about the impact on you of the work of Joseph Cornell; you wrote a kind of homage to him, Dime-Store Alchemy, which was published in 1992. When did you discover him?
I imagine in the late 1950s when I first looked at books on surrealist art. He was the only American, so he stood out. Once I understood how he went about constructing his boxes, I knew we were soul brothers. He roamed the city looking around and finding from time to time some odd, seemingly useless item, which he saved and then brought together with other, equally useless items. A Cornell box is like a poem, a place where unlikely things come together to give the viewer a new aesthetic experience. Beauty for Cornell is something one finds. I never met him, but knew people who did, and he'd say things like, On the Twenty-eighth Street IRT station, there's a great gum machine with a broken mirror that's really beautiful. That way of seeing New York City made a lot of sense to me.
Your urban scenes often have a kind of noirish feel to them, in particular pieces such as "Hotel Insomnia" or "Hotel Starry Sky." When did your love affair with the movies begin?
When I was ten or eleven years old. I had seen many movies before, but not until I saw my first noirs did I feel the poetry of a city. Belgrade, where I grew up, was very dark, very dangerous in the war years and even after. These American movies were a link to my sleepless nights when I peeked out of the window at the streets wet with rain. I recall the pain I felt when I discovered that some of my closest friends did not like them as much I did. I couldn't understand how that was possible.
What were some of your favorite films?
The Asphalt Jungle, The Naked City, The Blue Dahlia, Out of the Past, Laura, et cetera.
Another nonpoetic influence I'd like to touch on is American music—in particular jazz and the blues.
Well, in Belgrade I heard a lot of jazz on the radio—Glenn Miller and big-band jazz were very popular in Yugoslavia. Then when I got to Paris I discovered Charlie Parker, Monk, Davis, and Bud Powell. Once in the United States, I heard live jazz with my father, but more importantly listened to it on the radio for hours every day. I have a fanatic collector side. Once I get interested in a subject, I have to know everything. I daresay I've heard almost every jazz record made between 1920 and 1960. The same goes for the blues. How many people have heard of Paul Howard's Quality Serenaders, Jabbo Smith, or Cripple Clarence Lofton? Not many, I imagine. Did some of it influence my poetry? I don't know in what way. In America, if you want to know where the heart is you listen to the blues and country music. The most astonishing thing about the blues is the economy of the lyrics, which can convey a complex human drama in a few lines.
Here's an example:
I said, good morning, Mr. Pawnshop man
As I walked through his door. I feel bad this morning
And I really want my .44.
I was at a party last night.
I was there till about past 2. I'm going back there tonight.
I might have some shooting to do.
That comes from a 1929 recording by one Roosevelt Sykes, who plays the piano and sings. There are more lyrics, but this gives you an idea.
I once interviewed Allen Ginsberg, and asked him why he wrote the way he did—to which he replied, "Just because I do!" Is there much more to be said by poets about why they write the way they do?
Probably not. I write to annoy God, to make Death laugh. I write because I can't get it right. I write because I want every woman in the world to fall in love with me. One can try to be clever like that, but in the end it comes down to what Ginsberg said.
How would you characterize the way your style has evolved over the forty years you've been writing poetry?
In the early poems, the idea was to make poems entirely of images, not caring too much about sound, using the simplest possible vocabulary. I think my poems eventually got to be more careful about language and music. There are more autobiographical elements, more narratives. I became a country poet as much as a city poet. Naturally, I still have my obsessions, my bad habits, my blind spots. Like all poets who have written this long, I repeat myself. I wish I didn't. Then again, like all insomniacs, I tend to brood and dwell over the same old things night after night.
In recent years politics must have figured largely in the things you brood over at night—in particular, events in what used to be Yugoslavia. Did you anticipate the various conflicts that erupted in the Balkans in the nineties?
It was odd. I both saw it coming and didn't see it coming. Nationalism was everywhere on the rise, and in Serbia, Milošević got elected. I knew that his policies were going to lead to a bloodbath, but you know how it is, one always assumes people are more reasonable than they really are. In every society there are those who can't kill and those who can. I got the proportions wrong. Who could have anticipated Srebrenica? I lost many friends who became rabid haters. It was an awful time. Nationalism is collective madness, a form of narcissism with millions preening in front of an imaginary mirror, telling themselves they are God's favorites. Their happiness can only come from the unhappiness of others, so they need to kill and make miserable a lot of people. At the same time there's something suicidal, something self-defeating about the whole enterprise. Sooner or later they always come to a bad end. The story of nationalism in the Balkans is that everyone remembers what was done to them for the last thousand years, and no one remembers what they did to someone else. I kept reminding them, and they kept calling me a traitor.
When was the last time you visited Belgrade?
1982 was the last time I was there. I had a Fulbright Fellowship and I spent a summer there traveling all over the place. It was very enjoyable, and yet I felt even more a stranger than I did in 1972. Many of the writers and intellectuals still pretended to be convinced Communists or at least Marxists, so there were subjects one had to avoid asking about or criticizing. I could not talk the way I usually do and that got to be tiresome after a while. Later on, during the Milošević years, that was not the case. The opposition papers I wrote for were amazingly free and often gutsier than their counterparts in the West.
You tend not to write directly about particular historical crises or catastrophes, but surely the war in the Balkans underlies the bleak historical perspectives of poems such as "Reading History" or "Empires," both from the early nineties?
I'm sure it was in the background. "Reading History" was written after going on a binge and reading a pile of books on Chinese and Indian history. Every few pages, of course, there was some atrocity, some massacre, or some battle in which thousands died, so that got me thinking. "Empires" is a poem about my grandmother on my mother's side, who died in 1948, when I was ten. She took care of me from when I was very little while my parents were at work. She used to listen to Hitler, Stalin, Mussolini, and other lunatics on the radio. I understood nothing, but she knew several languages. She got very upset. She could not get over the lies she heard. What's wrong with the world? she'd ask everyone. Good question. I still haven't figured it out myself. There have been so many wars in my lifetime, so much killing. I'm as uncomprehending as she was. The ease and arrogance with which so many are sent to their deaths continues to astonish me. The use of murder to improve the world, for instance, is popular in American intellectual circles as if there had never been any historical precedents. I think about these things all the time.
"All I have is a voice," Auden wrote in "September 1, 1939," "To undo the folded lie." Of course he then later disowned this poem . . . But it seems to me your poems are often motivated by the desire to "undo folded lies," or at least to expose the various complexities that politicians and pundits attempt to disguise from us.
Let's hope so. Poetry in my view is a defense of the individual against all the forces arrayed against him. Every religion, every ideology and orthodoxy of thought and manner wants to reeducate him and make him into something else. To sing from the same sheet is the ideal. A true patriot doesn't think for himself, they'll tell you. I realize that there's a long tradition in poetry of not speaking truth to power and, in fact, of being its groveling apologist. I just don't have it in me.
On the other hand, one of the main pleasures of your work, for me anyway, is the way it reminds us of all the ordinary pleasures of life, and urges us, or rather invites us, to enjoy them while we still can—things such as fried shrimp, tomatoes, roast lamb, red wine . . .
Don't forget sausages sautéed with potatoes and onions! It's also highly advisable to have a philosopher or two on hand. A few pages of Plato while working on a baked ham. Wittgenstein's Tractatus over a bowl of spaghetti with littleneck clams. We think best when we bring opposites together, when we realize that all these realities, one inside the other, are somehow connected. That's how the wonder and amazement that are so necessary to both poetry and philosophy come about. A "truth" detached and purified of pleasures of ordinary life is not worth a damn in my view. Every grand theory and noble sentiment ought to be first tested in the kitchen—and then in bed, of course.


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AIRSHOW-Airbus pips Boeing in Paris after last-minute Wizz deal
* Airbus gets orders, commitments worth $57 bln
* Boeing gets orders, commitments worth $50.2 bln
* Airbus helped by last-minute deal with Wizz Air
By Victoria Bryan and Tim Hepher
PARIS, June 18 (Reuters) - Airbus won more business than rival Boeing at this week's Paris Airshow, helped by a last-minute deal with Eastern European low-cost carrier Wizz Air and buoyed by demand from Asian customers.
Airbus ended the show with orders and commitments for 421 aircraft worth $57 billion, against 331 aircraft worth $50.2 billion for Boeing.
"This was higher than I personally expected," Fabrice Bregier, the chief executive of Airbus's planemaking division said at a press conference on Thursday, minutes after announcing Wizz Air intended to buy 110 single-aisle planes following all night negotiations.
"It confirms the market trend is positive," he said.
Ahead of the show, which runs from June 15-21, many industry watchers had expected a quieter event, with the focus on how manufacturers and their supply chain deliver a record backlog of orders, rather than on winning new deals. Continued...

subset: commoncrawl


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- The race baiter @donlemon is clearly triggered by this speech. CNN 'reporters' seem to be stuttering even more than usual.
- If Trump ever finishes reading his teleprompter speech, I'm going on w/@donlemon. In the mean time, should I order sushi or picadillo?
- In reply to Donald J. Trump@realDonaldTrump @AdBell45 @dbongino @BIZPACReview @donlemon Don is a Hillary puppet! Stop Watching CNN! Turn them off!!!!! #CNNBlackout
- Does Black Lives Matter know Don Lemon's boyfriend is white?
- CNN's Don Lemon Plays Tape Of Trump Supporting Iraq Troop Withdrawal To Highlight His Hypocrisy
Wednesday, August 17, 2016
#Boycott 💥💥 IDIOT ALERT There is bad lying MSM @CNN Dumbest TV Host in History! @Donlemon
Posted by RK Ball at 8:33 AM


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The Volunteer Revolution
Food Distribution
This ministry prepares and distributes food and clothing to needy families in the community. firstname.lastname@example.com
MUSIC AND WORSHIP ARTS MINISTRY email@example.com
Worshipful music prepares the heart of man for receiving the Word of God. Love and Unity Music and Worship Arts Ministry will dedicate a time of uninterrupted praise and worship in songs, hymns and spiritual songs, allowing people to get their focus off themselves and their circumstance, and placed on God and His glory. Emphasis has been place on having a good balance of rich, traditional hymns of the faith and beautiful and contemporary musical selections. The Music Ministry will be the primary means for equipping members for excellence in service.
Jubilee Children's Choir (5-12 yrs.)
X-Cellent Generation Youth and Young Adult Choir (13-25 yrs.)
Sanctuary Choir (18 yrs. and over)
Renaissance Choir (50 yrs. & better)
Praise and Worship (audition only)
Ensemble (audition only)
Flag Team
Step Team
Sign Language
MEDIA DEPARTMENT email@example.com
CHRISTIAN EDUCATION email@example.com
OUTREACH email@example.com
The overall purpose is to win souls to Christ. The ministry purpose is to equip the saints to become effective in sharing the gospel and confidence in their approach. To provide scripture and tools, which will enable the saints to advance the kingdom of God. Training is provided to all those who go out.
GREETERS email@example.com
Greet guest and members with a friendly, warm and helpful greeting. Furnish requested information to those asking for assistance. Creating a great, godly and comforting impression is the goal for each Love and Unity greeter.
HEALTH & AWARENESS MINISTRY email@example.com
Responsible for informing the congregation on healthy living.
HOSPITALITY AUXILIARY email@example.com
MARRIED COUPLES MINISTRY firstname.lastname@example.com
Provides an opportunity for couples to be strengthened, healed, and encouraged.
MEDIA DEPARTMENT firstname.lastname@example.com
MEMBERSHIP CARE email@example.com
Follow up on integrating members into ministry.
Provides support to the Love and Unity members during times of bereavement.
PASTOR'S AIDE firstname.lastname@example.com
The role of the Pastor's Aide Ministry is to show love and personal support to the Pastor and his family as he provides spiritual leadership to the members of Love and Unity Church of God in Christ. The Pastor's Aide Committee helps the Pastor and 1st Lady in the spirit of giving with different functions and projects that are happening endlessly. This is a ministry that every member gets a chance to be involved in.
SINGLES MINISTRY email@example.com
Encourage spiritual development of single, divorced and widowed men and women.
TRANSPORTATION SERVICES email@example.com
USHERS email@example.com
Ushers are the doorkeepers of the church. The ministry of the usher goes far beyond opening a door. The purpose of an usher is to represent Christ to all that come to worship at the church. In a sense, they serve as the host of the building in which believers and strangers gather to seek God. This purpose alone expresses the privilege and responsibility that falls to a church usher.
YOUTH AND YOUNG ADULT MINISTRY firstname.lastname@example.com
This ministry primary focus is on the young people between the ages of 13-25.
PRAYER TRIBES firstname.lastname@example.com
is a group of believers who have banded together for the purpose of praying in agreement for God to manifest His glory and power. When it is a TRIBES week they are too undergird the ministry for the week by participating daily at the church for either of the daily prayer times, participate in a 24-hour prayer chain and attend an hour of prayer on the Saturday of that particular TRIBES week.


text: ST. PAUL, Minn., April 1, 2013 /PRNewswire/ -- Internet Broadcasting Systems, Inc. (IB), the leading provider of digital publishing technology and services for media companies, announced today that its Vice President of News and Content, Scott Libin, has been appointed to the Radio Television Digital News Association's (RTDNA) Board of Directors. Libin will represent RTDNA's regions 4 and 5, encompassing eight states in the Midwest. RTDNA, founded in 1946, is the world's largest professional organization exclusively serving the field of electronic news. With more than 3,000 members, RTDNA represents practitioners, educators and students in radio, television and digital news. It is dedicated to encouraging excellence in electronic journalism. "It's an honor to be appointed," said Libin. "I have benefited for many years from my RTDNA membership. Digital News is literally RTDNA's middle name, and digital news is central to Internet Broadcasting. In fact, we like to say news is in our DNA. I'm excited to bring to the Board the digital perspective I've gained running IB's newsroom, in addition to what I learned in my many years as a television news director." Libin has three decades of experience as a journalist, including jobs on camera and behind the scenes. He has been news director at three television stations, including KSTP and WCCO in the Twin Cities, and was a faculty member at The Poynter Institute for seven years. Libin has led IB's newsroom since 2011. About Internet Broadcasting Aiming to transform how broadcast media leaders engage and interact with their audiences, Internet Broadcasting offers scalable publishing solutions that power digital growth and strengthen consumer relationships. Internet Broadcasting solutions include an innovative SaaS-based web publishing platform, original and syndicated content, and the IB Digital Agency, one of the largest digital advertising agencies. Internet Broadcasting has had a long-term focus on serving local television companies with award-winning websites and services. Leading media companies such as Hearst Television, Turner Broadcasting, and The Washington Post Company's Post-Newsweek Stations group are clients. Founded in 1996, Internet Broadcasting is headquartered in St. Paul, Minn. For more information, visit www.ibsys.com. Contact: Tom CampoCampo Communications, LLC(212) 590-2464 firstname.lastname@example.com SOURCE Internet Broadcasting


text: Offering a restaurant and free bikes, Riad Lala Latifa is located in Marrakech. An array of activities can be enjoyed on site or in the surroundings, including golfing. Free WiFi access is available. Each room here will provide you with a TV, a patio and an iPod dock. There is also a coffee machine. Extras include a seating area, a DVD player and a CD player. At Riad Lala Latifa you will find a 24-hour front desk, barbecue facilities and a terrace. Other facilities offered at the property include a shared lounge, a tour desk and luggage storage. The riad is 1,641 feet from Souk of the Medina, 1,969 feet from Djemaa El Fna and 1,969 feet from Marrakech Medina. Marrakech-Menara Airport is 3.1 miles away.


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"Can't Let Go (Dub of Dub)"
Yesterday we pointed you to a stream of Peach Melba's "Can't Let Go", a 12" release the new Juan McLean-led duo is readying to debut (in physical form) July 26 via DFA. Here's a stream of the single's title track as well as a download of a dub of its dub.
Peach Melba: Can't Let Go (Dub of Dub)


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Lake House
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- Spa
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- Restaurant
- Free High-Speed Internet
- Room service
- Wireless internet connection in room (free)
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TripAdvisor Reviews Lake House Lake Placid
Travel Blogs from Lake Placid
Long Lake
... there to look at them. They were having a ski jumping event going on. Little did we know that they use these ski jumps in the summer by watering them down. They had a meet going on in the smaller jumps where they land in a pool. That was fun to watch.
We rode the chairlift up to the big lift, then took an elevator up to the top where the skiers jump from. We will have a totally different ...
Franklin Falls Flow
... gotten so far up - the water level is much higher at this time for some reason. We played around a bit - I tried to go up the creek but didn't want to risk capsizing since it was still a bit chilly. I didn't mind the cool water on my quick-drying pants but still didn't want to get totally wet...or have an accident.
On our way back we stopped at a little island sort ...
Exploring Adirondack History
... places - always too rushed I guess.
By this time, we had pretty much given up on paddling today. I was very lethargic and afraid of getting cold despite borrowing a shirt and jacket and pair of sox from Otto. Otto laughed at the striped sox and said that Barb always makes fun of these sox and wants to get rid of them. I was glad that they hadn't yet because they kept my feet warmer.
Otto went grocery shopping to the Hannaford ...
We checked out of our hotel and went on a boat tour of Lake Placid. We enjoyed seeing the many "camps" along the lake -many with only boat access. The term "camp" is misleading as many of these are multimillion dollar properties. We heard the story of Mabel Smith Douglass who mysteriously drowned after boating only to be found ...
Cleveland to Lake Placid
... of the Labor Day long weekend. Our mission was to catch up with Karen's friend Lola and her sister, who had taken an extra couple of days off work to travel with us to Montreal for the long weekend.
Why Montreal? Well I needed to get my visa extended and we needed to party!
Lake Placid is where we chose to park the car for the weekend as it is only 100 miles or so from Montreal and Lola ...


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Subaru has just unveiled its Viziv Concept at the 2013 Geneva Motor Show and promised us that this is a future-generation crossover that shows the new design direction and technologies that will be seen on the Subaru cars. As you can see from the photos, the design features simple and clean surfaces and lines.
The front end of the car emphasizes the motifs common to Subaru products, while the rear design continues the theme, showing a hexagonal panel surrounded by lamps projects outward in the center. Inside, the car features an instrument panel layout designed primarily for ease of driver operation and vehicle control.
The instrument panel displays the operation status of Subaru's own driving assist "EyeSight" system. Under the hood, there is a plug-in hybrid system that combines a 2.0-litre Subaru Boxer diesel engine and high-torque-compatible Lineartronic (CVT) with a front motor that provides both vehicle drive and power generation, and two independent rear motors for vehicle drive only.
Moreover, the "Hybrid SI-DRIVE" system has an "Eco-Cruise" mode that provides coordinated control in conjunction with the "EyeSight" driving assistance system in addition to "Intelligent" and "Sports" modes.
As expected, the Subaru Viziv Concept comes with an "Independent-rear-motor-driven symmetrical AWD" system which is leading the way to a future generation of Subaru AWD technology. If driven in the city, all wheels are driven by the electric motors when starting from rest, providing high starting torque and powerful acceleration, but low fuel consumption with quiet ride.


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The hotel overlooks the majestic Sacramento River. There are 93 guest rooms at this family-friendly hotel. The premises are air-conditioned and guests are welcomed in the lobby with 24-hour reception and check-out services. Facilities at the hotel include a cloakroom, hotel safe, lift access, a caf� and a restaurant. Conference facilities are available to business travellers and all guests can benefit from the convenience of the wireless Internet access and room service (the latter incurs an additional fee). Guests may use the shuttle service to enjoy the nearby Win-River Casino.The rooms come with one king or 2 queen beds, a comfortable chair and ottoman, an ergonomic work station, data port, Internet access, a direct dial telephone with voicemail, fridge, microwave, coffeemaker, and an iron and ironing board. Each room also has an en suite bathroom with a shower, bath and hairdryer. Further amenities include satellite/cable TV, a radio, individually regulated air conditioning and individually regulated heating.
From Redding Airport: Take Knighton Road to Highway I-5 north. Take Bonneyview exit 675. Turn left at the lights on S Bonneyview/Churn Creek. Take another left on Bechelli Lane. From I-5 northbound: Take S. Bonneyview exit 675 and turn left at the lights. Turn left on Bechelli. From I-5 southbound: Take S. Bonneyview/Churn Creek exit 675. Take a right at the end of the exit. Take a left on Bechelli Lane.


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The Russian connection: See all our coverage | Read about our investigation
My infatuation for the week? Brooklyn's noisy, three-piece band These Are Powers. Their 2007 Hoss Records debut, Terrific Seasons, is loud and creepy, and I mean that in a good way.
The band describes their sound as "ghost punk," I'm guessing because the music is intense, dark, and ominous, and influenced by (as they put it) spiritual mysticism, supernatural phenomena, and the prophecies of a UFO-obsessed cab driver. They also call their sound "future primitive" (whatever that means), which, combined with incomprehensible echo-heavy vocals, make this album sound like background music for a chase scene in a bizarre horror flick.
I can see how that might sound awful, but it's not. It's mesmerizing; and probably best seen live, if these video clips are any indication. Try to imagine a combination of early Sonic Youth mixed with some Bauhaus and a lot of sarcasm.


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ED Magedson – Founder
Ripoff Report
continental finance credit card companyP.o. 8099 Newark, DE Newark, Delaware United States of America
Does your business have a bad reputation?
Fix it the right way.
Corporate Advocacy Program™
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Please do not apply for a card with this company.
This report was posted on Ripoff Report on 01/04/2011 12:51 PM and is a permanent record located here: http://www.ripoffreport.com/reports/continental-finance-credit-card-company/newark-delaware-/continental-finance-credit-card-company-dishonest-newark-delaware-678541. The posting time indicated is Arizona local time. Arizona does not observe daylight savings so the post time may be Mountain or Pacific depending on the time of year.
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Shorty Bull Male-Dam & Sire are ABKC registered-Up to date on all vaccinations-Weight: 30 lbs. DOB: 7/15/15$250
We have 2 males 2 females ready to go !! pups come with written hip and health guarantee These pups will be rick in red and black your new puppy will…$1,000
Vet approved and ready to go. Text so we can send more pictures.$800
AKC, vet checked and approved. Text so we can send more pictures$600
Should have a litter around July if interested please let me know!!! Soon! LAST litter girls are going to get spayed. They are so darn cute! These dogs…$450
awesomely sweet. fluffy hair 7weeks old. been wormed and had first shots$750
baby face sweetheart. 7 weeks old. been wormed had first shots. little shy$750
My family is giving 3 beautifull cavapoo puppies. Mom is a gorgeous trio coloured cavalier King Charles spaniel.dad is a stunning red toy poodle. Both…$400


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The worship of the Christian assembly often extends beyond primary gatherings around word and sacrament at certain times to gather to mark occasions in human life, the life of the church.
Come to explore more deeply major occasions such as weddings, funerals and healing, as well as other rites around assembly worship. The dimensions of pastoral care and assembly song will be included as we unpack these important rites in the life of the church.
We invite you to go online to registration for the event.
Online registration is for credit cards payment only.
Individual registration @ $40 (includes lunch)
Group Registration (3-7 participants) @ $100 per group (includes lunch)
For payment by check, please call 773.380.2590 (between 8:00 a.m. - 3:30 p.m. cst). You will be invoiced once the registration is entered by our staff. Receipt of payment is required in advance to be guaranteed a meal.
On-site reservations will be accepted but may not include lunch.
Accommodations are the responsibilities of attendees. See below for local hotel options.


text: Staying safe in today's world isn't always easy, and GPS tracking is a tool well suited for keeping tabs on your loved ones. Family by Sygic is an app that utilizes the wonders of GPS to help ease your mind when your family is scattered around town, so you can rest easy and receive word if they wander a little too far from home. Family by Sygic is a tracking app that lets you see the location of your family in real-time on a map or using augmented reality. Sure there are some other apps that do that, but here's what else Family can do. You can send out SOS messages in case you ever get into trouble or if you're afraid that your children will go somewhere they're not supposed to be you can setup a Geofence or Safe Zones. This is a very handy feature as Family by Sygic will let you know if someone enters or leaves a "safe zone" via notification. You can also set the app up with administrative permissions to where only parents/admins can adjust settings and manage safe-zones. Basically if you're worried about losing your kids or just want to keep a close eye on them, Family by Sygic has you covered. I was only able to give the app a few limited tests as I don't have kids, but the few features I was able to try worked well and the layout is very easy to use. I've seen a few of my friends use these type of apps, and I have to say that Family by Sygic is one of the slickest looking tracking apps I've seen. If you're not a "techie" you should have no problem using and setting up Family either… simple stuff. If you're looking for a new family tracking app to try out Family by Sygic looks to be a good one to get and it's free, all you need to do is setup an account which you can do from within the app. If you'd like to give it a try you can pick up Family by Sygic on Google Play.


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Villa Kosta Hotel & Apart
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- Beach
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Deep Mani
Today we explored Deep Mani, the arid southern half of the Peloponnese's "middle finger," noted for its martial towers and fierce inhabitants. After walking around Vathia, we took advantage of unseasonably warm weather to swim, hike, and lunch on the beach at Porto Kayio. ...
A visit to Paddy's
Late this morning, after we had packed the car and given up hope of visiting Patrick (Paddy) Leigh Fermor's house, Mary got a call with the green light from the Benaki Museum in Athens. We walked there (half a mile along a public path) and were greeted by Elpida, supervisor of the house and Paddy's caretaker during the last 7 years of his long life. She showed us around (no photos inside) and told great strides with great affection for her old boss. ...
Amerys Travels from Stoupa Greece, entry two
This one is a bit rushed, as we are now heading to Paros Island in the Cyclades group, and will have very limited internet, so don't expect to hear from us quite so often!
We explored far and wide, from the ancient Messene ruins of a 2nd century AD city in the northwest, down to the famous Diros caves down the Mani peninsular to the southeast.
The caves are explored by small boat, and many of the ...
We Finally Did Something!
... visitors - Elizabeth is the Queen of (the card game) President and Jack is an awesome euchre player.
So today, we decided to shake off our Grecian slumber and actually DO something. We visited the Caves of Dirou, and they were spectacular. The 50 minute drive along the Mani coast is really incredible and made the excursion totally worth it. We bought our tickets and climbed on to a boat similar to those used for punting in Oxford or ...
Last night, we had a lovely village pizza for tea It had olives, feta, onion and tomato on top and a Gouda cheese topping Today was the last day on the beach I sunbathed until I could sunbathe no more Me and ...


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Future stuff.
Nice sound
Are the sounds royalty free? Are people allowed to use this on websites like YouTube?
My take on this http://soundclick.com/share.cfm?id=13396583 - thank you Rutger.
I've used this music in my game, Stellar Adventure, for some of the mission background music (big bad guy music).
Please log in to comment


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MONTREAL: Soumia Allalou "surprised" there are no women-only hours at McGill University fitness centre
A proposal by two McGill law faculty students to have women-only hours at the downtown campus gym is causing an uproar at the Montreal university.
Soumia Allalou, a second-year McGill law student, started the proposal for women-only gym hours along with fellow student Raymond Grafton. (Photo used with permission from Soumia Allalou)
When student Soumia Allalou, 23, decided to get back into shape, she contacted the university's gym and asked when women-only hours were. She was surprised to find that there was no such thing.
"Personally I prefer to work out in a women-only environment. I just kind of assumed they would have women-only hours. I asked them if there was a project for that in the works and they said that they didn't think so," said Allalou, who wears a hair covering and cites religious reasons for her preference. She took to Facebook to voice her concerns.
"I feel like there are many women who have a variety of reasons for preferring to work out in a women-only environment. Whether it's how comfortable they are, whether they have had bad experiences at the gym in the past, whether they have less access to the machines. A lot of women tell me they feel intimidated in the weights section," said Allalou.
Women-only hours not unprecedented
Allalou and another law faculty student, Raymond Grafton, have approached the university's student union about instituting women-only hours at the gym a few times a week.
Such a move would not be totally unprecedented at McGill. The university's pool currently has women-only swim hours that were instituted after a female student brought forward similar concerns.
But not everyone is reacting well to Allalou's proposal. An online petition entitled "We oppose women-only hours at the McGill Fitness Centre" has been started by a user identified as Concerned McGill Student. The petition, addressed to the McGill student union and to university administrators, aims to collect 300 signatures.
"All McGill students should be treated equally. Exclusive rights to the gym should not be granted to specific demographic groups. Women who refuse to use the gym when men are present make a choice that they alone are responsible for," reads the petition.
Several of the people who have signed the petition voice similar concerns. One comment by an individual identified as S.B reads: "This is incredibly regressive and paints in dangerously broad strokes of dangerously black and white paint. I don't deserve to be treated as a potential sexual predator wherever I go – neither do you."
Another comment from Phoebe Y reads: "This is absolutely not the solution to a greater issue of inclusivity, body positivity and respect for other religions and identities."
Proposal could go to vote
The Students Society of McGill University (SSMU) is working with Allalou on the possibility of presenting the proposal at a meeting. If that happens, the proposal will go to a vote for endorsement by the student associations represented by the union.
"There has been backlash saying that women should just get over it and feel comfortable around men, regardless of religious or personal reasons that lead them to feel uncomfortable. But when we are talking about religious freedom, it's not a question of asking someone to get over it. That is asking them to give up tenets of their religious practice, which is not something that we should be standing for at McGill," said Claire Stewart-Kanigan, the student union's vice-president of university affairs.
The proposal will then need to be taken to McGill's director of athletics before it can proceed further. No date has been set yet for the proposal to be brought to the SSMU for a vote.


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Climate Change and the Word of God. Slideshow compiled by David Green, Camden Christian Fellowship. Psalm 104. Bless the LORD, O my soul. O LORD my God, thou art very great; thou art clothed with honour and majesty.
Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author.While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server.
Slideshow compiled by David Green, Camden Christian Fellowship
Gerard Manley Hopkins
The world is charged with the grandeur of God.
It will flame out, like shining from shook foil;
It gathers to a greatness, like the ooze of oil
Crushed. Why do men then now not reck his rod?
Generations have trod, have trod, have trod;
And all is seared with trade; bleared, smeared with toil;
And wears man's smudge and shares man's smell: the soil
Is bare now, nor can foot feel , being shod.
And for all this, nature is never spent;
There lives the dearest freshness deep down things;
And though the last lights off the black West went
Oh, morning, at the brown brink eastward, springs –
Because the holy Ghost over the bent
World broods with warm breast and with ah! Bright wings.
Covered by God's hand
Shall not see God's face
Saw the back parts of the Glory of the Lord
The Lord
The Self Existent One
He that is who He is
Merciful, gracious, goodness and truthThe Presence of GodThe Glory of the Lord
I beseech thee,
show me thy glory.
Exodus 33
Isa 45: 12I have made the earth, and created man
Gen 1:6a firmament in the midst of the waters
Gen 1: 11Let the earth bring forth grass
Gen 1: 20Let the waters bring forth abundantly
Gen 1: 24Let the earth bring forth the living creature
Gen 1: 26Let us make man in our image,
Gen 1: 31God saw every thing that he had made, and, behold, it was very good.
Gen 1:27God created man in His image
Gen 1:28subdue the earth and have dominion
Gen 2:8man put into the garden of Eden
Gen 2:15to till and to keep it
Heb 2:8not yet all things put under him
as by one man sin entered into the world,
and death by sin;
and so death passed upon all men,
for that all have sinned:
Rom 5:12
Eve listened to Satan disobeyed God
Adam listened to Eve disobeyed God
Gen 3:17Cursed is the ground for thy sake
Gen 3:18Thorns and thistles brought forth
Rom 8:22creation groans / travails till now
For we know that the whole creation groaneth and travaileth in pain together until now.
Deut 21:23For he that is hanged is accursed of God
John 19: 2platted a crown of thorn
Christ hath redeemed us from the curse of the law, being made a curse for us: for it is written, Cursed is every one that hangeth on a tree:
Galatians 3:13
Then came Jesus forth, wearing the crown of thorns, and the purple robe. And Pilate saith unto them, Behold the man!
John 19 :5
Rom 8: 19creation waiteth for manifestion
Isa 55:13Instead of the thorn
Isa 35:1The wilderness, desert, blossom as the…
Isa 30: 23 it shall be fat and plenteous
Isa 30: 25upon every high mountain / hill
Ezek 34:26there shall be showers of blessing.
Ezek 34:27the earth shall yield her increase
Ezek 34:29shall be no more consumed with hunger
Amos 9: 13the plowman shall overtake the reaper
Micah 4:3swords into plowshares opp Joel 3:10
Isa 11:6-9 The wolf also shall dwell with the lamb,
Rom 8: 19creation waiteth for manifestion
Isa 55:13Instead of the thorn
Ezek 47:1-12
Ezekiel saw a river emerging from the Temple flowing eastward
v. 1 beginning as a trickle
v. 2 and becoming a deep river.
v. 5. Trees will grow along its banks
v. 7 and it will even sweeten the waters of the Dead Sea so that fish can live in it
v.12monthly harvests, unable to be devoured, and for medicicne
2 Pet 3:10the heavens shall pass away
2 Pet 3:13look for new heavens and a new earth,
1 Cor 15:28all things shall be subdued unto him,
Eph 1:10gather together in one all things in Christ,
Thank you for watching… We hope the information has been helpful.
This slideshow was compiled by David Green, Camden Christian Fellowship


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mike2468 Review
luggage review
I have just used this luggage the first time, and it performed well. The outside of the suitcase shows no scuffing or any damage, where the older suitcase my traveling partner used suffered significantly this trip. I would have preferred more inside pockets, especially in the carry on (there are none) but this set is lightweight and seems like it will be durable. And its pretty and different, no one else had butterflies!
Was This Review Helpful?


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Monthly payment based on the advertised purchase price at 0% APR for 12 months
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PreSonus StudioLive RM16AI (No Original Package)
16-Channel Rack-Mount Digital Mixer
Product Description for the PreSonus StudioLive RM16AI (No Original Package)
Scalable, fully recallable, and designed for live-sound mixing and studio recording, the StudioLiveTM RM16AI rack-mount digital mixer introduces the all new, battle-ready UC- SurfaceTM touch control software for Mac, Windows, and iOS. With 16 recallable XMAXTM Class A preamps, a 52x34 FireWire 800 recording interface, 96 kHz operation, and extensive Fat Channel signal processing, the RM16AI is in a class of its own. Active IntegrationTM technology provides direct Wi-Fi and Ethernet networking with a tightly integrated software suite, including CaptureTM recording and virtual sound check software and Studio One Artist DAW for Mac and Windows to deliver a complete solution.
Based on the StudioLiveTM AI-series engine and controlled with powerful, battle-ready UC-Surface touch software for Mac, Windows, and iOS, the StudioLive RM16AI rack-mount digital mixer is scalable and compact. It provides 16 inputs with recallable XMAXTM Class A preamps, 8 line outs, and 3 main outs (left, right, and mono/center); 32 internal channels and 25 buses; a 52x34 FireWire 800 recording interface; 96 kHz operation; and extensive signal processing. Designed for live-sound mixing and studio recording, the RM16AI's Active IntegrationTM technology includes direct Wi-Fi and Ethernet networking and tightly integrated CaptureTM recording software with true Virtual Soundcheck mode, Studio One Artist DAW for Mac and Windows, and a Nimbit account for online music promotion and distribution.
- Fully recallable mixer
- 16 locking XLR inputs with recallable XMAX Class A mic preamps
- UC-Surface battle-ready control software designed for live mixing • Complete solution: Includes Capture live-recording software and Studio One
- Artist DAW for Mac and Windows
- 32-channel, 25-bus digital mixer
- 52x34 direct digital FireWire recording interface
- Fat Channel signal processing on all input channels and all buses, with 4-band parametric EQ, compressor, gate, limiter, and more
- Up to 96 kHz operation
|Dimensions (WxHxD)


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Computational Biology of Transcription Factor Binding
Volume 674 of the series Methods in Molecular Biology pp 419-441
Computational Methods for Analyzing Dynamic Regulatory Networks
- Anthony GitterAffiliated withComputer Science Department, Carnegie Mellon University
- , Yong LuAffiliated withDepartment of Biological Chemistry and Molecular Pharmacology, Harvard Medical School
- , Ziv Bar-JosephAffiliated withComputer Science Department, Carnegie Mellon University Email author
* Final gross prices may vary according to local VAT.Get Access
Regulatory and other networks in the cell change in a highly dynamic way over time and in response to internal and external stimuli. While several different types of high-throughput experimental procedures are available to study systems in the cell, most only measure static properties of such networks. Information derived from sequence data is inherently static, and most interaction data sets are measured in a static way as well. In this chapter we discuss one of the few abundant sources for temporal information, time series expression data. We provide an overview of the methods suggested for clustering this type of data to identify functionally related genes. We also discuss methods for inferring causality and interactions using lagged correlations and regression analysis. Finally, we present methods for combining time series expression data with static data to reconstruct dynamic regulatory networks. We point to software tools implementing the methods discussed in this chapter. As more temporal measurements become available, the importance of analyzing such data and of combining it with other types of data will greatly increase.
Key wordsGene expression causality clustering data integration time series
Protocol Metrics
Reference tools
Other actions
- Title
- Computational Methods for Analyzing Dynamic Regulatory Networks
- Book Title
- Computational Biology of Transcription Factor Binding
- Pages
- pp 419-441
- Copyright
- 2010
- 10.1007/978-1-60761-854-6_24
- Print ISBN
- 978-1-60761-853-9
- Online ISBN
- 978-1-60761-854-6
- Series Title
- Methods in Molecular Biology
- Series Volume
- 674
- Series Subtitle
- Methods and Protocols
- Series ISSN
- 1064-3745
- Publisher
- Humana Press
- Copyright Holder
- Springer Science+Business Media, LLC
- Additional Links
- Topics
- Keywords
- Gene expression
- causality
- clustering
- data integration
- time series
- Industry Sectors
- eBook Packages
- Editors
- Istvan Ladunga (ID1)
- Editor Affiliations
- ID1. , Department of Statistics, University of Nebraska-Lincoln
- Authors
- Anthony Gitter (1)
- Yong Lu (2)
- Ziv Bar-Joseph (1)
- Author Affiliations
- 1. Computer Science Department, Carnegie Mellon University, Pittsburgh, PA, USA
- 2. Department of Biological Chemistry and Molecular Pharmacology, Harvard Medical School, Boston, MA, USA
Continue reading...
To view the rest of this content please follow the download PDF link above.


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interior use of ipe for gluing2/20
We are being asked to provide ipe for the use of interior staircase. We will need to be using bending rail and be glued in the field. I have read alot about exterior use and it seems the Titebond III is the best product but has anyone used it for this type of application or am I just looking for trouble?
In my experience, I can say a few things:
Ipe is not a good interior wood. It is a very good exterior wood. People (owners, some designers) seem to think that since it is good as an exterior product, then it should be good as an interior product. It also is not attractive, no matter what you do to it.
Ipe is several different species marketed together as Ipe. Some species appear to glue better than others. Some will not glue, no matter what. I know of a large commercial job in Ipe that failed so miserably, the fabricator closed their doors and walked away from it. 10 years later, and everyone in town has tried to patch it up, and it still looks terrible. Every glue joint failed, even though they used a customized epoxy to bond it all.
TBIII may or may not glue the Ipe, but it certainly does creep. A lot. I have seen a 12' flat radius rail made of 1/8" plies change to a 18' radius in 48 hours. I would not have believed it if I had not seen it. I thought the carpenter that complained was delusional. He was not. As a result, TBIII is never used for bent laminations around here anymore.
I agree with every word that David has said.
Here's the deal as I see it...
Anyway your question was regarding glue and bending rail. T3 is never a good choice for bending and laminating since it remains "flexible by design". The original T1 would be better and plastic resin would be much better (you're looking for glue that dries or crystallizes absolutely hard).
Of course hard glue will not stay stuck when unstable wood decides to move. That's why I suppose, some have suggested the use of T3. (You are as they say, "between a rock and a hard place".)
I've made several curved stair rails from ipe but not bent-laminated. (This would be the last thing I'd want to try). Ipe is very hard and brittle and the glue lines will be clearly visible.
The use of ipe for interior finish woodwork or furniture is a misuse and mistake. I would try tactfully explaining this.
Excellent advise so far.
I would add that ipe seems to have some natural oil that makes it difficult to bond, along with the high density. In fact, the high density means that it will be very unforgiving if things (like flatness) are not perfect, plus the previous machining may have heated the surface (common with dense wood) enough to have dropped the ability for the surface to "wet" and glue well. (The hot knives burnished the surface.)
I too have had my failures with Ipe.
ooops....I meant advice
We have had good results by wiping the two edges that are being glued togather with denatured alcohol then glueing.
It's pulles the oiles and let's the glue do its work.


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Teen anxiety- How to recognize it, and what to do about it
ARTICE: What This Year's College Results Mean to Next Year's Seniors
HESC Introduces College Financial Aid Award Letter Comparison Tool
Just in time for College Acceptance Month, HESC has launched a College Financial Aid Award Letter Comparison Tool to help college-bound students and families interpret their award letters and get the bottom line cost of each college before making their final decision. Those of you who attended a fall workshop got a sneak-peek and were pleased to have it ready for this year�s seniors.
Without a full understanding of the total costs, including which aid is grants that don�t have to be paid back and which are student loans, it may be difficult to choose the best college at an affordable price for the family.
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No personal data is collected or saved.
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ARTICLE: 5 Ways to Get Started on College Apps Before Senior Year
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View a list of academic, art and athletic camps at colleges in NY State
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Books / Reviews Sep 21, 2013
Amateur sleuths pursue callous California killers
by Mark Schreiber
In "You Only Live Twice" (1964), the 12th in Ian Fleming's series of James Bond novels, a perplexed Tiger Tanaka, MI5's Japanese secret police liaison, informs 007 he was unaware that ninjas still existed. JAPANTOWN, by Barry Lancet. Simon and Schuster, 2013, 416 pp., ...